How to Create Goblin in Zbrush

Goblin - Zhenghong Min

Fox Renderfarm, your best cloud rendering services provider, will share with you a ZBrush tutorial about how to create Goblin from 3D character artist, Hongmin Zheng. Hongmin Zheng is good at making realistic and stylized character models. In this tutorial, he made a Goblin that had stolen the king's gold coin. This work was inspired by the other 3D artist Jianxi Wang's amazing concept.

References

It is necessary to collect references to make the artwork more authentic and credible, especially the texturing, modeling and posing. I collected a lot of references first, then selected and organized them again.

References - Goblin

Goblin

Blocking

The model was made with ZBrush, using a basic spherical shape as the basis to sculpt the overall model of the head, especially some facial features, such as its big nose, cracked mouth, ears, belly, and sparse hair.

Blocking - Goblin

I prefer to use SnakeHook in conjunction with SculptrisPro for quick styling in the Blocking stage, and also turn on AccuCurve to make the shape more rigid.

In this production, we can use any method to sculpt, such as using Curvetube to make the shape of the mouth, adding balls to make the eyes. And there is no need to consider lines or levels in this part. SculptrisPro is a great feature just like DynaMesh. They make creation more unrestrained.

The new version of the stroke preview function is great, which allows us to always pay attention to the outline of the model. The display of the outline is always the most important part of the model carving.

SnakeHook - Goblin

AccuCurve - Goblin

Using DynaMesh, this stage only needs to adjust the whole, ignoring all details. Take a look at the silhouette of the model from multiple angles.

DynaMesh - Goblin

I used clayBuildup to brush. Then I adjusted all parts of the model in the TPOSE stage.

How to Create Goblin in Zbrush

How to Create Goblin in Zbrush

Because it's not animation, there is no need to bind bones. As long as I confirm the shape of the model, I can start placing it. At the beginning, I tried to disassemble some joints that need to move as much as possible. This makes it easy to adjust POSE, silhouettes, etc..

A single SUB has a small number of faces, and the operation is more smooth. We can watch and test repeatedly. At this time, we pay attention to the parts you are interested in, such as the feeling of the head. We can also add a little material and color to preview.

How to Create Goblin in Zbrush

How to Create Goblin in Zbrush

Clothing

I used Marvelous Designer to make the clothing. I made a shape, and then adjusted it manually.

Some of the props can be reduced in number of faces, or some simple models can be made instead. For example, the gold coin treasure in the Goblin bag can be replaced with simple geometry.

After checking that the silhouette and the structure were fine, I started to choose the place I was interested in or the visual center to start visual development. I spent a lot of time on the two areas of the head and hands. But the important point is that the primary and secondary models are separated. Silhouette is always in the first place, followed by level one and level two. The simple understanding of level is the volume of the object, the larger the volume, the more priority. BTW, don't focus on small details too much.

How to Create Goblin in Zbrush

Grooming

While grooming, we need to look for a lot of real references. The initial effect was not good. I repeatedly modified the hands and hair many times, and finally strengthened the hair level and added some long and short collocations.

When adjusting the model, I often think about how to make the model look more speedy and attractive. In the end, I added details such as falling gold coins on the basis of the fluttering of the pants. It is also interesting and reasonable. At this stage, I also consciously optimized each area, such as considering the character’s body fat percentage and skin texturing and so on.

Grooming - Goblin

Grooming - Goblin

Texturing and Rendering

When making textures, I use colors to distinguish the painting areas. I can use the method to quickly find the layers.

Because the character tends to be more stylized, most of the textures are directly painted with Substance Painter.

The last step is rendering when the model is completed. In fact, I prefer a more dramatic atmosphere and lighting. I originally wanted to build a small scene based on this atmosphere to do some interaction. The light uses 3 point light sources.

