制作巴黎圣母院中《钟楼怪人》的写实角色模型教程

制作巴黎圣母院中《钟楼怪人》的写实角色模型教程

科琳·佩克·拉森向我们讲述了弗罗洛项目背后的工作过程，解释了他的脸和服装是如何雕刻的，并为初学者角色艺术家分享了很酷的技巧和教程。
Colleen Peck Larson told us about the work process behind the Frollo project, explained how his face and outfit were sculpted, and shared cool tips and tutorials for beginner Character Artists.

前言总结
Introduction

大家好！我叫科琳·派克·拉森，是CA圣地亚哥PlayStation工作室的3D角色艺术家。在圣何塞州立大学获得BFA插图奖后，我作为3D角色艺术家已经在这个行业工作了大约六年。最近，我有机会参与了《最后的我们》第二部分的工作，我期待着分享我在PlayStation一直在做的其他事情。
Hey everyone! My name is Colleen Peck Larson and I’m a 3D Character Artist at PlayStation Studios in San Diego, CA. I’ve been in the industry for about six years as a 3D character artist after getting my BFA in illustration from San Jose State University. Most recently I had the opportunity to work on The Last of Us Part II, and I’m looking forward to sharing the other things I’ve been working on at PlayStation.

从我记事起，艺术就已经在我的生活中根深蒂固，我打算成为一名2D艺术家，直到2015年我开始在大学课堂上使用Zbrush。这完全激发了我的新兴趣，当我2016年毕业时，我完全把注意力转移到了3D角色艺术的职业上。我绝对热爱这项手艺，总是期待学习新的东西。
Art has been ingrained in my life for as long as I can remember, and I intended to be a 2D artist until I began using ZBrush for a college class in 2015. That totally sparked a new interest in me and when I graduated in 2016, I completely switched my focus to a career in 3D character art. I absolutely love the craft and always look forward to learning new things.

灵感与参考
Inspiration and References

《巴黎圣母院的驼背》一直是我最喜欢的迪士尼电影之一。它激发了我对大教堂、中世纪时期和整个美学的兴趣，所以深入这个项目非常有趣。2018年，我在与格劳科·隆吉和拉夫·格拉塞蒂的导师项目中开始了这个项目。我从他们那里学到了很多，并利用这些知识以及我在职业生涯中学到的东西来创建这个项目。
The Hunchback of Notre Dame has always been one of my favorite Disney films. It sparked my interest in cathedrals, medieval time period and that entire aesthetic, so it was very fun to dive into this project. I began this project during a mentorship program with Glauco Longhi and Raf Grassetti in 2018. I learned a great deal from them and leveraged that knowledge as well as what I’ve learned in my career so far to create this project.

我对古典艺术、雕塑和历史有着极大的热情，所以我从伦勃朗、贝尼尼、范戴克等大师和历史来源以及许多游戏和电影中汲取了很大一部分灵感。我这个项目的目的是以更现实/更准确的历史方式重新设计弗罗洛，但保持一些与原始设计的呼应。最初，我只开始做半身像，但后来决定重做整个下半身，以便在这个姿势中获得更多的活力和生命。
I have a big passion for classical art, sculpture, and history, so I drew a large portion of inspiration from the old masters like Rembrandt, Bernini, Van Dyck and historical sources as well as many games and movies. My intention with this project was to redesign Frollo in a more realistic/historically accurate way, but maintain some echoes of the original design. Initially, I had begun doing only a bust, but decided to redo the entire lower body later on in order to get a bit more dynamism and life into the pose.

头和手
Head and Hands

基本上从一开始，我就想让彼得·卡帕尔迪扮演我的弗罗洛。这是我第一次尝试创造一个相似的人，这是一项艰巨的任务，但是在拉夫·格拉塞蒂和格劳科·隆吉的指导下，我学到了很多。
Basically from the start, I had in mind Peter Capaldi to inhabit the role of my Frollo. It was my first attempt at creating a likeness, which was a huge undertaking, but under the tutelage of Raf Grassetti and Glauco Longhi, I learned a great deal.

