布料-衣服-曼托瓦礼服 – 布料分解 – 伊丽莎白·内达什科夫斯卡娅-双语
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发布于 2022-4-12 17:14:34

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本帖最后由 秋令6689 于 2022-5-17 12:04 编辑

Mantua Gown – Character Breakdown – Elizabeth Nedashkovskaya
曼托瓦礼服 – 布料分解 – 伊丽莎白·内达什科夫斯卡娅

Creating 1790s Mantua Gown

Hello! My name is Liz and I am currently a 3D Artist working in the Games Industry, specializing in scanning.

As an artist, I have always been inspired by fashion and often found historical dress to be particularly fascinating. For the longest time I wanted to translate this passion into my portfolio, and this project was the first step in creating more digital garments. Another big motivation to create this dress was a wonderful “Cloth creation and simulation for real-time” class by Jayson Fitch at CGMA.
作为一名艺术家,我一直受到时尚的启发,经常发现历史服装特别迷人。在很长一段时间里,我想将这种激情转化为我的投资组合,而这个项目是创造更多数字服装的第一步。创作这件衣服的另一大动机是CGMA的Jayson Fitch的精彩“实时布料创作和模拟”课程。

As all good projects start, this one started with research and gathering references. I am forever grateful to a community of people who appreciate and recreate historical dresses.
There is a treasure trove of fascinating and free material which made this project so much easier.
However, the patterns that I found were not exactly helpful. Like a lot of clothing at the time, mantua gowns were pinned together.

This means minimal to no sewing. So I had to adjust my own patterns quite a lot in Marvelous designer, not to mention account for details like pleating which are difficult to work within Marvelous. The key to not losing my mind was giving up on some historical accuracy and taking this project a step at a time.
这意味着最少甚至没有缝纫。因此,我不得不在Marvelous Designer中调整自己的模式,更不用说考虑诸如褶皱之类的细节,这些细节在Marvelous中很难工作。不失去理智的关键是放弃一些历史准确性,一步一步地进行这个项目。

After a basic block out was finished, it was challenging to figure out how to create more tricky pieces. One thing that helped was starting to look at this complex and layered garment as origami. But one I will be cutting with scissors, using glue, and cheating in any way possible. For example, the folded back piece that transitions into the train was created by just sewing and adding fabric to create the desired shape.

As soon as all the necessary pieces looked good together and were of appropriate size and shape, I removed the sewing and merged them together, creating an appearance of a continuous piece that was just pinned to the waist. The same way of thinking applies to the pleats on the back of the dress. Even though it would be made from a single piece of fabric in real life, assembling those pleats one by one, layer by layer was much easier and gave me more control in the process.

Other tools that helped to work on this garment are freeze and solidify options. They helped to ensure the cloth wouldn’t overlap or deform in a way that I didn’t need. Solidify is probably my favorite way to let the piece of cloth stimulate and affect everything around it, but not deform too much, especially if I want to preserve the shapes I already have.

Here is a little snippet of how my Marvelous Designer pattern ended up looking:
以下是我的Marvelous Designer模式最终看起来如何的小片段:

You can see that I also added a simple petticoat over a modified mesh. This was done to achieve that pannier, wide hip look that was fashionable at the time.

The retopology was started in Marvelous Designer as well. While it isn’t something that I usually do, starting to lay out my geometry there helped me to see how it deforms on the garment, and if enough edge loops were created to accommodate the forms.

The majority of topology cleanup happened in Maya. Having more precise and quick tools really helped me to align, optimize, and confirm the topology even further
大多数拓扑清理都发生在 Maya 中。拥有更精确和快速的工具确实帮助我进一步对齐,优化和确认拓扑结构

Having a clean, workable mesh really helped me with sculpting. One of the biggest challenges during this step was projection. The folded upper skirt was incredibly hard to transfer details from Marvelous to. The way that I ended up doing it, was by separating that piece into polygroups and projecting the details one by one.

