Blender 游戏建模基础

Modeling the Character创建角色

In the previous chapter, you learned about Blender’s interface and modes,

and you created your first basic block character. Now you will more deeply explore

the process of creating humanoid characters by modeling a zombie in Blender.

在前面的章节，你已经学习了Blender的界面和模式，并创建了你的第一个基本方块

角色。现在你将更深入的研究创建一个zombie的类人角色的过程。

In this series of tutorials, you will learn to model the body and head with two

different techniques: box and poly-by-poly modeling. You will also learn to model

features efficiently to maintain a low polygon count. Finally, you will learn how to

add nonsymmetrical details such as damage to your zombie that will be enhanced

in later chapters.

在这个系列的指南，你将2种不同的技术创建身体和头部模型：盒子和多边形和多边

形建模。你将学习到如何有效的维持低多边形的数量。最后你将学习怎么添加非对称的细

节如zombie的疤痕地方，这些将在后面的学习具体讲解。

This chapter covers the following topics:

本章节包含以下主题：

■ ■ Working with model sheets

用参考图像工作

■ ■ Shaping the torso for low polygon count

用低多边形塑造身躯

■ ■ Extruding the legs and feet

挤出腿部和脚

■ ■ Making the arms and hands

创建手臂和手

■ ■ Separating body components to create clothing

分离身体组件创建衣服

■ ■ Creating the head with poly-by-poly modeling

使用多边形创建头部

■ ■ Carving out zombie damage

Working with Model Sheets 用参考图像工作

In this chapter you will begin the book’s main project, an interactive zombie

character. Creating a 3D character is not one simple process, but rather the

combination of several technical ones. As stated in Chapter 1, “Basic Game Art

Concepts,” you must carefully plan characters before entering the 3D art process

of modeling, texturing, rigging, and animating.

在这章你将开始学习本书的主要项目，一个交互的僵尸（zombie）角色。创建3D人

物不是一个简单的过程，而是数种技术的联合应用。正如第一章“Basic Game Art

Concepts,”所指，你必需在创建以个3D角色，纹理，绑定和动画前有一个清晰详细的计

划。

For this project, it is assumed that you’ve finished much of the predesign and

2D art. If you want to skip this step and use the one shown in this book, visit

/go/gameblenderunity to download project files from each

chapter. The final outcome of this is often a model sheet like the one included in

these online materials (C03_model_) and shown in Figure 3.1.

对于这个项目假定你完成了大部分的前期设计和2D艺术。如果你想跳过这一步，使

用本书中所示的，访问

/WileyCDA/WileyTitle/productCd-1118172728,miniSiteCd-SYB

下载每个章节的项目文件。这样的结果是是像网上的图片那样模型表

(C03_model_)如图Figure 3.1。

Figure 3.1 The model sheet for the zombie character

Having a model sheet for a character is like having the blueprints to a building

before you bring out your bricks and mortar. The model sheet for the zombie

character includes both front and side views so you can work at different angles.

This makes modeling much easier. In these two views you should notice two things

that will impact the modeling process: the zombie character’s layered clothes

and facial scarring. These two things will provide opportunities in later chapters for

adding interesting textures; this chapter will show you how to model with this in

mind.

有一张模型参考图表对于创建角色就如你使用砖头和水泥创建建筑物前有一张建筑蓝

图。对于僵尸角色的模型参考图表包括前和侧视图让你可以从不同的角度工作。让制作模

型更简单。在这2个视图你应该注意的2件影响建模过程的事情：僵尸人物的分层衣服和

面部疤痕。这两件事将后面的章节加入有趣的纹理;本章将告诉你如何创建模型这点。

Once you have a good model sheet, you need to put the images into your

Blender file and set up your workspace. Follow these steps:

一旦你有一个好的模型参考图，你需要将图像导入到Blender，并设置工作区，步骤

如下：

1. Open a new Blender file if you have not done so and set it up to have two

orthogonal viewports: one from the front view (Numpad 1) and one from the side

view (Numpad 3), as in Figure 3.2.

首先打开一个新的Blender文件，用前面学习的知识，设置2个正交视图：一个是前

视图（数字键1）一个是侧视图（数字键3），如图3.2

图3.2 Blender interface with front and side viewports Blender前视图和侧视

图界面

2. Hover the mouse over the left viewport and press the N key to bring up its

Viewport Properties panel. Do the same with the right viewport. Scroll down in

either Properties panel to a panel entry called Background Images. There you will

find a check box and a clickable arrow. Click both.

将鼠标悬停在左边的视图，按N键弹出视图属性面板。在右边的视图做同样的事情。

在任一属性面板向下滚动到Background Images条目.这里你可以发现一个复选框和一个

三角箭头，点击它们。

3. Clicking the arrow will reveal a button labeled Add Image. Click it to reveal

yet another panel entry with an arrow that says Not Set next to it (Figure 3.3).

点击三角箭头将出现一个Add Image标签按钮。点击它会出现另一个面板条目有一

个箭头，上面写着Not Set（未设置）（图3.3 ） 。

Figure 3.3 The fully expanded menu for adding background images 添加背景

图像完全展开的菜单

4. Click the Open button to bring up the File Browser window. For the front

viewport select and for the side choose

. These files can be found in the

chapter’s online materials. When you have loaded images into both viewports,

you are ready for the next step.

点击Open按钮出现文件浏览窗口。在前视图选择

在侧视图选择

图像。这些文件可以在章节的在线资料找到。当

你加载图像到两个视图，你已经准备好进行下一步。

5. The images will need to be resized and centered in the viewport so they

match up on the grid when modeling. For this, you will need to utilize the image

controls that are now in the Background Image panel entry that you were just

working with.

这些图像将需要调整大小并在视图中居中，当建模时使它们匹配网格。对于这一点，

你将需要利用是现在，背景图像面板的图像控件。

6. You’ll need to change two different settings here: Size and the X/Y

placement of the image. For the front viewport, enter .1 for the X value and 0 for Y

(Figure 3.4). Press the N key once you adjust the front viewport so you can line up

grid lines and images properly in the right viewport. Enter a value of 1.60 in the

Size setting and a setting of .1 in the X placement value in the right viewport. The Y

value can remain 0 (Figure 3.5.)

在这里你需要改变2个不同的设置：图像的尺寸和X/Y的位置。 在前视图输入0.1

为X的值Y的值是0（见图3.4）。按N键一次调整前视口，以便您可以在右侧视图中排队

网格线和图像正常。输入的大小设置1.60的值和0.1在右侧视口中在X位置值的设置。 Y

值可以保持为0 （图3.5 ）。

Figure 3.4 Settings for the front viewport

Figure 3.5 Settings for the side viewport

7. Save your file. Look at C03_model_ to see what your workspace

should look like.

保存你的文件。看在你的工作区是怎么样的C03_model_。

Now that you have the model sheet images set up, you are ready to begin

working with the zombie’s torso.

现在你已经建立了模型图参考图像。你现在可以开始创建僵尸的身体。

Shaping the Torso for Low Polygon Count

从低多边形创建身躯

One of the difficult parts of 3D modeling humanoid characters is knowing

where to begin. 3D programs often do not feature a “human” primitive object

and those that do often limit modeling to certain body types and facial features.

New 3D modelers will often look to sphere or cylinder primitives for the bases of

their body shapes. While there are certainly some very talented people out there

who can do this kind of modeling, in this tutorial you’ll start from a cube.

3D人形建模最难的部分是从什么地方开始。3D程序往往没有“human”的原始物体

和某些体型和五官的原始物体。新的3D建模常常将球体或圆柱体这些原始物体作为身体

基础形。虽然有一些非常有才华的人用什么都可以做这样的造型，在本教程中你会从一个

立方体开始。

The reasons for beginning from cube primitives are many, but the most

important for game artists is that they offer more control over polygon count and

topology than other primitives. With a cube, you begin with a six-faced object that

can be subdivided and shaped to your liking. A common argument against

beginning from cubes is that a cube is not a very organic shape and other

primitives lend themselves to curves better. This is true, but a few quick

adjustments to a cube at the beginning of the modeling process alleviate

blocky-looking characters later on.

从立方体开始建模的理由有许多，但是对于游戏艺术家最重要的是，它们可以比其它

原始物体可以更好地控制多边形数量和拓扑。你可以开始根据你的喜好细分6个面的立方

体。通常反对从立方体开始建模是因为立方体不是一个有机的形状，其它的原始物体到曲

线是更好的。这是真的，但从立方体开始建模的过程可以快速校正在稍后的角色。

In this tutorial, which will cover the shaping of a cube into your zombie’s

torso, I will show you how tools in Blender help make the conversion from cube to

low-poly organic shape easy.

在这个指南， 从一个立方体开始建造成你的僵尸身躯，我会告诉你在Blender用怎么

样的工具更容易从立方体转换成低多边形有机体形状

1. Continue with your model from the model sheet portion of the chapter or

open C03_model_ from the online resources folder for this chapter.

继续从模型参考图创建你的模型或打开从在线资源文件夹的

C03_model_文件。

2. Press the Tab key while your mouse is over the 3D Viewport to enter Edit

mode. All of the vertices in the cube should be selected. Press the W key to open

the Specials menu. Select Subdivide Smooth from the pop-up. Your cube should

look like the one in Figure 3.6.

