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Info On this project I used maya for the base model, zbrush for details, Photoshop for texturing and matte painting, shave and haircut for the hair and mentalray for rendering. Inspiration When I first saw the dark knight movie posters I really liked them - especially one of them. I decided to try to do something similar, just for fun, but I didn’t want my character to look like Heath Ledger; I wanted to do something that was similar, but still original. Modeling I started the base modeling with the head area. I didn’t use any model sheets or reference images and I tried a different method. I usually do use model sheets and start with a poly cube and extruding faces, adding resolution step by step. But for this one I started with a poly face and extruding edges. Once I finished the head I decided that the method was quite convenient, so I decided to model the rest of the character the same way. I took a generic male model, which I found in a gnomon training DVD, and I made it live, so that I could use it as a reference for extruding edges. At the end I had to make some modifications because the reference model was too muscular and I didn’t want the joker to look like some kind of body builder

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One thing to point out is that I wish that I had used a model sheet for the face at least. The reason for this is that - it may not be obvious in my poster - but the eyes are too close together and using a model sheet would have eradicated that problem.Once I finished the base modeling and uv mapping I did a quick smooth bind, posed my character and exported everything to zbrush.

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DetailsI imported the head model into zbrush and appended the rest of the model as sub tools. When I start sculpting in zbrush I always try to focus on the overall picture and gestures first; I do not worry about all the minor adjustments and surface details until I’m satisfied with the general appearance. Most of the time I attend to rely on bump maps, as opposed to creating high frequency details in zbrush. The only area that I did use high frequency details on was the face. I spent less time on sculpting the trousers than the rest of the model because, based on the lighting that I had in mind, I knew that it was going to be almost black in the final image. Once I was finished with the sculpting I exported every piece with a normal map. The mesh that brought to maya was 148712 polygons. TexturingTexture painting seems to be the most time consuming part for me. I often rely on photoshop and I use zbrush for refining seems - using the projection master. Sometimes I use zbrush for creating what I call a "guide map" for some areas that are hard to recognize in photoshop. For instance, when I’m texturing a face in photoshop, it’s kind of hard to say where exactly the textures for the lips or the eyes, or a certain wrinkle on the skin should be, and that’s where the guide map may be useful. I know that there are several techniques for that problem, but that’s what I’m comfortable with and I believe that, whatever workflow you like - as long as it gives you neat results and doesn’t take too much time - is ok. The face was one of the areas that I spent more time on and it was the only area for which I used photos for the texture painting. For the rest of this character I painted textures using different photoshop techniques and, of course, lots of dirt masks and different brushes.

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Lighting and RenderingAfter I was finished with texture painting I exported all my textures as ".tif" files and I was ready for shading and rendering. One thing about importing ".obj" objects from zbrush3.1 to maya is that, for some reason, it imports them with visible in reflections and refractions turned off, so I had to turn them on for all the pieces before I started shading. I used regular maya blinn shaders for all my objects, except for the head. For the head I used a mental ray fast skin shader because it’s so user friendly, it’s great for skin shading, and it's cheap in comparison with complex shading networks. I set the reflections to 0 for all the clothes, except for the gloves. For the gloves I took a ”sample info" and a "ramp texture" and I connected the "ramp" into the shaders reflection channel and turned reflection blur on. Then I started bringing in textures (color,bump,normal map,specular color...) for each piece, one at the time. Once I was satisfied with shading for all my objects, I started to work on his hair. I used "joealter shave and haircut" for the hair and I think it’s the most user friendly hair plug-in for maya and it works amazingly with "mental ray"

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Once the hair was finished I disabled it and took my "source images" directory and copied it somewhere else. I took all my textures and resized them to *512 by 512 “so that I could set my lighting faster and cheaper. Then I turned "final gathering" on and started to setup my lights. The major light that I used was a big "poly plane" on the right side. For this, I turned primary visibility off and assigned a "lambert" shader to it; then I mapped its incandescence with a "ramp". I had a white "area light" on the right side and a greenish blue "polyplane" on the left side, both illuminating the head and the shoulders area, whilst I used a "spot light" with some drop off for the back light. Once I was happy with the lighting I enabled the hair and replaced my resized "source images" directory with the original one that I copied earlier, thereby rendering the whole character. Once I finished rendering the character I started modeling the background buildings. The buildings were just simple poly models with texture maps in a different scene and I rendered each one of them on a different layer

Post editingOnce the rendering was finished I brought all of the rendered images into photoshop and put them in one "psd" document. I started post editing by doing some matte painting on the background buildings, adding some atmosphere and doing some modifications on the debris, which was modeled using "paint geometry tool" in maya after the matte painting for the buildings was done. The rain was made up of three different layers, each made using "maya paint effects" with some color adjustments and a screen blending mode in photoshop; two of these layers were placed behind the character and one of them in front of him. I did some paint overs on the character himself; especially on his hair. Some textures were added in bottom of the artwork and on top of all the other layers, using basic photoshop techniques. Finally, I added the batman logo and it was finished.

