图像的想法是基于我开发的一个短小的故事，对于那个故事，我需要一些相对简单但有趣的人物。 基于鸭子角色我将显示我用于创建宠物和怪物图像的所有角色的建模技术。 具有中级Modo技能的用户将能够跟踪此简要项目概述。
The idea for the images is based on a short story that I have developed and for that story I needed some relatively simple but interesting characters. Based on The Duck character I will show the modeling techniques that I used to create all the characters for the Pets and Monsters image. Users with intermediate Modo skills will be able to follow up this brief project overview.
For the most of my characters I use to draw a quick sketch to be used as reference. Sometimes I can stick to the 2D sketch, but sometimes I have go further and make different changes on the character during the modeling stage, in order to achieve the look that I want in 3D.
对于我的大多数角色，我用来绘制一个快速草图作为参考。 有时我可以坚持2D草图，但有时我会进一步，在建模阶段对字符做不同的更改，以实现我想要的3D的外观。
For most of my work I use a combination of Box Modeling, Polygon Modeling and Sculpting in combination with the other tools that Modo has to offer.
对于我的大部分工作，我使用框架建模，多边形建模和雕刻的组合与Modo提供的其他工具的组合。
Head Base
I start the work with the head of the duck model. For that I created a sphere using the Solid Sketch Tool, with a Subdivision Mode of Level 2. After that I have hit S key to Subdivide the sphere, and using the Transform Move Tool, W key in combination with the Transform Scale Tool, W key and Falloff set to Soft Selection I have shaped the base of the head to fit the look of the sketch and my needs. The next step was to create a copy of the head base mesh that was used as Mesh Constraints over the next steps.
头基
我开始做鸭模型的头。 为此，我使用实体绘图工具创建了一个球体，细分模式为2级。之后，我按S键细分球体，并使用变换移动工具，W键与变换缩放工具组合，W 键和衰减设置为软选择我已塑造头的基础，以适应素描和我的需要的外观。 下一步是创建一个被用作网格约束的头部基本网格的副本。
The beak
To model the beak I used the Pen Tool in combination with the Transform Tool, T key to create one rough half of the beak shape. After that I have mirrored the polygons on the X Axis to get the other half of the beak. Using the Thicken Tool I got the thickness that I needed to create the finale shape of the beak. By using Subdivision and the Sculpt Tools like, Move and Push in combination with the Bevel Tool and the Transform Move tool I gave the beak the shape that I needed and also added the nostrils and the crease between upper and lower beak part.
喙
为了模拟喙，我使用钢笔工具结合变形工具，T键创建一个粗糙的一半的喙形状。 之后，我镜像了X轴上的多边形，得到另一半的喙。 使用Thicken工具我获得了创建喙的最终形状所需的厚度。 通过使用细分和雕刻工具，像移动和推，结合斜角工具和变换移动工具，我给了喙我需要的形状，还添加了鼻孔和上下喙部分之间的折痕。
Eyes
I used the Solid Sketch Tool to create one eye shape that has been duplicated and scaled to get the outer eyelid mesh that I needed. After that I deleted a few polygons from the lower part of the eyelid mesh, rotate it a bit on the Y Axis, and used the Thicken Toll to close the eyelid shape around the eye. Then I used the Transform Move Tool and the Transform Scale Tool to place and scale the other three eyes on the head and using the Mirror Tool to duplicate them. The next step was to delete the back half of the eyelid meshes and also the corresponding head polygons. Using the Edge Extend and the Bridge Tool I have connected the eyelid meshes to the head.
眼睛
我使用固体草图工具来创建一个眼睛形状，已经重复和缩放，以获得我需要的外眼睑网格。 之后，我从眼睑网的下部删除了一些多边形，在Y轴上旋转一点，并使用Thicken Toll关闭眼睛周围的眼睑形状。 然后我使用变换移动工具和变换缩放工具放置和缩放其他三个眼睛在头上，并使用镜像工具来复制它们。 下一步是删除眼睑网格的后半部分以及相应的头部多边形。 使用边缘延伸和桥梁工具我已经将眼睑网眼连接到头部。
Body
As done before for the head, I used the Solid Sketch Tool to create the basic shape of the body that was then refined using the Transform tools in combination with Soft Selection, Smooth and Bevel tool. The arms and the legs were created using the Tube Tool with 8 sides and one segment. The foot was created using the Pen Tool in combination with Thicken Tool like the beak. Then I have positioned the arms and the legs to fit to the body, and using the Bridged Tool on Edge mode I have connected them to the body and the body to the head. Using the bevel tool I made the shirt look and after that, I modeled the hat and the hands using Box modeling techniques.
身体
如前所述，我使用实体素描工具创建主体的基本形状，然后使用变形工具结合软选择，平滑和斜角工具进行细化。 手臂和腿是使用管工具与8边和一段创建。 脚是使用笔工具结合Thicken工具，如喙创建的。 然后我把手臂和腿放在身体上，使用边缘模式下的桥接工具我把他们连接到身体和身体到头部。 使用斜角工具，我做了衬衫看起来和之后，我模型的帽子和手使用框架建模技术。
UW Unwrapping
To prepare the model for UV unwrapping I have created an own mesh item for all the duck parts. Then starting with the body I have selected the seams in Edge Mode and used the Unwrap Tool to create the texture map. In UV mode I used the UV Relax Tool in Adaptive or Mode to get rid of stretching or overlapping. Once I was happy with the result I have subdivided the mesh once more and used the Relax Tool and the Pack UVs Tool to get a nice texture map, which I have exported as .eps file via Export UVs to EPS. I have repeated that procedure for all the body parts and then I have merged the different mesh items into one and named it duck.
