ZBrush数字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

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

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.
欢迎来到斯科特的Zbrush人物雕塑课程的博客。本课程是一个混合罐,结合了解剖学知识、批判性观察和Zbrush技术,帮助学生创造准确、自然的数字人物雕塑。


Week 1 – Torso Study
ZBrush的人物雕塑课程
第1周 - 躯干研究


ZBrush人体结构雕刻高级教程 - Digital Figure Sculpture Course - 1

ZBrush人体结构雕刻高级教程 - Digital Figure Sculpture Course - 1


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.
在数字人物雕塑课程的第一周,学生专注于雕刻一个男性和一个女性的躯干。他们单独完成躯干,以便集中精力完成手头的工作,不受手臂、手和头部等未完成区域的干扰。躯干是用ZSpheres作为基础创建的,然后用Zbrush的新DynaMesh功能进行完善。这里有简短的技术指导视频,解释了Zbrush的新功能,然后是一个全面的工作实例,展示了Scott从头到尾创建上述躯干的情况。


Week 2 – Shoulder Articulation Studies
ZBrush的人物雕塑课程
第2周 - 肩衔接研究


ZBrush人体结构雕刻高级教程 - Digital Figure Sculpture Course - 2

ZBrush人体结构雕刻高级教程 - Digital Figure Sculpture Course - 2


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.
在第二周,我们继续研究躯干,但现在重点是手臂抬起时肩部的衔接。我们对所谓的 "肩肱节律"--肩胛骨旋转与手臂抬起的比例进行全面调查。学生们雕塑了一个手臂在侧面的躯干,然后他们修改雕塑,将手臂旋转45、90、135和180度。上面显示的是0和180的极值。在ZBrush中,艺术家们从一个基本的网格开始,使用转置和遮蔽,将手臂和肩胛骨按正确的比例旋转。每个姿势都存储在ZBrush层上,细分的网格以高分辨率进行雕刻,以捕捉不同关节处肌肉形态的所有微妙之处。学生们在练习中会被一系列的视频所引导,这些视频展示了Scott在ZBrush中对躯干的雕刻。


Week 3 – Arm Studies
ZBrush的人物雕塑课程
第三周 - 组研究


ZBrush人体结构雕刻高级教程 - Digital Figure Sculpture Course - 3

ZBrush人体结构雕刻高级教程 - Digital Figure Sculpture Course - 3


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.
本周艺术家们完善了他们对上臂和前臂的形式的认识。在Zbrush中,他们从ZSpheres开始,建立一个肩部的 "碎片",从胸部中间切断。从这里开始,他们雕刻出手臂弯曲到90度,手掌向上(掌心)的形态。一旦雕塑完成,他们将前臂从仰卧转为前屈,并相应地调整肌肉的形态和流动(特别注意前臂屈肌和伸肌的新排列)。最后一次转位是将手臂延伸到肘部,上臂的所有形态--肱二头肌、肱三头肌、肱肌,都被修改。


Week 4 – Hand Studies
ZBrush的人物雕塑课程
第4周 - 手研究


ZBrush人体结构雕刻高级教程 - Digital Figure Sculpture Course - 4

ZBrush人体结构雕刻高级教程 - Digital Figure Sculpture Course - 4


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.
在第4周,艺术家们深入研究了手的问题。手是身体上最难雕刻的部分之一,需要对结构、比例、形式和姿态给予最大的关注才能成功。它们的表现力仅次于脸部,所以我们花了整整一周的时间在Zbrush中对手部进行详细研究。在这里学到的经验对转移到第6周开始的全人物雕塑非常重要。在涵盖手的解剖学和比例的讲座之后,艺术家们使用最好的参考资料--他们自己的手进行雕塑。本周还包括关于使用Zbrush的灵活和相当有用的ZSpheres制作手的讲座,以及George Bridgman和Andrew Loomis的阅读作业。


Week 5 – Leg Studies
ZBrush的人物雕塑课程
第5周 - 美腿研究


ZBrush人体结构雕刻高级教程 - Digital Figure Sculpture Course - 5

ZBrush人体结构雕刻高级教程 - Digital Figure Sculpture Course - 5


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.
本周艺术家探索腿的形式。使用一个男性芭蕾舞演员的参考资料,他们在ZBrush中建立了一个腿部片段,并在站立状态下对其进行完善--注意股四头肌、腘绳肌和内收肌的大块肌肉,然后是膝盖的骨质和肌腱结构。从这里开始,他们将膝盖换位90度,重新检查腿部的形式,特别注意对立的肌肉群的伸展和收缩以及膝盖的骨质结构的变化。最后,他们利用Zbrush的DynaMesh功能,将他们的腿部雕塑切成三块,将中间的三分之一削成膝盖的裸露骨骼。目的是让艺术家们深入了解膝关节的构造,这是人体最难理解和成功描绘的关节之一。

