制作“稻草人”

當(dāng)我第一次啟動(dòng)這個(gè)項(xiàng)目時(shí)，我將在ZBrush中對(duì)元素進(jìn)行建模和紋理化后，在LightWave中進(jìn)行最終渲染。 那么，當(dāng)我正在制作一些比我預(yù)想的更好的測(cè)試渲染時(shí)，我決定在ZBrush中渲染整個(gè)場(chǎng)景。

When I first started this project, I was going to do the final rendering in LightWave after modelling and texturing the elements in ZBrush. Then, as I was making some test renders, which were turning out better than I expected, I decided to just render the whole scene in ZBrush.

I started with a simple concept sketch (Fig.01) then coloured it up in Photoshop to get a good idea of what I wanted in terms of colour palette and feel. Sometimes I stretch and warp the sketch with the Liquify filter in Photoshop to add more character to the pose or face.

我開(kāi)始用一個(gè)簡(jiǎn)單的概念草圖（圖01），然后在Photoshop中將其著色，以了解我想要的調(diào)色板和感覺(jué)。 有時(shí)我用Photoshop中的Liquify過(guò)濾器拉伸和扭曲草圖，以便在姿勢(shì)或臉部添加更多的角色。

I got right into the project, starting with the Scarecrow. Each part of the scarecrow model was created as a low poly model then imported into ZBrush as SubTools for detailing (Fig.02).

我正好進(jìn)入這個(gè)項(xiàng)目，從稻草人開(kāi)始。 每個(gè)部分的稻草人模型都被創(chuàng)建為一個(gè)低多邊形模型，然后導(dǎo)入到ZBrush作為SubTools進(jìn)行細(xì)節(jié)化（圖02）。

圖01                                                                                                圖02

Using a burlap alpha texture (Fig.03), I sculpted the fabric detail onto the vest, shirt, scarf, pants, and face sections. For the hat, I used a weave alpha texture I created (Fig.04). Fig.05 shows the finished sculpted detail of the scarecrow.

使用粗麻布alpha紋理（圖03），我將織物細(xì)節(jié)雕刻到背心，襯衫，圍巾，褲子和面部。 對(duì)于帽子，我使用了我創(chuàng)建的一個(gè)編織的alpha紋理（圖04）。 圖05顯示了稻草人完成的雕刻細(xì)節(jié)。

圖03

圖04

圖05

I coloured the scarecrow (Fig.06) using ZBrush's painting tools, along with the cavity masking options which help to create the effect of dirt collecting in the sculpted detail areas, like the burlap sculpted fabric pattern. I also used two fabric patterns from the 3DTotal Texture collection to texture the scarf and vest (Fig.07 - 08). Once the main colouring was done, I added another layer of dirt to certain areas, using a couple of other 3DTotal dirt textures.

我使用ZBrush的繪畫(huà)工具，彩色的稻草人（圖06），以及腔體掩模選項(xiàng)，有助于在雕刻的細(xì)節(jié)區(qū)域產(chǎn)生污垢收集的效果，如粗麻布雕刻的織物圖案。 我還使用3DTotal Texture集合中的兩個(gè)面料圖案來(lái)紋理圍巾和背心（圖07 - 08）。 一旦主色調(diào)完成，我在某些區(qū)域添加了另一層污垢，使用了其他幾個(gè)3DTotal污垢紋理。

圖06

圖07                                                                                                      圖08

Next, I started with the pumpkin model. Using the ZSphere tool in ZBrush, I created a pumpkin with a stem base model to sculpt from, and added plenty of detail to it. Again, I coloured it using the cavity mask function at times, along with 3DTotal's dirt textures (Fig.09 - 11).

接下來(lái)，我開(kāi)始用南瓜模型。 在ZBrush中使用ZSphere工具，我創(chuàng)建了一個(gè)帶有基礎(chǔ)模型的南瓜，從而雕刻出來(lái)，并添加了很多細(xì)節(jié)。 再次，我有時(shí)使用空腔掩模功能著色，以及3DTotal的污垢紋理（圖09-11）。

圖09                                                           圖10                                                 圖11

I decided something else was needed as well - sunflowers (Fig.12). I created the centre section of the sunflower and then subdivided it in ZBrush to a high level. I used a noise texture as a mask over the whole model and then used the Inflate function in ZBrush to push out the detail. I smoothed it a bit so it wasn't so harsh looking, and then sculpted a single flower petal, duplicating it around the edges to form the final sunflower model. Colour texture was applied quickly, as I knew it was going to be blurred a bit anyway. One leaf was sculpted and quickly coloured as well.

我決定還需要其他東西 - 向日葵（圖12）。 我創(chuàng)建了向日葵的中心部分，然后在ZBrush中將其細(xì)分為高水平。 我在整個(gè)模型中使用噪音紋理作為掩碼，然后在ZBrush中使用Inflate功能推出細(xì)節(jié)。 我平滑了一點(diǎn)，所以沒(méi)有那么苛刻的樣子，然后雕刻一朵花瓣，復(fù)制在邊緣，形成最后的向日葵模型。 顏色紋理很快被應(yīng)用，因?yàn)槲抑�道它�?huì)被模糊一點(diǎn)。 一片葉子被雕刻，并迅速著色。

圖12

It was then time to start putting it all together. I created a simple ground plane, texturing it with another 3DTotal ground texture, and placed it onto the ZBrush canvas. Creating another layer in ZBrush, I added the scarecrow model and rotated him into position using ZBrush's Gyro tool (Fig. 13). I then added the pumpkin model and duplicated it several times, rotating each one again using the Gyro tool (Fig.14).

