(zbrush)'Bird of Prey'－－捕食者（转） Prey, 捕食者, Bird, zbrush

火柴盒

'Bird of Prey'－－捕食者（转）
'Bird of Prey' by Joe Lee
原文链接：http://www.3dtotal.com/team/Tutorials_3/bird_of_pray/bird_of_pray01.asp
译文链接：http://zbtime.com/zbtimebbs/viewthread.php?tid=626&extra=page%3D1

Introduction:
(介绍)
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Before getting started on this project, I tried to surround myself with as much reference and inspiration as I could before taking the plunge on the Zbrush canvas. I have great admiration for master bird carvers such as Floyd Scholz and I have always wondered if such wood carving techniques could be transfered over to the digital sculpting world. Some of the new features in the Zbrush 3.0 have convinced me that this is as good a time as any to try.  

（在还没有制作这个项目之前,我尝试着将一些参考和灵感融入到zbrush的创作中，我想能否把我非常敬佩的鸟类雕塑大师像Floyd Scholz的木雕技术用在数字雕刻上。现在ZBRUSH3.0的一些新特性让我觉得可以试一试了. )
Basic Form:
( 基本形状)
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So the first thing I wanted to do was to go to the Tool palette and select a zsphere and begin blocking out the form.  
(首先我再TOOL面板下面选择Z球工具调整成大体形状.)



Once you establish the direction of the head, I usually check it in the Preview window to make sure the front of the head is facing out the z axis and right side up. If it isn’t, reposition and press, Store.
(一旦确定了头部面对的方向,我通常都会在预览窗口检查是否面对Z轴的正确位置，如果不是的话，调整一下然后按Store键。)
Next I want to place the eyes, which will help establish a constant reference when I later sculpt around the eyes. Checking reference for eye spacing and size is encouraged. On this occassion, I loaded up a polysphere which is now part of the selection choices in the library of tools. Reselect the zsphere head tool, then go to Tool:Subtool and Append the polysphere. Select the polysphere subtool and scale and position to the proper size and location using the Transpose feature.
(下面我放上眼球，后面在眼睛附近雕刻的时候这将是一个参考。然后检查并确定眼球的大小和间距，从工具面板里选择载入一个Polysphere，再次选择Z球制作的头，然后到Tool:Subtool按Append键加入之前载入的Polysphere，选择Polysphere子物体缩放并放置到适当位置 。)



Once the polysphere eye is in place and selected, we can press Tool:Clone. Select the zsphere head subtool and Append the clone of the polysphere. Select the polysphere copy subtool and press Tool:Geometry: Del Lower to clear away lower subdivisions of the polysphere. This is essential to be able to mirror the polysphere copy on the x axis, which can be pressed under Tooleformation:Mirror x. You should now have a pair of eyes. This would be a good time to label your subtools if you like. I will refer to the main tool as ‘birdhead’, and the subtool eyes will be distinguished as simply ‘left eye’ and ‘right eye’.
（当polysphere确定好位置后，选择它，按Tool:Clone拷贝。选择Z球制作的头在Append加入拷贝的polysphere。选择polysphere拷贝的子物体按Tool:Geometryel Lower清除较低的细分，沿X轴镜像必须执行上述步骤。下面按Tooleformation:Mirror x沿X轴镜像。这样就会有一双眼睛了。你乐意的话最好重新命名一下子物体，我在这里将主要的头部部分命名为birdhead ，眼睛的子物体命名为left eye和right eye。）

The next part is just shaping the bird’s form and just kind of sketching out the qualities of a raptor. It wasn’t long while I was blocking out the form, that I noticed the nape of the neck was showing more rectangular spacing in the geometry than square. Also the spacing toward the bottom of the bird’s bust was by far wider than that of the head area. This will have an effect on my ability to try get consistent fine detail with the feathers even once the subdivisions are as high as I can go. The more equidistant the spacing through the body, the more consistent the detail sculpting will be across the bird.
（下一部是整形鸟的网格同时大概抓一下鸟的特征，我并没有在这花很多时间，我注意到脖子背面更多的是是长方形而不是正方形，而且胸部的地方比头部有着更大的间隔，这会使羽毛在很高的细分下也能保持很好的细节，网格分布等距平均有利于流畅的细节雕刻。）

