第1步：阻塞
这是你需要集中精力做雕刻工作的步骤。我不想用ZSphere来做这件事，但是我想尝试一种新的方法来达到一个更好的形状和一个非常干净的表面。
Step 1: Block out
This is the step when you need to focus your all on the sculpting job. I don't want to use ZSphere for this piece, but I'd like to try a new approach in order to reach a better shape and a really clean surface.
第2步：Dynamesh
这次我在我的雕刻管道中尝试了一种新的工作方式。 我从一个非常粗糙的原始形式开始，直接使用插入网格笔刷。 在这种情况下，Dynamesh是在雕刻中保持良好的自由度和舒适度的最佳选择之一。
Step 2: Dynamesh
This time I have experimented with a new style of work in my sculpting pipeline. I started with only a really rough primitive form, using the insert mesh brush directly. In this case Dynamesh is one of the best choices to maintain a good degree of freedom and comfort during your sculpt.
第3步:ZRemesh
重塑是你雕刻过程中非常重要的一步，因为拥有一个好的拓扑结构意味着拥有最好的造型体验。在梳理阶段，这也将是决定性的。Zremesher是一个强大的工具，它可以帮助很多人，但是你需要保持专注，以便只获得想要的循环，避免螺旋。
Step 3: ZRemesh
Remeshing is a very important step in your sculpting, because having a good topology means having the best sculpt experience possible. It will also be decisive during the grooming stage. Zremesher is a powerful tool that can help a lot, but you need to stay focused in order to obtain only the wanted loops, avoiding the spirals.
第4步：姿势
摆姿势是我最喜欢的步骤之一，因为当你的角色第一次出现在你的生活中，你可以看看你的工作。 通常这个阶段我使用Transpose Master和各种面具。 通过这种方式，我可以很快创建一个姿势，并有机会看看不同的解决方案。
Step 4: Pose
Posing is one of my favorite steps because it's when your character comes to life for the first time, and you can check out your job. Usually for this stage I use Transpose Master and a variety of masks. In that way I can create a pose really quickly, and have the opportunity to take a look at different solutions.
第5步:UV贴图
当你有一个好的拓扑图时，在ZBrush中创建良好的UV是很容易的。我创造了很多的polygroups来定义眼睛，嘴巴，头部，鼻子等等。这可以帮助UV Master，可以使用这些组在你的UV装置上给予更多的准确性和清洁度。
Step 5: UV texturing
When you have a good topology creating good UV is really easy in ZBrush. I create a lot of polygroups to define eyes, mouth, head, nose and so on. This helps a lot with UV master that can use these groups to give more accuracy and cleanliness in your UV set.
第6步: 地图提取
如果雕刻需要一半的时间，另一半则专注于地图创作。只有用好的地图，你的模型才会用ZBrush的样子呈现。通常我把Maya作为我所有3D作品的中心，它不能处理很多多边形，所以你的位移和法线贴图是处理细节和良好的形状最好的朋友。
Step 6: Map extraction
If sculpting needs half of your time the other half is dedicated to the maps creation. Only with good maps your model will be rendered with ZBrush's look. Usually I use Maya as a hub for all my 3D pieces, and it can't handle a lot of polygons, so your displacement and normal maps are your best friends for details and good shapes.
第7步：毛皮Xgen
当你的基本材料准备好了，你的几何形状已经从雕刻恢复了原来的形状，现在是毛皮的时候了。 在开始工作之前，我真的很喜欢在大自然中寻找和研究皮毛。 你的理念是一个开始，但为了达到一个好的和一致的模式，学习好的参考是最基本的。
Step 7: Fur Xgen
When your basic material is ready and your geometry has recovered the original shape from sculpting, it is time for fur. I really love finding and studying fur from nature before starting a job. Your concept is the start, but in order to achieve a good and consistent model, to study good references is fundamental.
第8步：阴影和照明
现在是时候把所有的纹理和地图放在一起，为你的作品创造最好的阴影。Substance Designer 和Painter是两个很棒的工具，帮助加速了这个过程。 在Maya中，我想先从Arnold曲面开始，然后链接Substance创建的所有地图。 将范围节点作为您的地图和着色器之间的桥梁也是一个好习惯。 这可以帮助你调整你的地图的价值，如果可能的话，揭示细节和真实的speculars。
从圆顶开始可能是一个很好的工作流程，我的第一步是建立一个环境光（HDR有令人敬畏speculars）。 第二步设置是关键; 在这个特定的情况下，我选择了一个区域灯光，以获得柔和的阴影。 但是这一次，我的轮辋灯是为了创造一个有影响力的形象的差异。
Step 8: Shading and lighting
It's time to put all the textures and maps together and create the best shading possible for your piece. Substance Designer and Painter are two awesome tools that have helped to speed up the process. When in Maya I'd like to start with Arnold surface, and to link all the maps created by Substance. Also it's a good habit to put a range node as a bridge among your maps and the shader. That helps you to tune your map's values if possible, to reveal details and really fine speculars.
Starting with a dome could be a good workflow, my first step is to establish an ambient light (HDR has awesome speculars). The second step setup is key; in this specific case I chose an area light to have soft shadows. But this time my rim lights are what makes the difference in order to create an impactful image.
第9步：AOV
将你的图像分成不同的部分，所以在这个阶段你需要非常的专注，特别是Zdepth和idmatte AOV。这两种方法对操控你的最终形象非常有帮助，当你需要更多的现实感的时候，它们会帮助你。
Step 9: AOV
Separate your image into different pieces, so you need to be really carful during this stage especially with Zdepth and idmatte AOV. These two are incredibly powerful for manipulating your final image, and will help you when you need more of a sense of realism.
第10步：完成和最终的形象
我最后完成是在Nuke。 我开始合并所有的AOVs，只是为了解我的总体图像。 那么现在是时候添加一些发光和模糊节点，以帮助灯光的情绪。 另外一个非常重要的步骤是在idmaps中表示表现出来，特别是在这个情况下，当盾牌给角色投下一个很大的阴影时，你需要添加更多的光线，以便让这个姿势清晰而干净。
Step 10: Comp and final image
My final comp is in Nuke. I start by merging all my AOVs just to understand my general image. Then it is time to put some glow and blur nodes in to help with the light's mood. Another really important step is represented in the idmaps, especially in this case when the 'shield' casts a big shadow on the character, and you need to add more light in order to let the pose legible and clean.
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