ZBrush, Substance & Toolbag制作游戏道具模型全流程中文图文教程

cgdream 发表于 2019-3-7 19:24:31 | 显示全部楼层 |阅读模式
行业: 游戏设计
模块: 建模 材质 游戏道具 
软件/插件: ZBrush, Substance & Toolbag
版权: 本资源来自互联网,仅供学习交流
Zbrush, Substance & Toolbag制作游戏道具模型全流程中文图文教程 - Game-Ready Props in ZBrush, Substance & Toolbag

Abderrezak Bouhedda did a detailed breakdown of his beautiful game-ready prop created for an ArtStation challenge.
Abderrezak Bouhedda详细分析了他为Artstation挑战赛制作的漂亮游戏道具模型。

I'm Abderrezak Bouhedda from Algeria. I'm 22 years old and I live in Setif currently. I started learning Computer Programming and Cyber Security in 2008 and I had a chance to dive into Digital Art World. I enjoyed it so much, so now I'm an Environment/Prop Artist.
我是来自阿尔及利亚Abderrezak Bouhedda。 我是22岁,目前住在塞提夫。 我在2008年开始学习计算机编程和网络安全,我有机会潜入数字艺术世界。 我非常喜欢它,所以现在我是一个环境/道具的艺术家。

I participated in the Feudal Japan Challenge – Prop Art on Artstation in October 2018. I tried to improve my skills and challenge other artists, also to learn from them and to help them, share my skills with them. First, I created two Props:
我参加了 2018年10月 的封建日本挑战 - Artstation的Art Art。我试图提高我的技能并挑战其他艺术家,也向他们学习并帮助他们,与他们分享我的技能。 首先,我创建了两个道具:

Hanging Lamp 纸灯笼

Stone Lantern 石灯笼

Those props were easy for me to create, so I made them in a few days.

I chose this concept designed by Andrea  Anselmi.
我选择了自由二维/三维艺术家Andrea Anselmi的这个概念设计作品。

It's an attractive concept, I liked it and I decided to turn it into a game-ready prop.

1.Blockout 基础模型
First of all, the blockout was done inside Maya using primitives (cubes, cylinders, tubes, spheres). The blockout is the main process which will make it easy for you.
首先,基础模型是在Maya内部使用基本几何体(立方体,圆柱体,管,球体)完成的。 基础模型是主要过程是非常轻松就可以搞定。

Then I did the dragon's main body shape using curves inside Cinema 4D. The Dragon's body will be imported later in ZBrush for sculpting.
然后我做了使用的Cinema 4D曲线工具制作龙的身体形状。 龙的身体稍后会导入ZBrush进行雕刻。

2.Sculpting the dragon 雕刻龙模型
I started with a cube to create the main head shape. I used a lot of references from Google & Pinterest to get a nice look. I wanted the dragon's head to be different compared to the concept.
我从一个立方体开始创建主头部形状。 我使用了Google和Pinterest搜集了很多参考资料,获得漂亮的外观。我想相比于概念龙的头部是不同的。

I started sculpting the main shape of the head using clay buildup and standard brushes, for the horns I used the move brush, then I used dynamesh to keep the topology clean.
我开始使用ZBrush的粘土堆积笔刷(clay buildup)和标准笔刷(standard brushes)雕刻头部的主要形状,对于龙的角使用移动笔刷(move brush),然后我使用Dynamesh工具来保持拓扑简洁。

After that, I detailed the dragon's head and its body a bit, I didn't want to make a lot of details because it's not a real dragon, it's just a metal statue. It's better to keep it clean.
然后,我详细介绍了龙的头,它的身体有点小,我不想雕刻太多的细节,因为它不是一个真正的龙, 它只是一个金属雕像。 这是更好地保持它的简洁。

Then I fixed the high poly mesh, here I left it like that without scales/skin pattern.

3.Retopology 拓扑
I used ZRemesher to retopologize the mesh and to reduce the polycount of course (Freeze Border Opt checked). Then I created the polygroups masking each group.
我使用ZRemesher来重新拓扑网格并减少当前多边形面的数量(选中冻结边框选项)。 然后我创建了遮蔽每个组的多元组。

The UV Unwrapping was quick. I used UV Master plugin in Zbrush, all you have to do is to check Polygroups Option (which means each polygroup is a UV Shell or UV Island) then unwrap your UVs.
UV Unwrapping是非常快的。 我在Zbrush中使用了UV Master插件,你所要做的就是点击Polygroups选项(这意味着每个polygroup是UV Shell或UV Island)然后展开你的UV。

Here are the UVs. Now just export and bake.
这是展开的UVs。 现在只需导出和烘焙。

4、Baking & Texturing 烘焙和纹理
I imported the high poly and the low poly meshes in Marmoset Toolbag 3 to bake normal & AO maps. This was just a test because I wasn't satisfied with the results, you know when you're satisfied.
我将高多边形模型和低多边形网格模型导入Marmoset Toolbag 3中来烘焙法线贴图和AO贴图。 这只是一个测试,因为我以前并不对结果感到满意,直到当你是满意为止。