当你的鼠标在3D视图时按T键进入到编辑模式。所有的立方体顶点应该被选中。按

W打开Specials菜单。从弹出的菜单选择Subdivide Smooth。你的立方体应该看起来如

图3.6

Figure 3.6 Cube after Subdivide Smooth operation 应用Subdivide Smooth选

项后的立方体

3. Here you will try to get the most out of the polygons you currently have.

Switch to vertex selection mode by pressing the vertex selection button on the

viewport header. Move vertices around with the Move tool (G key) to get a shape

that resembles the one in Figure 3.7.

在这里，你会尝试离开你目前的多边形。可以通过点击在视图标题栏的顶点选择按钮

切换到顶点模式。用移动工具(G)得到和图3.7类似的图像。

4. Select the same vertices on the left side of the mesh as those shown in

Figure 3.7; then press the X key and select Vertices in the menu to delete them.

选择网格最左边的一些顶点如图3.7，然后按X键在菜单选择Vertices删除它们。

Figure 3.7 Shaping the subdivided cube to match the model sheet

5. Go to the Properties editor and click the wrench icon to open the

Modifiers context. Add a Mirror modifier to your model, as shown in Figure 3.8. In

the Mirror modifier options, you will see a check box labeled Clipping. Click it.

到属性编辑窗口点击扳手图标打开修改器。为你的模型添加一个镜像（Mirror）修改

器，如图3.8. 镜像（Mirror）修改器选项，你将看到一个叫Clipping的复选框。勾选它。

Figure 3.8 Adding a Mirror modifier to the torso shape

Clipping is a setting in Blender’s Mirror modifier that ensures that geometry

does not cross or leave the mesh’s central axis. This setting is helpful for keeping

your model neat but should be switched off when you are extruding things like

legs that have to be extruded near the central edge loop.

Clipping在Blender镜像（Mirror）修改器确保几何体不能够穿过网格的对称轴。此

设置是帮助保持你的模型整齐，当你挤压之类的东西像腿必须靠近中央循环边挤出应关闭

这个选项。

6. Using the Loop Cut tool (Ctrl+R), cut three loops in your torso: one

midway up the chest to create the bottom of the arm extrusion, one above that,

and two near the front of the chest to create the front of the arm extrusion and

add some shape to the chest near the collarbone (Figure 3.9).

使用循环切割（Loop Cut）工具(Ctrl+R)，切割你的身躯3段：一段是胸腔到手臂挤

出的底部的一段线，另一段在它们之上。

Figure 3.9 Loop cuts help define future extrusions and shaping.

7. Move vertices around to match the placement in Figure 3.9. There should

be four faces for the eventual arm extrusion; select all of them and align them by

pressing S to scale and X to limit that scaling to the x-axis. Then press numeric 0 to

flatten the polygons along the x-axis. This trick was covered at the end of Chapter

2, “Blender Basics for Game Characters,” and is useful any time you want to make

geometry even.

移动顶点类型图3.9.手臂挤出的地方应该有4个面。选择所有按S键缩放和X键约束

在X轴缩放对齐它们。然后再按数字键0沿X轴展平多边形。这招在第二章“Blender

Basics for Game Characters,”有提到过，它对于你任何时间想展平几何体是很有用的。

8. Use Loop Cut again in the front view to make a cut near the central axis

of the model. This cut will be used to create both the extrusion for the leg and the

eventual shirt collar. Place it where the neck extends from the shoulders on the

model sheet. Adjust the vertices to prepare for the future neck placement. At the

end of your adjustments, you will have something like Figure 3.10.

再次使用循环切割在前视图中使它靠近模型的中心轴切割，这个切割的目的是为了挤

出双腿和衣领的。在模型参考图肩膀，然后调整顶点为将来挤出颈部做准备。最后如图3.10

Figure 3.10 Completed torso 完成的身躯

9. Save your file. Look at C03_Torso_ to see what the finished

torso should look like.

保存你的文件，完成的身躯应该适合Look at C03_Torso_文件看起来

一样的。

Now that you have the torso, you can move on to either the arms or legs as

you wish. For this tutorial, you will move next to the legs.

选择你已经创建了身躯，

Extruding the Legs and Feet

挤出腿部和脚

Preparing legs offers similar challenges as starting a torso from a cube.

Modelers must be careful to create rounded geometry that looks like an organic

leg. The sooner you prepare for this, the less you will have to readjust later. You will

arrange the vertices at the bottom of the torso to round out the leg shape. In order

to do this, you will use the Proportional Editing tool.

准备像类似创建身躯那样由立方体开始那样创建腿部。建模者必须注意创建的圆形的

几何体要看起来像有机的腿。这个准备越早，后面需要调整的就越少。要做到这些你将使

用到Proportional Editing 工具。

Modeling the Legs 腿部建模

Continue with your model from the torso portion of the chapter or open

C03_Torso_

from the online resources folder for Chapter 3.

继续使用这一章的身躯模型或打开本书在线下载的章节3文件C03_Torso_

1. Select vertices on the front and back of the polygons that will be the base

of the leg geometry. Press the O key to activate Proportional Editing. Press G to

move them toward the center of the mesh so it matches Figure 3.11. Adjust the

radius of the Proportional Editing tool with the middle mouse wheel as necessary

to create a nice shape.

选择创建腿部基础的多边形的前面和后面的顶点。按下O键激活Proportional

Editing.按G键朝网格的中心移动最后结果和图 3.11那样。必要时使用鼠标滚轮调整缩放

编辑工具以创建更好的形状。

2. Select the vertex at the bottom-middle of the leg polygons and move it

toward the center of the mesh. Be careful that the vertices do not combine in

accordance with the Clipping setting. Round out the other side of the three leg

polygons. Ensure that the layout of vertices matches that in Figure 3.12.

选择腿部多边形底部中间的顶点朝网格中心移动。注意顶点设置了Clipping不会连

接。腿部有3个多边形。确保顶点布局如图3.12.

Figure 3.11 Using the Proportional Editing tool to round out the leg base

Figure 3.12 Rounding out the other side of the three leg polygons

3. Switch off Clipping in the Mirror modifier. Select the three leg base

polygons and extrude them downward to create a thigh.

关闭镜像修改器的Clipping选项。选择腿部的3个基础多边形向下挤出大腿。

4. At the end of this extrusion, align the geometry with a Scale 0 maneuver

along the z-axis. This will make extruding the rest of the leg simpler and create

neater geometry.

在挤出的末端，使用0缩放沿着Z轴对齐几何体。（按S，Z，0），这确保创建腿的其

它部分更简单和更整洁的几何体。

5. Create two small extrusions to create proper knee joint geometry.

创建2个小的挤出作为膝关节的几何体。

6. Extrude twice more: once to create the thick portion of the calf muscle and

once down to the ankle.

再挤出2次：一个创建到小腿最多肌肉的地方另一个到踝关节处。

7. Cut two to three edge loops in the thigh and move the new loops up

toward the waist geometry. Doing so will create a nice joint for the waist to bend

at when rigged. At the end of all these changes, the leg will look like the one in

Figure 3.13.

在大腿股沟处切割二到三个边循环向腰部移动这些循环边。这样做将在绑定时将创造

一个好的连接到腰部。完成这些后，腿部应该看起来如图3.13.

8. Let’s add some character by wrinkling the zombie’s pants. Make a few

more loop cuts in the bottom portion of the calf geometry toward the ankle. Select

the edge loop above the ankle by Alt+RMB-clicking and scale it up slightly. Select

the second loop up from the one you just scaled and scale this one as well.

Continue to do this until you reach the top of the wrinkle loops (Figure 3.14).

让我们为僵尸角色的裤子添加一些皱纹。做了几个切割小腿几何体朝着脚踝的底部。

选择脚踝上的循环边通过Alt+RMB点击和稍微缩放它。选择第二个循环边稍微缩放它。

继续，直到你顶部皱纹循环的做到这一点。（见图3.14）。

Figure 3.13 The extruded leg

Figure 3.14 The pant wrinkle geometry

Modeling the Feet 脚部建模

Now that the pants are done, you can begin creating the feet:

完成了裤子的模型，你将开始创建脚部的模型：

1. Select the faces at the bottom of the legs and press X to bring up the

Delete menu.

Choose Faces to delete them.

选择腿的底部的面按X键在弹出的删除菜单选择Choose Faces to delete。

2. Select the remaining edge loop at the bottom of the leg and use Shift+D

to duplicate

it. Move this one down a little from the edge of the pants. Extrude it downward

to create the base of the foot and align the bottom edge loop along the z-axis, as

shown in Figure 3.15.

任然选择腿部的循环边和使用Shift+D复制它。稍微向下移动这个复制品。然后向下

挤出作为脚的基础和沿着Z轴展平底部的面（S,Z，0）如图3.15.

3. The bottom of the foot geometry will have no faces on it. Create new ones

by selecting groups of four vertices and press the F key to create a new face. Do

this until the bottom of the foot is filled in with neat geometry.

脚部的几何体的底部现在没有任何面。可以通过选择4个顶点并按F键创建一个新面。

重复创建脚底的全部面。

4. Move the vertices at the back of the bottom of the foot backward along

the y-axis to create the shape of a heel.

