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呆萌的卡通角色制作

ks | 18年2月9日|416关注

画线建模制作春丽 观看预览

画线建模制作春丽

包含6节视频教程
关注17.5万

这绝对是目前动画教育业很少见的好教程之一。不是临摹,而是一种发自内心的创造模型。这是目前市面上最好的建模技术,一旦掌握,你将得心应手!

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介绍
Introduction
 

大家好!我的名字是雅罗马尔琴科,我想谈谈我的作品,在我的业余时间,我喜欢画不同的角色——这对我的绘画能力有好处。我也经常在工作会议上画草图——你知道,尤其是那些无聊的时候。这个角色也不例外。

 

Hi everybody! My name is Yaroslav Primachenko and I'd like to tell about the Making Of my work "Aaaa!" (or maybe I've missed one "a" - there's too many of them in the title, too hard to count!). In my spare time I like drawing different freaky characters - it's good for my karma. I also usually do sketches at the meetings at work - you know, especially the boring ones! This character wasn't an exception.

 

我那困倦的、飘忽不定的思绪创造了一个奇怪的人,我完全爱上了他(图01)。这是一个住在地下的人物,戴着一顶胡萝卜帽,帮他吸引兔子的注意……别问我他抓到兔子后,他会怎么对待这些可怜的家伙!这个角色很酷,我决定用3D制作它,并尝试制作一个动画(后来,经过一些测试,我决定放弃动画部分,以支持我目前正在做的另一个项目)。

 

My sleepy, wandering mind created a strange looking guy with whom I totally fell in love (Fig. 01). It was a character living underground, wearing a carrot hat that helps him to attract the attention of rabbits... and don't ask me what he does with the poor fellows after he catches them! The character was so cool that I decided to create it in 3D and try to make an animation (later, after some tests, I decided to give up the animation part in favor of the other project I'm currently working on).

图01

 

草图和建模
Sketching and Modeling
 

我做了一个快速的彩色草图来确定我的想法。我使用Photoshop,在图片的顶部放上一些随机的纹理,然后在我确定结果之前,就移动了这些色彩饱和度的滑块。这可以是一种快速简单的彩色图片着色方式,特别是当你想要了解颜色方案的基本想法时,但是不要花太多时间在这上面(图02)。

 

I made a quick color sketch to capture the idea of what he would look like. I used Photoshop with some random texture placed on top of the picture and then just moved the hue-saturation sliders until I liked the result. This can be a quick and easy way to colorize a picture, particularly when you want to get the basic idea of the color scheme, but don't want to spend too much time on it (Fig.02).

图 02

 

我从一开始就知道,我不会使用任何现有生物的参考资料——它们对我这个角色的想法不相符——这是最具挑战性的,也是最鼓舞人心的关于这个角色的工作。我从概念上知道它是一个地下生物,但我不想让它变成一个黑灰鼹鼠。尽管这是一个非常邪恶的角色(看牙,或者打领带,好男人不戴领带!)我不想让它看起来很恶心;它需要某种甜蜜和可爱的外表(又名荷马 辛普森)。

 

I knew from the very beginning that I wasn't going to use references of any existing creatures - they just didn't match my idea of the character - and that was the most challenging and also the most inspiring thing about working on this character. I knew from the concept that it was an underground creature, but I didn't want to make it some black-grey mole guy. Also even though it's an extremely evil character (look at the teeth, or better at the tie - good guys don't wear ties!) I didn't want it to look totally disgusting; it needed to be somehow kind of sweet and lovely (aka Homer Simpson).

 

我开始在3ds Max建模,从基本的立方体从大的形态开始,然后切割,挤压,在需要的地方,提炼和做所有的部分,当你做一个模型-没有什么特别的。我没有画任何投影或额外的草图,只是在3ds Max(图03)中寻找一个角色。如果我今天要做这个角色,我可能会在ZBrush做,但是当我开始这个角色时,我还不知道有这个神奇的工具。

 

I began modeling in 3ds Max, starting from the basic cube and large forms, then cutting, extruding where needed, refining and doing all the staff that you do when making a model - nothing special. I didn't draw any projections or extra sketches - just searched for a character in 3ds Max (Fig.03). If I was making the character today I would probably do it in ZBrush, but when I started this character I didn't know about this fantastic tool yet.

