都柏林的3D建模师Paul Deasy分享了他的创作过程，在ZBrush创建一个卡通人物...
Dublin based 3D modeler Paul Deasy shares his creation process for creating a cartoon character in ZBrush...
In this making of article I will go through my process from start to finish showing how I made the character sculpt, Mouse. I will go through the steps of my process and the tools which I use for each of them. Once done, I will talk briefly about my process when rendering my character.
在这篇文章的制作中，我将通过我的过程从开始到完成显示我如何做字符雕刻。 我将展示我的创建过程的步骤和我使用的工具。 一旦完成，当呈现我的性格,我将简要地谈谈我的过程。
Step 1: Creating the base mesh.
I decided to use a concept by Samuel Youn as a base for this project. I always make a base mesh for each new character, unless I have a tight deadline. For me, the base mesh is a very important part of the whole process as it creates the look and feel of the character. This step will decide the overall shapes and silhouette of the character. I started with primitives and kept them all separate so I would have ease of control when finding the primary forms. In ZBrush I used the Insert Sphere brush to place a sphere, separated it into new SubTools, and hit ZRemesh (for which I created a shortcut key for as I use this very often). I pulled it into shape where needed, for example the cranium and jaw are two different SubTools, and the nose is another. I continued this process down the whole body - this helped me to easily move each part without affecting the other parts, a well as leave a crisp line where each SubTool intersects. In the examples you can see the quick base mesh I made, showing how the body is split into different SubTools.
步骤1：创建基本网格。
我决定使用Samuel Youn的一个概念作为这个项目的基础。我总是为每个新字符做一个基本网格，除非我有一个紧张的截止日期。对我来说，基础网格是整个过程的一个非常重要的部分，因为它创造了人物的外观和感觉。这个步骤将决定角色的整体形状和轮廓。我开始制作，并让他们分开，所以我将在找到主要形式时轻松控制。在ZBrush我使用插入球体刷放置一个球体，分离它到新的SubTools，并打ZRemesh（为此我创建了一个快捷键，因为我经常使用）。我把它拉成所需的形状，例如颅骨和下颌是两个不同的SubTools，鼻子是另一个。我继续这个过程在整个身体 - 这帮助我轻松移动每个部分，而不影响其他部分，留下一个线，每个SubTool相交。在示例中，您可以看到我做的快速基本网格，显示如何将主体拆分为不同的SubTools。
The original concept by Samuel Youn
Samuel Youn的原始概念
A quick head sculpt
快速雕刻
Step 2: Finding nice shapes
At this point I referred back to the concept checking it against my model to make sure all the shapes were correct. Here I was looking for what I couldn't see in the concept and where they would be in 3D shape, e.g. what does her face look like straight on? The concept only shows it from a side view. I needed to be aware of the shape following the 2D while making sure it still looked good from a front view. Where you can sometimes cheat in 2D, you really can't get away with in 3D. In the concept her neck was described with broad strokes, but for the 3D I needed it to be more anatomically correct and to give her neck structure. I was conscious that it still read with the same shape language as the concept and that her neck worked anatomically, while still fitting to the simplistic style. Once I had all these shapes in place, I had a good sense of the character's personality.
步骤2：找到好的形状
在这一点上，我提到了检查它对我的模型的概念，以确保所有的形状是正确的。 在这里，我在寻找我不能看到的概念，他们将在3D形状，例如。 她的脸怎么样？ 该概念仅从侧视图示出。 我需要知道2D之后的形状，同时确保它仍然从前视图看起来很好。 有时候你可以欺骗2D，你真的不能逃脱3D。在概念上她的脖子用粗线条的描述，但对于3D我需要更正确的解剖学和给她颈部的结构。 我意识到它仍然读取相同的形状语言作为概念，她的颈部解剖工作，同时仍适合简单化的风格。 一旦我有这些形状，我有一个很好的感觉的性格的个性。
Step 3: Clothing and hair
At this stage I wanted the whole mesh to be one, but I also keep it in parts for posing, so I merged the visible (SubTool > Merge) which put everything together in a new tool. I then applied DynaMesh to the merged basemesh and then ZRemesher; this allowed me to use this mesh for masking and extracting the character's clothing. When I extracted the clothing the first thing I did was to isolate the inner faces that were closest to the basemesh's surface. I then deleted the hidden faces and flipped the normal of what was remaining so it faced outwards; this often needs to be inflated so it's not inside the model. This left me with a one sided mesh that I ZRemeshed as low as possible which helps with getting the correct shape. Using the ZModeler brush I extruded out the thickness of the cloth and added in the support edges for when I subdivide. At this stage I also added in the hair using the Insert Sphere brush and pulled it around with the Move brush, followed by some ZRemeshing.