朝Y轴向后移动脚底后面的顶点创建出脚跟。

5. Select the faces at the front of the foot geometry and align them along the

y-axis, as shown in Figure 3.16. Use this flat surface to extrude the rest of the foot

geometry according to the model sheet.

选择脚部前面的面沿着Y轴展平（S，Y，0）.如图3.16.使用展平的面挤出和模型参考

表相同的脚部模型。

6. Cut a few vertical edge loops along the foot and adjust the vertices to

make a nice shoe shape. Cut another horizontally and move it near the bottom of

the foot to create the sole of the shoe. Select the bottom polygons and scale them

down slightly. Your shoe should look something like Figure 3.17.

沿着脚部切割一些垂直的线并移动它们成为鞋子形状。切割另一些水平线朝脚底移动

它们以创建鞋底。选择底部的多边形稍微缩小它们。你的鞋看起来如图3.17。

7. You will now extrude some polygons to create the illusion that the shoe

connects to the leg. Select the edge loop at the top of the shoe again. Press Z to

enter wireframe view. Extrude a new edge loop upward slightly along the z-axis,

and then scale it down so it disappears under the pants. Make sure that the two

meshes are not touching. Extrude upward into the pant leg (Figure 3.18).

现在，您将挤出一些多边形来创建的鞋连接到腿的错觉。再次选择在鞋的顶部边缘循

环。按Z进入线框视图。沿z轴略微向上挤出新的循环边，然后缩小它可以消失在裤子下

面。确保两个网格没有接触。向上挤压进裤腿，如图3.18

8. You now have a torso with legs. Save your file. Look at

C03_Legs_ to see what the model should look like so far.

选择你已经创建完成身躯和腿部。保存你的文件。看文件C03_Legs_，

你的文件应该和它差不多。

Now you will go back up the mesh to the shoulder geometry, where you will

extrude arms and hands.

现在返回到网格肩部，在哪里你将基础你的手臂和手掌。

Making the Arms and Hands 创建手臂和手掌

Luckily, you have already created an appropriate shoulder from which to

extrude your arms back in the torso section of the tutorial. From these four faces,

you will now create the arms and hands.

幸运的是，在本教程的躯干部分你已经创建了一个合适的肩从中挤出你的双臂。你现

在将从这四个面创建胳膊和手

New modelers usually find that the creation of hand geometry requires

practice. The challenge is to create something that not only looks good but that

also fits the topology of the arms and rest of the model. Here, you are creating a

character with sleeves. As you did with the foot geometry, you can practice

forming the shapes without worrying about attaching them to the arms.

新的建模者常常发现创建手部的几何体需要练习。这主要是创建手臂和其它模型不仅

仅看起来像还要有好的拓扑结构。在这里你将创建角色的袖子。和你的脚部几何体那样，

你可以创建形状而不用担心连接到手臂的问题。

Modeling and Shaping Arms 创建手臂形状

We will begin this section by extruding the arm geometry to create coat

sleeves.

我们这部分将开始学习基础手臂几何体创建外套的袖子。

1. Continue with your model from the leg portion of the chapter or open

C03_Legs_

from the online resources folder for Chapter 3. Select the four

that will make up the shoulder and extrude from these faces (Figure 3.19).

继续从本章的腿部模型或打开本章的在线资源文件C03_Legs_ 。选择

4个肩膀的面并挤出这些面（见图3.19）

2. Extruding the arms is much like the process of extruding the legs. First,

create two small extrusions from the shoulder geometry. This will allow proper

deformation when the model is rigged.

挤出手臂就像挤出腿的过程。首先创建2个小的挤出作为肩膀的几何体。这将使模型

绑定时这个部分可以有适当的变形。

3. Now create one long extrusion for the upper arm down to where the

zombie’s elbow is. You can recognize the elbow by seeing where creases are in

his coat or by looking at Figure 3.20 to see what the arm geometry should look like.

Scale the faces at the end of the extrusion down so they fit the model sheet.

现在向下挤出到僵尸的手肘处作为上臂。你可以从僵尸的外套褶痕处认出手肘处。或

看图3.20手臂的几何体看起来应该是这样的。缩放挤出的面的末端以适合模型参考表。

Figure 3.19 Extrude from these polygons.

Figure 3.20 The finished arm

4. Do another two small extrusions at the elbow to help in deformation later

during animation.

在手肘处挤出2个较小的挤出方便以后的动画变形。

5. The forearm stays wide and then becomes narrower as it turns into the

wrist. Extrude to where this narrowing begins and create another extrusion that

ends at the wrist. Scale the polygons down at the wrist so they match the model

sheet. 前臂保持较宽手腕处变窄。从手腕变窄处开始创建另一个挤出结束手腕的创建。缩

放手腕以匹配模型参考表。

6. Extrude twice more so the zombie’s wrist geometry bends nicely during

animation. Orbit around your model to make sure the arm looks nice from

different angles and make adjustments accordingly in either the 3D or top view.

Look again at Figure 3.20 to see the finished arm.

挤出手腕2次以方便方面的动画有更好的弯曲。旋转视图确保手臂在任何角度看起来

都很好和不断在3D视图和顶视图调整。再次看图3.20 finished arm.。

Figure 3.21 Forming the base of the hand geometry

Modeling the Hands 创建手

Now it’s time to create the hands. As with the foot, you will create this to be a

separate piece of geometry.

现在是时候开始创建手部了。和创建脚部那样，你需要创建一个单独的几何体来创建

手。

1. Select the four faces at the end of the wrist and press the X key. Choose

the Faces option to delete the appropriate geometry.

现在手腕的四个面按X键，选择Choose the Faces删除适当的几何体面。

2. Alt+RMB to select the edge loop around the end of the wrist and duplicate

it with Shift+D. Place this new edge loop near the end of the arm geometry and

scale it down slightly (Figure 3.21).

Alt+RMB选择手腕周围的边，Shift+D复制它。放置这些新的边到手臂几何体的附近，

和稍微缩放它们（见图3.21）

3. Extrude this edge loop once backward into the sleeve. This will give the

impression that the zombie’s hands come from an actual arm. Scale the edge

loop at the end of the new interior extrusion down slightly so it stays out of the

way as much as possible when you animate the zombie.

向袖子里面挤出循环边。这给人的印象是僵尸的手是来自手臂的。稍微缩放新挤出的

循环边缘远离手臂方便以后僵尸动画。

4. Go back to the original edge loop and scale it down along the z-axis and

up along the y-axis to create the basis of a hand shape. Extrude twice from it to

create bendable wrist geometry.

返回到原始的循环边和沿着Z轴缩小和沿着Y着放大创建基本的手的形状。从中挤出

两次来创建可弯曲的手腕的几何形状。

5. You need faces to extrude a hand. Use the front and side viewports to

place the 3D cursor in the center of the edge loop that ends your new arm

geometry. You can also use Shift+S to move the 3D cursor to the selected

geometry. When it is properly placed and all other geometry is deselected,

Ctrl+LMB-click near the cursor in Vertex Select mode to create a new vertex. Use

this vertex to create four new faces by selecting groups of four vertices and

pressing the F key (Figure 3.22).

你需要面挤出一只手。使用前视图和侧视图放置3D准心到新手臂几何体最末端的循

环边的中心。你也可以使用Shift+S移动3D准心到选择的几何体。当它被放置在适当的

位置和所有的其它几何体被选中，在顶点模式下按住Ctrl+LMB点击选择的顶点附近创建

一个新的顶点。使用这个顶点然后4个顶点一组按F键创建四个面。（图3.22）

Figure 3.22 New polygons

6. Extrude three times to begin a palm shape. Scale the new edge loops

down along the z-axis and up along the y-axis to do your work. Refer to the front

model sheet view and check the geometry from the top and perspective views as

you work (Figure 3.23).

挤出3次创建开始一个手掌的形状。参考前视图的模型参考图沿着Z轴向下缩放和沿

着Y轴向上缩放，并从顶部和透视图检查你的工作。（见图3.23）

Don’t forget that you have your own reference materials for constructing

humanoid characters attached to you. Look at your own hands or other body parts

when working with 3D humanoid characters to get an idea for scale, proportion,

and placement.

不要忘记创建人形角色的时候你自己就是最好的参考材料。当你工作在人形建模时看

着你自己的手或身体其它部位得到一个号的比例和布置。

Figure 3.23 Forming the palm structure

7. Add another edge loop to create the base of a thumb like in Figure 3.24.

添加另一个边循环来创建一个大拇指的根部像图3.24。

Figure 3.24 Preparing to extrude the thumb

8. Extrude the two polygons shown in Figure 3.24 along the y-axis. Scale

them down and move them forward along the x-axis to create the thumb.

沿y轴挤出图3.24所示的两个多边形。向下缩放，并沿x轴向前移动它们创建拇指。

9. Cut an edge loop along the center of the thumb geometry so you can

move vertices around to round out the polygons. This will create a better thumb.

沿拇指几何中心切割边循环，使你可以移动多边形周围顶点。这将创建一个更好的大

拇指。

10. Extrude twice to create the first thumb joint. Extrude once to create the

first link of the thumb. Extrude another thumb joint, and then twice after that to

make the thumb’s second link and its round tip. Don’t worry about making the

geometry perfect as you extrude. After the extrusions are created, scale and move

vertices around to sculpt a realistic thumb. Use Figure 3.25 and your own hand as a

reference.

