Blood Knight 的制作流程，比较长。

这是第二次翻译，感觉每次翻译都能得到不少收获，不过由于水平实在有限，有很多地方连自己也觉得拗口，不过大家将就着看吧，觉得可以的呢就回个贴，觉得一般呢就算了。 Advanced multi-channel texturingOver the years I’ve learned and developed my own solutions and methods for complex texturing. The blood knight isthe second of several characters I’m making and since he’s the one who experiences the battle up close andpersonal more than the others, I’ve decided that with him I will try to push my methods to add many details suchas dirt, scratches, stains, blood, decorations etc’ much further than before in a method I like to call “multi-channel texturing”. My main focus on this character was the texturing / shading and in this tutorial I will sharethe process, considerations and a few other tips.高级多通道纹理经过多年的磨练，我对制作复杂的纹理效果已经有了解决方案和方法。blood knight是我制作的第二个角色，我觉得这个角色跟我以前制作的角色相比显得更专业了。我决定在他身上尽可能添加更多的细节，例如污迹，划痕，血液和装饰品等，与以前角色相比更进了一步，所以我喜欢把这种方法叫做“多通道纹理”。我主要的注意力集中在这个角色的纹理和阴影上，我将把我做的过程和大家分享，包括一些小窍门。 Multi-channel texturing - general idea, pros and consThe method I refer to as Multi channel texturing takes advantage of the ability to have many different mapchannels (in other softwares like Maya this is referred to as UV-sets) for the same object while it’s material ismade out of many maps mixed together using masks with these map channels.In other words - almost the entire texturing process of the character’s armor parts is done within Max throughthe UV’s using only one material and a few textures.The end result of this is that all the armor’s parts (over 40 different objects in the blood knight case) use thesame material with just a few textures, as opposed to the “classic” texturing method in which you end up withmany materials and hundreds of texture files (assuming each material will have several textures for color / bump /specular etc’).多通道纹理-总体思路，优点和缺点。我提到的多通道纹理这种方法利用到了很多贴图通道（在另一个软件MAYA中这被称为UV节点），在一个相同的模型在材质中用了许多混合贴图（也就是mix,材质球里面有）并在这些贴图通道中使用了遮罩。用另外的话来说-几乎这个角色装甲的贴图过程都是在MAX里面做好的，只用了一个材质和一些贴图而已。最后的结果是，这个角色的不同部分（超过四十个部分组成了blood knight 这个角色）都用了同一个材质和一些纹理贴图，而不是那些所谓的“经典教程”所说，到最后你用了很多材质球和数以百计的纹理贴图文件（假设每个材质球都有若干通道,例如颜色/凹凸/高光等。）Pros- MAJOR RESOURCE SAVER - all the armor parts use only 1 material and a few textures for everything.- since many of the textures are applied in tiling, it allows for VERY HIGH RES details at the relative lowresources cost- Immediate feedback from within the viewport as to where details fall, this is especially helpful when working onthings such as the side decorations which can be deformed specifically to the shape of the mesh (which is ratherhard to do with uv’s / photoshop using “standard” methods).- Ability to quickly clone your models and create many variations in the textures by simply altering the UVs (if Iwanted to make many clones of this character with variations in the details such as scratches, blood stains, dirt,etc’ - I wouldn’t need to create new textures, just play around with each clone’s UV’S)优点：主要的资源会得到保存-全部的装甲部分只用一个材质和一些纹理既然要把多数的纹理添加到模型中，所以它用了较低的资源消耗。打开材质在视图中的即时显示，当你的装饰并没有完成的时候这这是特别有好处的，明确地说就是看到这个模型的大体状态（这比传统的方法“展好UV之后在PHOTOSHOP里面画贴图”要更加快捷的多）。这种模式能够快速克隆，并且能够通过简单地修改UV就可以创造出许多纹理的变化（如果我想克隆这个角色不同的纹理变化，例如划痕，血迹，污迹。我不需要建立一张新的贴图，只需要应用UV的克隆。）。Cons- Somewhat limited control for specific details ( making “global” textures that will be used for all the model’s parts kind of limits you if you want some parts to have unique details without making new textures specificallyfor them).- The material tends to be heavy and give slow feedback in the material editor when “show end result” is on, dueto it’s complexity. The more details you add, the heavier the material becomes and it does get harder to keeptrack of everything.缺点只能控制一定的细节变化（如果你希望一些部分有特别的细节，你必须特地去新建一张新的贴图给它们）。当你“显示最终结果”这个命令被打开，这种材质的变化在材质编辑器中的即时显示将会变得迟钝和缓慢，你添加更多的细节，材质的变化将会变得更加缓慢。

