دانلود آموزش ویدئویی زیبراش ZBrush Color, Texture, and Materials Painting models

نرم  افزار زیبراش چیست ؟

ZBrush نه تنها یک برنامه عالی برای ساخت مجسمه های دیجیتال و 3D است اشیاء، این نیز یک راه عالی برای بافت اشیاء 3D است. شما می توانید بافت را نقاشی کنید به طور مستقیم بر روی یک شی و سپس آن را برای استفاده در برنامه دیگری 3D یا صادرات صادر کنید فقط آن را در ZBrush خود استفاده کنید. به عنوان مثال، من نقاشی کرده ام و یا شروع به نقاشی بافت پوست برای این نقاشی کرده ام شخصیت پیر مرد و من این کار را با رنگ آمیزی رنگ به طور مستقیم در سطح مدل من می خواهم نشان دهم چگونه این کار را انجام دهم. این است مدل oldMan_Painted2؛ من قصد دارم یک کاراکتر قدیمی دیگر را بارگذاری کنم. انجام میدهم بسیاری از شخصیت های قدیمی مرد ظاهرا دارند. بنابراین بگذارید oldMan_v01 و مطبوعات F به مرکز و در اینجا او است. من قصد دارم به مواد اولیه و در حال حاضر ما می بینیم، این فقط یک رنگ سفید در اینجا است. هنگامی که یک رنگ را به یک شی در ZBrush اعمال میکنید، رنگها در واقع اعمال میشوند به رأس جسم. به عبارت دیگر، اگر حالت قاب را روشن کنم می توانم ببینید، هر نقطه در اینجا شامل اطلاعات RGB و سپس رنگ خواهد شد که در این نقاط ذخیره می شوند در سراسر سطح چند ضلعی مخلوط می شوند خود را برای ایجاد یک رنگ خوب و صاف به دنبال. فشرده کردن فوکوس برای کوچک کردن و من هستم فریم کردن را خاموش می کنم، من قصد دارم زیر شاخه ها را افزایش دهم. درست مثل اینکه شما هستید کار در فتوشاپ با یک تصویر 2D، پیکسل های بیشتری که دارید، بیشتر است اطلاعاتی که در تصویر دارید و منظره تصویر را نگاه کنید و جزئیات بیشتری به آن می توانید وارد شوید ZBrush همانند است، اما در حال حاضر ما در مورد نقاط و نه پیکسل صحبت می کنیم. بنابراین اگر هدف من به نقاط زیادی برسد، رنگهایی که من روی آن رنگ میکنم خواهد بود نگاه خیلی نرم و صاف من این را تا حدود دو میلیون چند ضلعی درست کردم وجود دارد که یک شروع خوب است. بنابراین برای شروع نقاشی به طور مستقیم در مدل، من رفتن به پالت بافت و من قصد دارم به روشن رنگ آمیزی کنید و حالا من می توانم یک رنگ را از Color Picker انتخاب کنم. شما متوجه می شوید چشمان او رنگ در حال تغییر هستند. چشمان او یک زیرمجموعه جداگانه است .

  his teeth. So they are picking up the  color automatically, they don't have

  Colorize on. So as I change the color,  you will see the eyes change as well.

00:02:20  Well, let's pick a deep red. Now as I  paint on the model, you are going to see

00:02:25  a couple of things happen. You see a  color, but you also see a raised lump. It

00:02:31  is because I have Zadd on. So I'm  going to undo that and sometimes when you

00:02:38  undo, Colorize turns off, so I'm  turning Colorize back on and turning Zadd off

00:02:45  and now, as I paint on the model,  I have a nice, smooth stroke.

00:02:49  If I lower the subdivisions of the  model, you can see the stroke becomes

00:02:55  blurry, as I raise it, it's still  nice and smooth. However, if I lower the

00:03:01  subdivisions and then paint on the  model and then raise it, it's not quite as

00:03:07  smooth. So this is why you have got to  remember, always do your Poly Painting

00:03:12  at the highest subdivision level where  you have lots and lots of polygons to work with.