挤出两次创建第一个拇指关节。再挤出一次创建拇指的第一节。挤出两次创建另一个

关节，然后分别挤出第二节拇指和指尖。不要担心你挤出的拇指不够完美。挤压创建拇指

后，缩放和移动顶点塑造完美真实的拇指。使用图3.25或你自己的手作为参考。

11. Now that you have the thumb geometry more or less shaped, you can

begin work on the fingers. Cut two edge loops in the hand geometry to create the

bases for four fingers, as shown in Figure 3.26. Line up the vertices in each new

edge on the finger extrusion surface by scaling them along the y-axis to value 0 so

you will be extruding from nicely shaped polygons.

现在你已经或多或少的已经完成了拇指形状，你现在可以开始创建手指。在手的几何

体切割2段循环边作为四个手指的基部，如图3.26.沿Y轴缩放按0键展平它们。

Figure 3.25 The zombie’s thumb

Figure 3.26 Finger extrusion polygons

12. Pick the finger polygons in the sets of two that will form the individual

fingers. Extrude each pair of polygons a short distance. (If you fail to take this step,

there will not be a space between the geometry of each finger.) Select an edge

loop that will be the base of a finger. Press Shift+Alt+S together. This is the To

Sphere command, which rounds out the edge loop. Repeat this process for each

finger base. The result will resemble Figure 3.27. (Note that the strength of this

tool is determined by either moving the mouse or typing in exact values.)

拾取手指的多边形中的2个，将形成的各个手指。挤出每一对多边形的一个短的距离。

(如果你忘记了这个步骤，你将不会有每个单独手指的几何体)，选择手指基部的循环边。

按Shift+Alt+S，这是一个围绕着循环边球形化命令。每个手指根部重复此过程。其结果

将类似于图3.27 。（请注意，此工具的强度是通过移动鼠标或输入的精确值来确定。）

Figure 3.27 The finished finger bases

13. From these bases, extrude once to the first finger joint. Then do two

short extrusions to create the joint. Extrude once again to the second set of joints,

and then add two more short extrusions to create them as well. Finish off the

finger geometry by extruding to the fingertips and

once more to round out the fingers.

从这些基部挤出第一个指关节。然后再挤出两段短的作为关节。然后再挤出一次挤出

第二个指关节，同样再挤出两段短的作为关节，再次挤出第三个指关节和手指尖完成手指

几何体的建模。

14. Since not all of a real person’s (or zombie’s) fingers are even, you will

have to adjust their vertices so they match real life. Again in this case, use your

own hand as reference for finger size and length. Scale and move vertices around

until you get a result you like. The finished hand is shown in Figure 3.28.

由于并非所有的人（或僵尸的）手指都一致的，你将根据实际调整它们的顶点。还可

以参考你自己的手调整大小。缩放和移动顶点直到你想要的结果。完成的手如图3.28.

Figure 3.28 The finished hand

15. Now that you’ve done all this hard work, it is time to saveyour file. Look

at C03_ArmsandHands_ to see what the model should look like so

far.

现在你完成了手部的建模，是时候保存你的文件了。到现在为止你的文件看起来应该

是和C03_ArmsandHands_一样。

At this point you have the shape of the body worked out, and you can finish it

off by modeling the zombie’s clothing.

现在你完成了身体的建模，你开始创建僵尸的衣服。

Separating Body Components to Create Clothing

分离身体组件创建衣服

You have already created the basis of the zombie’s clothing. Now you need

to finish by creating the coat and shirt that are in the model sheet image.

您已经创建僵尸服装的基础。现在，你需要创建模型参考图表的外套和衬衫。

Creating a Shirt Continue with your model from the leg portion of the chapter

or open C03_ArmsandHands_ from the online resources folder for

Chapter 3.

继续从这章的腿部模型开始创建衬衫或打开第三章的在线资源文件

C03_ArmsandHands_

1. Select the column of faces above the waist and immediately to the right of

the center axis of the body.

选择腰部以上的接着身体中心轴线右侧圆柱面。

2. Press Y to separate these polygons from the rest of the mesh (Figure 3.29).

Scale them down slightly and adjust the vertices to make them appear as a full

shirt.

按Y键将这些多边形从网格的其它部分分离出来（见图3.29）稍微向下缩放它们，并

调整顶点使它看起来更像衬衫。

3. Select the rightmost edge loop of the shirt geometry and extrude it once

to the right. Scale it down so it doesn’t accidentally come out of the coat as the

zombie animates.

选择衬衫最右边的循环边并向右挤出一次。向下缩放它以便僵尸动画时不会意外到大

衣上。

Figure 3.29 Polygons removed to create a shirt

At this point it would be good to check the normals on your model. Open the

N Viewport Properties panel while you are in Edit mode and scroll down to find the

Mesh Display options. There are options here for displaying either Face or Vertex

normals. This will cause small blue lines to extend from each face. With this tool

you can make sure the normals are facing the proper direction. You can also view

the model in Textured mode to see whether the normals on the model are facing

in the right direction.

在这里在你的检查你的模型的法线。按N键打开视图窗口属性侧边栏，在编辑模式滚

动鼠标中键直到找到网格显示（Mesh Display）选项。这个面板有显示顶点和面法线的选

项。这将每一个面都有一垂直的小蓝线。使用这个工具你可以确保每个面的法线有正确的

方向。你也可以在纹理模式看看是否模型的面法线是否正确。

Extruding the Shirt Collar 挤出衬衫衣领

It’s time to embellish the zombie’s shirt a bit.

是时间来美化僵尸的衬衫。

1. Select the edge loop around the collar and extrude it upward along the

z-axis. Check the normals on the model to make sure these new faces are all facing

outward. If they are not, use the Flip Normals option in the Toolshelf panel,

accessible with the T key, with the incorrect faces selected (Figure 3.30). The

Recalculate Normals option is also a viable option for automatically flipping

normals on a model. However, this command will not work perfectly every time

and you will have to do things yourself with Flip Normals.

选择衣领周围的循环边和沿着X轴朝上挤出。打开模型的法线确保这些新的面的法线

向外的。如果不是，使用工具架（T键）的翻转法线（Flip Normals）选项，选择不正确

的面（图3.30）。重算法线（Recalculate）选项也是一个自动翻转选择模型法线选项。但

是，此命令不会每次都很好地工作你将不得不自己翻转法线。

Figure 3.30 The extruded collar with normals displayed

2. Once you have corrected any offending normals, delete the polygons at

the base of the collar since they are no longer needed.

一旦你校正了有问题的面的法线，删除在领口基部的多边形，因为它们不再需要。

3. Reselect the edge loop that is now the top of the collar and turn off

clipping on the Mirror modifier. Extrude the edge loop and move the front central

vertex of the new loop away from the center of the model on the x-axis. Scale the

new edge loop up and move it downward to create the shirt collar (Figure 3.31).

重新选择循环边，现在是领子的顶部边和关闭镜像修改器的clipping选项。挤出循环

边在前视图沿着X轴移动这些顶点远离模型。向上缩放这些循环边朝下移动创建衬衫衣领

（见图3.31）。

4. With clipping still turned off, continue to move vertices away from the

center to create the button-up portion of the shirt. Adjust vertices and check

normals—the extrusion method used for this often creates inconsistent normals.

保持clipping选项关闭，继续移动顶点远离中心创建衬衫上面部分纽扣。调整顶点和

检查法线，挤出方法常常会创建一些不一致的法线。

Figure 3.31 The shirt collar

Finishing Off the Coat 完成大衣

Now you need to extend the coat so it hangs down over the waist.

现在，您需要挤出大衣，使它在腰部下垂。

1. Select the geometry below the waist where the pants will be and press Y to

disconnect this geometry from the rest of the model (Figure 3.32). Pick the pant

section’s top edge loop and move it down slightly on the z-axis.

选择腰部下面裤子的几何体按Y键和模型的其它部分分离（见图3.32）。选择裤子顶

部的循环边沿Z轴稍微向下移动。

2. Scale the bottom edge loop of the coat section up a bit. Create a few short

extrusions downward and two longer ones. Adjust vertices as necessary so that the

coat hangs just over the pants; use Figure 3.31 as reference. Once you complete

this, the body is finished (Figure 3.33).

稍微向上缩放大衣底部的边。创建一些较短的挤出和两个长的挤出。调整顶点以致外

套悬在裤子上面参考图3.31.一旦你完成这些，身体部分就算完成了（图3.33）

3. Figure 3.33 shows the body with a few adjustments—the arms were

rotated down slightly and another edge loop added to the shoulders. The

shoulders and fingers were also modified to be more relaxed as well. As stated in

Chapter 1, 3D models may animate better if their extremities are in relaxed

positions.

图3.33显示一些身体的调整手臂被向下旋转了一定角度，肩膀添加了循环边。肩膀和

手指都被修改了。如第1章所述， 3D模型可以更好的动画效果，如果他们的四肢都在松

弛的位置。

4. Now that your body is complete, save your file. Look at

C03_Finished_ to see what the model should look like so far.

现在你已经完成了身体，保存你的文件。最后文件看起来应该像

C03_Finished_文件。

You are now the proud owner of a headless zombie. While terrifying on its

own, it will look much better with a head. In the next section, you will give it one.