谢谢分享 ！！！

STEP1 - Getting started - mesh preparation and Base materialThe base of this workflow begins at the modeling stage. The modeling process of all the armor’s parts was prettysimilar:Step1 - work on the base shape of the armor’s part and prepare it’s topology for the details to come with as fewpolygons as possible (note that It may seam I used more than the minimal amount of required polygons but that isonly because the end result required many sharp corners) to be able to easily modify it later on if that would berequired. these polygons receive polygon ID 1.呼~~终于进入正题。。。第一步，使用入门- 模型的创建和一个基本的材质。 这个工作流程的开始是建模，在建模过程中所有装甲部分都是相当相似的:大体制作出装甲的基本性质并准备在高模上面拓扑，尽可能使用更少的多边形（注意我可能用的面数超过了最低面数的要求，但这只是多边形，最后我们还需要把它转为三角面）简单的把它修改一下，把这些多边形的ID改为1.Step2 - Add Shell modifier to the model and set “Override Edge Mat ID” to 2. Once I decide the model’sbase shape is final I collapse the shell to editable poly and modify the edge polygons a bit further as I findfit.给模型添加一个“shell”修改器并把它的ID设为2，一旦我修改完模型的基本型后，最后我会全部把“shell”塌陷到多边形，我发觉修改这些多边形上的线变得更加快了。Step3 - Take advantage of the prepared topology from step 1 to extrude the polygons in (to prepare the socket),Change their ID into 3 and then extrude them out to create the diamonds.充分利用从第一步中挤出的多边形（为盔甲的凹处做装备），把它们的ID改成3，接着挤出做出一个菱形。Step4 - (optional) In some of the armor’s parts I’ve used another polygon ID - 4 for silver when I wanted morevariation in the materials, this was also used for the sword’s blade.在一些装甲的部分我用了另一个多边形ID-4，是用来表现银的质感的，当我需要更多的纹理变化在材质中，这部分是用于剑刃上的。

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Throughout the modeling process I’ve had the base material ready for early testing, the base material is made outof 100% procedural maps and that is why it did not require me to unwrap the model as I was still working on it,the complex final stage of the texturing only came once I’ve decided modeling was done.在这个建模过程中我已经做好的基本的材质，基本材质全部都是用程序调出来的这也是我为什么不需要把它展开UV的原因，一旦我完成了建模的过程，这个复杂的最终材质只需要准备好就行。The base material is made out of a Multi sub object with 4 ID’s 1- The main armor’s metal, 2 - The armor’souter gold, 3 - The diamonds, 4 - Silver. I will focus this tutorial on the main armor’s metal.基本材质分成了四个ID，1，主要盔甲的金属，2，盔甲外边的金边，3，菱形，4，剑刃。我将注意力放在了主要盔甲的金属上。For the base main armor metal material (ID 1) I thought of going for a standard material But decided to go withMental ray’s A&D shader because it supports blurry reflections, A decision that made the material pretty heavybut look goodThe parameters I’ve decided to add maps to are Diffuse color, Bump, Glossiness, Reflection color. The idea is toadd MATCHING maps with different color brightness levels to these parameters while keeping this in mind:对于这个主要的盔甲金属，我只想给予它一个标准材质，之后我决定用mental ray 进行渲染，因为它支持模糊渲染，接着做出了非常厚重的材质而且还很好看。我决定在这几个通道之中添加纹理贴图，包括 diffuse color ,bump. glossiness ,reflectioncolor。这个做法使得不同的颜色都有了一个光泽的效果。brighter colors mean:diffuse color - brighter diffuse colors.Bump - outer dents.Glossiness - sharper reflections / highlights.Reflection color - stronger reflections.(Obviously, darker colors below 50% gray would mean the opposite).各种颜色通道的含义：diffuse color - 光在物体表面上的无规则的反射。bump - 凹凸的痕迹。glossiness -物体表面接近镜面的程度。reflection color -更强的反射。（显然，在50%灰度以下的颜色会变得更加灰暗）