Texturing and Rendering - Goblin

Texturing and Rendering - Goblin

Texturing and Rendering - Goblin

Texturing and Rendering - Goblin

Texturing and Rendering - Goblin

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Creating A Game Character “Yae Sakurain” In ZBrush And Maya
Creating A Game Character “Yae Sakurain” In ZBrush And Maya
In this article, Fox Renderfarm, the best render farm in the CG industry, will share with you a Maya tutorial about how to create a game character “Yae Sakurain” in ZBrush And Maya. This tutorial is written by 3d Artist Sakura. This style is to use three-dimensional methods to achieve the artistic expression of two-dimensional visual style. So I chose the character Yae Sakurain in the game "Honkai Impact 3'. This is a challenge for me. This article is from looking for references in the early stage to the final model making.This article will not describe too much technical skills, but hope to share the production process and some ideas from a design perspective.Software used:- PureRef: Reference collation- Zbrush: Characters & costumes- Maya: Topology & UV- Xgen: Grooming- Mari: skin map- Substance Painter: texture map of other parts- Arnold: lighting material rendering InspirationWhen I saw the design of the character Yae Sakura in the "Honkai Impact 3'', I was attracted by its design, personality and expressiveness. Its facial features and ears are a bit like a bunny girl, as well as color matching and body proportions.!Honkai Impact 3!Honkai Impact 3!Honkai Impact 3 ReferenceThe difference between reference and inspiration is that reference is based on having inspiration as a general direction guide, and then adding more. Collecting references helps guide oneself to find the right direction, and at the same time it is not easy to go wrong in the production process.It is a more realistic style. At the same time, I also found a lot of references for Japanese kimonos and skirts, head styling, expressions, hair, etc. The character requires a lot of refinement of key features to better show their ideas. This personal project took a lot more time to find references than my other projects.!Creating A Game Character “Yae Sakurain” In ZBrush And Maya ModelingLarge stage and detailed stageIn the large-scale stage, I first built a basic structure in Maya. I like to start with the whole and grasp the overall proportional relationship to a certain extent. It can be seen that this role belongs to NPR. The characteristics of NPR mainly focus on styling design, large scale relationship and color, and the treatment of light and shadow.If you do this directly, the direction is incorrect. And the structure on the model will be too flat. Especially using the PBR process, there is no cartoon material effect, such a model does not have enough features.!Creating A Game Character “Yae Sakurain” In ZBrush And Maya!Creating A Game Character “Yae Sakurain” In ZBrush And MayaSo through the combination of these references, a rough proportion is formed in the mind and built in the software. In this way, we can slowly enter the detail stage with a holistic way of thinking, without chaos. Of course, you can find some models to fight together and adjust the shape to save some time. Various methods can be tried.!Creating A Game Character “Yae Sakurain” In ZBrush And MayaIn the detail stage, I will try my best to express the different characteristics of the model, and then the model can show some sense of hierarchy at this stage. This can predict some effects after the texture map is applied. But it does not mean that the model is finalized at this stage. After all, although this has a reference to the original painting, it is a secondary creation on this basis.So if the texture map is not suitable, it will return to the model stage for adjustment. After the appearance is determined, the detail stage is also very important. In many cases, the comparison and level changes between models are presented by the characteristics of different shapes.For example, the folds of the kimono, the embroidered patterns on the top, the shape of the skirt, the changes in the fold structure on the top, and how many different model structures are on the mask, sword, and rope. Observe the above features, analyze and disassemble them and make them all, if they are not good, you can delete them.!Creating A Game Character “Yae Sakurain” In ZBrush And MayaFor this project, I used Zbrush mainly to deal with some fabric and shoe models. Clothes and shoes do not need to be worn, but they are not completely unused. So some folds were added to make the model look authentic.I didn't use Marvelous Designer for the clothes, because those things are not complicated, and almost all of them are made directly using ZBrush.!Creating A Game Character “Yae Sakurain” In ZBrush And MayaAfter completing the topology in Maya, occasionally I will return to zbrush to adjust if I am unsatisfied, and repeatedly modify it back and forth. At the same time, in order to get more structural levels and details on the model, and to make some rhythmic distinctions between different models, the subdivision of the cloth is still given enough surface.Primary and secondary and rhythm changes. This part needs to be finalized at the model stage. Regardless of whether