“非洲大象”的制作過程和技巧

在本教程中，我非常高興與大家分享我最新的個人項目“非洲大象”的過程和技巧。 我學到了很多東西，想把一些知識和經驗傳授給CG社區(qū)。

In this tutorial, I'm really excited to share with you the process and techniques I used for my latest personal project, African Elephant. I learned a lot and would like to pass some of the knowledge and experience on to the CG community.

Step 1: Reference

A lot of people get too excited at the beginning of a project and they want to dive into the fun and interesting stuff right away. What I've learned to do, and has helped me a lot, is to take some time to study what you are about to do. Where does the animal live? How does it look when it's born or when it gets old? A lot of these things play a huge role in the shape of its body, the way it walks, and most of all they give you a huge advantage because you can easily give a personality to the animal and bring it to life.

I've come to the conclusion that your model will go as far as your references. Go through anatomy books, visit zoos, watch documentaries, and browse Pinterest. Spend some time to find the best references you can find out there. Always keep in mind the '80-20' rule: the 20% of work you do in the beginning will determine how the other 80% will look. After finishing with the references I use PureRef to have them next to me all the time. It's a free image viewer where you can display a lot of images without any distractions.

步驟1：參考

很多人在一開始的時候就太興奮了，他們想馬上投入到有趣有趣的事情中去。花一些時間研究你要做什么。動物生活在哪里？當它出生或變老時，它的外觀如何？很多這些東西在它的身體形狀，它走路的方式中發(fā)揮著巨大的作用，最重要的是它們給你一個巨大的優(yōu)勢，因為你可以很容易地給動物一個個性并把它帶到生活中來。

我得出結論，你的模型將會遠遠超過你的參考。瀏覽解剖圖書，參觀動物園，觀看紀錄片和瀏覽Pinterest�；ㄒ恍�時間找到你可以找到的最好的參考。始終牢記“80-20”規(guī)則：開始工作的20％將決定其他80％的外觀。完成參考后，我使用PureRef讓他們在我的身邊。這是一個免費的圖像查看器，您可以在其中顯示大量圖像，而不會有任何分心。

Step 2: Skeleton

The best way for me to understand an animal is to start working on it from the inside. That's why I almost always start with the bones. You don't have to go crazy here; just some simple geometry with the basic forms and volumes of the bones will do the job. But since it was a personal project, I had the time, and I love making bones, I took it a bit further. The process I use here is back and forth between ZBrush and Maya. I usually build a low-poly silhouette of the bones in Maya and then detail them using DynaMesh and ZRemesher in ZBrush.

步驟2：骷髏

我了解動物的最好方式是從內部開始。 這就是為什么我?guī)缀蹩偸菑墓穷^開始。 你不必在這里瘋狂 ，只是一些簡單的幾何與骨骼的基本形式和體積將做這項工作。 但是，由于這是一個個人項目，所以我有時間，而且我喜歡做骨頭，我再多做一點了。 我在這里使用的過程是在ZBrush和Maya之間來回的。 我通常在Maya中建立一個低聚焦輪廓的骨骼，然后使用ZBrush中的DynaMesh和ZRemesher來詳細說明。

Step 3: Musculature

When your skeletal structure seems good to go, it's time to move on to the muscles. From here you can take a lot of approaches. What I prefer to do is to block out the main muscles with DynaMeshed spheres ? not anything fancy, but enough information to represent the main muscle groups on top of the bones.

步驟3：肌肉

當你的骨骼結構看起來很好的時候，現(xiàn)在是走向肌肉的時候了。 從這里你可以采取很多方法。 我更喜歡做的是用DynaMeshed球體阻擋主要肌肉？ 沒有什么花哨，但足夠的信息來代表骨骼上的主要肌肉群。

Step 4: Working on the body

When I have finished the muscles and bones, I like to DynaMesh everything together. The key here in the density of the mesh is to have enough information to see the muscle groups, but also low enough density that you can move big forms easily. Here is the point where I have the base structure of the body, and from there I start to build the forms. Here is the part of the process where you have to decide the body type of your animal: whether you want it skinny with bones and ribs that stick out on the surface or fatty enough to cover the muscles and bones.