为了相似，收集主题的参考资料很重要，理想情况下是在相同的年龄，具有相似的焦距，并且从尽可能紧密排列的不同角度。一个好的方法是找到演员的活动/首映式/照片拍摄，从同一天获得多个照片。
For likeness, it’s important to gather references of your subject, ideally at the same age, with similar focal lengths, and from different angles lined up as closely as possible. A good way to do this is to find an event/premiere/photoshoot of the actor, to get multiple shots from the same day.

为了检查您的比例，一个非常有用的方法是在ZBrush中使用ZAppLink相机角度，结合透视功能，将您的头部在视口中的角度与不同的参考照片相匹配。这有时会产生看起来很奇怪的结果，因此需要与依靠您自己对感觉正确的感知相平衡。
In order to check your proportions, a really helpful method is to use ZAppLink camera angles in ZBrush combined with the see-through function to match the angle of your head in the viewport with different reference photos. This sometimes creates weird-looking results, so it needs to be balanced with relying on your own perception of what feels right.

要更深入地了解这个过程，请查看Frank Tzeng的Gumway教程关于雕刻肖像。
For a more in-depth look at this process, check out Frank Tzeng’s Gumroad tutorial on sculpting likeness.

处理毛孔细节对我来说是一个新的过程。最初，我试着用一些阿尔法来处理毛孔，但对结果并不太满意，所以我经历了使用纹理XYZ的多通道面部来获得匹配的毛孔细节和颜色的过程。此外，我学会了将3Dscanstore毛孔细节转移到我的造型中的过程，这需要使用变形目标和图层进行一些定制和调色。我还做了大量的皱纹和毛孔手工雕刻来完成这个过程。
Tackling pore detail was a new process for me. Initially, I had tried using some alphas for the pores but wasn’t super happy with the result, so I went through the process of using TexturingXYZ’s multi-channel faces to get matching pore detail and color. Additionally, I learned the process of transferring 3Dscanstore pore detail to my sculpt, which required some customizing and toning down using morph targets and layers. I also did a significant amount of hand-sculpting of wrinkles and pores to finishing out the process.

你可以在这里了解更多关于TexturingXYZ方法和3Dscanstore方法的信息（点击可下载视频）。
You can learn more about the TexturingXYZ method here and the 3Dscanstore method here.

我用了类似的方法处理双手。我从ZBrush附带的标准基体开始，自己雕刻了主要、次要和一些第三级形式，并使用3Dscanstore转移方法添加了最后一个细节。我主要是先以中性姿势完成双手，然后使用经典的方法用多组掩蔽并在ZBrush中转置它们。最后一步是在皮肤上为摆好的版本雕刻一些自定义褶皱并烘烤新的地图。
I used a similar process with the hands. I began with the standard base body that comes with ZBrush, sculpted the primary, secondary, and some tertiary forms myself, and added the last detail with the 3Dscanstore transfer method. I mostly finished out the hands in a neutral pose first, then posed them using the classic method of masking with poly groups and transposing in ZBrush. The final step was to sculpt some custom folds in the skin for the posed version and bake new maps.

对于头部和手部的纹理，我决定使用3Dscanstore颜色图作为基础。我喜欢使用3Dscanstore的资产，因为颜色和毛孔细节完美匹配，而且质量非常高。
For texturing of the head and hands, I decided to use the 3Dscanstore color map as a base. I love using 3Dscanstore’s assets as the color and pore detail match perfectly and they’re very high quality.

我可以做一整篇关于在物质3D画家中纹理头部的文章，但基础是：记住面部的颜色区域。在某些区域添加红色/紫色/绿色。为胡茬添加一个凉爽的图层。添加额外的毛细血管和静脉。我喜欢在颜色通道中添加一个带有空洞图的图层，设置为乘法或叠加，降低不透明度以突出空洞。此外，一个凸起图层设置为颜色闪避或屏幕以突出高区域。
I could do a whole article on texturing a head in Substance 3D Painter, but the basics are: keep in mind the color zones of the face. Add reds/purples/greens to certain areas. Add a cool layer for stubble. Add extras like capillaries and veins. And I like to add a layer with the cavity map in the color channel set to multiply or overlay and lower opacity to bring out the cavities. Additionally, a convexity layer is set to color dodge or screen to bring out the high areas.