 

图 03

 

展开和纹理
Unwrapping and Texturing

 

我打开模型,把它导入到ZBrush,在那里我做了几乎所有的纹理,并稍微调整了几何图形(图04)。

 

I unwrapped the model and imported it into ZBrush, where I made almost all the texturing and also tweaked the geometry a bit (Fig.04).

 

图  04

 

我做了漫反射,反射,和普通的凹凸贴图,为这个角色,还有一个不透明的胡萝卜贴图。凹凸贴图也被用作一种镜面贴图——在3ds Max中只做了一些微调。我在Photoshop中添加了一些纹理贴图,使用不同的混合模式使它看起来更有趣。然后我决定为这个角色做一些衣服,除了帽子,靴子和领带,他已经有了,要关闭任何可能的身体的关节,在身体的部分,并且增加一些额外的视觉兴趣。我在网上找了合适的参考资料,找到了一件我认为适合他的夹克的照片。

 

I made diffuse, reflect, and normal bump maps for the character and also an opacity map for the carrot. The bump map was also used as a specular map - with just a few tweaks right in 3ds Max. I added some textures to the diffuse map in Photoshop, using different blending modes to make it look more interesting. Then I decided to make some clothes for the character, in addition to the hat, boots and a tie he already had, to close any possible joints of texture on the body-hands parts and also add some extra visual interest. I searched the internet for appropriate references and found a picture of a jacket I thought would fit him perfectly.

 

照明
Lighting

 

灯光很简单(图05)。我使用了一个V-Ray的平面光来作为主要的漫射源(1),标准3ds Max中目标点的漫射,有一些额外的镜面(2)和两个目标点(3,4),将人物从背景中分离出来,并在我想要的地方添加额外的反射。我还使用了HDRI映射来显示环境中的反射槽。

 

The lighting was pretty simple (Fig.05). I used a V-Ray plane light for the main diffuse source (1), standard 3ds Max target spot with diffuse turned off for some extra specular (2) and also two target spots (3,4) to separate the character from the background and add extra reflections where I wanted. I also used an HDRI map for the reflection slot in the environment rollout.

图05

 

造型,渲染和后期效果。
Posing, rendering and applying post-effects
 

我对这个结果非常满意,并且已经开始考虑做一些最终的渲染,也有不喜欢的地方,那就是我的作品缺乏动力,而且这个角色看起来不像我希望的那样疯狂(图06)。我认为这是由于他所处的沉闷的t型,这与他的性格完全不匹配,我当然希望这个角色能自己说话。我不想做任何的装备,所以我换回了ZBrush,在聪明的ZBrush工具“转置”(图07)的帮助下,用他的脾气对他进行了调整。在一个FFD修饰语的帮助下,这条领带,夹克和靴子在Max的身体里被“摆了出来”。

 

I was pretty happy with the result at this point, and was already thinking about making some final renders, but didn't like the fact that the work suffered from an obvious lack of dynamics and the character didn't look as insane as I sure wanted him to (Fig.06). I thought it was due to the dull T-pose he was in, which didn't match his personality at all, and I sure wanted this character to speak for itself. I didn't want to do any rigging so I switched back to ZBrush and posed the fellow according to his temper with the help of the brilliant ZBrush tool "transpose" (Fig.07). The tie, the jacket and the boots were then "posed" in Max according to the body with the help of a FFD modifier.

图06


图 07

 

然后我开始准备最后渲染的场景。使用标准的3ds Max头发和皮毛工具,我在他的头顶和手臂上增加了一些毛发(图08)。

 

Then I started to prepare the scene for final rendering. Using the standard 3ds Max Hair and Fur tool, I added some hair on the top of his head and arms (Fig.08).