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The map I’ve created for these parameters was made out of a few procedural textures, this made it easy to controlthe brightness level of the colors for each of the parameters - for example - in one of the specific textures, Iused a bright color for the dirt in the diffuse color but changed it to dark in the bump map to make it cause aninner dent and also dark in the reflection color because this dirt is supposed to be less reflective then thearmor’s metal. Making the base material with procedural textures is also good because a simple combination of afew procedural textures can hold a very high res detail level at a low resource cost and every single armor partwill have different detail features (as opposed to mapped texture files which tend have duplicated features look).这张贴图的一些部分我是由调节程序上的参数来的，在颜色的亮度级别和其余别的参数上会变得更加容易。例如，在一个特定的贴图上，我在diffuse color 上为了表现污垢的质感用了一个亮度更高的颜色，但是在bump 通道里 把它变成了一个更深的颜色来让它产生凹凸的效果。同样地， 在reflection color 上它仍然是深色的，因为污垢的反射度比盔甲金属的要低。在程序上做出基本的纹理贴图这看起来不错，它只适用了一个简单的材质纹理的组合，能在一个非常低的系统消耗下表现更高程度的细节，还有每个盔甲部分都有不同的细节贴图（贴图的纹理映射往往可以重复使用）’m not gonna go through all the specific parameters of each map because many different combinations can work justfine and it is all a meter of trial and adjustments, you can look at the shading network chart I’ve made to getthe idea. My advice for this step is to add one map at a time, and always make sure you keep track of thecontribution each map gives to the details. It sometimes helps to copy the specific map you are working on to aclean new material and apply it to the model just to check how it fits it.并不是个贴图上的参数都要调节，因为不同的混合已经可以做得很好的效果，你可以仔细看模型上的网格。我可以给你一个建议，每做一步只添加一张贴图，还有要确保每张贴图之间的混合能够给与物体更高的细节。有时候这样做能够保证你在另一个新的材质上工作并把它赋予给模型，你只需要检查与模型匹不匹配。

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tip - I often use an Ambient occlusion map as a mix map at the base of the diffuse color for added depth detail -for the white color I simply add the maps I was gonna use anyway and for the dark color I add some noise maps for“corner dirt”.建议- 我经常把AO贴图作为一张混合贴图放在漫反射的通道里，这可以增加物-体的深度细节-对于亮面我仅仅只加上了贴图，对于暗面加上了噪波来表现边角的污垢效果。Adding a mix level procedure and a few material editor notes添加混合级别的参数和一些材质编辑的说明。Before we go further, I just wanna share a few insights about the material editor and explain the process ofadding more and more details to an existing map generally - these things will be most relevant for the next step.在我们进行下一步之前，我只是分享一些我对材质编辑器的理解和解释了在现有基础上增加更多细节的过程，在做下一步之前这是尤其重要的General idea of the process of adding another mix levelSo we have a nice base shader by now but we wanna start adding more specific details to maps we already have inthe diffuse color / bump / glossiness / reflection color, how can this be done ?增加混合级别的总体思路及过程我们已经有了一个不错的基本颜色，但是我们希望在 diffuse color /bump/glossiness/reflextion color 这几个通道中添加更多的细节，我们应该怎么做呢。The answer is to add another mix level to these maps and then add another mix level and another - there is nolimit to this except the more levels we add the more complicated it will get, this is why it should be done in anorderly fashion and this is how it should be done:答案是在贴图上增加更多的混合级别，这是没有任何限制的，因为增加更多的混合级别意味着我们将增加更多复杂的细节，这是我们为什么要这样做的原因。1) Go to where the map you want to add a mix level to is located, right-click and CUT that map. for example - ifthe map is in the diffuse color slot then we go to the diffuse color map slot in the base material. anotherexample - if the map is inside a mix, we go to that mix.找出你需要增加的混合贴图，右键单击并且剪切这张贴图，例如-如果这张贴图时在漫反射通道里的，你就去漫反射通道里粘贴进去。例如-如果这张贴图是在混合级别里面的，我们就到混合级别中去。