火柴盒

Retopologization:
(重建拓扑 )
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I am definitely going to need to create new topology.  
(下面我将创建拓扑 )


To prepare for the retopologization, I simply select the bird tool and ensure that only the birdhead subtool is active (and not the eyes).
（为重建拓补我只选择鸟的工具并且确保只有birdhead子工具在激活状态（不包括eye子工具）。）

Now:
（然后: ）
Select Tool:Zsphere and draw on canvas. （选择Tool:Zsphere并在画布上托拽出来。）
Ensure Transform:Edit mode is on, and then press Tool:Rigging:Select and select the bird tool. （确保Transform:Edit编辑模式被打开, 然后按Tool:Rigging:Select选择鸟的工具。 ）
Press Tool:Topology:Edit Topology and you are ready to begin creating new topology. （按Tool:Topology:Edit Topology开始创建新的拓补。）
Because the topology in the beak area is significantly denser than the rest of the body and the physiology of the actual bird beak is different from the feathered part, it seemed like an ideal place to break the two apart by creating separate topology.  （因为在鸟喙部分的拓补比身体羽毛的部分稠密，所以最好将两个部分分开处理 ）


Note: Before building new topology, be sure x axis symmetry is on for both meshes (press ‘ x’ to toggle). This definitely helps speed things up.
(注意: 在创建新的拓补之前确定是打开X轴对称（按X键），这会有助于快速对称制作拓补。)

As you may have noticed, I overlapped some beak geometry onto the head. This was to make sure I had plenty of leftover geometry to secure into the head mesh when it’s built. When you’re finished, press Tool:Adaptive Skin:Make Adaptive Skin.
(像你看到的那样，喙部和头部有重叠的部分，这样可以确保两者可以很好地连接起来。完成后按Tool:Adaptive Skin:Make Adaptive Skin蒙皮。 )

Select the bird tool with the subtool eyes and Append the new skin you just made and rename accordingly.
(选择包括眼睛的鸟的工具，调入新创建的蒙皮并重命名一下。)


Next we’ll create new topology for the head of the bird. When it came to the opening in the mesh up by the bird beak, I needed to delete the rigging selection to gain access for closing the gap.
(下面我们将创建鸟头部的拓补。从喙部的开口地方开始，我需要删除一些拓补线封闭这个缺口。)

To do this: (下面这样做)

Unpress Tool:Topology:Edit Topology. (取消Tool:Topology:Edit Topology. )
Press Tool:Riggingelete. (按Tool:Riggingelete. )
Press Tool:Topology:Edit Topology and you can now reach geometry that was previously occluded by the rigging mesh.
(按Tool:Topology:Edit Topology得到你预先做好的封闭的网格模型 .)

Closing this off gives me extra geometry to work with for making modifications between the beak and forehead if needed. By no means is the new topology the best solution for the form, but it is certainly better than before. Make an adaptive skin and Append it to bird tool.
(封闭这个缺口可以使我能以后在嘴和前额之间作一些修改，这并不是最佳的网格模式，不过这的确比以前要好一些。蒙皮一下并将其加入到鸟头的子工具列表里。)
I then deleted the zsphere bird head tool from the subtool list and focused on trying to bring together the remaining subtools together to become more raptor-like.
(我在此工具列表里删除掉用z球制作的鸟头，把剩余的子工具集合起来使其看起来更像一只鸟。)

火柴盒

Feathers :
(羽毛 )
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After spending much time trying to fine tune the qualities that make a bird, an eagle, I then start to make note of the feathering of these types of birds. The next section will go into time spent preparing the alphas and figuring out the layering process.
(我花费很多时间调整模型，使其更象一只鸟，一只鹰，之后我开始找这些类鸟的羽毛的素材，下一部分将是制作alphas和规划分层流程。)

Creating the Feathers
(创建羽毛)