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不错阿! 就是没人翻译!

Making of The Joker 蝙蝠侠中大反派”小丑”Joker的制作

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文章背景： “小丑”（Joker）是《蝙蝠侠6》中的头号反派，但他的出现竟是蝙蝠侠一手做成。小丑的真正名字不详，但他家庭潦倒，精通化学的他曾任职Ace Chemical公司。在妻子怀胎时为了钱而受黑帮指使在公司窃取机密。他当时头戴红色火柴头头罩称自己是Red Hood，在逃避蝙蝠侠追赶时失足跌落化学池。再出现时头发漂成绿色，皮肤惨白，面貌及性格大变。 在《蝙蝠侠6》中扮演“小丑”的希斯·莱杰（Heath Ledger）于今年1月22日意外离世。

Info 前言 On this project I used maya for the base model, zbrush for details, Photoshop for texturing and matte painting, shave and haircut for the hair and mentalray for rendering. 在此项目中，我利用Maya制作简模，Zbrush勾勒细节，Photoshop进行纹理创作并合成背景（matte painting），Shave and Haircut处理头发，Mentalray来进行渲染。 Inspiration 创作灵感 When I first saw the dark knight movie posters I really liked them - especially one of them. I decided to try to do something similar, just for fun, but I didn’t want my character to look like Heath Ledger; I wanted to do something that was similar, but still original. 记得最初看到黑暗骑士的电影海报时，我真的好喜欢！特别是其中的一张，让我决定试着做些什么来自娱自乐一下。我不希望自己做出来的人物和Joker的扮演者Heath Ledger长的一模一样。我要做的是忠于原作，但又不失原创~