你现在是一个无头僵尸的骄傲的主人。如果它有一个头将看起来更可怕。在下一部分，

你将创建它。

Creating the Head with Poly-by-Poly Modeling 使用多边形多边形建模创建头部

Now that your zombie has a body, it needs a head to bite players with.

Although head geometry can be created with extrusion modeling like that just

used for the body, you will use poly-by-poly modeling for this part of the model.

Poly-by-poly modeling can be helpful to 2D artists struggling with 3D since part of

its workflow resembles 2D drawing. Blender also makes this method particularly

simple, because it allows you to create new geometry with only a few key presses

rather than by searching the interface for appropriate buttons.

现在僵尸有了身体，它还需要一个头咬玩家。虽然可以像创建身体那样挤出模型创建

头部，但在这部分你将使用多边形多边形建模创建头部。多边形多边形建模可以帮助2D

艺术家在3D空间使用类似2D绘画的工作流程。Blender也使得这种方法特别简单，因为

它允许你创建新的几何体，只需按几个按键，而不是通过搜索界面进行查找相应的按钮。

Creating a Foundation for Face Modeling

为面模型创建一个基础

Continue with your model from the leg portion of the chapter or open

C03_Finished_Body .blend from the online resources folder for Chapter 3.

继续从你前面完成的模型或打开C03_Finished_Body .blend文件。

1. For this model, leave edit mode and deselect the body. You will begin the

head from a new mesh and combine the head and body later for rigging.

对于这个模型。离开编辑模式并删除身体模型。你将从一些网格开始创建头部最后合

并头部和身体模型为了后面的绑定。

2. With your front and side viewports, move the 3D cursor to where the

center of the head is on the model sheet. You may also wish to hide the body mesh

by highlighting it in object mode and pressing H so it is out of your way.

使用前和侧视图，移动3D准心到模型参考图的中心。你也许想要的不是删除身体而

是隐藏身体，按H键隐藏选择的身体模型。

3. Using Shift+A to bring up the Add menu, create a cube mesh. Enter edit

mode for the new cube and delete all but the frontmost polygon of the mesh.

使用Shift+A在弹出的菜单 ，创建一个立方体网格。进入编辑模式并删除网格所有最

前面的多边形。

4. Add a Mirror modifier to the head mesh. Make sure the Clipping setting is

activated. Move and scale the polygon so it matches the one shown in Figure 3.34.

This polygon will be the basis of the face mesh.

给头部网格添加一个镜像修改器。确保Clipping激活。移动和缩放多边形匹配图3.14.

这个多边形是面部的基础。

Figure 3.34 This polygon will be the basis of the face mesh.

5. Pick the top edge of the face and press E to extrude the edge upward, as

shown in Figure 3.35. If you are working with the model in the side view, you can

trace the forehead outline from the model sheet after each extrusion by moving

each new edge into place.

选择这个面顶部的边按E向上基础边，如图3.35.如果你工作在侧视图，你可以移动让

每一个挤出的边沿着模型参考图的前额轮廓走线。

Figure 3.35 Extruding edges to create the base for the forehead

6. Once you have a forehead outline like the one in Figure 3.35, select the

bottom edge of the initial face polygon and extrude this edge downward to trace

the face outline. Continue extruding until you have a mesh matching the one in

Figure 3.36.

一旦你有了图3.35那样的轮廓，选择最开始的多边形面和沿着模型参考图的面部挤出

边。直到如图3.36那样。

Figure 3.36 Extruding more edges creates the base for modeling the face.

Drawing Facial Geometry with Vertices 用顶点画出面部的几何体

Now that the zombie’s face is modeled, let’s refine its features.

现在以僵尸的面为参考 完成面部模型

1. With vertex select mode activated, move vertices around to create better

shapes for this part of the face. In particular, you will want to make the geometry in

the upper lip area skinnier than the other polygons to create the channel under the

nose. Also raise the vertices on the upper lip up slightly to begin the lip shape

(Figure 3.37).

确保顶点模式被激活，移动这些顶点创建更好的面部。特别的是，你将要创建的上嘴

唇要比其它的鼻子下面的多边形要薄，同时稍微提高上嘴唇顶点（见图3.37）

Figure 3.37 Adjusting the vertices on the current column of face polys

2. With these adjustments completed, you can begin to create the rest of the

face. To do so, you will begin with the lip topology. In the front viewport, select the

rightmost vertex at the top of the top lip. Press E to extrude this vertex outward

and move it into position so you are tracing the outline of the lips.

完成这些后，你将创建面部的其余部分。你将开始创建嘴唇的拓扑。在前视图，选择

嘴唇顶部最右边的顶点，按E键沿着嘴唇轮廓挤出顶点。

3. When you reach the second-to-last vertex of the loop, do not extrude

another vertex to complete the loop. Rather, select the latest vertex in the loop

and the one on the mesh that will finish the loop—the rightmost vertex on the

bottom of the lower lip—and press the F key to complete the loop. When you are

finished, your edge loop should resemble the one in Figure 3.38.

当你到达循环的第二个到最后一个顶点，不会再挤出另外一个顶点来完成循环。相反，

选择网格上的循环的最后一个顶点和嘴唇底部最右边的顶点按F键完成循环。您的边循环

应该类似于图3.38的。

When you create your edge loops in this manner, make sure each new loop

has the same number of vertices. You ultimately want to create a mesh made of

quads, four-sided polygons, so keep this in mind when drawing edge loops.

当你以这种方式创建边循环时，确保每个新的循环具有相同的顶点数目。你最终想创

建的是四边形网格，所以创建边循环时记住这一点。

4. Although the edge loop looks great in the front view, it is a bit flat in the

side view. To fix this, switch on the Proportional Editing tool with the O key. On the

3D view’s header, there is a button for the Proportional Editing tool that

resembles a blue circle. Next to this button is a pull-down menu that shows a

curved white line. This pulldown shows the various falloff modes for Proportional

Editing. Choose the Sharp option. Pressing Shift+O will allow you to cycle through

these modes without having to open any menus.

虽然循环边在前视图看起来不错，但是在侧视图有点平坦。为了解决这个问题，按O

键打开比例编辑（Proportional Editing）。在3D视图的标题栏，有一个蓝色圆圈的比例

编辑工具按钮。下一步，该按钮是一个下拉菜单，显示一个弯曲的线。此下拉菜单显示了

各种衰减模式比例编辑。选择Sharp选项。按Shift+O将让你循环选择这些选项，而无需

打开任何菜单。

5. Select the vertices at the rightmost end of the mouth loop and pull the

vertices backward on the y-axis. Adjust the Proportional Editing radius with the

middle mouse wheel as you do this until you have a result you are happy with

(Figure 3.39).

选择嘴唇这些最右边的顶点往后沿X轴拉这些顶点，使用鼠标滚轮调整比例编辑

（Proportional Editing）半径，直到有满意的结果（见图3.39）。

Figure 3.38 The outer edge loop of the mouth completed

Figure 3.39 Use Proportional Editing to shape facial loops.

6. Now that you have created one facial loop, you can go on to do the rest.

Follow Figure 3.40 and create edge loops for the facial geometry. Make sure that

each loop has enough vertices so the eventual facial mesh can be created with

four-sided polygons.

现在，您已经创建了一个面部循环，你可以继续做其它的部分。按照图3.40 ，并为

面部创建几何边循环。确保每个循环边有足够的顶点，所以最终的面部网格可以用四边的

多边形来创建。

Figure 3.40 Facial edge loops

7. To create the loop around the eye, create a new vertex by positioning your

3D cursor where you want your new vertex to go and press Ctrl+LMB to create a

new vertex. From this vertex, you can draw a new edge loop by extruding vertices

from the original as you have done on the face.

要创建眼部的循环边，通过定位你的3D准心到你希望创建新的顶点位置，然后按Ctrl

+鼠标左键来创建一个新的顶点。从这个顶点你可以用挤出画出循环边。

8. When you finish each loop, pull their outermost vertices back along the

y-axis with the Proportional Editing tool turned on and set to the Sharp falloff

setting to create the face shape.

但你完成循环边，打开比例编辑（Proportional Editing）设置Sharp衰减选项沿着

Y轴向后拉最右边的顶点创建面部形状。

9. Once you are done with your edge loops, select vertices in groups of four

and use the F key to fill in faces in the facial mesh. Do not fill in the spaces where

the eyes will go or in the mouth—you’ll deal with those later. For the polygons

that are in the lip area now, delete them with the X key. Now that you have a solid

mesh to look at, adjust any vertices you need to with Proportional Editing. Your

outcome should look something like Figure 3.41.

一旦完成了循环边后，选择4个顶点为一组使用F键创建面部的网格面。不要填充眼

部和嘴部的空隙—你将稍后处理它们。对于那些在唇部的多边形，用X键将其删除。现在

你面部有了实体网格，你需要使用比例编辑（Proportional Editing）调整顶点，最后看起

来和图3.41类似。

10. Extrude the edges from the top of the eye loop to create geometry for

the forehead. Adjust the edges as necessary to create nice forehead geometry.

挤出眼顶部的循环边创建前额的几何体。根据需要调整边缘来创建漂亮的额头几何体。

11. Create faces in between the new forehead polygons and the original

ones in the center of the face, as shown in Figure 3.42.

