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外星队长的制作(一)

运动规律 观看预览

运动规律

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讲解动画师必须了解的运动规律的基础。很巧妙的让你一步步的了解各种运动规律的掌握。一步步迈向动画师之路。

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这个卡通人物是基于一个复古的科幻概念。 我想用3D艺术展现一个具有强烈姿态,表情和轮廓的角色。 我的目标是用开源软件Blender以3D方式完成这个过程。 在Blender中,您可以配置快捷键和界面布局以匹配流程的任何阶段。 我所做的第一件事就是为我需要的任务准备我的工具,并以一个名称保存布局。

 

This cartoon character was based on a retro sci-fi idea. I wanted to show a character with strong pose, expression and silhouette with 3D art. My goal was to complete the process in 3D with the open source software Blender. In Blender you can configure your shortcut keys and the interface layout to match any stage of the process. What I did first was to prepare my tools for the task I needed and save the layout with a name.

 

(3D角色创建方法并不依赖于软件。这样你就可以用你最喜欢的工具进行制作。

 

(The 3D character creation method doesn't depend on the software. So you will be able to reproduce the same with your favorite tool).

 

参考和概念
 References and Concept

 

如果你在角色设计方面没有很好的参考和良好的基础,你将无法获得吸引人的3D角色。 在3D中工作需要很长时间,您会忘记在此过程中重要的元素。 定义2D概念艺术设计非常重要。 在这种情况下,我收集了一大堆来自互联网的参考资料,并且还有一个我喜欢的女性外星人概念(图01a)。 有时我也会快速的做一个3D造型概念,如图01b所示。

 

You will not achieve an appealing 3D character if you don't have good references with good bases in character design. Working in 3D takes a long time and you will forget elements that are key points during the process. It's very important to define your 2D concept art design. In this case I collected a bunch of references from the internet and also had a female alien concept that I liked (Fig.01a). Sometimes I'll do a quick 3D sculpt concept too, like the one shown in Fig.01b.

图 01a

 

图 01b

 

提示:在开始建模之前,请给出一个好的2D角色设计。草图总是比数字雕塑更快更容易改变。这样会少很多麻烦。

 

Tip:Come up with a good 2D character design before you start modeling. Sketches are always faster and easier to change than digital sculptures. It will be a lot less painful.

 

建模
Modeling
 

我首先对人物的数量进行建模。就像我经常做的那样,我从头部开始,并使用简单的多边形物体,比如盒子。然后我将盒子分为垂直和水平边缘。在Blender中,我使用了这个选项,用方框(3ds Max中的球化),删除了盒子的一侧,并添加了一个镜像修饰符(3ds Max中的对称)(图02)。

 

I started by modeling the volume of the character. As I often do, I started with the head, and used simple polygon objects like a box. Then I divided the box with vertical and horizontal edges. In Blender I used the option To Sphere with the box (Spherify in 3ds Max), erased one side of my box and added a mirror modifier (Symmetry in 3ds Max) (Fig.02).

 

图 02

 

提示:在网格中,选择要影响编辑模式的元素(顶点、边或面),按Shift + Alt + S,将鼠标拖出。

 

Tip:To sphere a mesh, select the elements (vertex, edges or faces) you want to affect in Edit mode, press Shift + Alt + S and drag your mouse out.

 

在这一点上,我没有注意细节,只是试着确定了主要的形状。我继续使用几何图形,增加了更多的边缘循环,并推动了顶点和边缘,直到我对整个身体形状和比例感到满意为止。当涉及到角色设计时,对比形状是非常重要的。我牢记这一点,并寻找良好的拓扑结构(图03 - 04)。

 

At this point, I didn't pay attention to details and just tried to define the main shape well. I continued with the geometry, adding more edge loops and pushing the vertexes and edges until I was happy with the entire body shape and the proportions. Having contrasting shapes is very important when it comes to character designer. I kept this in mind and also looked for good topology (Fig.03 - 04).

 

图03

 

 

图 04

 

提示:可以用于动画的拓扑也可以用来使您的角色更简单。

 

Tip:The topology that can be used for animation can also be used to pose your character in a easier way.

