Making of Binah by Florian Delarque

binah was a difficult and long time consumming project. it was a great challenge for me, technically and artistically. binah is the third sephirah of the tree of life in cabbala. after reading many texts about the tree of life, i wrote some sentences describing my vision of binah:

binah是一個(gè)艱辛與漫長的項(xiàng)目，對我來說無路在藝術(shù)上還是技術(shù)上都是挑戰(zhàn)，binah是在卡巴拉生命樹的第三位sephirah，在閱讀了相關(guān)資料以后，我得到了以下啟發(fā)

she is the third sephira in the tree of life.

she channels the torrent of energy of chokmah.

she is the one who creates life…

she gives life to all things…

she gives death too…

she is the dark protector of life and death.

她是生命樹的三分之一sephira。

她溝通著chokmah能源洪流。

她是生命的創(chuàng)造者…

她帶來生命…

她也帶來死亡…

他是生和死的黑暗保護(hù)者

after this process of describing the character i thought about my inspirations and the graphical style i want to create. i wanted binah to have a soft, pale skin, with some details only in the eyes, mouth and hand areas. she wears a long dark robe, and drapery, and i wanted her hairs to be in the continuity of her robe style. finally, i wanted her to have a dark, cold and enigmatic glance.

在得到這些啟示后，我開始思考作品的風(fēng)格和樣式，以及我想創(chuàng)造思維的過程。我想binah有一個(gè)柔軟，蒼白的皮膚，只有在眼睛，嘴巴和手地方有一些細(xì)節(jié)。她穿著長長的黑色長袍，我想她的頭發(fā)和她的長袍風(fēng)格具有連續(xù)性。最后，我希望她有一個(gè)黑暗，寒冷和神秘的一瞥。

my modeling process is based on the edge extruding technique. during this process, i try to get edgesloops as accurate as i can, so i can manipulate/animate what i do. i principaly use edgeextruding method for my characters so i can set up my edloops directly. for the face, i do my best to keep circulars edgeloops over the overall surface. i try to get good transitions between edgeloops too.

我的建模過程是基于擠壓技術(shù)的。在此過程中，我嘗試盡可能準(zhǔn)確的布線，這樣我可以盡可能的得到正確的結(jié)構(gòu)。我使用邊擠壓的辦法得到環(huán)形的布線結(jié)構(gòu)，所以我可以的順利的得到環(huán)切布線。對于臉，我盡我所能，保持對整個(gè)表面都有流暢的環(huán)切式布線（就是一嘴和眼睛那些一圈一圈的布線）。我試圖讓環(huán)切之間的過渡也很好。

for the dress, i use procedural approach in fact. (i was discovering houdini at the same time …). first i modelised a polygonal patch with few polygons and unwrapped it directly with planar projection.

對于服裝，其實(shí)我使用的程序功能控制的辦法。 （我還用了houdini測試…).首先，我創(chuàng)建一個(gè)平面，然后給他平面的uv映射。

then i add it an editpoly modifer to give his main shape. as you can see, the object keeps its uvs. now it’s time to use procedural approach further to detail it.

然后，我給它添加一個(gè)editpoly控制器，給它一個(gè)大型。正如你所看到的，物體仍然保持它的uv�，F(xiàn)在是時(shí)候使用程序命令的方法進(jìn)一步加強(qiáng)細(xì)節(jié)。

eneraly, i add a meshsmooth/turbosmooth modifier on top of this hierarchy. and i add a noise modifier too with soft selection on vertices. this create little chaotic turbulences that make the fabric more natural.

一般來說，我添加了網(wǎng)格平滑/渦輪平滑在堆積面板上。然后我給軟選擇的點(diǎn)加噪波控制器。這造成一些起伏，使織物更自然。

the falloff helps to smooth this effect toward the surface. then, i add a new editpoly, to erase the selection of the previous one, and a meshsmooth to smooth the surface.

該衰減幫助順利完成柔和的表面效果。然后，我添加一個(gè)新的editpoly，抹去了選擇的前一個(gè)，然后使用網(wǎng)格平滑。

his method is very usefull for doing drapery because doing so, you can step back to the first editpoly and model the main shape, and the uvs and the overall details will be preserved.

of course there will some little coorections about uvs, and the falloff selection pour the noise modifier, but i prefer to do drapery so, because it is much easier than modeling the drapery and unwrapp it directly.