查看詹姆斯·格尼的博客，了解更多关于面部颜色区域的信息（点击可下载视频）。玛格达莱娜·达德拉也有很多关于在物质3D画家中纹理头部的教程。
Check out James Gurney’s blog for more info on facial color zones. Magdalena Dadela also has a lot of great tutorials on texturing a head in Substance 3D Painter.

头发
Hair

这是我第一次从头到尾使用XGen为角色制作头发的过程。在我开始之前，我花了一点时间在现有渲染之上创建了一个照片bash，这样我就可以了解我的方向。在整个角色艺术过程中制作自己的概念非常有价值，即使它们很粗糙。
This was my first time going through the process of making hair for a character using XGen from start to finish. Before I started, I took a bit of time to create a photo bash on top of an existing render so I could get an idea of my direction. It’s really valuable to make your own concepts throughout the character art process even if they are rough.

在这个过程中，我遵循了Tom Newbury XGen的教程，可以在这里下载。为了将我的XGen新郎转换为geo并在Marmoset中设置它，我遵循了J Hill的教程（点击可下载视频）。我最终只生成了比可见的略多一点的geo，并删除了帽子隐藏的其余部分。
For this process, I followed Tom Newbury’s tutorial on XGen. In order to convert my XGen grooms to geo and set it up in Marmoset, I followed J Hill’s tutorial. I ended up only generating slightly more geo than would be visible and deleted the rest that is hidden by the hat.

服装
Clothing

对我来说，保持一个非常吓人的轮廓对我来说非常重要，他的设计采取了几种不同的形式。最初，我打算让他成为书上的牧师，但随着时间的推移，我选择了法官长袍更不祥的外观。我能够从历史绘画/素描、重演社区以及电影和游戏中获得想法。最终，我决定采用黑色/金色/紫色配色，并为自己创造了一个粗略的概念，以及一个标注工作表来记住材料。
It was very important to me to maintain a very intimidating silhouette for him, and his design took a few different forms. Initially, I was going to make him into a clergyman as he is in the books, but over time I opted for the more ominous look of the judge robes. I was able to get ideas from historical paintings/drawings and from reenactment communities as well as movies and games. Eventually, I settled on the black/gold/purple color scheme and created a rough concept for myself as well as a callout sheet to keep in mind the materials.

最终，我决定模糊历史准确性的线条，为了吸引人，实现我想要的外观。最初我计划做一个半身像，但我不太满意，所以我决定在一个姿势状态下模拟和雕刻服装，因为我知道这个角色将是一个表演，而不是一个游戏角色。我的MD模式最终看起来非常简单，但通过大量的尝试和错误实现了。
Ultimately I decided to blur the lines of historical accuracy for the sake of appeal and achieving the look I was going for. Originally I had planned on doing a bust, but I wasn’t quite satisfied with that, so I decided to simulate and sculpt the clothing in a posed state since I knew this character would be a show piece rather than a game character. My MD patterns ended up looking very simple but were achieved with a lot of trial and error.

关于布料的实际雕刻没有太多可说的，这在其他教程中还没有说过，奥特冈有一些关于这个主题的教程。
There is not much to say about the actual sculpting of the cloth that hasn’t already been said in other tutorials, and Outgang has a few tutorials on the subject.

对于刺绣，我采用了老式的方法。我在网上找到了一个锦缎图案，并将其裁剪成正方形，以便平铺。然后我将其加载到ZBrush中的一个平面上，并使用曲线管快照刷手工绘制所有的线。我真的不推荐这种方法，如果我必须再做一次，我只会学习物质3D设计师。纤维被绘制到平面上后，我用白色填充它们，用黑色填充平面。
For the embroidery, I went about it old school. I found a damask pattern online and cropped it square so it would tile. Then I loaded it onto a plane within ZBrush and drew on all the strands by hand using the Curve Tube Snap brush. I don’t really recommend this method and if I had to do it again, I’d just learn Substance 3D  Designer. After the fibers were drawn onto the plane, I filled them with white and the plane with black.

