制作一個饑餓，憤怒的外星人

這個造型是我去年開始做的速度項(xiàng)目之一，想法是使用一個現(xiàn)有的2D概念，并在一到兩天內(nèi)把它變成3D（我自己扭曲）。 這一次我從他們的第二本書中選擇了Creature Box的草圖之一; 我在他們的作品中已經(jīng)有一段時間了，因?yàn)樗鼈冇泻軓?qiáng)的風(fēng)格，在所有的設(shè)計(jì)中都可以看到。另一件我想工作時在這些造型的時間，這一個我沒有時間做充分的身體和表情。

This sculpt was one of my speed projects that I started doing last year, the idea is to use an existing 2D concept and turn it into 3D (with my own twist) in one to two days. This time I picked one of the sketches by Creature Box from their second book; I've been a fan of their work for quite a while now because they have very strong style which can be seen across all their designs. Another thing I think about when working on these sculpts is the time frame, for this one I just didn't have time to do the full body and expressions.

Step 01: Building main shapes

The first step is to get the main shapes1st step is to get the main shapes right. I started sculpting in ZBrush with a Sphere mainly using the ClayTubes and Move brushes; I had the original Creature Box sketch loaded in the background and used that to help me create the basic shapes. I used DynaMesh whenever there were too many polygons, I used the DynaMesh Master plug-in because you can set the amount of polygons you want and keep it nice and low. The fewer polygons you are working with mean it much easier to keep control of the shapes. The aim of this step was to get the main shapes done and correct; I focused on the head first and then moved on to the rest.

步驟01：構(gòu)建主要形狀

第一步是獲得主要shapes1st步驟是獲得主要形狀正確。 我開始在ZBrush雕刻一個球體主要使用ClayTubes和移動畫筆; 我有原始的生物盒草圖加載在背景中，并用于幫助我創(chuàng)建基本的形狀。 我使用DynaMesh每當(dāng)有太多的多邊形，我使用DynaMesh Master插件，因?yàn)槟憧梢栽O(shè)置你想要的多邊形數(shù)量并保持很低。 您所使用的多邊形越少，意味著越容易控制形狀。 這一步的目的是使主要形狀完成和正確; 我先集中在頭上，然后移動到其余的。

Step 02: Adding other base mesh props

When I was more or less happy with the head I started adding in the other base meshes for the props, as well as the jaws and teeth. I followed the same process as sculpting the head - start with a ZSphere and shape it according to the concept. I then added a hand by pulling out a cylinder (although I ended up remodeling it using a ZSphere.) To create the uniform I masked out the initial shaped and extruded it

步驟02：添加其他基礎(chǔ)網(wǎng)格道具

當(dāng)我對頭部或多或少感到滿意時，我開始添加在其他基礎(chǔ)網(wǎng)格的道具，以及頜骨和牙齒。 我遵循與雕刻頭相同的過程 - 從ZSphere開始，并根據(jù)概念塑造它。 然后我通過拉出一個圓柱體（盡管我最終使用ZSphere重塑它的手）添加了一個手。為了創(chuàng)建統(tǒng)一我掩蓋了初始形狀和擠壓它

Step 03: Hard surface props

I modeled the hard surface elements of the image in 3ds Max, again I tried to spend as little time as possible doing this. I am mainly a Maya user but the tools for modeling in 3ds Max are so much faster than they are in Maya, so when I have to model hard surfaces I use Max.

步驟03：硬表面道具

我在3ds Max中模擬了圖像的硬表面元素，我再次嘗試花費(fèi)盡可能少的時間來做這個。 我主要是一個Maya用戶，但在3ds Max中建模的工具比他們在Maya中的快得多，所以當(dāng)我必須建模硬表面我使用Max。

Step 04: Combining it all in ZBrush

I imported the props into ZBrush to pose them properly. Once I had the gun in right position I rebuilt the arm using a ZSphere so that the fingers would wrap around the gun. I also continued to build up and refine the shapes on the face.

步驟04：結(jié)合所有在ZBrush

我把道具導(dǎo)入ZBrush來正確地對他們造成影響。 一旦我的槍在正確的位置，我重新使用ZSphere的手臂，使手指將包圍槍。 我也繼續(xù)建立和完善的臉上的形狀。

Step 05: Topology

As this is a speed project I used ZRemesher to work on the topology because doing a proper session of retopology would take far too long. For UVs I used UVMaster it is fast and I knew I would be painting in the textures anyway; this is not something I would normally use in production but it is perfect for a personal speed project.