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Add a new mix map where your map was, right click on the map1 slot and paste your original map back. after thisstep your material should act the same as it did before, you’ve simply prepared your map for additional details.在你需要的地方增加一张新的混合贴图，右键把刚才复制map1的粘贴到这个贴图中并返回。下一步你的材质也有了与上一步相同的材质，你只需要为你要增加的细节准备纹理贴图。

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add a black and white bitmap in the mask slot and name the mix map accordingly to the mask. for example - if youadded a “blood stains” bitmap you should name the mix map blood stains. naming your mix levels will help youlater on when the material starts to get complex. The black pixels of your mask represent where your original mapwill be and the white pixels represent the new color2 / map2.在你的遮罩中增加一张新的黑白位图，并且这张混合贴图是来自这个遮罩中的。例如，如果你想增加一个“blood stains”的位图你可以吧这张混合贴图命名为blook stains .当你的材质变得更复杂，命名能使你变得更方便。黑色通道的遮罩需要你用原始贴图，白色通道需要你用一个新的color2/map2的颜色。

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4) adjust color2 / add a new map to map2 slot of the mix. for example - blood: in the diffuse color you mightwanna add a red noise map there, in the reflection color you might wanna add that same noise map but with a darkershade of red since the blood is dry and less reflective than the armor’s metal,in the bump map you might wannause that same noise map but with bright grayscale colors since the blood stains act as OUTER dents.调整color2的颜色并且增加第二张新的混合贴图。例如，血迹，在漫反射通道中你可能希望增加一个红色的噪波贴图在上面，在反射通道中希望加一个更深色一点红色噪波贴图，当血迹干了以后他的反射率是比金属的盔甲来得更低。在凹凸通道里，你可能使用了一张带有灰度信息的噪波贴图，来表现血斑凹凸的效果。