這種方法是非常方便于制作衣物的，因?yàn)槟憧梢曰剡^頭來修改首次editpoly和模型的主要外形，uv信息也同樣會(huì)被保留下來。

當(dāng)然也需要有一些小的uv修改，以及噪波控制器和衰減選擇的調(diào)整，但我仍然喜歡這樣做的布料，因?yàn)樗�比直接建模布料然后在制作uv簡單得多。

s you can see, this is the same object deformed, and the uvs did’nt changed, there was only a few corrections to it, and to reselect the vertices in the second editpoly modifier for the falloff and the noise modifier. hair were modeled in the same way, and received opacity maps for rendering. i like a lot to put the details more and more accurate on the models, because it makes them really react to the lighting of the scene. so i don’t usually use tricks on texture maps to replace the details of the model. i skinned and rigged the body of binah to set her in pose. the dress and the other accessories were modeled on the posed body. i spent a lot of time searching the good pose, to give binah a lot of personnality. posing is a great way to make a 3d character alive, much more than a realistic rendering.

正如你所看到的，這是同樣的方法制作的結(jié)果，烏而且uv不會(huì)改變，只要給它一些修改，并重新選擇第二次編輯時(shí)候的的衰減和噪波控制器調(diào)整即可。頭發(fā)也是如法炮制，然后使用透明貼圖即可。我喜歡精致的模型，應(yīng)為他們都將反映到照明上。因此，我不經(jīng)常使用的紋理貼圖技巧，以取代該模型的細(xì)節(jié)。我做了綁定，制作的pose。根據(jù)pose制作了服裝的其他部分。我花了很多時(shí)間尋找一個(gè)很好的姿勢，讓她能看起來鮮活。造造型結(jié)合寫實(shí)的渲染是讓一個(gè)角色活靈活現(xiàn)的基本條件。

因?yàn)橛辛嗽煨停�所以建模的過程會(huì)變得更加繁瑣，但是一旦認(rèn)真的制作完畢，將會(huì)給角色更加自然的光影和材質(zhì)效果。

s you can see, this is the same object deformed, and the uvs did’nt changed, there was only a few corrections to it, and to reselect the vertices in the second editpoly modifier for the falloff and the noise modifier. hair were modeled in the same way, and received opacity maps for rendering. i like a lot to put the details more and more accurate on the models, because it makes them really react to the lighting of the scene. so i don’t usually use tricks on texture maps to replace the details of the model. i skinned and rigged the body of binah to set her in pose. the dress and the other accessories were modeled on the posed body. i spent a lot of time searching the good pose, to give binah a lot of personnality. posing is a great way to make a 3d character alive, much more than a realistic rendering.

正如你所看到的，這是同樣的方法制作的結(jié)果，烏而且uv不會(huì)改變，只要給它一些修改，并重新選擇第二次編輯時(shí)候的的衰減和噪波控制器調(diào)整即可。頭發(fā)也是如法炮制，然后使用透明貼圖即可。我喜歡精致的模型，應(yīng)為他們都將反映到照明上。因此，我不經(jīng)常使用的紋理貼圖技巧，以取代該模型的細(xì)節(jié)。我做了綁定，制作的pose。根據(jù)pose制作了服裝的其他部分。我花了很多時(shí)間尋找一個(gè)很好的姿勢，讓她能看起來鮮活。造造型結(jié)合寫實(shí)的渲染是讓一個(gè)角色活靈活現(xiàn)的基本條件。

因?yàn)橛辛嗽煨�，所以建模的過程會(huì)變得更加繁瑣，但是一旦認(rèn)真的制作完畢，將會(huì)給角色更加自然的光影和材質(zhì)效果。

texturing/shading :

the skin : i wanted binah to have a cold pale porcelain skin. so, i choose to put details only in caracteristic areas:

the eyes

the mouth

the hands

the rest of skin remains really simple, with only subtle variations on it. here is some example of the diffuse texture for the skin

紋理/陰影：

皮膚：我想binah有冷瓷蒼白的皮膚。所以，我只能選擇需要表現(xiàn)細(xì)節(jié)的區(qū)域：

眼睛

口

手

其余的皮膚依然很簡單，它只有細(xì)微的差別。下面是一些的皮膚紋理例子，例如

use the sss fast skin material from mentalray to render the skin. i putted the diffuse texture in the unscattered diffuse color and the epydermal (top) layer scatter color slots. then i putted a warmer version of the diffuse texture in the subdermal layer scatter color.