it is clothing or props, I have made trade-offs as much as possible in the details of the relationship with the characters. After all, it can't be details, or no details. There will be a lack of rhythmic changes in the expressiveness of the entire styling. I used the appearance changes of clothing and skirts to break the overly flat outline of the entire model, and at the same time used props to reinforce this.!Creating A Game Character “Yae Sakurain” In ZBrush And Maya TexturingMari and Substance Painter are used in the texture part. I first finished making the skin. Then the most important part begins, the production and color matching of other parts, as well as the material details. Of course it was done separately, for the same reason.For the texture mapping of the components, observe the real photos made by others or analyze the logical hierarchical relationship between them. It can be done layer by layer, the important thing is to observe and disassemble and analyze. For example, have you tried to show some texture particles, dirt, thread ends, and high light reflections on the clothing?In fact, to some extent, we need to have a certain understanding of the properties of the shader, whether you know how to use basecolor, metallic, roughness, normal, and sss textures. How do they affect each other? Basic knowledge is important.!Creating A Game Character “Yae Sakurain” In ZBrush And MayaOne of the more important reasons that problems exist is that there are too many details, and there is no planning in the early stages, resulting in details everywhere. One difficulty with this character is that the costumes are white. White is a color that is harder to produce effects. If you don't do it, the texture map of the entire costume will appear very thin, and doing too much will steal the attention of the character.In the end, I chose to add some different types of embroidery effects to the white clothing, especially the cherry blossom pattern on the large sleeves, to ensure that it conforms to the cultural background. It’s easier to say, but I don’t know how many times I have tried repeatedly when I did it. The color matching is relatively good. The design of Yae Sakura has helped you to adjust the color matching in place, mainly controlling some parameters such as saturation.!Creating A Game Character “Yae Sakurain” In ZBrush And Maya Grooming and lightingAfter finishing most of the texture maps, I will try to set up a set of basic light sources in the scene, mainly for auxiliary hair test rendering.These two are the core references:!Honkai Impact 3!Creating A Game Character “Yae Sakurain” In ZBrush And MayaBased on these two references, I found some other references. The final references are as below.!Creating A Game Character “Yae Sakurain” In ZBrush And MayaFirst, solve the large structure and the direction of the hair with the larger main body. Then add some fine splits based on the big trend, and finally add some broken hairs and so on.!Creating A Game Character “Yae Sakurain” In ZBrush And MayaIt can be seen that the hairstyle and lighting still affect the facial emotion expression of the characters very much. Take a closer look at each of them.!Creating A Game Character “Yae Sakurain” In ZBrush And MayaI try to grasp the characteristics of the role of Yae Sakura, such as the feature of her hair spreading to the ends, and the hierarchical relationship between bangs and temples. And the spread of the long hair rests behind the open styling. Because I didn't want this character to be too cartoonish, I looked for some realistic style references.!Creating A Game Character “Yae Sakurain” In ZBrush And MayaLighting rendering, first of all, I wanted to make it in the style of the first picture. After I have a foundation, I hope to express the feeling of sunlight on the hair and body in the fourth picture. At the same time, because there is a stronger light source in the scene, the overall light will be brighter. I found the second picture and the third picture to supplement. Of course, there are still many pictures to support. In order to better refine the views of this article, I have selected these four representative references.!Creating A Game Character “Yae Sakurain” In ZBrush And Maya!Yae Sakurain SummaryThe conceptual design and reference diagrams before making are very important. Basic software technical knowledge and design theories can help you improve your work. Details, proportions and composition are very important for perfect results. If you are looking for a cloud rendering service, why not try the fast and TPN-accredited cloud render farm, Fox Renderfarm, who offers a $25 trial? Thanks for reading!
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2021-12-22
How to Create a Classroom Scene With 3ds Max and Zbrush
How to Create a Classroom Scene With 3ds Max and Zbrush