步驟05：拓?fù)?/h6>

由于這是一個速度項(xiàng)目，我使用ZRemesher工作的拓?fù)�，因�(yàn)樽鲆粋�適當(dāng)?shù)臅�話的重新拓�(fù)鋵⑿枰�太長時間。 對于UVs我使用UVMaster它是快速，我知道我會在紋理繪畫; 這不是我通常在生產(chǎn)中使用的東西，但它是完美的個人速度項(xiàng)目。

Step 06: Detailing skin

The three things I did to detail the skin:

1.    I used the Clay Buildup brush in Spray Stroke mode with very low intensity (2) to make the uneven surface of the skin because it would look weird if it was too clean and perfect

2.    For wrinkles I used the Slice brush and manually carved them in them manually and used the Inflate brush on the side of the slices to give them some body

3.    For the pores I created alphas from TexturesXYZ for ZBrush and projected them with the Standard brush

步驟06：細(xì)化皮膚

我做了三個細(xì)節(jié)的皮膚：

1.我使用了具有非常低強(qiáng)度（2）的噴霧沖程模式的粘土積層刷來制造皮膚的不平坦表面，因?yàn)槿绻�它太干凈和完美，它看起來很奇�?/p>

2.對于皺紋，我使用切片刷，手動雕刻他們手動和使用膨脹刷在切片的一側(cè)給他們一些身體

3.對于毛孔我創(chuàng)建的AlphaAX從TexturesXYZ為ZBrush和投影與標(biāo)準(zhǔn)刷

Step 07: Painting skin

I mainly used ZBrush to paint the skin - I started with the Standard brush in Spray Stroke with alpha07. I painted the base a pink color and then added red with low intensity around the eyes, nose, lips, cheeks, and around the fat on the neck. I did the same with a blue color and smoothed it all out in RGB mode. Once that was done I added some veins with alpha22. To add some color variation over the whole model I added some darker blotches on the skin. I finally painted a sub-dermal layer in a darker pink and added some orange to the overall color.

步驟07：繪畫皮膚

我主要使用ZBrush來繪制皮膚 - 我開始用標(biāo)準(zhǔn)刷在噴射沖程與alpha07。我把底涂成粉紅色，然后在眼睛，鼻子，嘴唇，臉頰和脖子上的脂肪周圍添加低強(qiáng)度的紅色。 我做了一樣的藍(lán)色和平滑它所有的RGB模式。 一旦完成，我添加了一些靜脈與alpha22。 為了在整個模型上添加一些顏色變化，我在皮膚上添加了一些較暗的斑點(diǎn)。 我終于畫了一個深層粉紅色的下真皮層，并添加了一些橙色的整體色彩。

Step 08: Texturing hard surface props

To texture the gun, uniform, and ear pieces I used Substance Painter which is fantastic for texturing hard surfaces quickly. You can quickly generate textures based on the edge flow and normal curvature of your objects which is great for a speed project.

步驟08：紋理化硬表面道具

為了紋理槍，制服和耳片我使用物理畫家，是夢幻般的紋理硬表面快速。 您可以根據(jù)邊緣流和對象的正常曲率快速生成紋理，這對于速度項(xiàng)目是非常有用的。

Step 09: Lighting

For the lighting I used V-Ray for Maya with a basic three point light setup, I made sure that the rim light was stronger than the normal as I projected the background on to a curved plain behind the character. I wanted to get the feeling of strong sun light coming from the back. The shader setup was fairly simple; I used V-Ray Standard materials and the V-Ray AlShader. Doing it this way was great because it got me the results I wanted much faster than if I had used my usual method of blending V-Ray skin with V-Ray Standard material.

步驟09：照明

對于照明我使用V-Ray瑪雅與一個基本的三點(diǎn)光設(shè)置，我確保邊緣的光比正常，我投射背景上一個彎曲的平原背后的字符更強(qiáng)。 我想得到強(qiáng)烈的陽光從后面的感覺。 著色器設(shè)置相當(dāng)簡單; 我使用V-Ray標(biāo)準(zhǔn)材料和V-Ray AlShader。 這樣做是偉大的，因?yàn)樗�得到我的結(jié)果，我想要比我使用我通常的方法混合V-Ray皮膚與V-Ray標(biāo)準(zhǔn)材料更快。

Step 10: Rendering

There was nothing fancy about my rendering process; I used the standard settings with few render passes that I usually use for quick composting - including Reflection, SSS, Specular, MultiMatte, ZDepth, and AO.

步驟10：渲染

我的渲染過程沒有什么奇怪的; 我使用了通常用于快速堆肥的幾個渲染過程的標(biāo)準(zhǔn)設(shè)置 - 包括反射，SSS，鏡面反射，MultiMatte，ZDepth和AO。

Step 11: Comping

For comping I used After Effects, I screened the spec with a MultiMatte pass added some SSS and adjust it with Curves. For the final look I used Magic Bullet Suite and frischluft plugins to add Grain, Blur, Bokeh, and Color Variation. I also added optical flare to enhance the sun effect coming from behind the monster backs. With these final touches I was done. Thanks for reading!

步驟11：比較

對于comping我使用After Effects，我篩選規(guī)格與MultiMatte通行證添加一些SSS和調(diào)整它與曲線。 為了最后的樣子，我使用Magic Bullet Suite和frischluft插件添加了Grain，Blur，Bokeh和Color Variation。 我還添加了光學(xué)耀斑，以增強(qiáng)來自背后的怪物后面的太陽效果。 有了這些最后的接觸，我完成了。 謝謝閱讀！