如何结合3D雕塑和数字绘画，完成的pinup-ish插图！ 对于本教程/概述，您需要使用ZBrush和Photoshop。
Read along for a quick 10-step overview of how I combine 3D sculpts and digital painting to make a finished pinup-ish illustration! For this tutorial/overview you'll need ZBrush and Photoshop. (As much as the title and intro sound like a recipe for some exotic dessert, I promise it isn't!)
Step 1: The sculpt: phase 01
Start from a sphere, basemesh, kitbash, whatever works for you! Gather up those references and spend most of your time establishing the volumes and proportions at this phase of the sculpt. It's always a good idea to work from larger shapes and to let that trickle down into smaller shapes as you go. In this case I started from a low-res Dynamesh sphere.
步骤1：造型：阶段01
从一个球体，basemesh，kitbash开始，无论你是做什么工作的！收集这些参考资料，花你大部分的时间建立在这个阶段的造型的体积和比例。它总是一个好主意，从更大的形状工作，并且随着你的流逝让它流入更小的形状。 在这种情况下，我从一个低分辨率的Dynamesh球面开始。
Step 2: The sculpt: phase 02
Once you have dialed in as much of the design as you can with symmetry, it's time to pose the model and refine any artifacts that might have produced. In this case she was posed with the help of Transpose Master. Also I was testing out the custom matcap I've now come to use for base-sculpts, but in this case with a super pronounced cavity transition and color bump to get those crisp edge definitions without spending time sculpting them. And it works!
步骤2：造型：阶段02
一旦你在设计中尽可能多地使用对称性，那么就应该提出模型并改进可能产生的任何工件。在这种情况下，她是在转置大师的帮助下摆好姿势的。此外，我正在测试我现在用于基础雕刻的定制matcap，但在这种情况下，超级明显的腔转换和颜色凸起可以获得清晰的边缘定义，而不用花时间雕刻它们。
Step 3: Render passes
This is one of my favorite parts of the process; setting up the lighting, BPR filters, etc., to get the base-sculpt closer to where I want to take the illustration. Sidenote, of course you could use other rendering solutions if you don't prefer ZBrush's rendering system! (Personally, I love it!) If you're not fully certain which passes you'd need, try them all out! It'd help understand how you can mix and match them, and if you don't need one you can always discard it later.
One other thing to check at this point is the document size (affects perspective distortion) inside ZBrush. For test renders I keep the document size at the default resolution but once the render parameters are dialed in, I'd resize the document to better present the illustration.
步骤3：渲染通道
这是我最喜欢的部分之一，设置灯光，BPR过滤器等，使基地雕塑更接近我想采取的插图。另外，如果不喜欢ZBrush的渲染系统，你可以使用其他渲染解决方案！ （个人，我喜欢它！）如果你不完全确定你需要哪个通行证，可以尝试一下！ 这有助于了解如何混合搭配，如果不需要，可以随时丢弃。
另此处需要检查的另一件事是ZBrush内部的文档大小（影响透视失真）。 对于测试呈现，我将文档大小保持为默认分辨率，但是一旦渲染参数被调入，我将调整文档的大小以更好地呈现插图。
Step 4: Compositing in Photoshop
Using the ZBrush to Photoshop CC plug-in will automate the process of rendering and exporting all the selected render passes, import them all as layers inside one document and organize them as groups. Like all the base color layers in one, the lighting passes in another, shadow/AO passes in yet another and so on! If you need any passes that aren't in the plug-in you could always render and export it manually and load that into the Photoshop document.
After that's done, it's time to start messing about with blending modes and comping the various passes to fine tune the render. Usually my focus here is to fine tune the colors to have a good starting point for when I begin the paintovers. As a general guide for comping passes use additive modes (Screen, Linear Dodge, etc) for lighting/specular passes, and multiply/darken (sometimes Soft Light works too) for shadowy passes!
步骤4：在Photoshop中合成
使用ZBrush到Photoshop CC插件将自动化渲染和导出所有选定的渲染过程的过程，将它们全部导入一个文档中的图层，并将其组织成组。 像所有的基色层一样，照明通过另一个，阴影/ AO通过在另一个等等！ 如果您需要任何不在插件中的通行证，您可以随时手动呈现和导出，并将其加载到Photoshop文档中。
完成之后，现在是开始混合混合模式的时候了，并配合各种传递来微调渲染。 通常我的这个焦点是微调颜色，以便在我开始疼痛时有一个很好的起点。 作为通行指南，通过使用添加模式（屏幕，线性道奇等）进行照明/镜面光圈，以及乘法/变暗（有时还可以使用Soft Light）进行阴影通过！
Step 5: Liquefy time!
