在本教程中，我非常高兴与大家分享我最新的个人项目“非洲大象”的过程和技巧。 我学到了很多东西，想把一些知识和经验传授给CG社区。
In this tutorial, I'm really excited to share with you the process and techniques I used for my latest personal project, African Elephant. I learned a lot and would like to pass some of the knowledge and experience on to the CG community.
Step 1: Reference
A lot of people get too excited at the beginning of a project and they want to dive into the fun and interesting stuff right away. What I've learned to do, and has helped me a lot, is to take some time to study what you are about to do. Where does the animal live? How does it look when it's born or when it gets old? A lot of these things play a huge role in the shape of its body, the way it walks, and most of all they give you a huge advantage because you can easily give a personality to the animal and bring it to life.
I've come to the conclusion that your model will go as far as your references. Go through anatomy books, visit zoos, watch documentaries, and browse Pinterest. Spend some time to find the best references you can find out there. Always keep in mind the '80-20' rule: the 20% of work you do in the beginning will determine how the other 80% will look. After finishing with the references I use PureRef to have them next to me all the time. It's a free image viewer where you can display a lot of images without any distractions.
步骤1：参考
很多人在一开始的时候就太兴奋了，他们想马上投入到有趣有趣的事情中去。花一些时间研究你要做什么。动物生活在哪里？当它出生或变老时，它的外观如何？很多这些东西在它的身体形状，它走路的方式中发挥着巨大的作用，最重要的是它们给你一个巨大的优势，因为你可以很容易地给动物一个个性并把它带到生活中来。
我得出结论，你的模型将会远远超过你的参考。浏览解剖图书，参观动物园，观看纪录片和浏览Pinterest。花一些时间找到你可以找到的最好的参考。始终牢记“80-20”规则：开始工作的20％将决定其他80％的外观。完成参考后，我使用PureRef让他们在我的身边。这是一个免费的图像查看器，您可以在其中显示大量图像，而不会有任何分心。
Step 2: Skeleton
The best way for me to understand an animal is to start working on it from the inside. That's why I almost always start with the bones. You don't have to go crazy here; just some simple geometry with the basic forms and volumes of the bones will do the job. But since it was a personal project, I had the time, and I love making bones, I took it a bit further. The process I use here is back and forth between ZBrush and Maya. I usually build a low-poly silhouette of the bones in Maya and then detail them using DynaMesh and ZRemesher in ZBrush.
步骤2：骷髅
我了解动物的最好方式是从内部开始。 这就是为什么我几乎总是从骨头开始。 你不必在这里疯狂 ，只是一些简单的几何与骨骼的基本形式和体积将做这项工作。 但是，由于这是一个个人项目，所以我有时间，而且我喜欢做骨头，我再多做一点了。 我在这里使用的过程是在ZBrush和Maya之间来回的。 我通常在Maya中建立一个低聚焦轮廓的骨骼，然后使用ZBrush中的DynaMesh和ZRemesher来详细说明。
Step 3: Musculature
When your skeletal structure seems good to go, it's time to move on to the muscles. From here you can take a lot of approaches. What I prefer to do is to block out the main muscles with DynaMeshed spheres ? not anything fancy, but enough information to represent the main muscle groups on top of the bones.
步骤3：肌肉
当你的骨骼结构看起来很好的时候，现在是走向肌肉的时候了。 从这里你可以采取很多方法。 我更喜欢做的是用DynaMeshed球体阻挡主要肌肉？ 没有什么花哨，但足够的信息来代表骨骼上的主要肌肉群。
Step 4: Working on the body
When I have finished the muscles and bones, I like to DynaMesh everything together. The key here in the density of the mesh is to have enough information to see the muscle groups, but also low enough density that you can move big forms easily. Here is the point where I have the base structure of the body, and from there I start to build the forms. Here is the part of the process where you have to decide the body type of your animal: whether you want it skinny with bones and ribs that stick out on the surface or fatty enough to cover the muscles and bones.