这成了我为物质画家制作的ID面具。然后我将平面导出为我的高聚，将平面/纤维组合导出为我的高聚。然后我在SP中烘烤它，并添加了一些不同的颜色层以及一些覆盖的AO。然后我导出我的地图，并将这些纹理平铺在绒猴身上的外套表面。
This became my ID mask for Substance Painter. I then exported the plane as my high poly and the plane/fibers combo as my high poly. I then baked that in SP and added a few different color layers along with some overlaid AO. Then I exported my maps and tiled these textures over the surface of the coat within Marmoset.

道具
Props

我以前从未真正制作过道具，所以我对这个挑战很兴奋，因为我对道具艺术很感兴趣。我混合使用Maya和ZBrush来创建每个素材。除了主要从原语开始并使用曲线管画笔进行一些装饰之外，我没有特别的方法。对于物质3D画家中的纹理，我确保给素材足够的磨损，让它们感觉被使用了，并且有点旧。我想给人一种装饰质量差的印象，就像Frollo自己一样。这是我第一次在物质3D画家中使用锚点，它确实被证明是一个强大的工具。
I’d never really made props before, so I was excited about the challenge since I am quite interested in prop art. I used a mix of Maya and ZBrush to create each asset. I didn’t have a particular method other than mostly starting from primitives and using Curve Tube brushes for some embellishments. For the texturing in Substance 3D Painter, I made sure to give the assets enough wear and tear to make them feel used and a little old. I wanted to give the impression that the finery had a hint of rotten quality to it, just like Frollo himself. This was my first time using anchor points in Substance 3D Painter, and it really proved to be a powerful tool.

重新拓扑/UVs
Retopology/UVs

我选择的retopo和UV软件是Maya。这是我第一次学习的，也是我仍然在工作中使用的，所以我发现它非常快，有点放松。从下图中可以看出，我确保尽可能保持服装和有机形式的拓扑干净。然而，大多数资产最终在最终渲染时大量减少。虽然我想实时渲染这个角色，但我也想消除我每天在游戏艺术中工作的任何限制。拥有干净的拓扑真的有助于雕刻和布局UV，以理想的方式使用平铺细节地图，就像我对很多衣服所做的那样。
My software of choice for retopo and UVs was Maya. It’s what I first learned and what I still use at work, so I find it pretty fast and somewhat relaxing. As you can see from the image below, I made sure to keep the topology of the clothing and organic forms as clean as possible. However, most of the assets ended up decimated for the final render. Although I wanted to render this character in real-time, I also wanted to remove any limitations from myself that I work under on a daily basis in game art. Having clean topology really helps with sculpting and laying out UVs in an ideal way for using tiling detail maps as I did with a lot of the clothing.

渲染
Rendering

猴工具包4是一个非常强大的实时渲染平台，我真的很喜欢使用.我开始收集一些照明参考，我感兴趣的节目和电影.这使得它更容易击中我想要实现的心情.
Marmoset Toolbag 4 is a very powerful real-time rendering platform that I really enjoy using. I began by gathering some lighting references that interested me from shows and movies. That made it a lot easier to hit the mood I wanted to achieve.

我的照明设置经历了很多迭代，但是通过大量的反复试验，我最终得到了一个我很满意的结果。这是一个挑战，既要获得喜怒无常的气氛，又要吸引注意力到正确的区域，并确保服装不会太暗。
My lighting setup went through a lot of iterations, but through a great deal of trial and error, I ended up with a result I am pretty happy with. It was a challenge to get a moody atmosphere while also attracting attention to the correct areas and making sure that the costume was not too dark.

