3ds Max Tutorials: Stylized Firearm Production(2)

3D Art Tutorial Stylized Firearm Production

Texture making

The next step is to use Substance Painter to manually draw texture materials, which is also the focus of this test.

  1. Various textures are baked in Substance Painter, which is convenient to combine with other materials and make various masks.
  2. In order to show the hand-painted style, Weiweiguan made a smart shader in Substance Painter.

The smart shader is mainly to show the warm and cold relationship between the bright and dark surfaces, and emphasize the structural lines and the volume of the dark parts, so that the texture is more like a hand-painted style. First create a group, create 3 fill layers in the group, respectively control bright color, dark color, color, bright color gives a smart mask of edge contour, dark color gives a smart mask of dark color, color remains unchanged. The created shader can be saved and used in future projects.

3D Art Tutorial Stylized Firearm Production

Bone texture

3D Art Tutorial Stylized Firearm Production

Use the bone smart material that comes with Substance Painter to get the effect of the above picture. But it looks average at the moment, lacking in light and shade.

Add a paint layer to the mask layer that controls the dark color, manually draw the upper and lower light and dark of the teeth, and highlight the structure of the object junction.

Add the color gradation to the dark mask layer, adjust the contrast between light and dark, and create a fill layer on the top to make the tip of the tooth a little bit lemon yellow.

3D Art Tutorial Stylized Firearm Production

Leather part

The leather part was made using the homemade shader mentioned above, and adjusted the color tone to make the bright part yellowish and the dark part cooler, and then manually draw some edge wear effects in the paint layer.

3D Art Tutorial Stylized Firearm Production


The metal texture is also made using the metal shader that comes with Substance Painter, but the metallic luster looks relatively new and realistic. So I hand-painted some rust on the paint layer, and through the hand-painted roughness map, the highlight changes on the surface are controlled, so that the entire metal changes are richer and easier to integrate with other objects.

3D Art Tutorial Stylized Firearm Production

Finally, in order to better reflect the hand-painted texture, it is necessary to overlay a layer of cavity map on the top to emphasize the boundary effect. Cavity map is converted from normal. Without the Cavity texture overlay, some of the structure is very soft, especially the cloth. After using Cavity map overlay, the details will be emphasized more clearly, and the hand-painted feeling will be enhanced.

3D Art Tutorial Stylized Firearm Production


3D Art Tutorial Stylized Firearm Production


3D Art Tutorial Stylized Firearm Production


3D Art Tutorial Stylized Firearm Production

To sum up, when using Substance Painter to make PBR-style works, the basic texture of the hand-painted part can be controlled by a self-made hand-painted shader. By adding a paint layer to the mask, the hand-painted details such as small color changes and others. Finally, details can be enhanced by superimposing Cavity.

