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创建一个未来派的机器人角色

xiao_q | 17年5月13日|824关注

zbrush基础教程 观看预览

zbrush基础教程

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zbrush是雕刻艺术家的软件,朱峰社区带你入门并且通过实例让你轻松学会这款高级的软件,雕刻出你自己想象中的模型,不受拘束的雕刻。

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在本教程中,我将解释我如何用武器和配件创建一个未来派的机器人角色。 我在整个雕刻过程中使用了DynaMesh,逐渐增加了polycount来添加更多细节。 最终结果是从ZBrush导出的几个渲染通道创建的图像,并放在Photoshop中。

In this tutorial I will explain how I created a futuristic cyborg character with weapons and accessories, finished off with a plinth for the character to help tell a story. I used DynaMesh throughout the sculpting process, gradually increasing the polycount to add more details. The end result was an image created from several render passes exported from ZBrush and put together in Photoshop.

Starting with a base mesh in ZBrush

I wanted this character to be based on human anatomy, so I loaded a female base mesh. Using a base mesh saves time when compared to starting from ZSpheres (which I usually do when creating non-humanoid characters).

After modifying the model's proportions slightly, I duplicated it and turned on Transparency, which allowed me to sculpt on the top SubTool while seeing the base mesh underneath.

Using the Move and Clay brushes, I created the basic shapes of the armor around the model's anatomy. I then used DynaMesh to increase the polygon count and create an even mesh ready to add further details.

TIP: It's sometimes necessary to cut out straight lines in the mesh, for example, on seams or metal panels. To do this you can hold down the left-mouse-button and then hold down the Shift-key and drag the mouse ? the mouse cursor will then snap to a straight line.

从ZBrush中的基本网格开始

我希望这个角色是基于人体解剖学的,所以我加载了一个女性的基础网格。 与ZSpheres(通常在创建非人形字体时通常会做)相比,使用基础网格节省时间。

在稍微修改了模型的比例后,我复制了它,并打开了“透明度”,这样我可以在顶部的SubTool上雕刻,同时看到底部的网格。

使用移动和粘土刷子,我创建了围绕模型解剖结构的护甲的基本形状。 然后我使用DynaMesh增加多边形数量,并创建一个均匀的网格,准备添加更多的细节。

提示:有时需要在网格中切出直线,例如在接缝或金属面板上。 为此,您可以按住鼠标左键,然后按住Shift键并拖动鼠标? 然后鼠标光标将捕捉到直线。

Creating the head and limbs

I decided to separate the arms and lower legs in order to sculpt them individually; this also made posing the character easier later on.

To create the robotic feet I cut off the toes, closed the mesh and formed the new toe using a mask with the Move brush. Using the same method I created the heel. After using DynaMesh on the SubTool, I was able to split the foot up into sections and add some details. After making large changes to the shape of the arm, I used DynaMesh and then added rough details to create the impression of armor.

I decided to make the head look more robotic than human so I sectioned it up into panels using the DamStandard brush and did some initial polishing to give the impression of hard surfaces.

创造头和四肢

我决定分开胳膊和小腿,分别雕刻他们; 这也使得后来的角色变得更容易。

为了创建机器人脚,我切断了脚趾,关闭了网格,并用Move刷子使用面罩形成了新的脚趾。 使用相同的方法,我创建了脚跟。 在SubTool上使用DynaMesh之后,我可以将脚分成几部分并添加一些细节。 在对臂的形状进行了大的改变后,我使用了DynaMesh,然后添加了粗略的细节来创造出装甲的印象。

我决定让头看起来比人类更加机器人,所以我用DamStandard刷子把它分成面板,并做了一些初步的抛光,给人以硬表面的印象。

Creating the cape

To create the cape, I inserted a plane as a new SubTool, turned on Symmetry and activated Double in the Display properties to make both sides of the plane visible.

Using the Move brush I molded the shape of the plane around the character's head and shoulders. I then used DynaMesh to increase the polycount and create an evenly distributed mesh. This allowed me to easily sculpt large details using the Clay and Move brushes. After I had made more changes to the shape, I ran DynaMesh again to create a higher polycount.

The next step was to sculpt the finer folds and creases of the cape. As well as the Clay and Move brush, I used the Pinch brush along the crease to sharpen them.

