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帆船制作（英文原创教程翻译）
Making Of Ship
船的制作
“This image was produced as a personal project. I wanted to challenge myself
and use the
opportunity to improve my inorganic modeling, texturing and rendering skill and
techniques.”
“ 这张图是我个人创作的作品，我想挑战一下我自己并利用这个机会来提高我的建模、贴
图和渲染的技能。”
Software used::3ds Max, Pro UVLayout, xNormal, Photoshop and V-Ray
使用软件：3ds Max, Pro UVLayout, xNormal, Photoshop 和 V-Ray
Introduction介绍
Hello, my name is Moises Gomes and in this article I will talk a little about
the production process for this image.
大家好。我叫Moises Gomes，在这篇文章里我将浅谈关于这个图像制作的过程。
Before starting I would like to thank and give due credit to artist David
Carvalho, who worked with me on the concept of the ship, and to my friend and
artist, Estevão Teuber, for the assembly and integration of photographs. I will
cover the whole process from beginning to end.
在开始前我要感谢和赞扬艺术家David Carvalho，他和我一起为这个船做概念设计，我还
要感谢我的艺术家朋友Estevão Teuber，是他合成了这张照片。我将从头到尾详解整个制
作过程。
Concept概念设计
The idea was to create a ship that was in sailing in turbulent weather. After
some sketches and drawings I decided on this design (Fig.01 – 02).
我的想法是创造出一艘在恶劣的天气中行驶的船。在绘制了一些草图之后我决定采用这个
设计(图01-02)
Modeling建模
The next challenge was the modeling. This model was very complex to do, because
despite being an inorganic object it still had to look very functional. The
following images show the modeling process (Fig.03 – 04).
下一个挑战是建模，这个模型做起来非常复杂，因为尽管是结构无序的物体，每个部件仍
然需要看起来非常有用。下面的图片展示了模型的制作过程。（图03-04）
To begin with I started concentrating on the main forms and general structure
of the vessel. This is a very important process as it is necessary to make sure
all of the proportions are correct (Fig.05 – 06).
刚开始我就把注意力集中在船的主要构造和大形上，这是一个非常重要的过程，因为这对
确保正确的比例是很重要的。（图05-06）
After I had worked on the main form and shape, I moved onto the detailed
modeling and started to add all of the features (Fig.07 – 08).
在我完成主要结构和形态之后，我开始着手做模型的细节并开始加入所有的外形特征。（
图07-08）
At this point the modeling was almost complete. During the process I made a few
changes in the layout and the overall design, and made the front of the ship
look more like a monster(Fig.09).
这时候模型基本上完成了。在这个步骤中我在布局和总体构思上做了一些改变，并且使船
头看起来更像一个怪兽。（图09）
These images show some of the changes that I made (Fig.10).
这些图像展示了我所做的一些改变。（图10）
Here is the final result (Fig.11).
这是最终的结果
Texturing贴图
The texturing of this ship was the most timeconsuming part of the whole
process; this was due to the fact that there were a lot of different materials
involved. The ship needed to look like it had been well used and have an
overall rustic look to show that it had been to many different places in many
differing situations. With this in mind nothing could look clean or new. To
achieve this look I used Photoshop. I used V-Ray as the render as I find it
gives a realistic look without having to battle with too many complex
configurations. The following images show the textured areas and parts of the
texture itself (Fig.12 – 14).
绘制船的贴图是最整个过程中最费时的，这是因为这牵涉到很多不同的材质。这艘船需要
看起来好像它已经被使用很久了，而且整体看起来有一个沧桑的外表，这样能展现它在不
同的环境下行驶过很多不同的地方。所以这个船不需要任何看起来干净或者新的东西。为
了达到这个效果我用了Photoshop。我使用了V-Ray来作为渲染的工具因为我发现它可以呈
现出很写实的外观而不会跟很多复杂的特征冲突。下图展示了贴图的区域和部分贴图。（
图12-14）
At this point the hull was almost finished, but there was still a lot to do. So
far I had used 6GB of texturing maps! (Fig.15 – 16).
现在船体基本上完成了，但是仍然有很多工作要做。到现在为止我已经用了6GB的贴图。（
图15-16）
I set the parameters of the shader to achieve the best result for the entrance
of the cabin. For all of the textures I used diffuse, specular, bump,
displacement (when necessary) and reflection maps (Fig.17).
我调整了阴影的参数来达到最好的船舱入口的效果。所有的贴图我用了漫反射、高光、凹
凸、置换（当必要的时候）和反射图。（图17）
Here is the final model with the textures(Fig.18).
这是最终的带有贴图的模型（图18）
Render渲染
To render the boat was actually a very simple process. I find that V-Ray offers
the best results with the fewest parameters and settings. To finish the image I
took it into Photoshop for post-production. My main focus when rendering was to
make sure that none of the shadows were too harsh so that they could be
adjusted in Photoshop and integrated with photos. I used a V-Ray plane to
assist the final render, and the V-Ray physical camera (Fig.19 – 23).
渲染这艘船实际上是个很简单的过程。我发现V-Ray能用最少的参数设置来达到最好的效果
。为了完成这个图我用Photoshop来做后期处理。在渲染时我的主要目的是避免阴影太粗糙
，以便使它们可以在Photoshop后期中修改并与照片合成。我用了一个V-Ray平面来帮助最
终渲染，另外用到的还有V-Ray physical camera（图19-23）
Here is the final result using the material settings shown in the previous
images (Fig.24).
这是使用材质设置后的原图像最终结果（图24）
I always do my renders a little darker and with a more uniform color with no
burst point. This makes it much easier to make changes to color and to adjust
the lighting.