Overwise I mostly focused on adding wrinkles, removing that “simulated in Marvelous” look, enhancing and adjusting the overall shapes. The most interesting part was creating the small memory folds on the elbow areas and throughout the skirt. While making those folds I really had to think about how the person would move and that type of detective work is what makes it so fun. As I mentioned before the original dress is historically pinned together, so this is another little detail that I wanted to bring through in my sculpting.
One of the areas I adjusted a lot was the folded skirt and the shoulders. During the simulation, I wasn’t able to achieve the same volume as I saw on the reference, but it gave the dress such an amazing full silhouette that it would be a big disservice not to add it back.

All the details and adjustments have been sculpted into layers for a less destructive workflow.

Working in this manner was a tremendous help, even at the end of the process, I found myself coming back to my Zbrush file, adjusting the intensity of the sculpted folds and rebaking my normals.
Next up was creating the materials in Substance Designer. But most importantly, I have laid out approximate UVs, which were straightened, optimized and packed well enough to test the material on.
接下来是在 Substance Designer 中创建材质。但最重要的是,我已经布置了近似的UV,这些UV经过拉直,优化和包装,足以测试材料。

Figuring out the exact pattern of cloth on a dress was difficult. Instead, I decided to go an easier route and just create a tileable fabric design from the elements that I saw and try to replicate the overall feel. As a starting point, I recreated a satin weave and then started to build up the elements of the design. Some of them have been copied over from my previous work, like the pomegranates, but the other 90% have been built from scratch. A little swirl greyscale and a mirror can definitely come a long way. Since there are a lot of unique elements, I did my best to reuse the shapes I already created, and continue to reuse them through the base blue cloth and two golden trim sheets.

The majority of the time was spent laying out and matching the visible elements, trying to figure out the way to make the patterns look cohesive and interesting while tiling. Here having the UVed dress and being able to see how everything looks on a garment and reacting to the light was essential. Checking how my UVs and geometry affect the read of the materials and where I could add a different pattern element and make the whole base fabric material seem less repetitive. I ended up overlapping some bigger pattern pieces, changing the size of them and adding common ingredients of every successful material – warps, noises and imperfections.
大部分时间都花在布局和匹配可见元素上,试图找出使图案在平铺时看起来有凝聚力和有趣的方法。在这里,拥有UVed连衣裙并能够看到衣服上的所有东西的外观并对光线做出反应至关重要。检查我的UV和几何形状如何影响材料的阅读,以及我可以在哪里添加不同的图案元素,使整个基布材料看起来不那么重复。我最终重叠了一些较大的图案,改变了它们的大小,并添加了每种成功材料的常见成分 - 翘曲,噪音和瑕疵。

Here are some process gifs from the creation of substance designer materials:
以下是一些来自物质设计器材质创建的过程 GIF:
During the creation of this project there was a lot of back and forth iteration. I have revised the topology, rebaked my normal maps several times and of course adjusted the materials a lot to fine tune the final look.

Rendering setup was nothing super special. My usual approach is to find an HDRI that works well, rotate it so the ambient light highlights the best parts of the model and after that setting up a three point lighting and some colored rim lights. I also enjoy using groups and turntable, for quicker iterations and cleaner file organization.
This project was a big learning experience for me, excited to apply everything that I figured out to my next artwork.

In the future, I hope to recreate more historical garments and some interesting contemporary outfits as well. Right now I am working on a more modern clothing set which is featuring a dachshund-shaped bag!

Super excited to show it off in the future.

I wanted to say thank you to all the people who helped me out with feedback or advice, my friends and my partner for being there for me!

And also to you, for reading this article.



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赵大大 + 10 + 3 首发必发微元素,荣耀加身装备酷。



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逆水寒  发表于 2022-4-12 21:36:09  
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熾天之翼  发表于 2022-4-13 09:04:27  
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Weidaliya  发表于 2022-4-13 23:25:12  
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