步骤3：服装和头发
在这个阶段，我想要整个网格是一个，但我也保留它的部分摆弄，所以我合并了可见（SubTool>合并），把所有的东西放在一个新的工具。然后我将DynaMesh应用于合并的basemesh和ZRemesher;这允许我使用这个网格掩蔽和提取角色的服装。当我提取衣服，我做的第一件事是隔离最接近basemesh的表面的内部面。然后我删除了隐藏的面孔，翻转了剩下的东西，使它面向外面;这通常需要膨胀，所以它不在模型内。这让我有一个单面网格，ZRemeshed尽可能低，有助于获得正确的形状。使用ZModeler刷子，我挤出了布的厚度，并添加在支撑边缘，当我细分。在这个阶段，我还使用Insert Sphere刷子添加在头发中，并用Move刷子拉动它，然后是一些ZRemeshing。
Step 4: Refining the model and posing
This step took the longest! With all the elements of the model sculpted I needed to add all the details and made sure the whole thing read well. I checked all the curves to make sure there are no parallel forms etc. Next I posed the model, I felt a subtle pose would be best rather than a really dynamic one, also I thought she would be on a ship. Posing the model was quite easy because I had all the parts on separate SubTools; I simply moved around the SubTools to get the look I wanted. I then DynaMeshed all the parts to get a single piece, such as meshing the fingers on to the hands, and the hands on to the arms. I followed this up with some smoothing and minor corrections where needed. I modeled a very simple stage for her to stand on to add to the narrative of the piece.
步骤4：精炼模型和构成
这一步花了最长的时间！ 有了模型的所有元素雕刻我需要添加所有的细节，并确保整个读得好。 我检查了所有的曲线，以确保没有平行形式等。接下来我提出了模型，我觉得一个微妙的姿势是最好的而不是一个真正动态的，我也认为她会在船上。 构建模型是相当容易，因为我有独立的SubTools的所有部分; 我只是移动SubTools来获得我想要的外观。 然后DynaMeshed所有的部分，以获得一个单一的，如手指上的手，手上的手臂。 我跟着这一点有一些平滑和微小的修正， 我模仿了一个非常简单的舞台，她站着，增加了这件作品的叙事。
Step 5: Decimation
Once I was happy and ready to move on to rendering I used the Merge Visible option to avoid having SubTools with the same name because preprocessing for decimation sends out an error message if any names are the same. I decimated the model as low as possible without the triangles becoming visible; this allows Maya to handle it better so the lower I could get it the better, as I was going to be making a lot of little tweaks and changes when moving lights around and changing the shaders and I really didn't want to have to sit around and wait every time I changed something! When going into Maya, I use a file called Render room that I import my models into to change my lights and shaders.
步骤5：抽取
一旦我很高兴，准备好继续渲染，我使用合并可见选项，以避免SubTools具有相同的名称，因为预处理的抽取发送出错消息，如果任何名称相同。 我把模型尽可能低，没有三角形可见; 这使Maya能够更好地处理它，所以更低的我可以得到它更好，因为我会做很多小的调整和变化时移动灯光和更改着色器，我真的不想坐 周围，等待每次我改变了东西！ 当进入Maya时，我使用一个名为Render room的文件，我将我的模型导入到更改我的灯光和着色器。
Step 6: Final touches
Once the model was in Maya I needed to scale it and start setting up my render. I used a simple three light set up within a cube. I flipped the normal on the cube and in the settings turned off cast shadows so I could place the lights outside of it, which would still shine through the cube. I had one area light; I didn't use a spherical area light but rather a large rectangular light to get a nice soft lighting from one direction. Then I added a warm primary light and a cold back light to complement each other. I set the box color with the bounced light in mind as this needed to work with the color of the lights and also the feel of the character. I went with a bright and lively background as I imagined her on a ship at the sea, and then for the full body render I imagined the same thing but at night. Once all the lighting was sorted I took it all into Photoshop to make a few final value and color tweaks, and with that I was finished.
第6步：最后的接触
一旦模型在Maya里，我需要扩展它，并开始设置我的渲染。 我使用一个简单的三灯设置在一个立方体内。 我翻转了立方体的正常，在设置关闭投下阴影，所以我可以把它的光，它仍然照耀通过立方体。 我有一个区域的光; 我没有使用球面光，而是一个大的矩形光，从一个方向得到一个很好的柔和的照明。 然后我添加了一个温暖的主光和一个冷背光，互相补充。 我设置了盒子的颜色与反弹光，因为这需要工作与灯的颜色和字符的感觉。 我用明亮和活泼的背景去了，我想象她在海上的一艘船上，然后为了充分的身体渲染，我想象了同样的事情，但在晚上。 一旦所有的灯光排序，我把它全部进入Photoshop做一些最终的价值和颜色调整，与我完成了。
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