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p.s.:我想着就是他的灵感来源:-S Modeling 建模 I started the base modeling with the head area. I didn’t use any model sheets or reference images and I tried a different method. I usually do use model sheets and start with a poly cube and extruding faces, adding resolution step by step. But for this one I started with a poly face and extruding edges. Once I finished the head I decided that the method was quite convenient, so I decided to model the rest of the character the same way. I took a generic male model, which I found in a gnomon training DVD, and I made it live, so that I could use it as a reference for extruding edges. At the end I had to make some modifications because the reference model was too muscular and I didn’t want the joker to look like some kind of body builder. 我从头部开始着手建模。不同以往的是，这次我没有预先打草图（model sheets）也没有用任何参照图片。之前，我总是先画个设计稿，然后以多边形立方体（poly cube）面挤出（extruding faces）开始，一步步的添加细节。但是这次，我选择由面（poly face）开始挤压边（extruding edges）。当完成头部的建模后，我发现上述新办法实在比以往省事不少~~所以我用这种方法完成了角色其他部分的建模。我从《Gnomon Training DVD》（p.s.在电驴上可找到相关资源链接）中找来一个通用的男性模型放进场景中，用他作为参照物来调整其它模型的比例。但最终，我忍不住对他做了些修改，因为这位老兄看起来实在太壮硕了，我可不希望我的Joker看上去像个肌肉男！ One thing to point out is that I wish that I had used a model sheet for the face at least. The reason for this is that - it may not be obvious in my poster - but the eyes are too close together and using a model sheet would have eradicated that problem.Once I finished the base modeling and uv mapping I did a quick smooth bind, posed my character and exported everything to zbrush. 有点想说的是，我后悔当初建模前没先打个草稿，哪怕只是粗略画画面部结构也好..因为头部完成后我才发现，Joker的两只眼睛实在靠得太近了....(仔细一看，可不是...:yun )虽然这问题在最终看来不是十分明显，但我始终觉得当初若是先打个设计稿的话，就可以避免这种问题出现了...完成简模并调整好UV坐标后，我快速的做好柔性蒙皮（smooth bind），为角色摆好姿势并全部导入到Zbrush中。 Details 细节 I imported the head model into zbrush and appended the rest of the model as sub tools. When I start sculpting in zbrush I always try to focus on the overall picture and gestures first; I do not worry about all the minor adjustments and surface details until I’m satisfied with the general appearance. Most of the time I attend to rely on bump maps, as opposed to creating high frequency details in zbrush. The only area that I did use high frequency details on was the face. 我将头部及其它部分的模型分别导入到Zbrush中。每次我在Zbrush中塑造模型时，我会首先将自己的注意力放在整个画面效果及大体的走势上，直到对整体效果感觉满意后，我才会深入调整那些表面细节。大多数时间，我会依靠凹凸贴图（bump maps），而不是在Zbrush中创建高频细节(high frequency details)。在这次的模型中我唯一一处使用高频细节的地方是人物的面部。 I spent less time on sculpting the trousers than the rest of the model because, based on the lighting that I had in mind, I knew that it was going to be almost black in the final image. Once I was finished with the sculpting I exported every piece with a normal map. The mesh that brought to maya was 148712 polygons. 比起模型的其他部分，我只用了很少的时间来塑造人物的裤子，因为你会发现在后期打上灯光后，图像的这个部分几乎变成了一团黑。（参见最终图，裤子会被隐藏在影子中，因此可以忽略细节）完成塑模后，我将它们全部导出了法线贴图（normal map）。模型（mesh）导入maya时大小为148712面。 Texturing 纹理 Texture painting seems to be the most time consuming part for me. I often rely on photoshop and I use zbrush for refining seems - using the projection master. Sometimes I use zbrush for creating what I call a "guide map" for some areas that are hard to recognize in photoshop. For instance, when I’m texturing a face in photoshop, it’s kind of hard to say where exactly the textures for the lips or the eyes, or a certain wrinkle on the skin should be, and that’s where the guide map may be useful. I know that there are several techniques for that problem, but that’s what I’m comfortable with and I believe that, whatever workflow you like - as long as it gives you neat results and doesn’t take too much time - is ok. 我常常会利用Photoshop和Zbrush的投影大师（projection master）来烘焙材质，这些过程总会花去我很多时间。有时侯，我会使用Zbrush来为一些在Photoshop中很难辨识的区域创建我所云的“引导图（guide map）”。例如，当我在Photoshop中为人物面部贴图绘制纹理时，很难准确的判断到底哪里是嘴哪里是眼睛，或是哪块皮肤上该有道皱纹，这时候引导图就会发挥作用喽。我知道还有很多其他方法可以来解决这个问题，但是比较而言这个办法我用着更顺手。其实啊，只要能达到比较好的效果又不是很费力，你用什么办法都OK啦。 The face was one of the areas that I spent more time on and it was the only area for which I used photos for the texture painting. For the rest of this character I painted textures using different photoshop techniques and, of course, lots of dirt masks and different brushes. 人物的面部是我花费较多时间来处理的部分之一，也是唯一一处我使用照片来绘制纹理的部分。我利用了一些不同的ps技巧来绘制角色其他部分的纹理，当然也用到了很多纹理叠底及各式各样的笔刷。 