步骤4：在身体上工作
当我完成肌肉和骨骼，我喜欢DynaMesh的一切。 网格密度的关键在于拥有足够的信息可以看到肌肉群，而且足够的密度也可以轻松地移动大的形状。 这是我身体的基础结构的点，从那里开始构建表格。 这个过程的一部分，你必须决定你的动物的身体类型：你是否想要骨骼和肋骨，伸出来在表面或足够的脂肪足以覆盖肌肉和骨头。
Step 5: A quick note on brushes
Here you can see how the elephant's surface details were built up gradually, making sure the larger forms were prepared before starting to add refinements. The main brushes that I've used here and basically through the whole sculpt are the Smooth, Smooth Valleys, Clay Buildup (with and without its square alpha), Move, Move Topological, Dam Standard, and Inflate.
步骤5：刷子上的快速说明
在这里，您可以看到大象的表面细节如何逐渐建立，确保在开始添加细化之前准备更大的表单。 我在这里使用的主要画笔，基本上是通过整个雕刻，它们是平滑，平滑的山谷，粘土堆积（有和没有它的方形alpha），移动，移动拓扑，水坝标准和充气。
Step 6: Retopology and UVs
For retopology I used Maya's retopology tools, which help me hugely in speeding up my workflow. Since I knew that I was going to have a close-up image of the elephant's head, I tried to have more information on the head so I could sculpt higher frequency details compared to the body. I used UVLayout for the UVs.
步骤6：反光学和紫外线
对于再透视学，我使用了Maya的重新拓扑学工具，这有助于我极大地加快我的工作流程。 既然我知道我要拍摄大象头像的特写镜头，我试图在头上有更多的信息，所以我可以比身体雕刻更高的频率细节。 我用UVLayout做UV。
Step 7: Skin and details
The skin of the elephant was the trickiest and most challenging part for me, but also the most enjoyable. I wanted it to be as realistic as possible. I saw a lot of tutorials online about modeling elephants and how to approach them, but none of them had correct and realistic skin. Most people tend to use alphas right away and the result is usually not what they were going after. I spent some time doing studies on how the skin works, how traditional sculptors approach it, and I ended up sculpting nearly all of the elephant's surface details by hand. I used 16-bit alphas only for the high frequency details and to give a little surface noise.
If the forms, muscles, and big skin folds are not correct or they aren't there at all, no matter how much detail you put on a model, it will always look like something is odd and unpleasant about it. Spend some extra time making sure that everything is in the right place by going back and forth with the subdivision levels before you start going crazy with the details.
步骤7：皮肤和细节
大象的皮肤是我最棘手，最具挑战性的部分，也是最愉快的。我希望它尽可能的现实。我在网上看到很多关于建模大象的教程，以及如何接近他们，但是没有一个是正确和逼真的皮肤。大多数人倾向于立即使用阿尔法，结果通常不是他们想要的。我花了一些时间研究皮肤如何工作，传统雕塑家如何接近，我最终用手雕刻几乎所有的大象表面细节。我使用16位阿尔法仅用于高频细节，并给出一点表面噪声。
如果形式，肌肉和大皮褶皱不正确，或者根本就不在那里，无论您在模型上放置多少细节，它总是看起来像是奇怪而不愉快的东西。花一些额外的时间，确保一切都在正确的地方，通过与细分级别来回走动，然后再开始疯狂的细节。
Step 8: Hair
I didn't want to complicate the hair a lot, so I went with ZBrush's FiberMesh. For the kind of fur that I wanted, it had pretty decent results.
步骤8：头发
我不想让头发变得很复杂，所以我和ZBrush的FiberMesh一起去了。 对于我想要的那种毛皮，它有相当不错的结果。
Step 9: Rendering and post-production
For the rendering I used V-Ray in Maya. With a simple area light and some time to find the desired camera angle, I got the result I was looking for. In Photoshop I adjusted the tone a bit to bring some more contrast to the image, and then it was done.
步骤9：渲染和后期制作
对于渲染我在Maya使用V-Ray。 有一个简单的区域光和一些时间找到所需的相机角度，我得到了我正在寻找的结果。 在Photoshop中，我调整了一下音调，以便对图像进行一些对比，然后完成。
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