When I started looking into the feather options, I didn’t know if I would go with a stencil technique or use the sculpting brushes. This time I decided to go with the sculpting brushes for nothing else but the fact that the DragRect stroke enables me to put down feathers quickly at any angle and size like the directional brush.  
(当我开始选择羽毛时，我不知道是用蒙板方式还是使用雕刻的方式。 最后我决定用DragRect笔触，这可以让我象一个定向的笔刷那样快速雕刻出任意角度和大小的羽毛。)


The first alpha I tried, I noticed that there was an auto fade that caused a loss of definition at the tips of the feathers. I didn’t mind the top of the feather fading but I needed the bottom tip to be as crisp as I could get it. I decided to increase the size of the alpha, made sure the feather was aligned to the top and the essential details were kept in the center.
(我尝试的第一个ALPHA图片，我注意到部分羽毛的信息的损失。羽毛的顶端还好说，但是我需要尽可能清晰的底部。 我决定增加ALPHA图片的大小，保证羽毛调整到顶部，将必要的细节放在中心。)

After trying the first test alpha feather, I then made a few more feather alphas for added variety so as not to have any major discernible repetition. Pressing Alpha:Flip H on any given alpha can also buy you one more alpha variant to break things up even more.
(在第一个试验ALPHA羽毛之后，为了不使羽毛太单一，我又做了一些羽毛的ALPHA。按Alpha:Flip H在任何调用的ALPHA上可以使你的ALPHA在方向上看起来有所不同。 )



Return to the bird tool in Zbrush, and subdivide to level 6 or 7. In this case, 7 was the highest used. Now clone the Birdhead subtool and Append it twice to the subtool list. I renamed one clone FeatherSet.01 and the other FeatherSet.02. We’ll save the BirdHead subtool as a backup and move it down the list using the arrow keys which are located at the bottom of the subtool list.
(在Zbrush里返回到鸟的工具，并且细分到6或者7级。这个例子中，7级是使用的最高细分。 现在克隆birdhead的子工具并两次调入到次物体工具里面。我在这里给他重命名为FeatherSet.01和FeatherSet.02。我们保存鸟头的工具备份并用次物体工具列表里的箭头按钮移动他们到列表下面。)

As a little safety precaution for the FeatherSet subtools, we’ll click Toolayer:New for both subtools. Now if anything should go astray, we can always slide the layer slider back to 0 and start over. A morph target is also a good alternative if it’s not already being used.
(作为一个小的安全措施，我们可以为两个羽毛的子工具使用Toolayer:New 。这样如果有错误的地方，我们可以滑动层面板下的滑块回到0得到初始状态。如果没被使用，morph target也是一个不错的选择。)
Now set:
(设置如下

Alpha = the feather alpha.
Brush:Std .  
StrokeragRect .
Z Intensity = 25, with Zadd.



[ 本帖最后由 火柴盒 于 2008-4-25 11:27 编辑 ]

火柴盒

Click and drag feathers in the direction they would flow on the actual bird. Space them so that there is minimal overlap or at least little to no noticeable overlap of the feather details.
(点击并拖动鼠标在模型上按照鸟类羽毛的方向画出羽毛。在羽毛之间留下些空隙以免羽毛重叠，尽量不要有能破坏羽毛细节的重叠。)

Cycle through your feather alpha collection finding the best alpha with a curve in the feather that compliments the form of the bird.
(继续用羽毛的alpha堆积出最佳的羽毛排列)

Don’t forget to horizontally flip your alphas if the bow of the feather needs to run the other way. You may find you can get away with applying these feathers with Transform:>x< on to activate x axis symmetry. However, when feathering the front, top, and back views, it will become apparent when to turn off the symmetry and go freestyle.
(如果羽毛的弯转方向需要翻转，不要忘记水平翻转你的alpha。 你发现可能，你依然开着X轴对称。 不过，当在前面，顶和背面视图时，关上对称可能使你的模型更真实。)

When you have given the FeatherSet.01 subtool a good first pass, select and turn on the visibilty of FeatherSet.02 while FeatherSet.01 remains visible. Adjust the Z intensity of the standard brush to 28 now and draw a new set of feathers through the FeatherSet.01 subtool until they appear to overlap (or underlap) the feathers of FeatherSet.01.
(当你完成第一个羽毛子物体后，在第一个羽毛子物体仍然显示的状态选择并显示第二个羽毛的子物体工具。调整standard笔刷的深度到28，托拽出一套新的羽毛，使其部分浮现于第一个羽毛子物体之上。)