在新的前额的多边形和原来的那些在该面的中心之间建立面，如图3.42 。

Figure 3.41 Facial mesh built with poly-by-poly modeling

Figure 3.42 Creating forehead geometry

Shaping the Nose创建鼻子

So far our nose looks somewhat shapeless, so let’s add some geometry to

refine the tip.

到目前为止，我们的鼻子看起来有点不成形，所以让我们添加一些几何体完善它。

1. Select the faces that cover the tip and bottom of the nose and extrude

them outward (Figure 3.43).

选择覆盖鼻尖和底部的面和向外挤压它们（图3.43 ） 。

While most games utilize textures to create the effect of nostrils on a

character’s face, it can

be useful to know how to create them with geometry.

虽然大多数游戏使用的纹理来创建角色面部的鼻子效果，但知道怎么用几何体创建它

们是很有用的。

Figure 3.43 Extruding the nose

2. Select the two faces at the bottom of the nose and turn off Clipping in the

Mirror modifier. Extrude these polygons but do not move them anywhere. Instead,

scale them down and press Alt+Shift+S to round the faces out with the To Sphere

tool. Extrude into the nasal cavity and scale down again slightly. Finally, add one

more extrusion to complete the nostrils (Figure 3.44).

选择鼻子底部的两个面并关闭镜像修改器的Clipping选项。挤出这些多边形但不要移

动这些多边形。相反向下缩放并按Alt+Shift+S使用球形化工具圆化这些面。挤压入鼻腔

和再次稍微缩放。最后，添加更多的挤出来完成鼻孔（图3.44 ）模型 。

3. Adjust the facial geometry as needed to get a result you’re happy with.

调整面部几何体直到你满意的结果。

Figure 3.44 Creating nostril geometry

Finishing the Facial Features 完成面部特征

Now that you have a mask-like structure for the face, you will need to finish off

those eye and mouth voids.

现在你已经有一个面具般的面结构，现在你将要完成眼部和嘴部的空隙。

1. Make sure that Clipping is reactivated on the Mirror modifier. Select the

edge loop around the mouth and extrude it without moving it. Scale this new edge

loop down so it fits inside the mouth area.

在镜像修改器确保Clipping选项被打开。选择嘴部周围的循环边挤出不移动它们。向

下缩放这些新的循环边以适合嘴部里面区域。

2. Adjust any vertices so they create a natural mouth shape; then repeat the

steps of extruding, scaling, and adjusting twice more until you have a result like the

one shown in Figure 3.45.

调整顶点以创建一个自然的嘴形状，重复这个步骤，调整两次或更多直到看起来和图

3.45类似。

Figure 3.45 Extruding and shaping the lips

3. Now turn your attention upward to the eyes. Extrude the eye edge loop

and scale it down slightly. Move it forward to create a simple eyelid shape.

现在把注意力放到上面的眼睛。挤出眼睛边循环和稍微向下缩放。向前移动，以创建

一个简单的眼皮形状。

4. Now extrude inward and scale downward to create the inner part of the

eyelid. Create an eye socket with one more extrusion toward the interior of the

face. The completed extrusions are shown in Figure 3.46.

现在朝里挤出并稍微向下缩放创建眼皮内部部分。再向面部里挤出一次创建眼窝。完

成后如图3.46.

5. To finish shaping the face geometry, it helps to see how the mesh will fit

around an eyeball object. As of right now, these objects do not need to be part of

the face mesh, so go into object mode and press Shift+A to add a 12-sided UV

sphere along the face’s central axis.

要完成面部的几何体形状，它有帮助于了解网格怎么适合眼球物体。至于现在，这些

物体不需要是面部网格的一部分，所以返回到物体模式按Shift+A沿着面部的中心轴添加

一个12边的UV球。

6. Rotate the eye 90 degrees along the x-axis so that the bottom vertex of

the eye is facing forward. The edge loop around this structure will nicely stand for

the eye’s pupil and iris.

沿着X轴旋转眼睛90度，以便在眼睛的底部顶点朝前。这个结构的循环边对于眼睛

的瞳孔和虹膜和很好的拓扑。

Figure 3.46 Eye socket extrusion

7. Add a Mirror modifier to the sphere and ensure Clipping is off. Enter edit

mode and press L to select the entire sphere. Scale the sphere down to a suitable

size and move it so the iris loop fits into the eye cavity, as shown in Figure 3.47.

When you move the geometry around in edit mode like this, the object center will

remain in place so that the Mirror modifier will work properly. If it does not, place

the 3D cursor in the middle of the head between the two eye sockets and press

Ctrl+Alt+Shift+C to move the center. The Origin To 3D Cursor option in the

pop-up menu will move the center to the cursor.

为球体添加一个镜像修改器确保打开Clipping。进入编辑模式和按L选择整个球体。

适当缩小球体并移动它让虹膜循环适合眼部的空洞，如图3.47.当你在编辑模式移动几何

体，物体中心任然在原地镜像修改器正常工作。如果不是，放置3D准心在两各眼窝的头

部中间按Ctrl+Alt+Shift+C移动到中心。

8. Once the eye is placed, adjust the face geometry so it hugs the eye closely,

as shown in Figure 3.47. Using the Proportional Editing tool makes this a simple

process.

一旦眼睛被放置，调整面部几何体让它靠近眼睛，如图3.47.使用比例编辑

（Proportional Editing）确保这是一个简单的过程。

Figure 3.47 Moving and scaling the eye shape into the appropriate place

Finishing the Skull Shape 完成脑壳形状

The face is looking great, but you still need to create a full head. This section

will cover how to do that by extruding from the forehead.

现在又一个很好的面部，但你还是需要完成整个头部。这部分将从头部挤出开始。

1. Go back up to the forehead geometry. Extrude the top edge loops upward

once, and then align them along the z-axis. It is much easier to create head

geometry with even loops. Rotate the aligned edges to create a good basis for

extruding the next part of the skull curve (Figure 3.48).

返回到额头的几何体。向上挤出顶部的边循环一次并沿Z轴对齐边。有平坦的循环边

是更容易创建头部几何体。旋转对齐边为下一步创建脑壳曲线（如图3.48）。

Figure 3.48 Starting to shape the skull

2. Continue to extrude the head shape until you have gone around the skull

to the back of the neck. When you have reached that point, similarly extrude from

the bottom of the chin to create the area around the throat. Fill in the void

between the front and back of the head by extruding edges and creating new

faces by creating quads out of sets of four vertices with the F key. When you are

finished, you should have something that resembles Figure 3.49.

继续沿着脑壳轮廓挤出头部形状直到颈部。当你已经达到了这一点，同样从下巴的底

部挤出来创建一个围绕喉部的区域。挤出填充头部前后的空隙和选择四个顶点一组按F创

建面。完成后类似图3.49.

3. When looking at your newly-modeled head, you will see that it has very

flat sides in its current form. Move edge loops outward with the Proportional

Editing tool activated to create a better head shape. Use Figure 3.49 as a guide.

当你看新建的头部，你可以看到侧边是很平坦的，使用比例编辑（Proportional

Editing）向外移动边循环创建一个更好的头部形状。参考图3.49.

For developers creating head geometry for iOS and Android games, some of

the techniques here may produce polygon counts too high for characters. Curves

like those surrounding the head shape and facial features are great places to be

frugal with polygons. Try to create the shapes of these facial curves with as few

polygons as possible.

对于IOS和Android平台的游戏，一些技术创建的多边形数也许太高了。像周围的头

部和面部特征的曲线是非常重要要节俭的多边形的地方。尝试用尽可能少的多边形创建这

些面部曲线的形状。

Figure 3.49 Finished head geometry

Finishing the Head with Ears 完成头部和耳朵

Ears are a constant worry for 3D modelers, even after they’ve gained

considerable skill with their tools. Indeed, the methods described here for creating

head geometry turn the ear into a sort of dump for leftovers of the geometry

created for other areas of the head. Luckily for game developers, the focus on low

polygon modeling helps alleviate some of these troubles by letting our textures do

the work. Instead of a complex ear, you will model a basic ear that will save you

some polygons.

耳朵是3D建模者不变的烦恼，即使它们已经对工具的使用非常熟练。事实上，这里

描述的头部创建的方法把耳朵变成为头部的其它区域是浪费内存的。幸运的是，对于游戏

开发者，纹理工作可以帮助我们缓解的多边形的建模的麻烦，相对于复杂的耳朵，你只需

要保存一个基本的耳朵。

1. Select the edge loop around the ear cavity, extrude it, and scale it down so

the new loop moves in toward the center of the cavity.

选择耳部的空洞循环边，挤出它，朝着空洞缩放新的循环边。

2. Extrude vertices to create new edges in the ear area. Doing so will help fill

in the geometry. Make sure that the number of vertices you are adding

corresponds to the number of vertices on the existing mesh. You should try to

create something like Figure 3.50.

在耳朵区域挤出点创建新边。这样有助于填充几何体。请确定您添加对应于现有的网

格顶点的数量顶点的数目。你应该尝试建立类似图3.50 。

3. Select vertices in groups of four and press F to create new faces. Although

I’ve advised you to model only with quads up to this point, it is possible to get

away with one or two stray triangles in this portion of the head. Players will

generally not be staring at the zombie’s ears and they will not be directly

animated. If you have any trouble creating the geometry in the ear, take an edge

loop cut to add vertices wherever needed. Also remember that while you should

try to model polygons with four vertices, that does not imply that they have to be

perfect squares or rectangles. Sometimes positioning your vertices in a diamond

formation can allow you to fill in spaces that would otherwise hold triangles or

ngons (faces with more than four vertices). Figure 3.51 shows a potential solution.