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How to Create a Stylized Cheongsam Girl in ZBrush and 3ds Max(2)
How to Create a Stylized Cheongsam Girl in ZBrush and 3ds Max(2)
How to create a stylized Cheongsam girl in ZBrush and 3ds Max? In this article, the best cloud rendering service provider, Fox Renderfarm will share with you the tutorial. For part one: How to Create a Stylized Cheongsam Girl in ZBrush and 3ds Max(1) High polygon model/face/hair/clothing wrinkles When you've carved to a certain extent, you're going to ZBrush to make a high-polygon model. First of all, I add a new hem to the model that needs to be added with subdivision carving. Most of the automatic hem of ZBrush can already meet our manufacturing requirements. If there is some dissatisfaction, it can also be matched with part of the edge ring hem of ZModeler. When carving wrinkles, I usually turn on the Lazy mouse function, which can make the carved lines more smooth, avoid intermittent lines, make the cloth look cleaner and more beautiful, and can also be matched with some Alpha brushes, so that the wrinkles are more detailed and richer. When making hair, it is recommended to use simple geometry first, with the SnakeHook brush to quickly make the outline of the hair, for the subsequent hair production to provide a good basis. When using the SnakeHook brush, you can also turn on Sculptris Pro mode in conjunction with it, so that there is no obvious distortion in some places where there is a large change. After adjusting the simple outline, you can use the hairbrush to brush the hair out in clusters. Before brushing the hair, make sure that curve mode is turned on, lock the starting point, and then it takes a lot of patience. Of course, the best way is to observe how the real person's hair twists so that the hair will naturally look good. Details need to pay attention to the scalp coverage and to avoid some places "bald" off. In this case, the hair production is not close to the tangent of the scalp, but first grows up, and then falls down. Paying attention to these details, the hair will naturally look good. Finally, we use the "Automatic grouping" in the "Polygon group" to get rich, well-rooted hair, and then use the Move Topological brush to pull out some of the hair and make small broken hair floating outside to make the hairstyle look more vivid and flexible. It should be noted here that the hair pulled out should still float away according to the direction of the overall hairstyle, do not let the separation distance or angle be too large, otherwise, it looks easy to fake or not natural enough. Rendering So far I've only made models, not added materials. In this case, Keyshots are generally used for rendering, because the model without materials rendered by Keyshots will look more delicate and have a good light and shadow effect. Normally, I will first set a warm light main light source from 45° down from the upper left, and then match a cold light auxiliary light source from the back to the front from the right, so that the structure is more vivid.
How to Create a Stylized Cheongsam Girl in ZBrush and 3ds Max(1)
How to Create a Stylized Cheongsam Girl in ZBrush and 3ds Max(1)
How to create a stylized Cheongsam girl in ZBrush and 3ds Max? In this article, the best cloud rendering service provider, Fox Renderfarm will share with you the tutorial. Hi, everybody, I'm Wai, a character artist. I like character production very much and constantly improve my production standards. Today I'm going to show you the process of using ZBrush and 3ds MAX to create a Stylized Cheongsam Girl. This process includes looking for references, modelling, etc... Introduction I've always been fascinated by character making, so I'm constantly looking for the right concepts to practice. After watching a lot of work, I chose one of them and set the whole production time at four weeks. Then I followed the concept to look for more references, which helped me save time on repeated revisions. 1. Preparation The stylized character of this production is Cheongsam girl, who is a beautiful Oriental female character with slender limbs, smooth outline curve. Then I collected references of the character and found a similar style of character model to modify. 2. Face making The beautiful character pays attention to smoothness, the face should pay attention to flat, clean, and should pay attention to multi-angle observation at any time. 3. Accessories production Accessories should be made in line with the concept and its structure. There should be some big things to attract people's attention, and some small things to play a decorative role. 4. Fold The lines of clothing wrinkles should be smooth and natural. It’s vital to pay attention to gradual change, depth, layers and give consideration to the rationality between the textures to avoid having a separate wrinkle texture, which will look very strange. References This stylized character itself has a sense of the East, the concept map is a more slender feeling, but I hope she can be more weak, so in the early and middle of the production to look for a large number of these two styles of reference map, for improving the production efficiency. A suitable base model is the basis of the sculpture model, which can greatly improve work efficiency. The following figure shows the base model I chose, which is suitable for modifying to any other style. Because the facial lines of this model are more in line with my production requirements, so in the stage of adjusting the body proportion, I choose not to modify the facial structure first. When adjusting the body shape, I should pay attention to blurring the mask edge, so that the transition part will not be too abrupt, and maintain the smoothness of the lines. And in making clothes, I used four methods: 1. The collar part with a close-fitting and small area is made with TopoGun 3, so as to ensure that the lines of the clothes meet my requirements and conform to the curve of the character's body model. Some parts that need to leave the body are led into ZBrush for fine adjustment. 