步骤1:概念草图
STEP 1: Concept sketching
对于这个图像，我实际上是画了一个概念草图，而不是每个项目都做的。 因为我知道我想用鱼眼镜头的角度来看，我觉得有必要看看它是否会起作用。 但是，我犯了一个错误，就是没有在3D中测试龙。 当使用一个怪异的镜头，不要以为你可以预期的效果会很好，更不要说画它了。 用3D进行测试。
For this image I actually 'drew' (scribbled) out a concept, something I don't do for every project. Because I knew I wanted to work with fisheye lens perspective, I felt the need to see if it would work. However, I made the mistake of not testing the dragon in 3D. When using a weird lens, don't think you can anticipate the effect, let alone paint it. Test it out in 3D and save yourself a headache or three later on...
早期的概念
Early concept
步骤二:小孩的制作
STEP 2: Sculpting the kid
重新拓扑在3D-Coat中完成。 这款软件中的retopo工具超级可靠！ 它只是按照你想要的方式工作。 一个好的建议是先从/大/四方开始，铺设流线和循环。 只需点击一下鼠标就可以添加额外的循环，然后手动添加额外的循环。 一般来说，这也是更简洁的拓扑结构。
Retopology was done in 3D-Coat. The retopo tools in this piece of software are super solid! It just works the way you want it to. A good tip is to start with the /big/ quads, laying out the flow lines and loops. It's so much faster to add extra loops with one click in between others then to add extra loops all the way around manually. It also results in much cleaner topology in general.
加快小孩的速度，测试自己能够多快地完成一些可用的东西。 原来是一个半小时左右！
Speed retopo of kid, testing myself how quickly I could achieve something useable. Turned out to be about an hour and half!
步骤3:造型设计
STEP 3: Marvelous Designer
我喜欢使用Marvelous Designer的一个重要原因是我不必担我的面料的UVs。 因为您将它们放置在二维视图中（如同您在现实生活中一样）并进行模拟，您可以使用二维布局作为UV坐标，而不必担心织物在某些地方伸展/变形。 超酷！ 对于雕刻的服装来说，让图案向右流动通常是令人讨厌的。
One of the big reasons I like to use Marvelous Designer is that I don't have to worry about the UVs of my fabrics. Because you lay them out in a 2D view (as you would in real life) and simulate them, you can use the 2D layout as your UV coordinates without having to worry about your fabric stretching/deforming in places. Super cool! With sculpted clothing it's often annoying to get the patterns to flow right.
用奇妙的设计模拟面料
步骤四：雕刻孩子的脸
STEP 4: Sculpting the kid's face
当我雕刻这个表情的时候，我想我已经尽可能地把它推到极致了——如果我再进一步推它，它看起来就不太对了。主要的问题是ZBrush的阴影模型。当角色完全被纹理遮蔽，光线散射到皮肤中时，它更加宽容，而且我认为我制作的表情几乎显得有些沉闷。在接下来的项目中，我知道我可以进一步完善它。
雕刻面部表情
Sculpting the facial expression
第5步：面料和头发
STEP 5: Fabric and hair
这个角色使用MARI纹理。 至于通道的每一步，纹理化都是从寻找好的参考开始的。当我知道我想用什么样的图案来制作这些布料时，我在网上找到了照片，然后裁剪和缩放它们，让它们变得可以使用，这样它们就可以作为一种图案。我喜欢将纹理看作是构建层(就像阴影一样)。首先我要画出布料的图案，然后使用很多程序上的噪音模式来分解纹理。这样做之后，我手绘了污渍、污垢和灰尘层，所有这些都是为了摆脱CG的外观。这适用于我所画的所有材料——金属或木质纹理都经历了完全相同的过程。
The character was textured with MARI. As for every step of the pipeline, texturing all started with finding good references. When I knew what kind of patterns I wanted to use for the fabrics, I found photographs on the internet and then cropped and scaled them to make them tileable so they were useable as a pattern. I like to think of texturing as building up layers (just like shading!). So first I would lay out the pattern of the fabric, and then use a lot of procedural noise patterns to break up the textures. After doing that, I hand-painted stains, dirt and dust layers, all to try to get rid of the CG look. This applied to all the materials that I painted - metals or wooden textures went through exactly the same process.
自从我使用Maya 2016以来，我选择了学习XGen制作头发的方法。 它在视口2.0中的实时预览是不可思议的 - 不需要测试渲染任何东西！ 这节省了我很多时间。
Since I switched to Maya 2016 lately, I chose to learn the ways of XGen for making hair. And holy moly, did I have a good time doing it! The real-time preview of it in viewport 2.0 is incredible - no need to test-render anything! This saves me so much time.
XGen在视口2.0中实时预览
XGen real-time preview in viewport 2.0
步骤6:看动态
STEP 6: Look development
在开始阴影之前，我确保创建一个正确校准的中性光线设置。 尽管这很重要，但并不是非常严格。 你只是想避开那些会影响你的颜色和价值选择的灯光设置。
Before starting shading I make sure to create a properly calibrated, neutral light setup. Although it's important, it's not super strict though. You just want to avoid light setups that would influence your color or value choices.
在中性照明的环境下看动态
Look development in a neutrally lit environment
第七步:头盔着色器
STEP 7: Helmet shaders
阅读别人的节点图会很困难，因为要看的东西太多了。为了更好地阅读我的文章，您需要知道我在逻辑分层的方法中构建了所有的着色器。以盾牌为例，我有一个生锈的金属材质和涂层。在我的分层方法中，涂层将是一个着色器，它将会在锈色着色器的顶部分层，它将会在底部的金属着色器上分层。都在面具里!
Reading someone else's node graphs can be hard as there's so much to look at. In order to read mine better, you need to know that I build all my shaders in a logically layered approach. Taking the shield as an example, I've got a rusty metal shader with a coating. In my layered approach, the coating will be a shader, which will be layered on top of the rust shader, which will be layered on top of the base metal shader. It's all in the masks!
头盔上的金属由四个主要层组成。 一个闪亮的灰色基础金属，一个闪亮的氧化黄色层，肮脏的弥漫涂层，然后一个油漆层。 工作流程始终是相同的，从绘制或可绘制的地图开始，并使用一些实用节点来改变它们的外观（增加增益，降低对比度等）。 在Maya中进行这些非破坏性的操作要比不断地回到NUKE或者Photoshop来写出新的图像要好得多
The metal on the helmet consists of four main layers. A shiny grey base metal, a shiny oxidized yellow layer, the dirty diffuse coating, and then a paint layer. The workflow is always the same, starting from painted or tileable maps and using some utility nodes to change their appearance (up the gain, lower the contrast, etc). Doing these operations non-destructively in Maya is much better than having to keep going back to NUKE or Photoshop to write out new images.
头盔着色器节点图。 从右到左阅读阴影网络，非常简单！
Helmet shader node graph. Read the shading networks from right to left, it's so much easier!
第8步：散景效果
STEP 8: Bokeh effects
虽然蔡司的研究人员在谈论坏镜头——因为他们是光学上不完美的——对于我们的CG艺术家来说，他们可能是非常有趣的。
Whilst the Zeiss researcher was talking about bad lenses - because they are optically not perfect - for us CG artists they can be incredibly interesting.
使用自定义过滤器图像和默认的圆圈之间的区别
The difference between using a custom filter image and a default circle
最终的图像!
Final image!
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