步驟4：在身體上工作

當我完成肌肉和骨骼，我喜歡DynaMesh的一切。 網(wǎng)格密度的關鍵在于擁有足夠的信息可以看到肌肉群，而且足夠的密度也可以輕松地移動大的形狀。 這是我身體的基礎結構的點，從那里開始構建表格。 這個過程的一部分，你必須決定你的動物的身體類型：你是否想要骨骼和肋骨，伸出來在表面或足夠的脂肪足以覆蓋肌肉和骨頭。

Step 5: A quick note on brushes

Here you can see how the elephant's surface details were built up gradually, making sure the larger forms were prepared before starting to add refinements. The main brushes that I've used here and basically through the whole sculpt are the Smooth, Smooth Valleys, Clay Buildup (with and without its square alpha), Move, Move Topological, Dam Standard, and Inflate.

步驟5：刷子上的快速說明

在這里，您可以看到大象的表面細節(jié)如何逐漸建立，確保在開始添加細化之前準備更大的表單。 我在這里使用的主要畫筆，基本上是通過整個雕刻，它們是平滑，平滑的山谷，粘土堆積（有和沒有它的方形alpha），移動，移動拓撲，水壩標準和充氣。

Step 6: Retopology and UVs

For retopology I used Maya's retopology tools, which help me hugely in speeding up my workflow. Since I knew that I was going to have a close-up image of the elephant's head, I tried to have more information on the head so I could sculpt higher frequency details compared to the body. I used UVLayout for the UVs.

步驟6：反光學和紫外線

對于再透視學，我使用了Maya的重新拓撲學工具，這有助于我極大地加快我的工作流程。 既然我知道我要拍攝大象頭像的特寫鏡頭，我試圖在頭上有更多的信息，所以我可以比身體雕刻更高的頻率細節(jié)。 我用UVLayout做UV。

Step 7: Skin and details

The skin of the elephant was the trickiest and most challenging part for me, but also the most enjoyable. I wanted it to be as realistic as possible. I saw a lot of tutorials online about modeling elephants and how to approach them, but none of them had correct and realistic skin. Most people tend to use alphas right away and the result is usually not what they were going after. I spent some time doing studies on how the skin works, how traditional sculptors approach it, and I ended up sculpting nearly all of the elephant's surface details by hand. I used 16-bit alphas only for the high frequency details and to give a little surface noise.

If the forms, muscles, and big skin folds are not correct or they aren't there at all, no matter how much detail you put on a model, it will always look like something is odd and unpleasant about it. Spend some extra time making sure that everything is in the right place by going back and forth with the subdivision levels before you start going crazy with the details.

步驟7：皮膚和細節(jié)

大象的皮膚是我最棘手，最具挑戰(zhàn)性的部分，也是最愉快的。我希望它盡可能的現(xiàn)實。我在網(wǎng)上看到很多關于建模大象的教程，以及如何接近他們，但是沒有一個是正確和逼真的皮膚。大多數(shù)人傾向于立即使用阿爾法，結果通常不是他們想要的。我花了一些時間研究皮膚如何工作，傳統(tǒng)雕塑家如何接近，我最終用手雕刻幾乎所有的大象表面細節(jié)。我使用16位阿爾法僅用于高頻細節(jié)，并給出一點表面噪聲。

如果形式，肌肉和大皮褶皺不正確，或者根本就不在那里，無論您在模型上放置多少細節(jié)，它總是看起來像是奇怪而不愉快的東西�；ㄒ恍╊~外的時間，確保一切都在正確的地方，通過與細分級別來回走動，然后再開始瘋狂的細節(jié)。

Step 8: Hair

I didn't want to complicate the hair a lot, so I went with ZBrush's FiberMesh. For the kind of fur that I wanted, it had pretty decent results.

步驟8：頭發(fā)

我不想讓頭發(fā)變得很復雜，所以我和ZBrush的FiberMesh一起去了。 對于我想要的那種毛皮，它有相當不錯的結果。

Step 9: Rendering and post-production

For the rendering I used V-Ray in Maya. With a simple area light and some time to find the desired camera angle, I got the result I was looking for. In Photoshop I adjusted the tone a bit to bring some more contrast to the image, and then it was done.

步驟9：渲染和后期制作

對于渲染我在Maya使用V-Ray。 有一個簡單的區(qū)域光和一些時間找到所需的相機角度，我得到了我正在尋找的結果。 在Photoshop中，我調整了一下音調，以便對圖像進行一些對比，然后完成。