step 1
我要花费大量的时间来进行制作基础模型，我们在前期最主要的是要把大致的形体比例做到位，而且网格尽量都是四边面。
ok, after modeling quite a rough shape of his head, i exported it to zbrush. it is a great program and offers infinte ways and techniques for character artists. because this is an early stage for the modeling, i'm using zbrush only for shaping the head, playing with proportion and not for adding small details.
ok，之后呢，我们把模型要导入到zbursh里面，对这些模型再进行动态形体的调整，使他的细节更加的惟妙惟肖。
step 2
sadisfied for the moment from zbrush, i got back to max extending and building new geometry
从zbursh中再把模型倒出来，我们对模型再进一步调整
i'm trying to get the most of 3ds max robust polygon toolset. after that point, back to zbrush.
从3d max里面再导出这个模型，并在zbursh里面进行形体的细分。
it's amasing how quickly you can carve a lot of detail, with very few tools like draw and move in zbrush. going this way, i've modeled the body. starting from a simple shape/ turning to poly/ and adding detail with only these simle tools.
[next]这个是通过在zbursh里面做到身体各个的细节部分。
back in max i builded the gums and teeth.
这个是牙齿模型的细化
step 3
the tounge. 舌头
i'm almost done with modeling and it's time to do some uv work!... i added unwrap uvw modifier and started pulling and pushing the uv's, trying to make them as flat as posible. i also used pelt techniques to flaten and adjust the uv's in order to avoid texture streching.
这个部分是uv制作环节，在展uv部分是，我常用的就是unwrap uvw 这个修改器，并使用一些放松的命令对模型uv拉伸部分进行放松处理。尽量不让uv有明显的拉伸，除此之外，uv的布局也要看上去很满，不要有太多的空缺。
bringing the model back to zbrush, i started painting some color for the texture. at the end i exported displacement and normal maps from zbrush, to use them later on the rendering proces.
回到zbursh里面，我们再对这个模型进行纹理的绘制.
step 4
time for skining. i built a ferely simple scheleton rig and added some simple controls for the limbs, head, mouth.
我们使用3d max里面自带的蒙皮工具进行蒙皮处理，重新调整一个理想中的姿势。
this way i can pose it.
这个是其他视角。
after that, i worked with the enviroment, building the cave first , and than adding rocks, grass, and other tiny details.
[next]在3d max中我们搭建一个我们所需要的环境，再添加一些植物，水坑，一些脏旧的东西。
i've created a spot light. added a volume light to atmospheres & effects rollout.
设置好灯光，在大气和效果卷展览加上我们所需要的体积光特效。
the shaders played very important role in what i was trying to achive for the skin look. using brazil rendering system gives me more fredom to play with shaders because it has more channels to fed the texture in. i used brazil skin material for achieving that soft and warm look i was looking for. i turned on global illuminations and enviroment lightening. played with brazil shaders to get the soft and translucent effect i was looking for the skin. here is a test i've done using the ellements mentioned before,(volume light & translucent effect).
为了试图使用这个皮肤材质看起来更加的自然，我使用了巴西渲染器，因为它有更多的通道选项，给了我更多的发挥，做出丰富的质感。为了实现柔软柔和的效果，我一直在寻找巴西皮肤的材质。我打开全局照明和环境灯光。并开始尝试调整皮肤的柔软和半透明的效果，下面的测试，就是我已经做了前面提到过的ellements后的效果。
step 4
the sss shader combined with normal bumps, enhanced the look of the character even further. it was easy to add hair & fur to my character, using the new intuitive hair system in 3ds max. combig and styling the hair, bringed to a new level the look of the ork.
[next]使用sss材质并结合凹凸贴图，为了增强更多的质感细节。这个是添加的毛发效果，在3ds max中使用毛发系统，为其调整一个看上去合适的毛发效果。
i added some more spots and omni lights in the scene. with all the lights setup in the scene i ensured that global illuination was turned on in the rendering panel. checked once again all the shaders, the textures and the geometry, to verify that everything is all right.the scene is almast complete now, and it's time to do planing for rendering it in differnt passes.
我再补充一点，现在场景中的灯光。凭借着场景中的灯光设置，我们在渲染面板上开启全局照明，再次检查一下所有的材质，纹理。确认一切都是正常的，之后，就可以进行渲染了。
here are some of the main passes.
下面是一些主要的通道
i used digital fusion to blend all the passes together into a sigle piece. alsow added some lens blur and defocus effect on the main character and the scene itself.
我使用了fusion进行后期合成，为我们的主场景和角色做一些镜头模糊和焦散效果。
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