3D Modeling and Sculpting of Chronos in Blender(3)

After roughly adjusting the main shape of the skull, we can start shaping the eyes and nose. The skull will help us to be more precise when carving every element, so pay attention to the skull. We can use Standard or Clay brushes or other favorite brushes to trim the area around the eyebrows. Next, start to sculpt the closed eyes. The closed eyes can let us see the eye and face area more clearly. This step can be made with the Pinch brush. First, the basic shape is sculpted, and then the nostrils and the main cartilage area. At this point, look at the skull under the model again to observe how the bone structure has changed. Carefully observe the nasal area. We can find that the bones here are very short. Obviously, the nostrils and the tip of the nose are composed of cartilage and muscle. Next is sculpting the shape of the mouth. Firstly, draw some muscles around it, roughly at this stage. 4. Muscles Sculpting The goal of this step is still to build the foundation of the main muscles and keep as much shape as possible simply. If the produced neck has a problem, then the head is prone to problems. So it is very important to learn this aspect of deconstruction, and the movement of the neck muscles will affect the facial expression. Draw a mask under the head via pressing the Ctrl key to draw on the mesh; press the Ctrl key to invert the mask and click on the canvas; use the Move tool to stretch the selected area downwards to shape the neck. When finished, press the Ctrl key, click and drag the canvas to completely erase the mask for sculpting; use the smooth brush to soften the model, and then use the moving brush to complete the main shape. Some of the main muscles of the head need very powerful muscles to maintain the movement of the head. This is an important point to remember during the creative process. Especially when turning the head, the dynamics of the neck muscles are very obvious. Don't waste too much time in this step to create too many complicated shapes. Keep everything simple.

Before making the head model, draw the basic shape on the bones, then sculpt the main muscle and cartilage parts, such as ears, brow bones, mouth, etc., and then perfect the rest. First, use the basic model to build the top muscle, and then click the Append button under the Subtools menu to select a sphere in the pop-up window. At this point the sphere has been added to the list of sub tools, select it and start by activating symmetry (the X key on the keyboard), and then use the Scale and Move tools to place it on the correct position of the skull: use the button at the top, click and drag the model to draw a transposed line, then use to move the line and adjust the size of the sphere. Under the Geometry option, click the DynaMesh button to create a dynamic mesh. This function can update the model changes in real-time according to our work. If necessary, just Ctrl-drag the canvas, and ZBrush will calculate the new mesh that changes at any time. 2. Transparency Setting Click the Transp button on the right to adjust the transparency of the mesh until you see the skull under the sphere. This function is very useful when sculpting the model. It can provide a reference point. If we want to adjust the opacity/transparency level, we can use the sliding bar in the priority setting under the drawing menu to achieve. Next, we can adjust the sphere on the skull. First, use the MOVE brush to draw a basic shape, and then stretch the mesh in DynaMesh mode. If necessary, we can hold down the Ctrl key and click and drag the canvas to update the mesh. If we feel that there are not enough polygons that can be used reasonably, we can increase the resolution. Adjust the mesh on the back of the head, which is very close to the skull because the skin on the head is very thin.

Continue the 3ds Max Tutorials: Making of firearms(1), the smarter and cheaper cloud rendering services provider, Fox Renderfarm still shares with you 3ds Max Tutorials: Making of firearms(2). Low polygon When making Low polygon, because these are relatively simple and hard things, we can use High polygon to reduce the line. If the structure is complex, we need to use the Topogun tool. When making Low polygon, we need to pay attention to some gun barrels. The line must be straight to facilitate the production of UVS and the baking of NormalMap later. It should be noted here that if it is not straight enough, it may cause the parts to twist. In addition, we must ensure that Low polygon and High polygon match before baking, otherwise the baked NormalMap may encounter problems. Another method is to click the number "0" button every time a low polygon of a model is made, and then pick the High polygon with Low polygon on the baking panel, bake the normal, and test whether the NormalMap is correct. If there is a problem with NormalMap, you can use some plug-ins to perform Normal transfer to solve the problem of NormalMap. UVS A total of two textures are used here. It should be noted that the Low polygon in the UVS here is all turned into a triangular surface to import the Substance Painter to maintain the correctness. Hence the probability of error is relatively small. Why is the UV now so broken? This is because there is a rule in the game that the UV must be disconnected where the model has hard edges. Otherwise, a black border will appear when rendering in the engine. That is not what we want to see. There is a certain gap between each UV because the texture has the concept of pixels. If the gap is too small, it will cause your texture pixels to be interspersed, which will cause the seams to be very difficult to handle when painting the texture later. Finally, paste a checkerboard to see if the UV size is consistent. To ensure that the pixels occupied by each piece of UV are equal, the important part can be amplified by UV to make it occupy a larger proportion. The texture accuracy is also higher. Baking There are many ways to bake normals. I still use Substance Painter to name the baking methods. First in 3ds Max names the high poly and low poly models. The name of the high poly should correspond to the name of the low poly, such as jujiqiang00_low corresponds to jujiqiang00_high. Then, export the low-poly format fbx, and the high-poly export obj, which can be baked with Substance Painter. Note that when baking the normals, first bake the average normals, then bake the vertical normals, and finally use Substance Painter to repair the normals. When baking ID maps, the pictures that you often bake are black, which means that the material color is not turned on in the color source, and the high poly should be given different colors in advance in 3ds Max. Texturing Here, I mainly explain the production of the metal gun body part. Add a mask to the group, and then add a color selection to the mask. Absorb what you want to do in the colored part below the picture. I simply changed the color. The next step is to add various masks in detail. I will analyze each layer from bottom to top because it is a relationship between the upper layer and the lower layer. I adjusted the basic material at the bottom layer. That is the basic color of this metal. The picture below is the effect of the dark and bright colors we added, so will there be some color changes on our metal? Next, make some small metal particles and dirt on it. Then do the frosting on the metal. It is the material directly searched on the Internet. Paste it to the base color to increase, add another layer of height to the top, and adjust the transparency through the height channel. The height of this layer can actually be made together with the layer below, but here it is made separately. So here we can export the texture by pressing Shift+Ctrl+E. The next step is to import the file into 3ds Max to adjust the lights and use the rendered output to save the picture for later adjustment. The above is a brief 3D tutorial for making this gun. Thank you for reading and hope you can learn more from it.