2. For the close-fitting and large-area silk stockings, I used the ZBrush extraction mask and the extraction surface function to create the silk stockings, which can keep the shape completely fit with the legs. 3. The rest of the clothes are made using Marvelous Designer. After obtaining a desired shape and fold, the two-dimensional model (UV) and the three-dimensional model of the cloth are respectively painted. The two-dimensional model is imported into ZBrush to obtain a square wiring cloth sheet with Zremesher, and then a three-dimensional clothing model with square wiring and good appearance is obtained with Maya's transfer function, which lays a good foundation for importing hair to carve. 4. The clothes made this time are Cheongsam. It is made of silk and has a very light and thin texture. However, in order to add texture to the clothes, I still have to make a layer of edging for the clothes. Because the edging line needs to fit the outline of the garment as perfectly as possible, I chose the line to use the function of extracting lines in 3ds Max, and then use the spline base polygon to get an ideal edging line.
How to Make A Stylized Gun with 3ds Max
How to Make A Stylized Gun with 3ds Max
Fox Renderfarm, the best cloud rendering service provider in the CG industry, this time brings you a sharing from 3d artist CGW on how to use 3ds Max to make a stylized gun, I hope it is helpful for beginners of 3ds Max. In this 3ds Max tutorial, CGW will show how to use 3ds Max to make a stylized gun, and in this process, it will show the main production process and some points that need attention in the production, and explain in detail some model making basic knowledge. There are not too many plug-ins used in the production. The concept of this stylized gun comes from a concept map of a game on the Internet. Modeling First, we used very simple boxes and shapes based on the concept map and built all the structures by pushing and pulling. These are all based on reference diagrams and do not require much additional thinking. The important thing to pay attention to in production is the proportion, so we spent a lot of time adjusting to ensure the accuracy of the model. Finally, we copied a model as a backup to facilitate the later production of high-poly models. There are many points to pay attention to when making high-polygon models. Especially for beginners, you must first understand Mesh Manipulation and ensure that the mesh is correct to make the correct effect, such as the size of the chamfer. When making a curved surface, please try to keep the quadrilateral lines evenly distributed. The surface of the quadrilateral is relatively smooth. Triangular and multi-sided surfaces are likely to cause unevenness. In the chamfering or turning point, avoid the appearance of the surface above the quadrilateral. If so, please try to place it in a flat place, otherwise, it will cause unevenness in the turning area. Where there is an interface, try to ensure the loop of the line as much as possible to facilitate chamfering or adding lines during subsequent adjustments. Be sure to avoid that all the lines cannot be at one point. You can use the method on the right to make it, and it will be more convenient in post-production. For partial chamfering, in order not to affect other places, you can separately cut the part and add the thread separately and adjust it separately. When making some shapes with multiple blocks, try to use multiple models to stitch together instead of directly squeezing and stretching on one model. Combining models can save time and make it more convenient in the later UV and texturing stages. Real things are mostly made up of combinations. If it is troublesome to make certain structures, you can consider using other methods instead. For example, some screws and spiral gaps, etc. (the production of high polygons is ultimately for baking textures, not for final use). When making some curved surfaces, hollow out on the basis of keeping the curved surface smooth, and as much as possible to ensure that the surface of the model after the hollowing out will not be deformed. When making some very small bumps with high models, some vertical lines are best to make them inclined planes, while some low-poly models do not need to be made at all. As you can see, the vertical surface is tilted on the left so that the baked result will be more obvious. The error demonstration is on the left. Here are some line references for every one Finally, we completed the production of the overall model and modified all the details of the model. This part is where the most time is spent. The completion of the high polygon is as shown below. UVS Match the low polygons and high polygons copied before, so that the arc surface maintains a large number of line segments to have a perfect smooth effect, and ensure that the baked texture does not appear obvious wavy lines. The lines of the plane structure need to use as few lines as possible and keep them average. When the UV is unfolded, if there is a right or acute angle, please try to disconnect them. In small areas, too many lines will also affect the flatness of the surface. Especially when placing UVS, try to place them reasonably to avoid the waste of ID. It should be noted that some shared and symmetrical models should not overlap before baking. When dealing with UVID and distinguishing smooth groups, remember: UV must be disconnected where hard edges are maintained, and smooth groups (soft and hard edges) are divided according to UV. Baking Baking can be done in many ways (plug-ins, software), and they all have different advantages. You can choose your favourite software for baking. After baking the UVS, I adjusted the texture and gave another material to part of the handle based on the concept map. The west is the final result.
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