00:03:16  So I'm going to remove this red  stroke that I have painted on the model by

00:03:20  choosing a white color, we go to the  Color palette, do Fill Object and this is

00:03:26  just like the Paint Bucket in Photoshop,  I'm just clearing out the whole object

00:03:31  with a white color. In fact, if I  want to start painting some skin, maybe I

00:03:35  will choose more of a pinkish hue,  because I like s pinkish hue and then choose

00:03:42  Color  Fill Object. A little bit dark,  but that's okay. It is just my base

00:03:48  layer, maybe I will pick something  lighter and I'm ready to start Poly Painting.

00:03:53  To do the actual painting on the  surface, I'm going to use my sculpting

00:03:56  brushes, and what's great about this  is that I can also use Alphas with the

00:04:00  sculpting brush and even change to a  different type of stroke. I'm going to

00:04:05  lower my RGB Intensity. When you lower  the RGB Intensity, you are lowering the

00:04:11  opacity of the brush stroke. So  let's raise the Draw Size here and start

00:04:16  painting on the surface. So what that  means is you are lowering the opacity, so

00:04:21  the base color is going to blend with  the colors that you paint on here. If I

00:04:25  raise it up to 100%, this is what we get.  Let me press Ctrl+Z to undo that, but

00:04:31  if I lower it, even to about 8, it's  like a very light coat with an Airbrush on

00:04:39  the surface of the model and as I paint,  I can blend different colors together

00:04:45  to create sort of the color regions of the face.

00:04:51  This technique is known as Poly  Painting because I'm painting directly on the

00:04:54  polygons. I usually spend a long  time doing this, but I'm not going to go

00:04:58  through entire process here, but just  give you an idea of how to get started.

00:05:03  What I like to do is I like to build up  the color over several layers, changing

00:05:09  Alphas, changing Colors, changing  Intensity as I go because a believable face

00:05:15  is going to have a lot of variation in  it. Actually, one of my favorite Alphas

00:05:19  to use is the Spray Stroke, the Circle.  When the Circle start to overlap, they

00:05:27  create kind of a nice texture. A  little bit more warmth for this part of the

00:05:32  cheeks, maybe some coolness, just a  little bit down in this area, on the beard

00:05:43  line. Paint red where blood vessels are  closer to the surface, and the ear lobe

00:05:51  and these parts of the ears.

00:05:55  Poly Painting is one of my favorite  parts of ZBrush. I really get lost in it. I

00:06:00  get a lot of enjoyment out of it.  All right, well he has got a little bit of a

00:06:04  make-up going on there, but that's  okay. Other things that you can paint

00:06:10  obviously, include details such as  freckles and other types of spots, pores and

00:06:23  so on and so forth. When I have  painted a model and I'm ready to convert this

00:06:28  into a texture, I just go to the  Texture sub-palette and I press Color to

00:06:34  Texture and this converts it to a  texture which is now stored in the Texture

00:06:39  palette. I can export this texture and  then use it in my other 3D programs such

00:06:45  as Maya and 3D Studio Max.

00:06:47  The thing to keep in mind is, it's  a good idea to have your UV texture

00:06:51  coordinates laid out ahead of time  before you convert the color to a texture.

00:06:57  Now if I switch textures here, it looks  like I have lost all of the work that I

00:07:02  put into painting the texture, but  that's not the case. Remember, that the

00:07:06  texture is just wrapped over the model.  The color that I painted on the texture

00:07:10  is still there. If I turn Texture off,  you can see it, it hasn't been lost. And

00:07:16  what's great is I can store this color,  this paint job with the model. Every

00:07:20  time I load the model, that  color information is still there.

00:07:23  So what that means is I can make  several variations of the texture. If I need

00:07:28  to make a 1024x1024 version of the  texture, I can do that by sizing it and

00:07:35  exporting that version, but I could  also export 2048x2048 version of the

00:07:40  texture and so on and so forth. It's a  very wonderful workflow because you only

00:07:45  have to paint it once, but you can  create many variations of that texture

00:07:48  depending on what you need  for your animation program.