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在创作这个角色的过程中，没有任何草图，我只是想创造一个可爱的卡通兔子角色。我当时想到的唯一的参考就是电影《太空果酱》中兔八哥的女朋友，但我没有使用任何实际的视觉参考，以避免复制那个角色。

There weren't any sketches or concepts done in the process of creating this character, I simply wanted to create a cute, cartoonish bunny character. The only reference I had in mind at the time was of Bugs Bunny's girlfriend from the movie, Space Jam, but I didn't use any actual visual references in order to avoid copying that character.

我的第一次尝试有点奇怪。我不容易让兔子看起来性感、有趣、迷人，而我却得到了一个令人感觉不安的“东西”。所以，我以夸张的比例创建，更多地集中在人物的脸上，试图达到一种吸引人的目的。

My first attempts were kind of strange. It wasn't easy for me to make a bunny look sexy, funny and charming all at the same time, and instead I was getting a rather disturbing "thing". So I played around with exaggerated proportions and focused more on the character's face to try and achieve an appealing look.

第一步是创建整个身体的主要比例。从一个2x2x2的立方体开始，我做了一系列的面挤压，调整顶点来定义主要的正面轮廓和整体轮廓(图01)。

The first step was to block the main proportions of the full body. Starting with a 2x2x2 cube, I performed a series of face extrusions, tweaking vertices to define the main front silhouette and profile (Fig.01).

图01

一旦我对它感到满意，我就开始添加边缘循环，随机切割面，并在需要的地方添加细节。在这一点上，它看起来有点恐怖，而且有很多3- 5面的脸(图02)。

Once I was happy with it, I started adding edge loops, cutting faces randomly and adding detail where needed. At this point it looked sort of creepy and there were a lot of 3- and 5-sided faces (Fig.02).

图 02

由于当时我的注意力不集中，而且由于它的主要目的是为了做一个静止的图像，当我把所有的问题都解决了的时候，进行保存(图03)。

Due to my lack of care back then, and since its main purpose was for a still image, I left all the faces that way, but when I smoothed all the problems showed themselves (Fig.03).

图 03

大约过了两年，我打开了我的旧文件，一次又一次地完成它们(大多数3D艺术家都知道我在说什么)。然后我开始清理大部分的多边形流，删除面，添加新的，并优化拓扑，通过选择匹配的面并从模型中复制它们，从而在这个网格中创建衣服。这是一种众所周知的方法，我用它来装饰我创作的大部分卡通人物(图04 &图05)。

About two long years later, I opened my old files to finish them once and for all (most 3D artists will know what I'm talking about). Then I started to clean most of the polygon flow, deleting faces, adding new ones, and optimizing the topology to create the clothes from this mesh by selecting the matching faces and duplicating them from the model. This is a well known method I use to dress most of the cartoon characters I create (Fig.04 & Fig.05).

图04

图05

头发是由拉出的NURBS曲线和挤压的平面构成的;眼睛是被转化成波的球体(图06)。

The hair was made by drawing NURBS curves and extruding planes along them; the eyes are NURBS spheres converted to polys (Fig.06).

图06

我打开模型，试图让接缝远离视图。我把腿、胳膊、手、脚、头、躯干和耳朵分开，然后把所有的部分都缝合起来，除了耳朵。结果是一个很好的展开的网格和一个单一的UV外壳(图07)。

I unwrapped the model, trying to keep the seams away from the view. I unwrapped the legs, arms, hands, feet, head, torso and ears separately, and once all of them were unfolded I sewed all the parts together, except for the ears. The result was a nicely unfolded mesh in one single UV shell (Fig.07).聽

图07

衣服和其他身体部位，如眼睛、牙齿和舌头，也以同样的方式展开(图08)。

The clothes and other body parts, such as eyes, teeth and tongue, were also unfolded in the same way (Fig.08).