创建斗篷

要创建斗篷,我将一个 plane作为新的SubTool插入,打开Symmetry并在Display属性中激活Double,使平面的两边都可见。

使用移动刷我模仿了人物头部和肩膀周围的平面形状。 然后我使用DynaMesh来增加多边形计数,并创建均匀分布的网格。 这让我很容易地使用粘土和移动刷子雕刻大的细节。 在对形状进行了更改后,我再次运行DynaMesh创建更高的多边形。

下一步是雕刻海角更好的褶皱和褶皱。 除了粘土和移动刷子,我使用夹子刷沿着折痕来锐化它们。

Creating hard surfaces with Panel Loops

Up until this point I had been using just the Flatten and Smooth brushes to create the hard surfaces, so I decided to try using one of the new features of ZBrush ? Panel Loops.

I masked out the section of the mesh I wanted to make into a panel and created a Polygroup from the mask. In order to only use Panel Loops on that area, I hid everything else by holding Shift+Ctrl and clicking on the Polygroup. Under the Geometry sub-palette, I turned off the Double property of the Panel Loops tool so the panel it created would stay connected to the mesh. I also set Polish to 25 to create a smoother surface. I then repeated this process for the whole character model.

使用面板循环创建硬面

直到这一点,我一直在使用Flatten和Smooth画笔创建硬表面,所以我决定尝试使用ZBrush的一个新功能, 面板循环

我将我想要制作的网格部分屏蔽到面板中,并从面具创建了一个Polygroup。 为了仅在该区域使用面板循环,我通过按住Shift + Ctrl并单击Polygroup来隐藏所有其他内容。 在几何子调色板下,我关闭了“面板循环”工具的“双”属性,使其创建的面板将保持与网格物体的连接。 我也将波兰人设置为25,以创造一个更光滑的表面。 然后,我对整个人物模型重复了这个过程。

Sculpting details

After creating all of the hard surface panels, I added more details and separation lines using the DamStandard brush. Then I added countersunk holes at the edges of the panels using the Standard brush with a circular alpha set to DragRect ? these would be used to place screw mesh inserts later. To define more details on the upper legs, I used the Pinch and Smooth brushes to create the look of material wrapped around mechanical parts.

雕刻细节

在创建所有硬面板后,我使用DamStandard刷子添加了更多细节和分隔线。 然后我使用标准画笔在面板的边缘添加了埋头孔,其中设置了一个设置为DragRect的圆形字母? 这些将用于稍后放置螺丝网片。 为了在大腿上定义更多的细节,我使用了捏和光滑刷来创建包裹在机械部件周围的材料的外观。

Adding details with mesh inserts

To add some realism to the mechanical parts of the character, I added vents and screws using the mesh insert library that comes with ZBrush. After inserting the first screw I held Ctrl down while inserting the next screw, making it snap to the same size, which saved time checking the screws were consistent.

使用网格插入添加细节

为了添加一些现实主义的角色的机械部分,我添加了通风口和螺丝使用ZBrush附带的网格插入库。 插入第一个螺丝后,在插入下一个螺丝的同时按住Ctrl键,使其卡入相同的尺寸,节省了检查螺丝的时间。

Creating the accessories and posing

When the character was complete, I moved on to creating the weapons and clothing. Initially, I created a sword that would sit on the hip of the character. The sword started as a cube that I sculpted into shape using masks with the Transpose tool and DynaMesh to increase details in areas.

I created the lance using the same method and added a strap using an insert mesh with Curve mode. Additionally I created an alternative version of the cape attached to the back and a sleeve attached to the shoulder.

The character was then posed using the Transpose tools. I settled on quite a simple pose that made the character look confident and determined. I then decided a full-length cape looked more dramatic and also added wrist and arm bands. The lance was swapped for a battle standard ? the idea was that it would display a holographic flag or logo.

创造配件和摆姿势

当角色完成后,我转移到创造武器和衣服。 最初,我创造了一把剑,在角色的臀部。 剑开始是一个立方体,我使用面具工具和DynaMesh雕塑成形,以增加区域的细节。

我使用相同的方法创建了长矛,并使用带有曲线模式的插入网格添加了一个表带。 此外,我创建了一个替代版本的海角连接在背部和一个袖子连接到肩膀。

然后使用“转置”工具提出该角色。 我解决了一个相当简单的姿势,使角色看起来自信和决心。 然后,我决定一个全长披肩看起来更加戏剧化,并且还添加了手腕和手臂乐队。 长矛被交换为战斗标准? 它的想法是它会显示全息标志或标志。

Creating the base

After finishing the pose and accessories I needed to create an environment to help tell a story. The aim was to create a small section of a war-torn urban battlefield for the character to stand on, triumphantly displaying her standard.

If your aim is to create a character concept or illustration, your final image will have much more impact if it tells a story in some way. You want the viewer to feel like they have caught the scene mid-action or that it is part of a larger story.

