你好！ 我非常感谢有机会分享我的3D作品之一。 这个3D渲染是基于Gop Gap的美妙插图，！
Hello there! I'm very grateful to have this opportunity to share the making of of one of my 3D pieces. This 3D render is based on the wonderful illustration by Gop Gap called Yummy!
Step 1: Modeling & Sculpting
I poly model and UV the easier props, such as the branch, leaves, bag, feather and sandwich before going to ZBrush. For the character however, I jump straight into ZBrush, as I find it that I am able to easily change shape as I go. I start with basic shapes such as spheres, cylinders and so on.When I block out the character I then start dynameshing, sculpting and up res-ing.
步骤1：建模与雕刻
我的模型和紫外线更容易的道具，如分枝，叶子，袋子，羽毛和三明治，然后去ZBrush。 然而，对于角色，我直接跳到ZBrush，因为我发现我能够轻松地改变形状，因为我去。 我从基本的形状开始，如球体，圆柱体等等。当我屏蔽字符时，我开始动画，雕刻和升级。
Step 2: UVing
I then bring back the character back to Maya and use Quad draw to retopologize. In Maya, I can also check to see if the model's pose is matching the concept by having the concept projected onto an image plane. I adjust some areas using soft selection.
步骤2：UVing
然后我将角色带回Maya，并使用四线绘画来重新定位。 在Maya，我还可以通过将概念投影到图像平面上来检查模型的姿态是否符合概念。 我使用软选择来调整某些区域。
Step 3: Sculpting finer details in ZBrush
For skin, I apply a little bit of noise to create some slight break up using Surface > Noise. For the clothes, I gather some photo references of fabrics and use Photoshop to make the images black and white, and apply a high pass. To do so, it is Filter > Other > High Pass. I usually put the high pass setting to 10. I then apply these maps on ZBrush by using the Surface > Noise and plugging in the height map on the alpha and start adjusting the scale.
步骤3：在ZBrush中雕刻更细的细节
对于皮肤，我应用一点噪音，使用Surface> Noise创造一些轻微的分解。 对于衣服，我收集一些面料的照片参考，并使用Photoshop使图像成为黑白，并应用高通。 为此，它是过滤器>其他>高通。 我通常将高通设置设置为10 然后，使用Surface> Noise并在alpha上插入高度图，然后开始调整刻度，将这些地图应用于ZBrush。
Step 4: Texturing
For texturing, I used Substance Painter. I use a combination of photographed textures and hand painted textures, to give the piece a realistic yet painterly look. I like using Substance Painter as I can somewhat see how the texture map will appear when I plug it into the shader. There are times when adjustments will need to be made to the maps, but I usually do so using ramps in Maya.
步骤4：纹理化
对于纹理，我使用Substance Painter。 我使用拍摄的纹理和手绘纹理的组合，给这件作品一个现实但画家的外观。 我喜欢使用Substance Painter，因为我可以看到当我将其插入着色器时，纹理贴图将会出现。 有时候需要对地图进行调整，但我通常会在Maya的坡道上进行调整。
Step 5: Look deving
When I have all my texture maps ready, I go back to Maya and plug in the maps. I render using V-Ray. Most of the shader work is done using the VrayMtl and the new AL Shader for V-Ray. For the boy I used VrayFastSSS. I also used V-Ray fur to create fuzz on the clothing of the character.
步骤5：看设备
当我准备好所有的纹理贴图时，我回到Maya并插入地图。 我用V-Ray渲染。 大多数着色器的工作都是使用VrayMtl和用于V-Ray的新AL着色器完成的。 对于男孩我使用的是VrayFastSSS。 我也用V-Ray毛皮在人物的衣服上制作绒毛。
Step 6: Lighting
I mainly used spotlights to light the scene. I had a main spotlight coming in from the left, a strong rim light behind the character to the left and a fill light from the right-hand side. I also used a dome light so there would be reflections on the golden bell.
步骤6：照明
我主要用聚光灯照亮现场。 左边是一个主要的聚光灯，左边是一个强烈的边框，右边是一个补光灯。 我也用了一个圆顶灯，所以在金钟上会有反射。
Step 7: Final touches
Lastly after I rendered the image. I started comping the passes I rendered out on Nuke. I then started adding in little effects such as glow and God-rays to further match the concept.
步骤7：最后一点
最后我渲染了图像。 我开始编写我在Nuke上提供的通行证。 然后，我开始添加一些很少的效果，如辉光和神光，以进一步匹配这个概念。
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