Lighting and Rendering 灯光与渲染 After I was finished with texture painting I exported all my textures as ".tif" files and I was ready for shading and rendering. One thing about importing ".obj" objects from zbrush3.1 to maya is that, for some reason, it imports them with visible in reflections and refractions turned off, so I had to turn them on for all the pieces before I started shading. I used regular maya blinn shaders for all my objects, except for the head. For the head I used a mental ray fast skin shader because it’s so user friendly, it’s great for skin shading, and it's cheap in comparison with complex shading networks. I set the reflections to 0 for all the clothes, except for the gloves. For the gloves I took a ”sample info" and a "ramp texture" and I connected the "ramp" into the shaders reflection channel and turned reflection blur on. Then I started bringing in textures (color,bump,normal map,specular color...) for each piece, one at the time. Once I was satisfied with shading for all my objects, I started to work on his hair. I used "joealter shave and haircut" for the hair and I think it’s the most user friendly hair plug-in for maya and it works amazingly with "mental ray" 当纹理绘制完毕后，我将所有贴图以.tif格式导出，准备接下来的着色及渲染工作。从Zbrush3.1导出.obj文件到Maya时,不知是怎么回事，导入的东东都是反光且没有折射效果的（visible in reflections and refractions turned off），因此我不得不在开始阴影处理前将所有这些设置一一打开。我为除头部以外的所有的部分选择Maya默认的布林（blinn）材质球。头部则选用Mental ray的快速蒙皮材质(fast skin shader)，它很好用且相对于复杂的阴影网络（shading networks）更容易上手些。我将手套以外的所有的衣服反射值设置为0，而手套部分，我选择了信息采样（simple info）和“Ramp”材质。然后我将“Ramp”关联到反射通道，并Reflection Blur。接着我开始一点点的调整各部分材质(颜色,凹凸贴图,法线贴图,高光颜色...) 。 反复调试直到对各部分的着色效果感到满意后，我开始处理人物的头发，我使用”Joealter shave and haircut”毛发修饰工具，我觉得它真的是maya里最容易上手的插件了，并且如果配合Mental ray使用的话效果更加完美。（“Joealter shave and haircut”我不了解是什么插件，不过作者似乎十分中意它） Once the hair was finished I disabled it and took my "source images" directory and copied it somewhere else. I took all my textures and resized them to *512 by 512 “so that I could set my lighting faster and cheaper. Then I turned "final gathering" on and started to setup my lights. The major light that I used was a big "poly plane" on the right side. For this, I turned primary visibility off and assigned a "lambert" shader to it; then I mapped its incandescence with a "ramp". 头发部分完成后，关闭它，然后把源图像（source images）指引并备份，将全部材质缩放为512*512大小，这样我就可以更加方便快捷的架设灯光了。接着我打开“最终聚集”（final gathering）并开始加入灯光。我用图中右侧的那一大块“poly plane”作为主要光源。关闭“主要可见度”（primary visibility）并指定一个“朗伯”（lambert）材质给它，自发光（incandescence）指定为”ramp”。 I had a white "area light" on the right side and a greenish blue "polyplane" on the left side, both illuminating the head and the shoulders area, whilst I used a "spot light" with some drop off for the back light. Once I was happy with the lighting I enabled the hair and replaced my resized "source images" directory with the original one that I copied earlier, thereby rendering the whole character. 如图，我在人物右侧设置白色的“区域光”，左侧则是青色的“polyplane”，让它们同时照射在人物的头和肩膀部分。然后利用一个调暗的“点光源”（spot light）来模拟那些从人物背后射来的光线。当对所有这些感到满意后，我将头发调回“可用”并用刚刚备份的那个原始文件替换512*512的这个，最后渲染整个角色。 Once I finished rendering the character I started modeling the background buildings. The buildings were just simple poly models with texture maps in a different scene and I rendered each one of them on a different layer 角色渲染结束后，我开始为背景中的建筑物建模。都是一些很简单的多边形，赋予材质后我将它们分层渲染。 Post editing 后期编辑 Once the rendering was finished I brought all of the rendered images into photoshop and put them in one "psd" document. I started post editing by doing some matte painting on the background buildings, adding some atmosphere and doing some modifications on the debris, which was modeled using "paint geometry tool" in maya after the matte painting for the buildings was done. The rain was made up of three different layers, each made using "maya paint effects" with some color adjustments and a screen blending mode in photoshop; two of these layers were placed behind the character and one of them in front of him. I did some paint overs on the character himself; especially on his hair. Some textures were added in bottom of the artwork and on top of all the other layers, using basic photoshop techniques. Finally, I added the batman logo and it was finished. 渲染结束后，我把所有渲染好的图片放入Photoshop存储为.psd文件，进一步的完善。 开始后期编辑，对背景中那些建筑物进行Matte Painting处理。Matte Painting后，我在画面中添加了些气团并给那些用Maya“Paint Geometry”工具制作出的断壁残垣上做了些美化和修饰。还利用三个图层在画面中表现出黑雨淋漓的效果，每层都用到了“Maya Paint Effects”来调整颜色，并最终在Photoshop中进行合成。这三个图层，一个放在角色图层的上层，其他两个置于下层。然后进一步对人物进行修饰和细节处理，特别是头发部分。添加了些纹理到画面中，并用Photoshop进行最终美化和调整。最后，我加上了一个蝙蝠侠的Logo 好了，一幅作品完成了！ ============================================================================== 译者按 因为这篇文章很口语没有什么复杂长句，所以比那篇龙头像的好翻译些 不过！！:D 由于本人刚刚接触ps和3dmax,术语很多都不懂，反复推敲它们是什么意思到快吐掉.. 而且发现很多术语的翻译在国内尚无定论... 大家凑合看或者作为transl sheet使用吧 哈 依旧，术语和不确定词汇用括号标示，添加了些背景资料给没看过这部电影的同学，还有些小备注， 希望能帮到大家。

貌似是这个 Gnomon Training DVD-The Digital Maquette Vol 2