This tutorial brings about the scene production process of "Classroom", and the tutorial was organized by the best online render farm, Fox Renderfarm. The content will introduce in detail the process from resource allocation to model making, then drawing textures, and finally rendering. The software used includes 3ds Max 2018, Zbrush, Substance Painter, Marmoset Toolbag3, etc.!How to Create a Classroom Scene With 3ds Max and Zbrush Production Process1. Resource AllocationBecause of the large number of models in the scene, It is necessary to analyze the scene first, disassemble it into separate resources, and then allocate them to each member for production, and finally build and integrate them. This will greatly increase efficiency.The specific division of labor is as follows,!How to Create a Classroom Scene With 3ds Max and Zbrush!How to Create a Classroom Scene With 3ds Max and Zbrush!How to Create a Classroom Scene With 3ds Max and Zbrush!How to Create a Classroom Scene With 3ds Max and Zbrush2. ModelingBefore making the medium model, we must first build a simple model to determine the approximate size and location of each object. The focus of this step is the accuracy of the overall proportion and position, so there is no need to spend too much time on the model.!How to Create a Classroom Scene With 3ds Max and ZbrushIn order to better grasp the position and size, you can find the perspective angle of the original painting by adjusting the position and field of view. At this time, create a camera and press c to call up the camera for easy matching.After the simple model is built, the next steps can be made according to the assigned tasks. The production process of the three representative models will be introduced below. I hope everyone will like it.3. Asset productionThere are a lot of assets in it, so here are a few to discuss the production process.Case 1: BroomMid-poly modelingThe manufacturing process of the mid-poly model is relatively simple, using a cylinder and a sphere to complete, making the broom simple and large.!How to Create a Classroom Scene With 3ds Max and ZbrushIn the process of making, pay attention to the overall wiring distribution of the model to be even, so that it can be engraved in zb later. High-poly model modelingAfter the mid-poly model is completed, the modeling of the high-poly is carried out. First, analyze the shape of the broom. The broom in life is generally not very regular and will have a messy posture, so the details of the broom wire will be relatively large.So when sculpting, I used the move brush to make a simple adjustment to the large irregular direction, and used the standard brush to simply make a rough sculpting.!How to Create a Classroom Scene With 3ds Max and ZbrushThe next step is to sculpt meticulously. At this time, I used the ClayBuildup and Standard brushes to depict the details. In some areas with larger cut surfaces, I also used the ClayPolish brush to make the edges cleaner.!How to Create a Classroom Scene With 3ds Max and ZbrushFinally, use the CurveStrapSnap brush to pull out the rope on the broom, and then adjust the shape to make it more suitable for the shape of the broom wire, so that the entire high-poly modeling is completed. Low-poly model topologyBecause the shape of this broom is relatively simple, it is also relatively easy when the topology is low mode. However, due to the large changes in the appearance of the high-poly model, the mid-poly model cannot be used for production, so I re-topped a low-poly model in TopoGun3.!How to Create a Classroom Scene With 3ds Max and Zbrush UV unfoldingBecause it is a single object, it is easier to expand the UV, and the model is symmetrical, which makes it more convenient to make textures. There are other models in the blank part of the UV in the picture below, which are not so big to avoid misleading, and the UV still maintains a high utilization rate.!How to Create a Classroom Scene With 3ds Max and Zbrush Texture makingFirst of all, each texture was baked in SP.!How to Create a Classroom Scene With 3ds Max and ZbrushNext, I used a shader similar to hair as the inherent color and texture.!How to Create a Classroom Scene With 3ds Max and ZbrushThen added a layer of color change and a layer of dirt on it to achieve the effect of distressing.!How to Create a Classroom Scene With 3ds Max and ZbrushThe part of the broom wire is basically completed, so I selected the line on the broom and gave it a unique color separately.!How to Create a Classroom Scene With 3ds Max and ZbrushThree fill layers are used here to give different colors, and only the intrinsic color and height channels are turned on. The next thing to do is the part of the broom handle. I first gave a wood shader a natural color.Then made some slight color changes on it.Finally, some cracks and dirt were added to enrich the effect.!How to Create a Classroom Scene With 3ds Max and ZbrushIn this way, the materials of the three structures of the broom are finished. The render is as follows.!How to Create a Classroom Scene With 3ds Max and ZbrushCase 2: SchoolbagMid-poly modelingThe modeling is mainly based on the grasp of the proportion, and the main shape and size of the low-poly model are made through the reference of the original painting.!How to Create a Classroom Scene With 3ds Max and Zbrush High-poly modelingFor the production of the high-poly model, I used ZBrush to carve some parts to make it more like leather. In fact, the production of the high-poly model is relatively simple. For most of the details, I prefer to make it with Substance Painter. The advantage of making in Substance Painter is that it is convenient and quick. There are many ways to make models