除了一些轻微的亮度和饱和度调整之外，没有太多的后期处理。额外的照明场景是一个有趣的实验，试图用更少的灯光和更简单的设置来实现某种外观。
There was not much post-processing involved other than some minor brightness and saturation adjustments. The additional lighting scenes were a fun experiment to try and achieve a certain look with far fewer lights and a much more simple setup.

我认为在渲染方面，写实和风格化的角色之间的区别不会太远；我相信最大的区别是角色的比例以及它是如何雕刻的。物理精确的渲染需要角色的彩色贴图没有任何照明信息，然而，我喜欢放一点进去来增强外观。眼睛和皮肤着色器设置如下：
I think in terms of rendering, the difference between realistic and stylized characters is not too far; I believe the big difference is the proportions of the character as well as how it is sculpted. Physically accurate rendering requires the character’s color maps to be without any lighting information, however, I like to put a little bit in to punch up the look. The eye and skin shaders were set up as follows:

结论
Conclusion

我从2018年开始做这个项目，到2022年就要完成了。做一个项目确实是很长的一段时间，但是在PlayStation开始工作后，我确实从个人艺术领域休息了很长一段时间。2019年回到这个项目后，我决定采取一点一点的方式，直到它完成。这意味着下班后可能每周工作2-3个晚上，每晚工作2-3个小时，有时周末会更长。
I began this project in 2018 and am just finishing it in 2022. It’s a long time to work on a project, however, I did take a significant period of time off from personal art after starting my job at PlayStation. Once I returned to the project in 2019, I decided to take the approach of chipping away until it is finished. This meant, working on it after work maybe 2-3 nights per week for 2-3 hours per night, and longer sometimes on weekends.

这让我觉得自己在前进，但也需要时间给自己充电。如果我感到筋疲力尽，我也会花更长的时间离开这个项目，有时一次几周或几个月。我相信，除非你急于进入这个行业或找到一份更好的工作，否则不值得把自己逼到身心极限。艺术应该是有趣的，如果你牺牲健康去做这件事，在我看来这是错误的方式。完成一个大项目需要巨大的勇气、决心和激情，你必须记住给自己留出一些空间。
This allowed me to feel like I was moving forward but also take time for myself to recharge. I also would take longer periods of time away from the project if I was feeling burnt out, sometimes weeks or months at a time. I believe that unless you are hustling to get into the industry or get a better job, it’s not worth it to push yourself to your mental and physical limits. Art should be fun and if you are sacrificing your health to do it, it’s the wrong way to go about it in my opinion. It takes a huge amount of grit, determination, and passion to finish a large project and you’ve got to remember to cut yourself some slack.

我有时确实想放弃，但我很高兴我一点一点地继续努力，完成这个项目我学到了很多。在许多事情中，我学到的最大的事情是，当你需要或找到其他方法来改变你对这个项目的兴奋时，就离开，比如听音乐，查看更多的参考资料，或者去博物馆寻找灵感。
I definitely wanted to give up at times, but I’m glad I kept working on it bit by bit and I learned a great deal completing this project. Among many things, the biggest thing I learned is to step away when you need to or find other ways to revamp your excitement for the project like listening to music, checking out more references, or heading to a museum for inspiration.

我对开始角色艺术家的最大建议是找出你最热衷的事情，决定你真正想为哪个工作室工作，并在工作室的一个知识产权中为自己创建一个项目。理想情况下，你可以找到一个与IP相似的概念，并以此为基础工作，这将模拟你自己和那些查看你的投资组合的人的制作过程。
My biggest piece of advice for beginning Character Artists is to figure out what you are most passionate about, decide which studio you really want to work for and create a project for yourself within one of the studio’s IPs. Ideally, you could find a concept that is similar to the IP and work from that, which would simulate the process of being on production for both yourself and those looking at your portfolio.

我不建议重新创造一个现有的角色，因为那已经完成了，你把自己置于一个很大的劣势。展示你的个性，坚持你的手艺，保持对学习的持续渴望，保持谦虚，不要害怕接触激励你的人。
I don’t advise re-creating an existing character because that has already been done and you are putting yourself at a big disadvantage. Show your individuality, stick to your craft, keep a constant hunger for learning, remain humble, and don’t be afraid to reach out to the people who inspire you.