我总是使我的渲染更暗，且用同色系的颜色而没有强烈的色彩变化。这可以使改变颜色和
灯光更容易。
Composition合成
After configuring and testing the lights and materials to get a result that
looked good, the next step was to render the separate elements and to begin
assembling the final 3D image. I rendered Z-depth, diffuse, Specular,
Occlusion, and Alpha Wire maps (Fig.25).
当合成和测试灯光和材质看起来不错之后，下一步就是渲染独立的元素和开始合成最后的
3D图像。我渲染了Z-depth, Diffuse, Specular, Occlusion,和 Alpha 线框图（图25）
This is the result after the first tweaks (Fig.26).
这是第一次调整之后的结果（图26）
Final Image - Part One最终图像-第一部分
-Planning设计
Without a doubt, the most important part in a process that involves creation is
the planning. It is vital in all art forms, even traditional. The image was put
in Photoshop and a few strokes were added to start the process of moving
towards the final image (Fig.27).
毫无疑问，制作一个作品最重要的过程就是设计了，这也是在所有艺术形式中不可或缺的
，包括传统艺术。图像被载入Photoshop之后添加一些效果使图像更接近最终想要的效果。
（图27）
I then used the Dodge tool to adjust the highlights (Fig.28).
然后我用减淡工具来调整高光部分（图28）
With my idea for the final image created, I started on the final version. It is
important to split the layers into separate elements. In this case the layers
were split into the boat, sea, sky and foam. Too many layers can cause things
to become a bit disorganized (Fig.29).
由于我对最终图像的效果有一个概念，于是我开始做最后的效果。把不同的元素分别放在
不同的图层是很重要的，这样以来这些图层被分离成了船、海、天空和泡沫。太多的图层
会使事情变得有点杂乱。（图29）
The size of the focal object in the scene is important. There is a simple rule
that you can use to ensure you get this right: the focal object should fill
about 70% of the space on the canvas (Fig.30).
一个场景的中心物体的尺寸是很重要的。你可以用一个简单的规则来确保你得到正确的结
果：中心物体应该占画布空间的大约百分之七十。（图30）
You can make changes at this point such as a camera distortion effect. This is
done by using the Warp tool in transform mode and adds movement to the image.
The shape of the ship indicate a sharp upwards movement (Fig.31).
这时你可以做出一些改变例如一个相机失真的效果。这可以用自由变换里面的变形工具来
增加图像的动感。船的外形显示了一种剧烈的上下运动感。（图31）
Choice Of Elements元素的选择
When you have decided on the final direction of your image you can collect some
images that you will incorporate into the scene. Preferably these should be
high resolution, but if the images only feature a small amount in your image
then there is no need to make them large.
当你已经决定了你图像的最终方向你可以搜集一些图像并且将它们整合到场景中，最好搜
集的图像有较高的分辨率，但是如果这些图像在场景中仅仅占很小的空间那就不需要分辨
率太大。
Placement Of Elements元素的摆放
Before you start adding images the image size should be very high. The
background colors are important as they set the tone for the image (Fig.32).
在你开始添加图像进去的时候画布的尺寸应该很大。背景颜色很重要因为它决定了图像的
色调。（图32）
The photographs were added from the bottom up. Use the Warp tool to adjust
these (Fig.33 - 34).
照片应该颠倒着加进去，用变形工具来调整它们。（图33-34）
I added the boat in high resolution and applied highlights to it using the
Lasso tool with feathering (Fig.35).
我在高分辨率下加入这个船并用带羽化值的套索工具添加一些高光。（图35）
The reflections were added with brush strokes. I adjusted the color highlights
towards yellow. This is to make it look as if the light is reflecting off the
sea (Fig.36 - 37).
倒影是用画笔笔刷添加进去的。我把高光的颜色调黄一些。这将使它看起来好像光线远离
海面反射（图36-37）
I used the feather tie set between 40% and 60% on the opposite side of the boat
and curves to create the bounce lights (Fig.38).
船的另一边我把羽化范围设定在40%到60%之间，用曲线来营造一种平衡的光照效果。（图
38）
I selected areas where the shadow was strongest and moved the color balance
towards midtones, pulling out the blue (Fig.39-40).
我选择了阴影最强烈的地方并把色彩平衡调整到中间色调，移除了蓝色。（图39-40）
To do the foam I took the foam images from my references and applied them using
the Clone Stamp tool to blend them in. I continued using the Lasso tool and
applying curves to adjust each area (Fig.41).
为了制作泡沫我从我的参考资料调出泡沫图像并利用Clone Stamp（橡皮图章）工具来把它
们融合在一起。我继续用Lasso（套索）工具并用曲线调整每一个区域。（图41）
It is important to pay specific attention to areas of contrast. Even during the
planning process it was easy to see areas where the contrast would be
strongest. I made sure there was a lot of contrast between the front of the
ship and the sky behind, and the same applies to the sail area (Fig.42.）
将大量的注意力集中在画面区域之间的对比是很重要的。甚至是在绘制草图期间就可以很
容易看出将来对比最强烈的区域，我确保大量的对比存在于船的前部和后面的天空，并且
也包括了帆的区域。（图42）
Final Adjustments I equalized the colors using Hue and Saturation.In this case
I decreased Saturation to my taste. After flattening the image I also used a
Noise filter to finish the image. This is the final result (Fig.43).
最终的调整的时候，我使用Hue and Saturation（色相和饱和度）来使颜色均衡。这样我
降低饱和度来达到我的要求。降低饱和度之后我也使用Noise Filter（燥波滤镜）来完成
这张图。这是最终的效果。（图43）
Conclusion结尾
I hope that this Making Of has been helpful. If you have any questions then
please don’t hesitate to get in touch with me.
我希望这个教程能对你有用处，如果你有什么问题请跟我联系。
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