UW展开
为了准备UV解卷的模型，我已经为所有的鸭子部分创建了一个自己的网格物体。 然后从身体开始，我选择了边缘模式中的接缝，并使用解卷工具创建纹理贴图。 在UV模式下，我使用自适应或模式下的UV放松工具来摆脱拉伸或重叠。 一旦我对结果满意，我再次细分网格，并使用Relax工具和Pack UVs工具来获得一个很好的纹理贴图，我已经导出为eps文件通过Export UVs到EPS。 我已经为所有的身体部位重复了这个过程，然后我已经将不同的网格物体合并成一个，并命名为鸭。
Texturing
In Modo I have created separate materials for the body, eyes, beak, shirt and hat. The texture maps for the different materials have been created in Photoshop. For that I have opened the EPS file at 2048x2048 pixels and by using layers and different paint tools I created the map that I needed. The file was then saved as .tga and added to the material as Diffuse Color and as Subsurface Color. I have repeated the steps for the other maps needed and at the end I have tweaked the material settings to get the results I needed for each duck part. To get the look that I needed for the scene I have created the texture maps for the other characters by choosing colors that will complement each other and that will help to separate the characters in the final composition.
纹理
在Modo我为身体，眼睛，喙，衬衫和帽子创造了独立的材料。 不同材质的纹理贴图已在Photoshop中创建。 为此，我已经打开了EPS文件2048x2048像素，通过使用图层和不同的绘图工具，我创建了我需要的地图。 然后将文件另存为tga，并作为漫反射颜色和下表面颜色添加到材质。 我已经重复了所需的其他地图的步骤，最后我调整了材料设置，以获得我需要的每个鸭子的结果。 为了获得场景所需的外观，我通过选择将互补的颜色为其他字符创建纹理贴图，这将有助于分离最终作品中的字符。
Scene Setup
Once all the characters and assets where ready I have created a new scene and I have imported all the characters with the materials in the new scene. After that I have adjusted the Camera setting according to my needs and started to position all the characters and the assets to build up the final look of the scene.
The next step was to set the Render settings for Antialiasing at 32Sampels/Pixel and the filter to Catmull-Rom. I have changed the Shading rates to 0.1 pixels and Refinement Threshold to 5.0%. I have also turned on the Adaptive Subdivisions and the Micropoly Displacement.
场景设置
一旦所有的字符和资产，准备好我已经创建了一个新的场景，我已经导入所有的字符与新的场景中的材料。 之后，我已根据我的需要调整相机设置，并开始定位所有的字符和资产，以建立场景的最终外观。
下一步是设置抗锯齿的渲染设置为32Sampels / Pixel，过滤器设置为Catmull-Rom。 我已经将阴影率更改为0.1像素，精细度阈值更改为5.0％。 我也打开了自适应细分和微聚位移。
Lights and GI
Next step was to create a second light name it rim light positioned behind the scene. The Main Light was set to illuminate the scene from up left and then I have adjusted the Radiant Exitance and the light color for the main light to a white/blue and the other one to white/yellow. The next step was to turn on the Global Illumination and to set the Subsurface Scattering mode to both.
After that I added a plane polygon to the scene and created a Plane material with a Shader Layer set to Catch Shadows.
灯和GI
下一步是创建一个第二个光的名称，它的边缘灯光定位幕后。 主灯被设置为从左上方照亮场景，然后我已经调整辐射率和主光的光颜色为白色/蓝色，另一个为白色/黄色。 下一步是打开全局照明并将次表面散射模式设置为两者。
之后，我添加了一个平面多边形到场景，并创建一个平面材质，着色器层设置为捕捉阴影。
Environment and passes
To get the perfect mood for the scene I have used the Grass Field Preset for the Environment. The next step was to duplicate the Environment. One was set Visible to Rays and the other one was set Visible to Camera, with a 4 Color Gradient that will create the illusion of the ground and the sky in the scene. The last steps before the render were to add some more Render Outputs for Alpha, Ambient Occlusion and Depth. The Occlusion Range was set to 50 mm and Maximum Depth to 30m. After once short check to see if all the characters are on the ground and nothing floats it was time to start the Rendering.
环境和通行证
为了获得场景的完美情绪，我使用了草场环境预置。 下一步是复制环境。 一个设置为可见光线，另一个设置为可见相机，与4色渐变，将创建地面和天空的场景中的幻觉。 渲染之前的最后一步是为Alpha，环境遮挡和深度添加一些更多的渲染输出。 遮挡范围设置为50mm，最大深度设置为30m。 一旦短暂检查，看看所有的字符是否都在地面上，没有浮动，是时候开始渲染。
Photoshop Adjustment
In Photoshop I have opened the Final Render Output and added the Ambient Occlusion Output on a new layer above with the Layer mode to Multiply and the Opacity to 40%. Then I made a copy of the Final Render Output and moved it above the AO layer and set the mode to Soft Light with Opacity to 70%.That step will help to take out the cg dullness and to add some vibrancy to the final illustration. In Chanel mode I have added the Depth Output as Alpha 2 and then I have used it as Source in the Lens Blur Filter to add some depth to the final illustration.
I hope this short overview was helpful for your future projects.
Photoshop调整
在Photoshop中，我打开了最终渲染输出，并在上一个新层添加了环境遮挡输出，图层模式为乘法，不透明度为40％。 然后我制作了一个最终渲染输出的副本，并将其移动到AO层之上，并将模式设置为不透明度为70％的柔光。这一步将有助于取出cg迟钝，并添加一些活力到最后的插图。 在Chanel模式中，我已经将深度输出添加为Alpha 2，然后我在镜头模糊滤镜中将其用作源，以向最终的插图添加一些深度。
我希望这个简短的概述有助于您的未来项目。
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