ZBrush人体结构雕刻高级教程 - Digital Figure Sculpture Course - Scott Eaton

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Zbrush人体结构雕刻高级教程 - Digital Figure Sculpture Course - Scott Eaton


Welcome to the blog for Scott's Zbrush Figure Sculpture course. This course is a mixing pot that combines anatomical knowledge, critical observation and Zbrush techniques to help students create accurate, naturalistic digital figure sculptures.

Week 1 – Torso Study
第1周 - 躯干研究

During the first week of the Digital Figure Sculpture course students concentrate on sculpting one male and one female torso. They work on the torso in isolation in order to focus on the task at hand, without distraction from unfinished areas like arms, hands, and heads. The torsos are created using ZSpheres as a base and then refined using Zbrush’s new DynaMesh feature. There are short technical how-to videos that explain the new features of Zbrush and then a comprehensive Working Example showing Scott creating the torso above from start to finish.

Week 2 – Shoulder Articulation Studies
第2周 - 肩衔接研究

In the second week we continue with the torso, but now focusing on the articulation of the shoulder as the arm is raised. We do a comprehensive investigation of what is known as the “scapulo-humeral rhythm” – the ratio of scapular rotation to arm elevation. Students sculpt a torso with the arms at the side and them modify the sculpture moving the arms through 45, 90, 135, and 180 degrees of rotation. The 0 and 180 extremes are shown above. In ZBrush artists start with a base mesh and use Transpose and masking to rotate the arm and scapula in the correct ratio. Each pose is stored on a ZBrush layer, and the subdivided mesh is sculpted at high resolution to capture all the subtleties of the muscular forms at different articulations. Students are lead through the exercise by a series of videos showing Scott sculpting the torsos in ZBrush.
在第二个星期,我们将继续与躯干,但现在的重点作为衔接的肩膀上的手臂抬起。我们做了全面的调查,被称为“scapulo肱骨节奏” - 比肩胛骨的旋转,手臂上抬。学生塑造一个躯干在一旁的武器,他们修改的雕塑移动的武器通过45,90,135,和180度的旋转。在0和180的极端如上所示。在ZBrush艺术家开始一个基础网格,并使用移调和屏蔽功能,可旋转手臂和肩胛骨在正确的比例。每个姿势都被存储一个ZBrush的层上,细分网格雕刻,在高分辨率下捕捉到所有的细微之处的肌肉的形式在不同的关节。学生们率先通过了一系列的视频,斯科特在ZBrush雕刻的躯干的运动。

Week 3 – Arm Studies
第三周 - 组研究

This week artists refine their knowledge of the forms of the upper arm and the forearms. In Zbrush, they start with ZSpheres and build a shoulder “fragment” that is cutoff mid-chest. From here they sculpt the forms of the arm flexed to 90 degrees with the hand supinated (palm-up). Once this sculpture is complete they transpose the forearm from supinated to pronated and adjust the forms and flows of the muscles accordingly (paying special attention to the new alignment of the flexor and extensor muscles of the forearm). One final transpose extends the arm at the elbow, and all the forms of the upper arm – biceps, triceps, brachialis, are modified.
本周艺术家的上臂和前臂的形式,完善自己的知识。在ZBrush,他们开始的ZSpheres,并建立一个肩膀“片段”,也就是截止中旬胸部。在这里,他们雕刻的形式,手臂弯曲至90度,手旋后(手掌)。这个雕塑完成后,他们转,前臂旋后,以旋前位,并调整相应的形式和流动的肌肉(要特别注意的前臂屈肌和伸肌的新路线)。最后一个转置延伸的手臂,肘部,上臂 - 肱二头肌,肱三头肌,肱肌,所有形式的修改

Week 4 – Hand Studies
第4周 - 手研究

In Week 4 artists investigate the hands in-depth. Hands are one of the most difficult parts of the body to sculpt and demand the utmost attention to construction, proportions, form, and gesture to do successfully. They are second only to the face in expressiveness so we spend the entire week doing a single detailed study of the hands in Zbrush. The lessons learned here will be important to transfer to the full-figure sculptures started in week 6. After a lecture covering the anatomy and proportions of the hands, artists sculpt using the best reference available – their own hands. This week also includes lectures on making hands using Zbrush’s flexible and quite useful ZSpheres and reading assignments from George Bridgman and Andrew Loomis.
在4周的艺术家深入调查的手中。手是身体最困难的部分之一,造型和要求高度重视,结构,比例,形式和姿态,做成功。他们是第二次在脸上的表现,所以我们花了整整一个星期的手在ZBrush做了详细的研究。所学到的知识转移到全图的雕塑在第6周开始,将是重要的。演讲后覆盖之手的解剖结构和比例,艺术家雕刻用最好的参考 - 掌握在自己手中。本周还包括讲座,使双手从乔治·布里奇曼和安德鲁·卢米斯使用ZBrush的灵活的和非常有用的ZSpheres和阅读作业。

Week 5 – Leg Studies
第5周 - 美腿研究

This week artist explore the forms of the legs. Using reference from a male ballet dancer they build a leg fragment in ZBrush and refine it in a standing position – paying attention to the large masses of the quadriceps, hamstrings, and adductor muscles, and then the bony and tendinous structure of the knee. From here they transpose the knee 90 degrees and re-examine the forms of the leg, paying special attention to the stretching and contraction of opposing muscles groups and the changes in the bony structure of the knee. Lastly, they have fun with Zbrush’s DynaMesh feature and chop their leg sculptures into three pieces, whittling down the middle third into the exposed bones of the knee. The goal is give artists a deep understanding of the construction of the knee, one of the hardest joints of the body to understand and depict successfully.
本周艺术家探索的腿的形式。使用参考,从一个男性的芭蕾舞蹈家,他们建立了一条腿片段在ZBrush和完善它在站立的位置 - 注意股四头肌,腘绳肌,内收肌,然后膝盖骨和腱结构的大型群众。在这里,他们调换膝盖弯曲90度,重新审视形式的腿,要特别注意的拉伸和收缩的反对肌肉群的膝关节的骨性结构的变化。最后,他们有乐趣的与ZBrush的DynaMesh功能,砍自己的腿雕塑成三块,削减中间三分之一到裸露的膝盖骨。我们的目标是使艺术家们的深刻理解建设的膝盖,最难的身体关节的理解和描绘成功。