选择四个顶点一组按F键，创建新面。虽然我建议只用四边形来创建这个模型，在这

个号模型头部的部分有可能出现一两个三角形。玩家通常不会注意僵尸的耳朵和耳朵通常

不会用来做动画。如果你有任何困难创建耳朵几何体，使用edge loop cut在需要的地方

添加顶点。但你应该记住使用四边形来创建模型，但不意味着它们必须是完美的正方形或

矩形。但有时像构成钻石的结构点允许你使用三边形和多边形（超过4个顶点的面）。

Figure 3.51 Ear geometry construction

4. Extrude some of the outer faces of the new ear geometry, as shown in

Figure 3.52.

挤出一些新的耳耳朵几何体的外表面，如图3.52.

5. The ear smoothly comes off the head, so you should delete the faces at

the front tips of the ear extrusion. Also delete the faces that were adjacent to the

newly deleted faces on the flat side of the head. Create new polygons between the

edges on the ear extrusion and the flat side of the head. Clean up the geometry

further until you have a result similar to Figure 3.53. In the figure, notice that one

less edge loop is coming from the head—this is because a row of polys were

deleted while cleaning up the geometry.

耳朵平滑的和头部对接，所以你应该删除前面耳朵挤出的面。还删除是相邻的头部的

扁方新删面孔的面孔。建立在耳朵上挤压和头部的平坦侧的边缘之间的新的多边形。清理

几何体直到类似图3.53. 在图中，发现少了一个边循环和头部--这是因为连续的多边形，

而清理的几何体被删除。

6. You may want to unhide the body by pressing Alt+H to show hidden

meshes. Position the head and body together so the neck fits into the shirt collar.

Change either mesh appropriately.

你也许不想要隐藏身体按Alt+H显示隐藏的网格。位头部和身体在一起，使颈部安装

到衬衫的领子内。稍微改变网格。

7. Extrude a few times from the bottom of the neck to create the top of the

chest. Doing so will make the transition from body to head model appear

seamless.

挤出颈部几次以创建胸腔顶部。这样做将使从身体到头部模型的过渡显得浑然一体。

Taking the time to clean up geometry after you’ve finished your initial

modeling can save you lots of processing power later. The ears are one area that

can benefit from such cleaning.

花点时间清理你的初始模型几何体，可以为你以后节省大量的处理能力。耳朵是其中

一个清理的区域。

Modeling and Attaching the Mouth Interior创建和添加嘴部

Since your zombie’s primary attack will be its bite, you will need to create its

teeth and the interior of its mouth.

因为你的僵尸本能攻击是用嘴咬，所以你需要创建它的牙齿和嘴内部

1. Now that you have a face model, move over to the Mirror modifier and

choose Apply to apply the modifier. Doing so will make the mirrored version of the

face into part of the main mesh.

现在你已经有了一个面部模型，移动鼠标到镜像修改器面板点击Apply按钮，应用修

改。这样做将使得该面的镜像版本成为主网格的一部分。

2. Place the 3D cursor to the side of the head model. You will want to work

on the mouth interior to the side of the zombie mesh and combine them after you

arefinished. Add a cube mesh in object mode. Scale and move it so that it lines up

with its final position if viewed through the side viewport.

将三维光标移动到头部模型的侧面。您将要在僵尸网格的一侧口内工作，完成后，将

它们合并。在物体模式添加一个立方体网格。在侧视图缩放并移动它到最终位置。

2. Open the Specials menu with the W key and select Subdivide Smooth to

smooth the new cube. Then, delete the faces on the left half and add a Mirror

modifier to the subdivided cube. Your screen should look like Figure 3.54.

3. 按W键打开特别菜单选择Subdivide Smooth细分光滑新建的立方体。然后删除

左半边的面并添加一个镜像修改器，最后看起来如图3.54

Figure 3.54 Setting up the mesh for the mouth interior

4. Delete the two faces on the front end of the mouth object; doing so will

create the opening that will be merged with the lip mesh on the face.

删除嘴部物体最前面的2个面；这样做得目的是为了用面部的嘴唇网格合并嘴部。

5. Count the number of vertices you have around the zombie’s lips. If you

followed the images in this book, there should be about 16 vertices in this area.

Using the Loop Cut tool, cut your new mesh so that there is a corresponding

number of vertices around its opening. If you have 16 vertices there, then this

should require only two loop cuts.

算算僵尸的嘴唇周围顶点数目。如果你是跟随本书图像的，这个区域大概有16个顶

点。使用Loop Cut工具，切割你的新网格和面部嘴唇开口的网格一致的顶点。如果这里

有16个顶点，你应该需要仅仅2个环切。

6. Create another cube. Move and scale it so it is very small and thin. This will

be the basis for the zombie’s teeth. Figure 3.55 shows how you should be

progressing.

创建另外一个立方体。并缩放和移动它到非常薄。这将为僵尸的牙齿模型的基础。图

3.55显示了你应该如何进展。

7. Extrude and move polygons until you have a rounded upper jaw–like

shape, as shown in Figure 3.56. Select the top and back rows of polygons on this

shape and delete them. You will not see them during animation so they will not be

necessary.

挤出并移动多边形，直到你有一个圆形的上颚形状，如图3.56 。选择这个形状顶部

和后面的多边形，并删除它们。动画过程中你不会看到他们，因此他们将没有存在的必要。

Figure 3.55 Creating the mesh for teeth 创建牙齿网格

Figure 3.56 Modeling the geometry of the teeth 牙齿几何体建模

8. Apply the Mirror modifier to the mouth. Press L near an element of the

teeth mesh to select the whole thing and duplicate it by pressing Shift+D. Move

this new row of teeth down and rotate it 180 degrees along the y-axis to turn it

over. Scale it along x and y to create a nice bottom jaw shape like that shown in

Figure 3.57.

应用镜像修改器给嘴部。在牙齿网格附近按下L键选择整个物体牙齿这个元素（这样

就不用通过框选和其它选择工具来选择整个物体中的独立元素，有时用其它工具都不好选

择）并按Shift+D.复制牙齿物体。移动这个新的牙齿网格到原来的牙齿网格正下面，然后

以Y轴翻转180度。沿x和y缩放它来创建一个漂亮的底部下颚形状类似于图3.57所示

Figure 3.57 Finished mouth geometry

9. Now that you have a finished mouth setup, you can leave edit mode.

Select both the mouth and head meshes and press Ctrl+J to join the two meshes.

This step will not merge their geometry but rather make them occupy the same

block of data in Blender’s object management system.

现在你完成了嘴部模型这个步骤，你可以离开编辑模式。选择嘴部和头部网格按Ctrl+J

合并两个网格。这个步骤不会合并它们的几何体，而是让它们在Blender的对象管理系统

占据同样的数据块。

10. Reenter edit mode and move the mouth geometry so that it is now in line

with its final location in the front view. Use the head geometry as a guide for your

movement. To move the object in precise increments, hold down the Shift key

while you move.

重新进入编辑模式，并且移动嘴部的几何体，使得它现在在前视图是在其最终位置中

的同排。使用头部几何体作为移动参考。要精确的增量移动物体，按住Shift键的同时移

动。

11. You will want to connect the lip vertices on the face to the smoothed

cube that makes the interior of the mouth. To do this, it is easier to work from

inside the model rather than out. To do so, press Numpad 5 to enter perspective

mode and orbit around the model until you are looking from inside the head.

Select vertices in groups of four and use F to create new faces in between the

mouth and lips. If you have the correct number of vertices in both meshes, this

should be simple. However, if you find yourself over or short a few vertices, simply

make adjustments to the geometry by deleting vertices or adding new ones with

the Loop Cut tool. This workflow is shown in Figure 3.58.

你将想要将面部网格的嘴唇顶点连接到光滑的立方体模型上使其成为嘴的内部。要做

到这一点，更容易从模型内工作而不是从外部，要做到这一点，按数字键5切换到透视图

模式，旋转视图直到你可以从头部里面看到模型。选择四个顶点一组按F键在嘴部和嘴唇

之间创建面。如果你已经在两个网格校正了顶点数就是它们有相同的顶点数，这个操作过

程很简单。然而如果你发现超过或少了顶点，最简单的是删除多的顶点或使用环切工具添

加新的顶点。工作流程如图3.58.

12. When you have attached the mouth to the face, adjust the teeth as

needed so they are in a more natural position behind the lips. Congratulations; you

have just completed your zombie’s head! 当你合并嘴部到面网格，根据需要进行调

整牙齿，使它们在后面的嘴唇后面更自然的位置。恭喜;你已经完成了僵尸的头部!

13. Save your file. Look at C03_Finished_ to see what the model

should look like so far.

保存你的文件，看C03_Finished_你的模型应该差不多。

Figure 3.58 Connecting vertices inside the head

Your zombie is looking pretty good. However, zombies are often pretty ugly,

gory creatures. In the next section of the chapter, you will add the finishing touch

to your zombie by tearing away some of the facial geometry you have just built

and prepping it for sculpting zombie damage in Chapter 5, “Sculpting for Normal

Maps.”

