卡通女孩的制作

选择一个概念

选择正确的设计是最重要的步骤之一。 如果你正在寻找一个投资组合，那么你可能会花几个星期的时间来处理这个问题，所以要把它做好。 想想这个项目的目标是什么。

作为一个吸引人的角色的重要一点，就是在角色背后有一个故事，即使它只是一个没有剧情的静止图像，你仍然应该能够辨别出这个角色是谁。

Choosing a concept

Picking the right design is one of the most important steps. If you are aiming for a portfolio piece, then you will probably spend a few weeks working on it, so make it relevant. Think about what the goal of the project is.

A big point for making an appealing character, is having a story behind the character, even if it's just a still image with no scenario, you still should be able to tell who this character is.

分析概念

首先将绘图分解成几部分，计划如何处理模型。在创作这个角色的时候，要注意那些剪影、负空间以及2D艺术家们所做的所有设计选择，这是许多3D艺术家非常忽视或者甚至是未知的事情 - 稍后会有更多的介绍。

Analyzing the concept

Start by breaking down the drawing into pieces, planning how you will handle the model. And pay a lot of attention to the silhouette, negative spaces and all the design choices that the 2D artist made when creating the character, this is something very overlooked or even unknown by many 3D artists - more on this later.

阻塞模型

在雕刻时，ZBrush是我雕刻的首选工具，但是你可以使用任何像Blender或3d - coat的雕刻软件。在第一个阶段，你应该得到每个肢体的基本形式，并建立比例，保持简单和清洁。没有细节，这只是你以后要把角色划分出来的基础。我通常只用圆球和圆筒开始。

Blocking the model

ZBrush is my tool of choice when sculpting, but you can use any sculpting software like Blender or 3D-Coat. On this first stage, you should just get some basic forms for each limb and establish the proportions, keep it simple and clean. No details, it's just the base where you will carve the character out later on. I usually start just with spheres and cylinders.

雕刻形式

准备好了，现在是开始展示的时候了。这幅图只会给你提供足够的信息，以供总体设计;这是你作为一个3D艺术家的工作，让它从各个角度看起来都很棒。对我来说，雕刻家最重要的技能就是理解形式。如果以手臂为例，从正面来看它的外观如何？ 然后回来？从侧面？ 从上面？ 想象一下，如果你触摸它，它会感觉像一只手臂或什么东西都被揉皱了吗?获得一些参考，并一直保持模型旋转。

Carving the forms

Base prepared, now it's time for the concept to start showing through. The drawing will only give you enough information for the general design; it's your job as a 3D artist to make it look great from all angles. For me, the most important skill for a sculptor is understanding the form. If you take an arm as example, how it looks from front view? And back? And side? And from above? Imagine if you touch it, does it feel like an arm or something all crumpled? Get some reference and keep rotating the model all the time.

检查设计

讲故事是吸引角色的第一步，其次是用形式来引导观众的眼睛。 曲线，直道，消极空间，剪影，简单与复杂都是概念艺术家用来制作有趣和谐设计的设计元素，但被许多3D建模者所忽视。 仅仅匹配比例和色彩是不够的，概念艺术家所做的设计选择就是创造一个美丽的作品，引导观众的眼球。 所以一定要把它们转化成模型，不要忘记 - 它必须从各个角度进行!

Checking the design

Storytelling is the first step to an appealing character, the second is to use the forms to guide the viewer's eyes. Curves, straights, negative spaces, silhouettes, simple vs complex, are all design elements used by concept artists to make interesting and harmonious designs, but are neglected by many 3D modelers. Just matching proportions and colors isn't enough, the design choices made by the concept artists is what will create a beautiful composition and guide the eye of the viewer. So be sure to translate them to the model and don't forget - it must work from all angles!

脸部建模

脸是我性格中最重要的部分，它是我想让观众注意的地方。步骤和模型的其他步骤是一样的，我从头部和鼻子和耳朵的其他小球体，以及眼睑的管子开始。 调整好比例之后，我将它们合并，并开始塑造形式。 保持脸部元素的协调一致是非常重要的。

Modeling the face

The face is the most important part of the character for me, it's where I want to keep the viewer's attention. Steps are the same as for the rest of the model, I start with simple sphere for the head and other small spheres for the nose and ears, and tubes for the eyelids. After I adjust their proportions I merge them and start shaping the forms. It's important to keep the face elements in harmony and working together as a single piece.

头发

头发就像头部的框架，也会改变人物的轮廓。这是我大部分时间花在上面的部分。即使这个角色在最后的作品中会有真正的头发，我还是会做一个雕塑的头发，这样我就可以检查一般模型是否正常工作，并作为梳理毛发的参考。很好地提出了一个完整的模型。我开始用一个简单的质量给的轮廓，然后用Dylan Ekren创作的曲线笔刷，开始把头发的条纹梳到一起，直到我把头发都染满了。注意头发的流动是很重要的。

Hair

Hair is like the frame of the head, it also changes the silhouette of the character. It's one of the parts that I spend most time on. Even though this character will have real hair on the final piece, I still do a sculpted hair so I can check if the general model is working and to serve as a reference for the grooming. And it's good to present a complete model. I start with a simple mass to give the silhouette, then using a curve brush created by Dylan Ekren I start putting the hair stripes together until I have all the hair filled. It's important to pay attention to the flow of the hair.

摆姿势

大部分的角色性格都会通过这个姿势表现出来。对于一个转盘，我更喜欢一个微妙的姿态，它能很好地显示模型，而不是有很多动作的动态。同再次，它应该从各个角度阅读，避免平行，并留意消极的空间。 因为我喜欢在Maya里做一个快速的装备，这让我的生活变得更加轻松，尤其是在摆姿势的时候。

Posing

Much of the character personality will show through the pose. For a turntable, I prefer a subtle pose that will display the model well, instead of something dynamic with a lot of action. Again, it should read well from all angles, avoid parallels and keep an eye on the negative spaces. For posing I like to do a quick rig in Maya, it makes my life so much easier, especially when posing the hands.

抛光

脱离模型，用不同的眼睛看，并要求别人的意见。

检查你的线条，你的表格如何阅读，如果比例是正确的，从摆姿势清除任何变形，抛光表面质量（确保没有无意的皱折）。 在这一步，我花了好几个小时，不断旋转模型，在这里和那里做小修改，直到我认为它足够好。 雕刻完成了！

Polishing

Take a break away from the model, come back with fresh eyes, and ask for someone's opinion.

Check your lines, how your forms are reading, if the proportions are correct, clear any deformation from the posing, polish the surface quality (make sure there is no unintentional crumples). On this step I spent many hours, constantly rotating the model and making small fixes here and there, until I think it is good enough. And the sculpting is done!

头发，纹理和最终渲染

Victor Trovarto完成了头发，纹理和最后的渲染。

Hair, textures and final render

Victor Trovarto then finished up the piece by completing the hair, textures and the final render.

用Xgen完成头发

皮肤是在MARI画的，和AIshaders进行快速的测试

衣服和装饰品也在MARI