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很好很强大！！

5) go to the mask and give it a new map channel. This is the last step in the material editor. since you’re goingto use several different masks you’re going to need to use different map channels in order to create different UV’s to map each mask separately. I’ll explain a bit further about map channels next.在MASK上增加一个新的贴图通道，这是在材质编辑器里要做的最后一步，你将要在不同的贴图中用了几个不同的MASK，并且使用不同的贴图通道来用于创建不同的UV，并且把遮罩分离。我将要下一步中详细讲解贴图通道。Map channel (material and uv map / unwrap)What are map channels ?Usually, when we add a texture and the modifiers UVWmap / Unwrap they come at the default of map channel 1. But anobject can have more than one UV, you can add more than one of these modifiers and when set on different channelsthey do not override each other. All you have to do is keep track of which map channel each texture is using andwhich modifier is set to that channel.贴图通道（材质 /UV MAP/UNWRAP修改器）什么是贴图通道呢？通常地，当我们试图为物体添加一张贴图，通常打开UVWmap/Unwrap修改器，接着便有了一个默认的贴图坐标。一个模型的UV有几个部分，你可以加入多个修改器在不同的通道中，不同通道间的图像是不能相互影响的，你只需要在某一个修改器中单独修改所需要修改的通道上的纹理。（说起来有点抽象，其实也不太复杂，贴图通道的视频教程在网上一搜一大把，这个只不过是多了几个混合而已）Output benefitsBack to the material editor. Since we covered most of the process in the material editor, In the next step I’mgoing to focus mostly about how to work with the UV’s but I would like to first share how I go about doing mostof the tweakings once I’ve already added some mix levels.I’ve noticed that not many people are aware of how useful the “output” tab is.Through the output tab you can easily override and adjust the weight each and every map gets in the mix levels. Itallows you to manipulate the colors and sometimes “override” the limit of the contribution a map gives.接着回到材质编辑器中的输出效果中，因为我们涉及的大部分操作都在上面。在下一步我重点讲诉我是如何使用UV坐标的，我决定把我的混合级别调高，我发觉没有多少人注意到“输出”这个选项是多么有用处，通过这个选项你可以很容易地调整输出的高度和各个贴图的混合级别，这可以使你熟练地控制颜色。I will go quickly through the parameters:Output amount - gives control to override the amount of contribution the map will have to the material.RGB offset - this basically controls the darker colors of the map. I often give this parameter values below 0 tostrengthen the contribution of the darker colors to the material.RGB level - this basically controls the brighter colors of the map.I often play with both RGB level and RGB offset - these 2 parameters can balance each other and the further theyare from each other the more “overridden contrast” the map gets.Bump amount - this parameter is very useful to tweak the contribution to the bump for each map. it has effect onlyin the bump slot, obviously我将快速地调整这些参数。输出数量- 控制贴图需要输出的强度。RGB偏移- 这是控制贴图颜色较深的部分。 我通常把这个参数设为0的强度RGB强度- 这通常控制了贴图颜色较明亮的部分我通常使这RGB偏移和RGB强度两个数值相互抵消-这两个参数既能够彼此平衡，也能够在贴图中使用更高的对比。凹凸数量- 这可以非常有效地控制每张贴图凹凸输出的数值，它只能影响凹凸通道。STEP2 - Mixing in details in different map channels and adjusting them on the meshEverything done so far can be considered as preparation for this step, this is the main step for this technique.I’ve explained how I go about adding more mix levels to the material editor so now I’m gonna focus on what I’vedone with the uv’s for each mix level I’ve added.在不同的贴图通道中混合进不同的细节纹理并且在模型上调整它们。之前所做的一切都是为了这一部而准备，这是整个过程中最重要的一部。我在前面已经解释了我如何在材质编辑器重增加的混合级别，现在我把注意力集中在如何调整混合级别中的UV坐标。

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Map channel 1 - blood and general mapsMap channel1 is the default channel that comes when you work with objects and textures. That is why I didn’treally need to make a new map channel for it - just moving around existing uv’s to set where the blood stainsfall was enough. I didn’t even need to unwrap any model because even if inevitable stretches and overlapsoccurred - it didn’t really meter too much.There is a meaning to the order of the mix levels and since the bloodwill cover the rest of the details, it goes to the base of the maps.贴图通道1- 血迹和一览图贴图通道1是你赋予在物体上的默认贴图，这也是为什么我没必要再去新建另外的贴图通道，只需要移动现有的UV坐标来使血迹的位置得到移动就已经足够了。我甚至不再需要展开物体的UV，因为即使会产生重叠和拉伸，它也不用很精确地计算。这也是混合级别的意义，血迹也会覆盖这些细节，这是物体的基础贴图。