你的僵尸看起来非常好。然而，僵尸往往是很丑陋的，血淋淋的生物。在本章的下一

部分中，您将通过撕裂掉一些你刚才建立的面部几何体并准备在第五章雕刻僵尸的伤口“雕

刻为法线贴图”。

Carving Out Zombie Damage 切开僵尸的伤口

In this section, you will add the final modeling touches that will put you on

your way to making a horrifying zombie: facial damage. Knowing how to adapt a

model in this way can be important for “dead replacement” or damage models.

These versions of characters and objects are scripted to appear when their host

object takes significant damage. For example, you may have a space marine whose

armor chips and shatters as she is hit by enemy lasers. The other reason for doing

this is that it will provide a canvas from which you can practice sculpting later on.

Sculpting helps video game artists apply detail to low-polygon models with

displacement maps. As stated previously, this will come into play in Chapter 5. For

now, let’s work on this zombie’s face.

在这部分，你将添加最后的润色造型，将让你用自己的方式做一个可怕的僵尸：面部

损伤。了解如何以这种方式改造模型为损伤模型是很重要的。这些版本的角色和物体都是

照本宣科，都是当它们的宿主物体发生显著损坏出现的。例如，你也许有一个星际战士被

它的敌人打碎的盔甲碎片。做这的其它的理由是，它会提供一个画布，从中可以在以后雕

刻。雕刻有助于视频游戏艺术家通过置换贴图应用细节到低多边形模型。如前所述，这将

开始发挥作用

如前所述，这将在第5章开始学习。现在，让我们工作在这个僵尸的脸。

1. Continue with your model from the face modeling portion of the chapter

or open C03_Finished_ from the online resources folder for Chapter 3.

继续使用本章完成的面部模型或打开C03_Finished_文件。

You may want to save a separate version of this model from the facial damage

version you are about to create. By applying different textures to a single body

model, you can create different characters or enemies from the same

file—something that will be hard with eye-catching zombie damage. Reusing or

repurposing assets in this way can save time and energy during development. This

is a modern version of the old “turn an enemy blue and it will be different”

design tactic found in many arcade and 8-bit games.

你可能希望保存这个模型的一个单独版本在将要创建面部损伤版本前。通过应用不同

的纹理到单个身体模型，你能够从一样的文件创建不同的角色或敌人。重新利用资源可以

在开发过程中节省时间和精力。这是一个现代版的“改变敌人成蓝色”这个设计策略可以

发现在很多的8位游戏。

2. Select and delete polygons on the zombie’s left (its left) cheek and

around its left eye. You may need to move vertices around to create a usable cavity

for this deletion. Use the model sheet’s image of the damage as a guide. The

damage is shown in red lines on the side model sheet view.

选择并删除僵尸的左（左）脸颊和左眼周围的多边形。你也许需要移动周围的顶点创

建一个可用的空洞。使用模型参考图像损伤的形象作为指导。损伤显示在侧面模型参考图

像的视图红线部分。

3. Also delete some of the faces in the mouth geometry. You will link the

cheek geometry to the hole in the mouth. Make sure you keep the teeth

intact—the zombie will need something to bite with. When you are finished with

your deletions, you should have something similar to Figure 3.59.

也可以删除一些在嘴的几何面。你将连接脸颊的几何体到嘴的空洞。请确保牙齿是完

好的—僵尸需要它来咬东西的。但完成了这些删除，你的模型看起来应该和图3.59类似的。

Figure 3.59 Deleting faces to create zombie face damage

4. Begin filling in polygons from the cheeks to the teeth geometry. As you

have before, select vertices in groups of four and press F to add new polygons.

Make sure you preserve the gap behind the back molars. If you need more

geometry in the teeth area to work with, use loop cuts with Ctrl+R. Try to create

something like Figure 3.60.

开始从脸颊到牙齿的填充多边形，如你以前那样，选择4个顶点一组按F添加新的多

边形。请确保您保留后面的臼齿后面的距离。如果你需要更多的几何体工作在牙齿，使用

环切（Ctrl+R），尝试建立类似图3.60

Figure 3.60 Filling in polygons to create the flesh around the jaws

5. Now you will need to link the rest of the cheek geometry to the interior of

the mouth. Try to link geometry in quads as well as you can first. You will probably

reach a point where doing so will be impossible. If you have made it this far,

however, you are more than ready to take on the challenge of creating coherent

geometry here.

现在，您需要将脸颊几何体的其余部分链接到嘴的内部。首先试着使用四边形连接几

何体，你可能会达到一个点，这样做将是不可能的。如果你这么做，但是，你更愿意采取

创建一致的几何形状这里的挑战。

6. For any areas where you may have to create triangles to fill in geometry,

select one of the edges and press W to go to the Specials menu. Select Subdivide

and the edge will have a new vertex in the center of it. This will also create triangles

in the polygons around this new vertex. Delete these new triangles as necessary

and use your new vertices to create quads.

对于您可能必须创建三角形填写几何图形的任何区域，选择一个边，并按下W打开特

别菜单。选择Subdivide，这个边将有一个新的顶点出现在它的中心。这也将在围绕这个

新顶点的多边形创建三角形。删除这些新的三角形必要和使用新的顶点来创建四边形。

7. Continue working with the geometry until you have closed up any gaps

that will show you the inside of the model. When you are finished you should have

something like Figure 3.61.

继续用几何体工作直到封闭了所有的空隙。显示你该模型的内部。当你完成你工作应

该有类似图3.61 。

8. Move up to the eyes. After working with the mouth, this section will be

much simpler. Hide the eye objects. Take edges of the damaged area and extrude

them inward once or twice and shape the vertices to create the impression of a

socket. You do not need to finish the interior of this cavity since the eyeball will

cover up this gap. Remember that there is no sense in having polygons where

nobody will see them.

向上移动到眼睛。工作在嘴部，这部分是很简单的。隐藏眼睛物体。选择受损区域的

边朝里挤压一或二次创建空洞的感觉。你不用创建这个空洞的内部，因为眼球会挡住这个

部分。记住没有人看得见的地方的多边形是没有意义的。

9. Create quads where needed in the eye to cover up any stray gaps in the

geometry. You

should have something that resembles Figure 3.62.

创建四边形覆盖眼睛缝隙。看起来如图3.62.

10. Exit edit mode and select both the body and head models. Press Ctrl+J to

join the two

models into one object.

退出编辑模式选择身体和头部模型，按Ctrl+J合并2个模型为一个物体。

Figure 3.61 Cheek geometry linked to the inside of the mouth

Figure 3.62 The geometry for the damaged eye area of the face. Note that

the eyeball object will mask the gaps in geometry.

11. Reenter edit mode and press A to select all the geometry in the model.

Press W to bring up the Specials menu and select Remove Doubles. This option

seeks out areas where there are two vertices in the same location and deletes them,

cleaning the model. This is a good precaution to take as you model so you can

have cleaner geometry.

重新进入编辑模式，然后按A选择模型的所有几何体。按W键弹出特别菜单选择

Remove Doubles。这个选项的目的找到同一个位置有两个顶点，并删除它们，清理模型

这是一个很好的采取预防措施让你的几何体更干净。

12. Take this opportunity to check the normals on the model either by using

the Display Face Normals option in the N Viewport Options panel or by viewing

the model in Textured mode. Flip normals as necessary from either the T button

Toolshelf panel in the viewport or from the Specials menu. 现在使用N键打开视图

选项的Display Face Normals。或在纹理模式观察模型。在工具架按钮和特别菜单W都

存在。

13. Save your file. Look at C03_Finished_Zombie_ to see what

your model should look like so far.

保存你的文件，你的模型看起来应该是像C03_Finished_Zombie_文件。

There you have it; you have created a zombie model for importing into a video

game. If you have followed the directions well, you should be somewhere under

2,500 faces. If you are over that count, try to find places you can use fewer

polygons the next time you create a humanoid character. Low-poly modeling is a

challenging task to learn for many new 3D modelers that may take several

iterations to master.

你已经创建了一个导入视频游戏的僵尸模型。如果你已经遵循的方向不错，你应该在

约为2,500个面。如果你超过了这个数。试着找到下次可以使用较小的多边形来创建类人

角色。

低多边形建模是一项艰巨的任务，许多新的3D建模者，可能需要重复多次了解才能

掌握。

In the next chapter, “Prepping for Zombie Details with UV Unwrapping,” you

will learn how to utilize Blender’s UV Unwrap tools to prepare for sculpting and

texturing. Blender’s own toolset for this operation allows a great deal of flexibility

and speed when working with textures. This important element of game art

creation takes simple geome-try and turns it into intricately detailed sculptures for

games. Using these tools, your new zombie model will become an eye-popping

game character.

在下一章，“Prepping for Zombie Details with UV Unwrapping,” 您将学习如何

利用Blender的UV Unwrap工具来进行雕刻和纹理做准备。Blender的自己的工具集，

在纹理工作时此操作允许极大的灵活性和速度。这个游戏艺术创作重要的元素，采用简单

的几何形状并把它变成错综复杂的详细雕塑的为游戏。使用这些工具，你的新的僵尸模式

将成为一个令人瞠目的游戏角色。