現(xiàn)在是時(shí)候開(kāi)始把它放在一起了。 我創(chuàng)建了一個(gè)簡(jiǎn)單的地面飛機(jī)，用另一個(gè)3DTotal地面紋理進(jìn)行紋理化，并將其放置到ZBrush畫(huà)布上。 在ZBrush中創(chuàng)建另一層，我添加了稻草人模型，并使用ZBrush的Gyro工具將其旋轉(zhuǎn)到位（圖13）。 然后我添加了南瓜模型并重復(fù)了幾次，再次使用陀螺儀工具旋轉(zhuǎn)每個(gè)模型（圖14）。

圖13                                                                                        圖14

The grass was added a little differently: I used ZBrush's scatter brush stroke function to "paint" the grass onto the ground plane in a separate layer (Fig. 15). In the scatter settings you can adjust the colour jitter to get some colour differentiation in the grass, making it a bit less monochromatic. I used the same effect to add some hay popping out of some of the areas of his clothes.

草被加了一點(diǎn)不同：我使用ZBrush的散射筆畫(huà)功能，將草地“單獨(dú)”涂在地平面上（圖15）。 在散點(diǎn)設(shè)置中，您可以調(diào)整顏色抖動(dòng)，以使草地上產(chǎn)生一些顏色分化，使其略有單色。 我使用了相同的效果，在衣服的一些區(qū)域中添加了一些干草。

Next I added the sunflowers on another layer and placed them back further in space on the ZBrush canvas, as well as adding the extra one onto his hat.

The last thing to add was the straw hair. I used a simple strip of polys and curved it a bit. Then, just using the Gyro tool, I put each strip into place and snapshot the object to the canvas (Shift + S) and moved onto the next (Fig.16). I did the same thing for the shoulders and glove straw.

接下來(lái)我在另一層添加了向日葵，并將它們放置在ZBrush畫(huà)布上的空間中，并將額外的一個(gè)添加到他的帽子上。
最后添加的是秸稈毛。 我使用一個(gè)簡(jiǎn)單的多邊形條，并彎曲一點(diǎn)。 然后，只要使用陀螺儀工具，我將每個(gè)條帶放到位，并將對(duì)象快照到畫(huà)布（Shift + S）并移動(dòng)到下一個(gè)（圖16）。 我做了同樣的事情為肩膀和手套的稻草。

Once all this was done, I placed several lights and rendered each light pass out separately (Fig.17). I did this because it was easier for me to control how the lights affected each other in Photoshop, since I could erase areas where I didn't want the lighting to affect an object.

一旦這一切完成，我放置了幾個(gè)燈，并分別給每個(gè)光通過(guò)（圖17）。 我做到了這一點(diǎn)，因?yàn)槲铱梢愿�輕松地控制光線如何在Photoshop中相互影響，因?yàn)槲铱梢圆脸�不想要照明影響�?duì)象的區(qū)域。

Then the last thing I did in ZBrush was to take a screen grab of the alpha depth of the canvas (Fig.18) which I could use with the Lens Blur filter in Photoshop to create a slight depth of field effect.

For the background, I used 3DTotal Textures of a sky and trees (Fig.19), along with a separate corn field image which I blurred quite a lot.

那么我在ZBrush中做的最后一件事就是在畫(huà)布的alpha深度（圖18）中進(jìn)行畫(huà)面抓取，我可以用Photoshop中的鏡頭模糊濾鏡來(lái)創(chuàng)建一個(gè)輕微的景深效果。

對(duì)于背景，我使用了3DTotal紋理的天空和樹(shù)木（圖19），以及一個(gè)單獨(dú)的玉米田地圖像，我模糊了很多。

After compositing all the lighting passes and background together in Photoshop, I merged all the layers together (Fig.20). At this point I thought I could use still more dirt on some areas, so I used the 3DTotal dirt textures on another separate layer in Photoshop to create some lighter dirty areas (Fig.21 - 22). I then did some colour correction and used the smear tool to create the frayed straw effect on the hat. A quick but slight darkening of the areas around the edges helped to add a bit of focus to the centre of the image (Fig.23).

將Photoshop中的所有照明通過(guò)和背景合成在一起后，我將所有圖層合并在一起（圖20）。 在這一點(diǎn)上，我以為我可以在一些地方使用更多的污垢，所以我在Photoshop中的另一個(gè)單獨(dú)的層上使用3DTotal污垢紋理來(lái)創(chuàng)建一些更臟的區(qū)域（圖21-22）。 然后我做了一些顏色校正，并使用涂片工具在帽子上創(chuàng)建磨損的吸管效果。 邊緣周?chē)鷧^(qū)域的快速但輕微的變暗有助于將焦點(diǎn)添加到圖像的中心（圖23）。

I've got to say that, after this was finished, I was extremely impressed with the capability of ZBrush for creating illustrations. And it was done without using UVs, which can save a lot of valuable time. I'm pleased to share my technique with you all and I hope you can use some of the information presented in this article to create some great art in ZBrush!

我不得不說(shuō)，完成之后，我對(duì)ZBrush創(chuàng)造插圖的能力印象深刻。 它沒(méi)有使用紫外線，這可以節(jié)省大量寶貴的時(shí)間。 我很高興與大家分享我的技術(shù)，我希望您可以使用本文中提供的一些信息，在ZBrush中創(chuàng)建一些偉大的藝術(shù)！