 

继续说脸部的细节。我添加了边缘或挤压多边形来定义关键区域:嘴巴,眼睛,鼻子和耳朵。我添加了一个细分表面修饰词来测试这些元素的高分辨率。当我对多边形的基本网格(图05)感到满意时,我使用了带有多分辨率修改器的雕刻工具。

 

I continued with the face details. I added edges or extruded polygons to define the key areas: mouth, eyes, nose and ears. I added a subdivision surface modifier to test these elements in high resolution. I used the Sculpt tool with the Multi Resolution modifier when I was happy with the polygon's base mesh (Fig.05).

 

图 05

 

提示:隐藏你不使用的几何图形。你的软件在视窗中会更流畅。

 

Tip:Hide geometry you aren't working with. Your software will flow better in the viewport.

 

光与影
Light and Shadow
 

我做了一个简单的轻型钻机来测试我的模型。我使用了一个更精确的灯光设置来开始使用材料。实现良好的照明是非常重要的。你所有关于最终图像的工作将取决于这个。

 

I did a first simple light rig to test my model aspect. I went with a more accurate light setup to start working with materials. It's very important to achieve a good light set up. All your work on the final image will depend on this.

 

在这种情况下,我用Blender的内部渲染器渲染了场景。我用五个灯。灯光的数量将取决于你的场景。乍一看可能有点复杂,但用轻型钻机控制是非常有用的。这里有我的灯:

 

In this case I rendered the scene with Blender's internal renderer. I used five lights. The number of lights will depend on your scene. Maybe it seems a little complicated at first glance, but it's very useful to have the control with a light rig. Here are my lights:

1。太阳的光作为一种关键的光,带有黄色。

2。一种橙色的半光灯,作为一种来自太阳的填充光。

3所示。蓝色的半光作为环境光。

4所示。在raygun中,闪电的蓝色点灯。

5。一个区域的光可以从地面的岩石反射出反射的光的颜色。

 

1. A Sun light as a key light, with a yellow color

2. An orange hemi light as a fill light from the Sun

3. A blue hemi light as environment light

4. A blue point light for the lightning in the raygun

5. An area light to fake the bounced light color from the ground rock to the character.

 

在光属性中,你可以选择这一层只影响光层中的物体。我用它把眼睛从一个光中排除(图06)。

 

In the light properties you can select This Layer Only to affect only objects in the light layer. I used this to exclude the eyes from one light (Fig.06).

 

图06

 

提示:在阴影中颜色使用与世界环境颜色相同。它将帮助你建立一个可信的灯光设置。

 

Tip:In the shadows color use the same as in the ambient color of the world. It will help you to make a believable light setup.

 

材料
Materials
 

创建材料的方式取决于软件,但目标总是相同的。你必须用光再现物体的行为。关键词是吸收、反射和折射。在任何软件中也有通用的技术。如果你想要获得大量不同的材料,这些技术是非常有用的。在现实生活中,大多数物体都是由多种材料构成的。有几层灰尘、锈迹等。

 

The way you create your materials depends on the software, but the goal is always the same. You've got to reproduce the behavior of objects with light. The key words are absorption, reflection and refraction. There are also common techniques in any software. These techniques are very useful if you want to achieve a lot of different variations of materials. In real life most objects are made of more than one material. There are several layers of dust, rust etc.

 

材料编辑器非常强大,结合了光的设置和组成在CG。我在材料中使用了大量的衰减斜坡来控制表面如何与光线发生反应。我使用一种颜色的镜面反射,与主光颜色相匹配,以及在与环境颜色匹配的双保险丝或镜面上脱落的颜色。这样做会让场景更加可信。你会看到我说的关于射线枪和眼睛的材料。材料的混合节点合成物是非常有用的,它提供了你可以想象的所有组合。

 

The Material Editor is very powerful when combined with light setup and composition in CG. I use a lot of falloff ramps in the materials to control how the surface reacts with the light set up. I use a color for the specular reflection that matches with the main light color, and colors in fall off ramps on difuse or specular that match with the environment color. Doing this makes the scene more believable. You will see what I mean on the materials for the raygun and the eyes. The Blender node compositor for materials is very helpful and gives all the combinations you can imagine.

小贴士:对于角色来说,眼睛是非常重要的。一个漂亮的着色器会有很大帮助!在图07中可以看到一个这样的例子。

Tip:With characters, the eyes are very important. It's the first place a viewer will look so be careful to work hard on this area. A nice shader will help a lot! An example of this can be seen in Fig.07.

 

图 07

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