Due to the nature of the auto fade of the sculpting brush alphas, the displacement intensity of the outer edge is less than the center. This makes it possible to slide the top of the feathers under existing feathers.
(因为之前修改过羽毛的ALPHA,使其边缘的位移深度比中间的少，现在羽毛可以出现一种很好的覆盖的效果)

Once the bottom feathers around the neck are placed in a fairly filled out fashion, we can begin painting a mask on the undisplaced geometry. Begin with either feather subtool while the unselected subtool is hidden. Work your way around until the bottom straight edge is masked. When masking is complete, press Tool:Masking:Inverse followed by pressing Tool:Masking:HidePT.
(当完成脖子下面的羽毛后，我们可以开始绘制一个遮罩在没有变化的模型上。选取任意一个羽毛的子物体工具并把没选择的隐藏掉，沿羽毛的边缘选取一个连续的遮罩，画完后，按Tool:Masking:Inverse然后按Tool:Masking:HidePT。)



Left to right:Masking, Invert Mask, and HidePt.
(从左到右为：遮罩，翻转遮罩，隐藏未遮罩。)
Repeat for the remaining FeatherSet and adjust masking if necessary. You can toggle the visibilty of the two subtools to check if the masking was thorough enough.
（在另一个羽毛的子物体上重复上述步骤，如果需要的话重新调整一下遮罩。你可以在羽毛子物体工具之间来回切换显示检查遮罩是否足够。）



Once both featherset subtools are completed, you can turn on the visibility of the beak and both eyes to inspect the piece as a whole. I would frequently have either the beak or one of the eyes selected in order to view the feathers in the same value.
(两个羽毛子物体工具完成后, 你可以打开嘴部和眼睛的显示整体上检查每个部分。我会频繁选择额嘴或眼睛的当中一个检查两侧羽毛是否有相同的明暗关系。 )

火柴盒

Sorting the Feathers :
(排列羽毛)
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Next we need to tidy up the feather overlapping by either pushing or pulling the feathers that are not properly ‘settled’ such as the example shown here.  
(下面我们需要整理羽毛的重叠，通过适当的推挤或拉扯使羽毛不是那么的‘安定’，如下图所示)


Notice the crashing of the middle feather into the left most feather? To fix this we can first set a morph target in the selected subtool by pressing, Tool:Morph Target:StoreMT.
（注意到羽毛之间的问题了么?整理这里我么可以先在选择的子物体工具上设置morph targe，按Tool:Morph Target:StoreMT.）

To lift the middle feather out of the other, we’ll set:
（为提高中间的羽毛我们这样设置：）
Brush:Elastic .
Alpha = Alpha00.
Strokeots .
Z Intensity = 15 with Zadd on.


As we build up strokes over the feather, you can see it gradually lift out from the bunch, leaving the feather’s detail. If you look closely, I accidentally pulled too much of the underlying surface through the inactive subtool.  
(在我们做好的羽毛上雕刻, 可以将他们一起慢慢抬高，描绘出羽毛的细节。如果你仔细看，能看到我不小心抬起了太多区域在另一个子物体之上。 )



Switch to the Morph brush, adjust brush size and intensity to suit, and push back any over extended surface.
(换到Morph笔刷,调节到合适的笔刷大小和强度把多出来的表面刷回去。)

Give the model a once over and look for any more areas that need this kind of attention. We are almost to the end.
(大体检查一下模型看是否有需要重复上述步骤的区域，这就差不多完成了。)
Fluffing the Feathers :
(仔细的调整羽毛 )
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Remember that extra subtool that was our backup, named BirdHead? Select it and make sure it is at the highest subdivision. Turn the visibilty of the clones off. Create a New 3D Layer if you haven’t already done so and begin drawing on feathers like before except this time, they are not to touch each other. You don’t need to cover the whole bird but check your reference. In this case, the back of the neck is a good area along with the side of the neck. Basically you just want to break up the silhouette and give a feel of some depth to the feathered area.  
(记得我们之前的备份的叫鸟头的子物体么？选择并确定它是在最高细分下的。关闭该克隆物体的显示，创建一个新的3D层，如果你跳过这步直接在羽毛上雕刻，他们将不会结合起来。根据你的参考，并不需要将整个鸟都用羽毛包裹起来，也就是说，你只需要一个有羽毛形状的轮廓就可以了。)