图08

 

为了给这个角色增加一些额外的特点,我还让一个瞳孔变大,这样眼睛就不对称了。然后我在几个不同的图层渲染了这个场景——镜子,反射,阿尔法,头发等等。我用Photoshop把它们组合在一起。我在背景上添加了一些纹理和色彩渐变,为颜色添加额外的活力。我还在眼睛里画了一些额外的高光。利用z深度信息,模拟了DOF效应。在那之后,我将所有的层合并到一起,得到一个,并复制它。我选择了顶部图层,去掉了它,并在曲线的层次上增加了黑色和白色(大部分是黑色)的图像,只有最亮的区域仍然是白色的。我将它设置为屏幕并模糊了一点——这给了图像一种梦幻般的效果(图09)。这种效果很容易实现,易于控制,而且最好的是它可以用于动画。在高色调对比的地方效果最好。当然,你可以很容易地在静态图片上添加一些额外的亮点。

 

To add some extra insanity to the character, I also made one pupil bigger then the other so that the eyes weren't symmetrical. Then I rendered the scene in several separate layers - specular, reflect, alpha, hair and so on. Using Photoshop I combined them all together. I added a few texture and color layers with gradients on the background - to add extra vibrancy to the color. I also drew some extra specular highlights in the eyes. Using Z-depth information, I simulated the DOF effect. After that I merged all the layers together to get only one, and duplicated it. I took the top layer, desaturated it and bumped the curve levels to get the black and white (mostly black) image with only the most lighted areas still white. I set it to screen and blurred a little - this gave the image a dreamy-glow kind of effect (Fig.09). This effect is simple to achieve, easy to control and best of all - it can be used for the animation. It works best in places with high tone contrast. Sure you can easily add some extra glow where you want with a few touches of the brush on a static picture.

 

图 09


图10

 

结论
Conclusion

 

这几乎就是我的作品(Fig.10)。我花了很多时间在这个角色上,我对结果很满意。现在,我可能会设法使它变得更好,但这仅仅是由于我在创建这项工作时获得的经验,我已经能够在今天的工作中取得进展。这个过程是一个很好的学习过程,当我学习有机建模的原理,以及如何更有效地使用ZBrush时,我甚至能够在处理这个角色的时候完成另一个图像(图11)!

 

That's almost all about the creating of my work "Aaaa!" (Fig.10). I spent a lot of time on this character and I'm happy with the result. Right now I would probably manage to make it better and much more quickly, but it's only due to the experience I obtained during the creating of this work that I've been able to progress to where I am today. The process was a great learning curve and as I was learning the principals of organic modeling, and how to use ZBrush more effectively, I was even able to complete another image while working on this character (Fig.11)!

图11

 

所以,这里有一些建议给那些刚刚开始踏上艺术之旅的人们:在别人的作品中,在摄影中,在古典绘画中到处寻找灵感。当然,在现实生活中。仔细观察,努力学习和理解吸引注意力的原则,然后——不管你用什么软件——你都会成功。尝试不同的方法。不要害怕去尝试你自己的视觉风格。因为它不仅仅是关于多边形,工具或者修饰词,它是关于表达你的情绪和思想的。毕竟,试着去找乐趣!

 

So here's some advice to those who have only just started their journey into art: search for inspiration everywhere. In the works of others, in photography, in classical painting and, of course, in real life. Watch carefully, try to learn and understand the principals of attracting attention to your work and then - no matter what software you use - you will be successful. Try different approaches. Don't be afraid to experiment and work out your own recognizable visual style. Because it's not only about polygons, tools or modifiers, it's about expressing your emotions and thoughts. And after all - try to have fun!
 

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潘加优

潘加优

老vip

很棒!!真的!加油!
学到老 -潘加优

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18年2月11日

flyover

flyover

普通会员

很棒,感谢分享

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18年2月10日

xbluex

xbluex

普通会员

66666 已收藏

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18年2月10日

luoxing

luoxing

普通会员

确实挺呆萌的,很可爱
1 -luoxing

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18年2月10日

only

only

普通会员

很喜欢的风格学习一下

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18年2月10日

zhanglailiang

zhanglailiang

普通会员

这片也不错,支持一下

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18年2月10日

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