After that I had to create the scales/skin pattern on the dragon's body, it felt like it needed more details.
之后,我不得不创建龙的身上鳞片/皮肤样式 ,感觉就像它需要更多的细节。

I created a pattern in Substance Designer to use it in 3D-Coat as a depth map.
我在Substance Designer中创建了一个贴图样式,将其在3D-Coat中用作为深度贴图。

Then I applied this pattern to the dragon's body inside 3D-Coat. This is the smart material that I created and applied to the mesh to get the result that I wanted.
然后,我在3D-Coat中将此贴图样式给龙的身上。 这是我创建的智能材料,并应用于模型上以获得我想要的结果。

This is how it looks in inside the renderer:

I used another way for the skin later. I used that skin pattern as an alpha inside Zbrush and I sculpted it on the high poly and I just re-baked the AO+Normal Maps after.
我稍后为皮肤使用另一种方式。 我在Zbrush中使用了这个皮肤图案作为埃尔法通道alpha,我在高精度模型上雕刻它,之后我重新烘焙了AO +法线贴图。

5. Small Dragons 小龙模型
After that, I started sculpting the two small dragons which hold the cannon in Zbrush. I did the blockout inside C4D using curves.
然后,我开始在ZBrush中雕刻支撑大炮的两条小龙。 我是在C4D中使用曲线制作了基础模型。

I exported it in Zbrush, then I dynameshed the blockout to sculpt without any issues (symmetry enabled).

I used the previous dragon's head applying some changes, of course.

Detailing was easy because I used the skin pattern that I created before in Substance Designer to sculpt the scales. Then I broke them a bit with TrimSmoothBorder and TrimDynamic brushes.
细节很容易,因为我之前使用了Substance Designer,创建的皮肤图案来雕刻刻度。 然后我用TrimSmoothBorder和TrimDynamic笔刷打破了它们。

I did the same process for the retopology and texturing, baking:

6.UVs 展UV贴图
I did the UVs inside Maya using NSUV plugin which is a real time-saver.

I tried to achieve the best UV unwrap, perfect texel density and no distortion to avoid baking issues.

1st UV

2nd UV

UV Shells must be relaxed as much as possible to avoid distortion. For cylinders and similar shapes, UVs must be straight. Cut UVs where there are Hard Edges, which means there must be a Hard Edge in each UV Seam.
UV Shells必须尽可能放松以避免变形。 对于圆柱体和类似形状模型的UV必须是直的。 在有硬边的地方切割UV,这意味着每个UV缝中必须有硬边。

To select Hard Edges, enable edge mode:


Like this, you can all the Hard Edges in your mesh.

And this is the distortion, to display it just click Display-> Check Distortion.
这就是失真,要显示它只需单击Display -> Check Distortion。

Texel Density is very important, texel density is the texture resolution on a mesh.
纹理密度(Texel Density)是非常重要,texel density是网格模型上的纹理分辨率。

Here we have a bad Texel Density. UV Shells don't have the same scales as in the object mesh, plus the UVs are overlapped.
这里我们的纹理密度很差。 UV壳的比例与模型网格中的比例不同,而且UV有重叠。

To fix this there's a very useful tool in Maya called Layout

Click on that little square for more options and select all your UVs.

Check Unfold3D Mode, Pack Together (Non Overlapping) which prevents UV Shells from overlapping.

For Shell Transform Settings, just check Translate Shells which will change the shells’position. The Layout Settings include the texture map size and Padding Units (keep it Pixels), Shell Distribution (keep it in Distribute Mode).

The last Scale Mode is the most important, keep it Uniform because Uniform Scale is a linear transformation that increases or shrinks UV Shells or objects by a scale factor that is the same in all directions.

After Applying the settings I had this:

Here’s the Texel Density:

7.High Poly Creation 高精度多边形创建
After detailing the low poly models and fixing them a bit, I created the high poly models and I exported them to Zbrush, used Dynamesh to get a perfect retopology.

High poly 1 高精度模型1

High poly 2 高精度模型2

8.Texturing 贴图
I baked the normal and AO maps inside Marmoset Toolbag 3, then I exported the baked maps to 3D-Coat for Texturing. I created The Curvature Maps inside Substance Designer from the Normal Maps using the Curvature-Sobel Node. Then I created some wood and metal, ash and dust Materials and applied them to layers.
我在Marmoset Toolbag 3中烘焙了法线贴图和AO贴图,然后将烘焙贴图导出到3D-Coat给模型设置贴图。我在Material Designer中创建了曲率贴图,曲率参数来自Curvature-Sobel节点的法线贴图。然后我创造了一些木头、金属、灰烬和灰尘的材质,并应用到贴图层中。

I did the same thing for the other model (ornaments created later inside Adobe Illustrator).
我为其他模型的贴图做了同样的操作(后来在Adobe Illustrator中创建的装饰)。

Wireframe 线框图

Thank you for reading! I hope you enjoyed reading about my process and found something useful that you can use in your projects.


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