After fine tuning the colors, lights, and shadows in the render, duplicate the group with all the layers and merge down the group. This will make further manipulations on the render much simpler!
Once you have the model posed, framed and composited the way you want it, you may want to nudge around the shapes and proportions a little to better fit the needs of the illustration. The Liquify filter inside Photoshop is excellent for this purpose! Think sculpting but in a 2D image. Alternatively you might prefer to simply apply paint to make those changes. Me? I abuse the liquify tool, haha.
步骤5：液化时间！
微调渲染中的颜色，光线和阴影后，复制具有所有图层的组，然后合并组。 这将进一步操纵渲染更简单！
一旦你提出了模型，框架和合成的方式，你想要它，你可能想要轻轻一点的形状和比例，以更好地适应插图的需要。 Photoshop中的液化过滤器非常适合此目的！ 想想雕塑，但在2D图像。 或者，您可能更喜欢简单地应用涂料来进行这些更改。
Step 6: Let the paintovers begin!
Now you can let loose and paintover the render to tighten up areas, change shapes, add details, etc. Oh, and yup, I did decide to have the image flipped at the compositing stage. While the sculpt worked on its own the mirrored version looked more appropriate for the purposes of this illustration. And for most of the painting process I used the default brush with a square tip.
步骤6：让paintovers开始！
现在，您可以loose和paintover的渲染，收紧区域，改变形状，添加细节等。哦，而且，我决定在合成阶段翻转图像。 虽然雕刻工作自己的镜像版本看起来更适合这个例证的目的。 而对于大部分的绘画过程，我使用了一个方形提示的默认画笔。
Step 7: Let's not forget the background
Ah, my arch-nemisis. Painting clouds is 80% therapeutic and 20% torturous. Working from abstract colors to progressively smaller and refined shapes really helped me in this step. Alternatively you could use photobashing or even image sampled brushes, but that's a personal preference! In my case I figured I might as well give it a go and see if I'd want to do more of it in the future. And I do!
第七步：让我们不要忘记背景
啊，我的拱门 绘画云是80％治疗和20％曲折。从抽象的颜色到逐渐细化的形状真的帮助了我这一步。或者你可以使用photobashing甚至图像采样刷，但这是个人喜好！ 在我的情况下，我想我可能会去看看我是否想在未来做更多的事情。
Step 8: More paintovers!
Flipping the canvas periodically helps refresh your perception to see more of the mistakes and areas that can be improved upon. It may also be worth it to take a break from the image for a day, work on something else and to come back to it! Getting the hair shapes to look appealing and still have it feel like flowing hair is what I spent a lot of time on at this point in the illustration. My reference here? Alphonse Mucha!
步骤8：更多的paintovers！
定期翻转画布有助于刷新你的感知，看到更多的错误和可以改进的地方。从一天的图像中休息一下，做点别的事情，然后再回到过去，这也是值得的！在这一点上，我的头发花的形状看起来很吸引人，而且仍然感觉像流动的头发，我花了很多时间在这一点上。我在这里参考 Alphonse Mucha！
Step 9: Finalizing and tying things together
Refine things! We're almost there! Make sure all the areas in focus have nice tight shapes. Sprinkle in some details strategically to guide the image through the image. Also make sure to leave some well-placed resting spaces so the viewer's eyes don't wander off the edges of the image! (Haha, that's devious, I know.)
步骤9：把事情结合在一起
优化东西！ 我们差不多了！ 确保焦点中的所有区域均具有良好的紧密形状。 在战略上撒上一些细节，以引导图像通过图像。 还要确保留下一些放置良好的休息空间，这样观众的眼睛就不会在图像边缘徘徊！
Step 10: Finishing up!
Now to tie up all the loose ends. Adding layers of lens FX, color dodging to make highlights pop, flyaways around hair, etc., now is the time to stack in all of those! I also like at the end to duplicate and flatten all the layers and run it through the sharpen and noise filters to wrap things up.
第10步：完成！
现在把所有的零碎结合。 增加镜头FX层，色彩躲闪，使突出流行，头发周围的飞行等，现在是堆叠在所有这些！ 我也喜欢最后复制并压平所有的层，并通过锐化和噪声过滤器来运行它来包装。