图08

我选择了一个蓝紫色的颜色方案来做最后的渲染，所以这些是我在贴图上使用的颜色。身体的肌理是手绘的——没什么特别的;这些衣服纹理是从整体纹理开始的:第一卷和细节是用一些自定义笔刷绘制的。我为所有的纹理制作了一个遮挡通道，并使用它们对最终的贴图进行着色，同时添加阴影区域(图09和图10)。头发是用Photoshop绘制的。

I chose a blue-purple-pink colour scheme for the final render, so those were the colours I used for the maps. The body texture was hand painted - nothing fancy; the clothes were textured using textures from Total Textures: Volume 1 and details were painted using some custom brushes. I baked an occlusion pass for all of the textures and used them to colorize the final maps, and to add darker areas at the same time (Fig.09 & Fig.10). The hair was hand painted in Photoshop.

图 09

图10

这些材料非常简单(带有一个非常凌乱的材质网络):衣服使用了一种带有非常低的镜面值和没有反射的blinn材料，而机身使用了MISSS_fast_simple(图11)。这些散射层是用身体纹理作为参考，并将其着色为一种红、粉红的颜色。

The materials were very simple (with a very messy shader network): the clothes used a blinn material with a very low specular value and no reflection, and the body used a MISSS_fast_simple (Fig.11). The scatter layers were painted using the body texture as a reference and colorized to a reddish-pink colour.

图11

在一年多以前，我用这个角色和我的另一个角色，学习了玛雅操纵角色的基本知识。这是一个很长的过程，涉及到几个教程和从互联网获得帮助。我把两个不同的角色——一个瘦的可爱的兔子和一个又胖又丑的红魔鬼——用同一个系统做了手脚，而且都很好用(图12)。由于表面拓扑的局限性，这张脸只有几个混合形状，但其结果对我的目的来说已经足够好了(图13)。

I used this character, along with another one I had, to learn the basics of character rigging in Maya more than a year ago. It was a long process involving several tutorials and getting help from the Internet. I rigged the two very different characters - a thin, cute bunny and a fat, ugly red devil - with the same system, and both worked very well (Fig.12). The face had just a few blend shapes due the limitation of the face topology, but the result was good enough for my purposes (Fig.13).

图12

图13

灯光设置由一个区域的光作为主要的光源，两个聚光灯-一个作为一个边缘光和一个为背景和眼睛的反光。这个场景只是一个曲面。最后的集合在3000x4000像素的情况下，仍然呈现在精神光线中。花了大约四五个小时才完成。我做了几个姿势，但其余的都是由于时间限制(图14和图15)，在900x1200像素下完成。

The lighting setup consisted of one area light for the main character, two spotlights - one as a rim light and one for the background - and glowing planes for the reflections in the eyes. The scenario was just a curved plane. The still was rendered in Mental Ray with Final Gather turned on at 3000x4000 pixels. It took about four or five hours to finish. I made several poses, but the rest were rendered at 900x1200 due to time limitations (Fig.14 & Fig.15).

图14

图15

我用Photoshop在最后的图像上添加了一个更温暖的色调。首先，我调整了曲线调整图层和照片滤镜，然后稍微调整了整体水平，使图像更加明亮。我添加了一个轻微的透镜模糊使用从Maya的深度传递，这对最终渲染没有真正的区别，但这是一个高分辨率的图像。最后的调整是一个灰度级的股票图像，在两种不同的混合模式下的完整组合，以及低的不透明度值，以提供不那么干净的背景(图16)。同样的方法也适用于我做的其他5个渲染(图17和图18)。

I used Photoshop to add a warmer mood to the final image. First I adjusted the tone with a Curves Adjustment Layer and a Photo Filter and I then adjusted the overall levels slightly, to make the image brighter. I added a slight lens-blur using a depth pass from Maya, which made no real difference to the final render, but a big one to the high-res image. The final touch was one greyscale stock image over the full composition in two different blending modes, and a low opacity value to give a less clean look to the background (Fig.16). The same method was applied to the other five renders I made (Fig.17 & Fig.18).

图16

图17

图 18

这是我最喜欢的作品之一;我从这张图片中学到了很多东西，当然还有很多东西要学。在这个图像上做的工作涉及到很多我日常工作中仍在使用的东西，整个过程也很有趣(当然，在等待渲染的时候除外)。

This is one of many of my dearest works; there are many things I learned from this single image, and of course a lot more things to come from it, I'm sure. The work done on this image involved lots of things I still use in my daily works, and the entire process was a lot of fun too (except, of course, when waiting for the renders!).

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