The base was created from a cylinder, using Transpose tools to pull out a basic shape and dividing the mesh to smooth it out. The rubble was created from a variety of mesh inserts from ZBrush's library. I laid down a base layer of rocks and bent sheets of metal, and then I inserted several pieces of mechanical debris and moved them in to place to create a visually appealing flow to complement the pose of the character.

创建基地

完成姿势和配件后,我需要创建一个环境来帮助讲故事。 目的是创造一个战争蹂躏的城市战场的一小部分,让角色站稳脚跟,表现出她的标准。

如果您的目标是创建一个角色概念或插图,如果以某种方式讲述故事,您的最终形象会产生更多的影响。 您希望观众感觉到他们已经抓住了现场的中间动作,或者它是更大故事的一部分。

基座由圆柱体制成,使用移调工具拉出基本形状并分割网格以使其平滑。 瓦砾是从ZBrush的图书馆的各种网格插入创建的。 我放下一层岩石和弯曲的金属片,然后我插入了几块机械碎片,并将它们移动到位置,以形成一个视觉吸引人的流动,以补充人物的姿态。

Lighting and rendering in ZBrush

Initially I kept the default light on and changed the resolution of the BPR shadow to 8000 to sharpen the shadows. The focus for the first render was details and edges. To do this I set the Material for the whole model to dj_zsketchsunup, which is available from the Pixologic download center. The default settings for this material looked too strong, so I turned down the Cavity Detection to 0.25 which created a smoother look.

After saving the render I changed the material to BasicMaterial, turned off the default light and loaded a LightCap file consisting of lights with different intensities and angles. This render simulated global illumination, giving a soft overall shade to the model.

TIP: When using LightCap lighting in your scene, be sure to switch your material to one of the standard materials such as BasicMaterial. MatCap materials won't render properly with a LightCap because MatCap materials have their own lighting baked in to them. Also, turn off the default light under the Light menu before rendering.

For this render I also turned on AO (ambient occlusion), set the Resolution to 8000 and the Blur to 2. I then saved the render, AO and mask layers.

I repeated the step from several different camera angles and distances in order to have options for the final image.

照明和在ZBrush渲染

最初,我保持默认灯亮,并将BPR影子的分辨率更改为8000以锐化阴影。第一个渲染的焦点是细节和边缘。为此,我将整个模型的材质设置为dj_zsketchsunup,可从Pixologic下载中心获取。这种材料的默认设置看起来太强了,所以我把腔体检测降到了0.25,从而创造出更光滑的外观。

保存渲染后,我将材质更改为BasicMaterial,关闭默认指示灯,并加载由不同强度和角度的灯组成的LightCap文件。这渲染了模拟的全局照明,给模型带来了柔和的整体色调。

提示:在场景中使用LightCap照明时,请确保将材料切换到基本材质之类的标准材质之一。由于MatCap材料有自己的照明烘烤,MatCap材质将无法正确使用LightCap。此外,在渲染之前关闭“灯”菜单下的默认指示灯。

对于此渲染,我还打开AO(环境遮挡),将分辨率设置为8000,将模糊设置为2.然后保存渲染,AO和蒙版图层。

我从几个不同的相机角度和距离重复了一步,以便为最终图像选择。

Compositing the renders in Photoshop

Next I brought the renders into Photoshop, starting with the LightCap render. Then I added the AO layer and set the blend mode to Pin Light at 50% which smoothed out the sharp shadows. The detail/edges layer was then added and I set its mode to Screen ? this added highlights and a bit of rim lighting. I duplicated the AO layer on top and set its mode to multiply 50% which darkened the shadows. Finally, I created a simple gradient background for each shot, applied a noise filter and assembled them onto a larger canvas.

在Photoshop中合成

接下来,我将渲染带到Photoshop中,从LightCap渲染开始。 然后我添加了AO层,并将混合模式设置为50%的Pin Light,从而平滑了阴影。 然后添加细节/边缘图层,我将其模式设置为屏幕? 这增加了亮点和一点边缘照明。 我将AO层复制在顶部,并将其模式设置为乘以50%,使阴影变暗。 最后,我为每个镜头创建了一个简单的渐变背景,应用了一个噪音过滤器,并将它们组装到更大的画布上。


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未知用户

1029106782

1029106782

普通会员

太牛啦
一只爱散步的小菜鸟 -1029106782

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17年5月25日

2181496126@qq.com

2181496126@qq.com

普通会员

谢谢楼主分享!!!
愿朱峰社区教程越来越多。 -2181496126@qq.com

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17年5月20日

luo cheng

luo cheng

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感谢分享
希望能在这里捞点好东西 呵呵 -luo cheng

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17年5月19日

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