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Map channel 2 - Side decorations / diamonds’ gradientThis is where this technique really takes advantage of it’s potential. When preparing the mask, I had to makesure that it can be seamlessly tileable horizontally and that I have enough “empty black space” to work with theuv’s. I went through every armor part and added an Unwrap modifier and set it’s channel to 2. First step is toscale down all the uv’s to a really small chunk and put them on the side on an “empty black space”, then selecta few polygons on the side of the model through the unwrap, hit planner mapping and organize the uv’s whileseeing in the viewport how the side decorations fit the model. This process is repeated with every few polygonchunks from the corners of the model and then I weld them all into 1 long “uv line”. The great thing about doingit this way is that I can really easily manipulate the side decorations to grow or shrink with the model’s flowand get the feedback in the viewport in real time.In this tutorial I am focusing on the shading of the armor’s metal material but I just wanted to mention herethat I’ve also used the same map channel 2 unwrap for the diamonds - in the diamonds’ material I’ve placed aradial gradient map in the “extra light” slot to give them extra subtle depth, I went through every object thathad diamonds in it and in the same map channel 2 unwrap modifier that was already there I’ve selected thediamonds uv’s and manipulated them around one of the tiles of the gradient (and not necessarily in the center ofthe uv’s to avoid cluttering).侧面的金属装饰/菱形装饰的变化，这也是为什么这个方法利用到了它的可能性。在准备遮罩之前，我必须要确定我有足够的“黑色真空区”来使我在UV坐标上面调节，我希望每个装甲的部分都只添加一个Unwrap修改器并且把它们改为通道2。第一步是把通道2的UV按比例缩小到一块并且把它放到一边。接着选择另外的多边形添加unwrap并放到一边，点击平面映射并且在视图中观察装饰与模型的匹配度。以下模型的每个边缘的多边形都是重复这个方法，用这个方法的好处是我能很轻松地操作装饰在模型中的颜色表现，并且能在视图中得到即时的观察。在本次教程中我把注意力集中在了装甲的金属材质的阴影表现上，但我只想在这里提及我在中间的菱形装饰中用了与通道2同样的材质，接着给与它们一些细微的深色我仔细检查了菱形在每个物体中的表现，接着造同样的通道2的贴图中打开了unwrap修改器。（并不需要去避免UV在中心的杂乱）Map channel 3 - SymbolsAgain, When preparing this mask, I made sure I kept enough “black empty space” between the symbols, That is alsowhy for this map I turned tiling off - to have more empty space to work with on the corners. So now we go againthrough every armor part, add another unwrap modifier and set it to channel3. First step is to select all the uv’s, scale them down and take them outside of the uv box (which should be enough to “make a clean start” since thetiling is turned off). The idea now is to select the polygons that will have a symbol, hit planner and andmanipulate the uv’s until you are happy with how the symbol sit’s on the model. Again, immediate viewportfeedback makes it possible to nicely “deform” the original shape of your symbol to fit the shape of your modelsmore “naturally”, this also helps avoiding having a cloned look when using the same shape several times. (take alook for example at how much the big shape on the helmet is deformed from its original texture to fit the flow ofthe helmet).贴图通道3 - 装饰当我准备遮罩的时候，我必须确定我在标志的中间留有足够的空间这也是我为什么转过来贴上了有更多空间的角落。现在我再次检查每个装甲部分，并为他们添加其余的unwrap修改器并且把设为通道3。第一步是选择全部的UV，把它们放在UV方格的外边。我现在的想法是选择所有装饰上的多边形，点击平面映射，使装饰位于模型的表面。视图的即时显示使得装饰在模型上显得更自然了。

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Map channel 4 - scratchesI’ve added this one later but since the scratches should also appear on the side decorations and symbols, I’veadded this mix level below them (like I’ve mentioned earlier, the order of the mix levels in the material isimportant and it wouldn’t make sense to have the scratches on the armor stop where there are symbols and sidedecorations).贴图通道4 - 划痕我将要在盔甲上添加划痕来作为装饰，接着把它们的混合级别降低（我之前提到这个混合级别的命令是很重要的，盔甲上面没有没有装饰和划痕的话这对我来说将是毫无意义的）

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For most of the armor’s parts I’ve simply placed a UVWmap modifier with map channel 4 and did a quick move/rotate/scale tweak to the gizmo to determine how the scratches fall.对于装甲的大多数部分我只是简单地使用了UVWmap修改器，并且使用move/rotate/scale来调整划痕和纹理的位置。

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