制作“黎明使者”

按照Vahid Ahmadi的步驟，使用ZBrush和Photoshop創(chuàng)建2D靈感的角色概念...

Follow Vahid Ahmadi's steps for creating a character concept from a 2D inspiration using ZBrush and Photoshop...

Step 1: Think ahead

I am a freelance digital sculptor and 3D character modeler, working for various game studios, like Bluepoint games on Playstation, and for this work I was inspired by a Chengwei Pan concept.

步驟1：提前思考

我是一名自由職業(yè)的數(shù)字雕塑家和3D角色建模師，為各種游戲工作室（如Playstation上的Bluepoint游戲）工作，對(duì)于這項(xiàng)工作，我受到了程維concept概念的啟發(fā)。

The first thing that you should do is break your work into manageable pieces, so you can bring your concept into Photoshop or ZBrush and begin thinking in advance about possible issues and problems that you may have. You can use ZBrush mannequins to pose with to see where your model should go.

你應(yīng)該做的第一件事是把你的工作分解成可管理的部分，這樣你就可以將你的概念帶入Photoshop或ZBrush，并且可以事先考慮你可能遇到的問題。 您可以使用ZBrush人體模型來查看模型的位置。

Step 2: ZBrush workflow

Well I blocked all the basic shapes using only ZBrush as always, and I used the topology brush and ZModeler and ZSphere topology to make the armor. For the hair I used a software called de hair tubes, and polypainted her in ZBrush as well as ZAppLink.

第2步：ZBrush工作流程

那么我一直只用ZBrush來封鎖所有的基本形狀，我用拓?fù)洚嫻P，ZModeler和ZSphere拓?fù)鋪碇谱餮b甲。 對(duì)于頭發(fā)，我使用了一個(gè)名為de hair tube的軟件，并在ZBrush和ZAppLink中對(duì)她進(jìn)行了涂色。

Step 3: Using ZBrush tools

For the organic armor on the hands I used ZRemesher a couple of times and I used slash 2, which is located in the lightbox, and dam standard to lay the deep lines. For the scales I used the topology brush and again I used ZBrush ZAappLink and Photoshop to paint her face and body. I also used ZBrush transparency for some of the scales, which directs light through and is good for rendering glass-type material.

第3步：使用ZBrush工具

對(duì)于手上的有機(jī)裝甲，我曾經(jīng)使用ZRemesher幾次，并使用位于燈箱中的斜線2和水壩標(biāo)準(zhǔn)來鋪設(shè)深線。 對(duì)于我使用拓?fù)洚嫻P的尺度，我再次使用ZBrush ZAappLink和Photoshop來繪制她的臉部和身體。 我還使用了ZBrush透明度的一些鱗片，指示光，并適合渲染玻璃類的材料。

Step 4: Rendering using ZBrush BPR

For the render, I used skin shade 4 for the skin, and ZBrush BPR render with blur shadows set to 10 and angle set to 20. I made a couple of BPR render passes and then I placed lights in a variety of directions to gain enough shadows and highlights in order to combine them later in Photoshop. I always turn off vibrant shadows and AO in the material tab because it adds unwanted saturation and color vibrancy.

第四步：使用ZBrush BPR進(jìn)行渲染

對(duì)于渲染，我使用皮膚色調(diào)4作為皮膚，而ZBrush BPR渲染模糊陰影設(shè)置為10，角度設(shè)置為20.我做了幾個(gè)BPR渲染通道，然后我在各種方向放置光源以獲得足夠的 陰影和高光，以便在Photoshop中將它們組合起來。 我總是關(guān)閉材質(zhì)選項(xiàng)卡上充滿活力的陰影和AO，因?yàn)樗�增加了不需要的飽和度和顏色�?/p>

Step 5: Photoshop

In Photoshop I combined everything together separately to have control, and I added all the rim lights, ZBrush HDRI passes, spec, shadows, and bounce lights. I used levels and curves to control the values of the passes. I used soft light, overlay, linear doge mode, and so on, to mix all of the passes together. For adding more depth to the hair lines I used the Photoshop filter oil paint. For the background render I painted a background and created some particles and simple clouds, which were combined with the final composition to create an atmosphere。

第5步：Photoshop

在Photoshop中，我將所有結(jié)合在一起的一切分別控制的，，并添加了所有的邊框燈光，ZBrush HDRI，規(guī)格，陰影和反射光。 我用水平和曲線來控制通行證的價(jià)值。 我使用柔光，覆蓋，線性模式等，將所有通道混合在一起。 為了增加更多的深度發(fā)線我用Photoshop過濾油畫顏料。 對(duì)于背景渲染，我畫了一個(gè)背景，并創(chuàng)建了一些粒子和簡(jiǎn)單的云，它們與最終的構(gòu)圖相結(jié)合，創(chuàng)造出一種氛圍。