Now under Toolayer move the layer slider back to 0, go to E Smth and S Smth and slide both down to 1. Lastly, move the Thick slider down to 0. Press Make 3D.
(在Toolayer下面移动图层滑块回到0，在E Smth和S Smth的滑块回到1。最后移动Thick滑块到0。 按Make 3D。)


You should now have a new subtool created based on the strokes just made from the BirdHead subtool resting on the very surface of the subtool from which they were made.
(您现在应该根据笔触创造了一个羽毛形状的次工具，在完成的次工具表面上)

Next: (下一步)

Return to the BirdHead subtool and make it visible. (回到鸟头的子物体工具并使他显示在画布上)
Move the 3D Layer slider back to 1 so the feathers are visible once again. (移动图层滑块到1使羽毛重新显示。)
Reselect the LayerSkin subtool with the feathers and press Tool:Geometryivide once. (再次选择羽毛的按Tool:Geometryivide)
Select Brush:Zproject. (选择Brush:Zproject)
Select Alpha:Brush00. (选择Alpha:Brush00)
Set Strokeots. (选择Strokeots. )
With Zadd on, we’ll now brush over the layerskin feathers until they take on the detail of inactive subtool above it. You may find you get better results projecting, by rotating the model to where the area you wish to project is parallel to the screen. Also make sure X symmetry is off for this part. If you wish, you can sculpt in more detail to make these feathers unique.
(开启Zadd模式, 我们现在刷出羽毛在其他未激活的子物体工具的细节之上。通过在你希望映射平行于屏幕的区域转动模型。你可以找到你更好的映射。确定X对称关闭。如果你愿意,你可以详细地雕刻这些羽毛，让他们看起来独特一些。)

火柴盒

After you are satisfied with the indiviual feathers, we’ll paint a mask over one of the feathers. Invert the mask, and invoke Transpose mode by pressing ‘ w’. Create an action line on the feather by clicking near its top, and dragging to near its bottom. You can now use the Transpose rotate feature and lever the feather away from the body.
(在你调整好羽毛之后, 我们在一个羽毛的子物体工具上画出一个遮罩。翻转遮罩, 按W键转换编辑模式到移动。创造一条行动线，在羽毛的头部附近点击并拖动到羽毛底部附近。你可以任意旋转或移动着个羽毛。 )


adjusting process. Feel free to turn the visibility of the Birdhead subtool on to get an idea of how much to rotate the feather from the rest of the body.
(不要忘记行动县中间的圆圈可以根据旋转轴扭曲整个羽毛。选择一根新羽毛开始调整时清除遮罩。也可以打开鸟的身体的子物体工具的显示确定羽毛如何旋转并离开身体地距离。 )

When you have all the feathers positioned, turn on all essential subtools for evaluation. If there are still sorting issues with the feathers, use the Elastic brush like mentioned above or even try the Move brush to correct aggressive clipping.
(当所有羽毛做好后,显示所有的子物体工具察看。如果仍然有羽毛排列得不好, 使用Elastic笔刷象上面提到的办法移动笔刷修改一下。）


And finally... Looking back in hindsight, I would have liked to have tried consolidating the the subtools into fewer, by Zprojecting details from one entirely onto another. This may require retopology again but may be worth a try in the future.
（最后： 事后看来, 我希望能减少几个次工具把它们合并在一起, 然后将细节全部映射一下，也许需要重新拓补一下，不过还是以后再说吧。）
I hope this tutorial was helpful and assists you in your getting desired results in your future projects.
（我希望这个教程能帮助你。）
A big Thank You to the Pixologic Team!
（感谢你，Pixologic团队!）
来源：译文3D网