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.
除了两个小时的视频展示Scott执行上述练习外,本周还包括关于使用ZBrush的Morph Targets的工具和技术视频,以及Scott如何使用PolyPainting来保持摆放人物时地标和肌肉流动的一致性。


Week 6 – Full Figure Posing
ZBrush的人物雕塑课程
第6周 - 全身姿势


ZBrush人体结构雕刻高级教程 - Digital Figure Sculpture Course - 6

ZBrush人体结构雕刻高级教程 - Digital Figure Sculpture Course - 6


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.
经过一周的中期休息,艺术家们开始了他们最后五周的全尺寸雕塑创作。他们首先对一个简单的基础网格进行配比,以配合生活模型。这些比例是基于用卡尺对模型进行的一系列测量,就像传统雕塑家设置臂架的方法一样。一旦确定了比例,我们将介绍如何建立一个ZSphere rig,这是ZBrush中一个强大但未被使用的技术,用于摆放模型。从这里,艺术家们可以为他们的最终人物雕塑选择三种姿势之一,他们使用他们的ZSphere rig来摆出他们的网格。在这个完整的人物雕塑的早期阶段的挑战是建立正确的重量、平衡和人物的姿态,这个任务说起来容易,做起来难。


Week 7 – Full Figure Refining
ZBrush的人物雕塑课程
第7周 - 全身提炼


ZBrush人体结构雕刻高级教程 - Digital Figure Sculpture Course - 7

ZBrush人体结构雕刻高级教程 - Digital Figure Sculpture Course - 7


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.
全身练习的第二周是在ZBrush中对整个人物的解剖结构进行封锁,完善姿势,并封锁一个起始肖像。总的来说,这是一项艰巨的任务,但学生们从之前五周的片段研究中获得了经验。完整的人物雕塑确实是将这些研究中获得的形式和解剖学知识整合到一个最终作品中的一种方式。

Week 8 – Full Figure Portrait
ZBrush的人物雕塑课程
第8周 - 全身人像


ZBrush人体结构雕刻高级教程 - Digital Figure Sculpture Course - 8

ZBrush人体结构雕刻高级教程 - Digital Figure Sculpture Course - 8


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,学生们将处理最困难的任务-画像。继续在Zbrush中摆放人物,他们将学习如何像传统雕塑家那样处理肖像:建立头骨上关键地标之间的关系,构建特征,建立轮廓,并完善平面。本周的讲座涵盖了面部解剖学和肖像画的关键方面,然后给出了Scott雕刻上述例子人物的大量ZBrush演练。未删节的课程显示了从开始到结束所需的每一笔。


Week 9 – Hair and Hands
ZBrush的人物雕塑课程
第9周 - 头发和手


ZBrush人体结构雕刻高级教程 - Digital Figure Sculpture Course - 9

ZBrush人体结构雕刻高级教程 - Digital Figure Sculpture Course - 9


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!)

本周艺术家们通过雕刻手和头发继续他们的完整人物雕塑。完善手部的技术主要是对第4周练习中使用的工作流程的回顾,但在ZBrush中雕刻头发是一个全新的话题。雕刻头发是一件非常困难的事情,因为它需要一定程度的艺术抽象来将头发的流动纤维状转化为有形的雕塑表面。由于这个过程是如此无形,每个艺术家最终都会发展出自己的头发雕刻风格。本周的课程展示了Scott在ZBrush中雕刻头发的方法。他们涵盖了他对一般头发雕刻的工具和技术,ZSpheres/ZSketch如何用于头发,以及如何使用新的DynaMesh功能来创造有趣、复杂的风格。(是的,这个模型确实有一个疯狂的双马尾!)


Week 10 – Refining & Rendering
ZBrush的人物雕塑课程
10周 - 提炼和渲染


ZBrush人体结构雕刻高级教程 - Digital Figure Sculpture Course - 10

ZBrush人体结构雕刻高级教程 - Digital Figure Sculpture Course - 10


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.
课程的最后一周涵盖了在ZBrush中完善人物的工具和技术。本课集中于完善小的形式和平面过渡,但强调相对于大的形式和比例的正确位置和比例。最后,所有好的雕塑都需要拍照(渲染),并很好地呈现出来,以使其看起来最好,所以有一个关于ZBrush之外的照明和渲染的高潮讲座。在这段视频中,Scott讲述了照明的基本原理,并展示了他在maya中的渲染技术,还对Luxion的Keyshot渲染器做了简短的预览。

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置顶有相对便宜版  发表于 2014-1-13 11:50
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ZBrush数字人体结构雕刻高级教程
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bacling 发表于 2024-5-16 16:51:34 | 显示全部楼层
课程的最后一周涵盖了在ZBrush中完善人物的工具和技术
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