我使用mentalray的皮膚材質(zhì)。我把色彩貼圖貼在unscattered以及epydermal (top)通道上。然后，我在subdermal layer scatter color貼上更紅的貼圖版本。

i use a specular map, reflexion map, and bump map(pictures below from left to right) for her skin, too.the dark areas of the reflexion map aren’t really black. it allows my skin shader always reflect some light from the environment, even where the skin doesn’t seem to be reflective. the bump map is really subtle as you can see. the details are mainly around lips and eyes area (again to make contrasts on her skin).

我使用高光貼圖，反射貼圖，和凹凸貼圖（以下圖片左到右）為她的皮膚，反射貼圖的黑色部分，并不是純黑。它使我的皮膚著色總是反映一些環(huán)境光，即使在皮膚似乎沒有被反射。凹凸貼圖正如你所看到的一樣很為微妙。在嘴唇和眼睛的周圍區(qū)域，（在此為皮膚作出對比）

for the dress fabric, i mainly used the oren nayar blinn shader from 3dsmax. one of the tricks i often use for fabrics is to put a fresnel falloff map in the self-illumination slot of my material.then i tweak its intensity curve to get the results i want. i do the same for the bump slot.it allows me to have some variations for the bump of my surface. moreover i always put some reflexion map on fabrics (except the soft ones).

here are some texture examples from the lace areas of her dress:

對于服裝面料，我主要用于從3dsmax的oren nayar blinn 材質(zhì)，這是我經(jīng)常使用的材質(zhì)之一，我經(jīng)常使用衰減貼圖貼到自發(fā)光通道上，用來模擬絨布的效果。我也同樣這樣對凹凸通道如此操作，以讓我有我的表面凹凸的一些變化。此外我也給不了材質(zhì)一些反射貼圖，

這是我使用在裙子上的一些材質(zhì)貼圖范例。

used polygonal patch, and opacity maps to create hairs. for the material, i used , one texture in the diffuse slot, one in the specular one, and another ine the opacity slot. maps see below:

我使用多邊形面片來創(chuàng)建頭發(fā)，下面依次是 色彩貼圖，凹凸貼圖 和透明貼圖。

of course, all this texture and lighting work had to be tested with many renders tests. it took a lot of time, but the more time an artist spend on his image, the more best quality he gets.

當(dāng)然，這些貼圖和渲染的工作要花費(fèi)大量的時(shí)間來測試，對于一個(gè)藝術(shù)家來說，越多的時(shí)間花費(fèi)在制作上，得到的效果也就越精良。

after doing all this lighting/texturing work, it was time to do the final render of the image. the result was good, but i tough that that specularity of the lace wasn’t strong enough. so i decide to create a specular pass to enhance the lace’s specularity, and used it in photoshop in a layer in screen mode.

做這一切照明/紋理的工作后，是時(shí)間做最后的渲染圖像了。其結(jié)果是好的，但我認(rèn)為的花邊泛著不夠有力。因此，我決定創(chuàng)建一個(gè)單獨(dú)的反射，通過加強(qiáng)花邊的反射并在photoshop中是用屏幕方式疊加。

my name is florian delarque, and i currently working as freelance 3d artist for video games and cg animated film.

my interests are drawing, cg and jogging. i’m a 3d generalist, doing modeling,texturing , rigging, and animation. i’m use many softwares, mainly, 3dsmax , maya , and softimage xsi, and zbrush.

i would like to thanks 3dm3 for giving me this opportunity to show my work, all people who supported me since i posted this picture on the web.

and to finish this making off, i would like to give a last advice to 3d beginners: keep working and be courageous, 3d pictures are very time consuming to do and need a lot of attention. the more time you will spend on your work, the best results you will get. keep working!

thank you all again.

我的名字是florian delarque，我目前作為自由的3d游戲藝術(shù)家和cg動(dòng)畫電影工作者。

我的興趣是繪畫，cg和慢跑。我是一個(gè)三維的通才，做建模，紋理，綁定，及動(dòng)畫。我用很多軟件，主要是3dsmax，maya，以及softimage xsi的，和zbrush。

我想感謝3dm3給我這個(gè)機(jī)會(huì)，讓我的工作，所有支持我的人。

現(xiàn)在我要完成這個(gè)教學(xué)，我想作最后的建議，三維初學(xué)者：保持工作和勇氣，三維創(chuàng)作非常耗時(shí)，需要加倍的耐心。艱辛的耕耘，豐富的收獲。繼續(xù)努力！

謝謝大家！