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制作巴黎圣母院中《钟楼怪人》的写实角色模型教程   科琳·佩克·拉森向我们讲述了弗罗洛项目背后的工作过程，解释了他的脸和服装是如何雕刻的，并为初学者角色艺术家分享了很酷的技巧和教程。 Colleen Peck Larson told us about the work process behind the Frollo project, explained how his face and outfit were sculpted, and shared cool tips and tutorials for beginner Character Artists.  前言总结 Introduction  大家好！我叫科琳·派克·拉森，是CA圣地亚哥PlayStation工作室的3D角色艺术家。在圣何塞州立大学获得BFA插图奖后，我作为3D角色艺术家已经在这个行业工作了大约六年。最近，我有机会参与了《最后的我们》第二部分的工作，我期待着分享我在PlayStation一直在做的其他事情。 Hey everyone! My name is Colleen Peck Larson and I’m a 3D Character Artist at PlayStation Studios in San Diego, CA. I’ve been in the industry for about six years as a 3D character artist after getting my BFA in illustration from San Jose State University. Most recently I had the opportunity to work on The Last of Us Part II, and I’m looking forward to sharing the other things I’ve been working on at PlayStation.  从我记事起，艺术就已经在我的生活中根深蒂固，我打算成为一名2D艺术家，直到2015年我开始在大学课堂上使用Zbrush。这完全激发了我的新兴趣，当我2016年毕业时，我完全把注意力转移到了3D角色艺术的职业上。我绝对热爱这项手艺，总是期待学习新的东西。 Art has been ingrained in my life for as long as I can remember, and I intended to be a 2D artist until I began using ZBrush for a college class in 2015. That totally sparked a new interest in me and when I graduated in 2016, I completely switched my focus to a career in 3D character art. I absolutely love the craft and always look forward to learning new things.         灵感与参考 Inspiration and References  《巴黎圣母院的驼背》一直是我最喜欢的迪士尼电影之一。它激发了我对大教堂、中世纪时期和整个美学的兴趣，所以深入这个项目非常有趣。2018年，我在与格劳科·隆吉和拉夫·格拉塞蒂的导师项目中开始了这个项目。我从他们那里学到了很多，并利用这些知识以及我在职业生涯中学到的东西来创建这个项目。 The Hunchback of Notre Dame has always been one of my favorite Disney films. It sparked my interest in cathedrals, medieval time period and that entire aesthetic, so it was very fun to dive into this project. I began this project during a mentorship program with Glauco Longhi and Raf Grassetti in 2018. I learned a great deal from them and leveraged that knowledge as well as what I’ve learned in my career so far to create this project.  我对古典艺术、雕塑和历史有着极大的热情，所以我从伦勃朗、贝尼尼、范戴克等大师和历史来源以及许多游戏和电影中汲取了很大一部分灵感。我这个项目的目的是以更现实/更准确的历史方式重新设计弗罗洛，但保持一些与原始设计的呼应。最初，我只开始做半身像，但后来决定重做整个下半身，以便在这个姿势中获得更多的活力和生命。 I have a big passion for classical art, sculpture, and history, so I drew a large portion of inspiration from the old masters like Rembrandt, Bernini, Van Dyck and historical sources as well as many games and movies. My intention with this project was to redesign Frollo in a more realistic/historically accurate way, but maintain some echoes of the original design. Initially, I had begun doing only a bust, but decided to redo the entire lower body later on in order to get a bit more dynamism and life into the pose.         头和手 Head and Hands  基本上从一开始，我就想让彼得·卡帕尔迪扮演我的弗罗洛。这是我第一次尝试创造一个相似的人，这是一项艰巨的任务，但是在拉夫·格拉塞蒂和格劳科·隆吉的指导下，我学到了很多。

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制作巴黎圣母院中《钟楼怪人》的写实角色模型教程

非常棒，感谢分享

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这是一个大工程