In addition to two hours of video showing Scott executing the exercises above, this week includes Tools & Techniques videos on using ZBrush’s Morph Targets and also how Scott uses PolyPainting to maintain consistency in landmarks and muscle flow when posing a figure.

Week 6 – Full Figure Posing
第6周 - 全身姿势

After a week-long mid-term break, artists are starting their final five-week full-figure sculptures. They begin by proportioning a simple base mesh to match the life model. These proportions are based on a set of measurements taken from the model using calipers, the way a traditional sculptor would approach setting up his armature. Once the proportions are established, we cover how to build a ZSphere rig, a powerful but underused technique in ZBrush for posing a model. From here artists get to choose one of three poses for their final figure sculpture and they use their ZSphere rigs to pose their mesh. The challenge in this early stage of the full-figure sculpture is to establish to correct weight, balance, and gesture on the figure, a task easier said than done.

Week 7 – Full Figure Refining
第7周 - 全身提炼

This second week of the full-figure exercise is spent in ZBrush blocking in the anatomy for the entire figure, refining the pose, and blocking in a starting portrait. Collectively this is an big task, but students are helped by the experience gained from the previous five weeks of fragment studies. The full-figure sculpture really is a way to consolidate the knowledge of form and anatomy gained from these studies into one final piece.

Week 8 – Full Figure Portrait
第8周 - 全图人像

This week students tackle the most difficult task of all – the portrait. Continuing with their posed figures in Zbrush, they learn how to tackle the portrait like a traditional sculptor would: establishing the relationship between critical landmarks on the skull, constructing the features, establishing the profile, and refining the planes. This week’s lectures cover the critical aspects of facial anatomy and portraiture and then give an extensive ZBrush walk-through of Scott sculpting the example figure above. The unabridged session shows every stroke that is need to take the face from start to finish.
本周学生解决的最困难的任务 - 的肖像。继续与他们所构成的数字在ZBrush中,他们学会了如何对付像一个传统的雕塑家肖像:建立在颅骨上的重要地标之间的关系,构建的功能,建立配置文件,并改进飞机。本周的演讲涵盖的面部解剖和肖像的关键环节,然后步行通过的斯科特雕刻上面的示例图中得到广泛的ZBrush的。 “汉语大词典”的会议需要采取的脸,从开始到结束的每一个冲程。

Week 9 – Hair and Hands
第9周 - 头发和手

This week artists continue their full figure sculptures by sculpting the hands and hair. The techniques for refining the hands are largely a review of the workflows used in Week4′s exercise, but sculpting the hair in ZBrush is an entirely new topic. Sculpting hair is a very difficult thing because it requires a level of artistic abstraction to translate the flowing fibrous forms of hair into a tangible sculptural surface. Because the process is so intangible every artist eventually develops their own style for sculpting hair. This week’s lessons show Scott’s approach to sculpting hair in ZBrush. They cover his tools and techniques for general hair sculpting, how ZSpheres/ZSketch can be used for hair, and also how the new DynaMesh features can be used to create interesting, complex styles. (and yes, the model does have a crazy double ponytail!)
本周艺术家们继续他们的丰满的身材雕塑,雕刻的手和头发。的技术主要是炼手中的的审查第四周的演习中使用的工作流程,但在ZBrush雕刻的头发是一个全新的课题。雕刻的头发是一件非常困难的事情,因为它需要翻译成有形的雕塑表面的头发流动的纤维形式的艺术抽象的水平。由于这一过程是如此的无形资产,每一个艺术家最终开发出自己的风格雕塑的头发。这周的经验教训表明斯科特在ZBrush雕刻头发的方法。他们掩盖自己的工具和技术,一般的发型雕刻的ZSpheres /的ZSketch可以被用于头发,怎么也DynaMesh新的功能,可用于创建有趣的,复杂的款式。 (是的,这个模型有一个疯狂的双马尾辫!)

Week 10 – Refining & Rendering
10周 - 提炼和渲染

The final week of the course covers the tools and techniques used to refine the figure in ZBrush. This lesson concentrates on refining small forms and plane transitions, but emphasizes correct placement and scale relative to larger forms and proportions. Finally, all good sculptures need to be photographed (rendered) and presented well to look their best so there is a culminating lecture on lighting and rendering outside of ZBrush. In this video Scott talks about the fundamentals of lighting and shows his rendering techniques in maya and also gives a short preview of Luxion’s Keyshot renderer.
最后一周的课程涵盖了完善的数字在ZBrush的工具和技术。这节课集中在精炼的小形式和平面转换,但强调正确的位置和规模相对较大的形式和比例。最后,一切美好的雕塑作品需要被拍到(渲染),并提出看看他们的最好的灯光和渲染的ZBrush外有一个最终的演讲。在这个视频斯科特谈到照明的基本面,并显示他在Maya的渲染技术,并给出了一个简短的预览Luxion Keyshot渲染。



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ush人体结构雕刻高级教程 - D
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