that are not limited to just one.!How to Create a Classroom Scene With 3ds Max and Zbrush Material productionIn order to save UV, before importing Substance Painter, I chose to put together a few small objects to make. Here I mainly explain the production of leather schoolbags.First, you can make small screws with normal thread to make the high model rich, and then give the background color to make damage.!How to Create a Classroom Scene With 3ds Max and ZbrushSecondly, the details are further perfected. The leather itself is not particularly smooth, so the unevenness of the leather should be made.!How to Create a Classroom Scene With 3ds Max and ZbrushFinally, in order to better integrate with the scene, it is necessary to make the schoolbag dirty and dust more obvious, which will be more abrupt when viewed alone, but for the overall scene, the details of a single object can be appropriately made more obvious, so that it will not be particularly flat in the scene. !How to Create a Classroom Scene With 3ds Max and ZbrushCase 3: Desks and ChairsIn addition to the atmosphere, the walls and floors of the scene, all kinds of objects in the classroom also need to conform to the atmosphere. Take the desks and chairs that occupy the most space for example. The main difficulty in making is how to integrate the color of the texture into the atmosphere. Since the model of this object is simple to make, I won’t repeat it here. The specific operation process of the map is as follows (due to the similar process, only the table is used for display),First, we create a filling layer, and create a natural color based on the color and material of the table and chair in the original painting.Add a fixed shaderFill the metal part with gray that is similar to the metal color of the original image and then adjust the metal degree and roughness. Add dark and bright stains;Create a fill layer, right-click to create a filled black mask, add a fill, and select the dirty trace below.The effect after adding dirty marks is as follows,!How to Create a Classroom Scene With 3ds Max and ZbrushAdd wood grain strength and metal roughness.Create a fill layer, right-click to create a filled black mask, add a fill, and select the dirty trace below.Add different basic colors to the filling layer to create a staggered effect of wood grain colors, and select penetration for the blending mode.On the metal side, you can choose to add dirt again or directly make the final effect. The effect after this step is completed is as follows:!How to Create a Classroom Scene With 3ds Max and ZbrushFinally, add a layer of shabby dirt that matches the atmosphere of the classroom.Create a fill layer, right-click to create a filled black mask, add a generator, and select the generator below.Parameter selection (wood grain)Add sharpening to the metal, create an empty layer, right-click to add sharpening, and the sharpening intensity is 0.5.Then add dirt, create a fill layer, right-click to create a filled black mask, add a generator, and select the generator below.Parameter selection (metal)The final effect after adding is shown in the figure:!How to Create a Classroom Scene With 3ds Max and Zbrush RenderingThe software used in this rendering is the eight monkey engine, which has a good display of the effect of the light map. Before importing the file, you need to unify the HDR environment used by the sky option in the eight monkeys with the environment used by the sp software to make the material. The environment used this time is panorama.!How to Create a Classroom Scene With 3ds Max and ZbrushAfter importing the model, paste the corresponding texture map. In order to make the subsequent lighting effect better, we reduce the intensity of the ambient light and use a pure color for the background.!How to Create a Classroom Scene With 3ds Max and ZbrushThe next step is lighting. Three lights were used this time, which were illuminated into the house from three different angles.!How to Create a Classroom Scene With 3ds Max and ZbrushThe simulated indoor light on the right side uses a yellowish warm light source. Through the adjustment of the illumination direction and angle, the indoor objects can be projected to conform to the environment atmosphere. Under the light shape option, adjust the shadow parameters to make the outline clear and the details more detailed.!How to Create a Classroom Scene With 3ds Max and ZbrushThe parallel light used on the left is irradiated from the window. It uses a light source with a cooler tone, which is in contrast with the light source on the right. This time we slightly increase the shape parameter to make the shadow edge slightly blurred.!How to Create a Classroom Scene With 3ds Max and ZbrushFinally, we open the GI, slightly adjust the color curve under the camera option, darken the dark part, and brighten the bright part.!How to Create a Classroom Scene With 3ds Max and ZbrushThen start rendering, and the final effect is as shown in the figure:!How to Create a Classroom Scene With 3ds Max and ZbrushThank you very much for taking the time to read to the end of the article. I hope that the sharing of this tutorial can be helpful to you.
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2021-08-27
How to Create Chinese Style Scenes in 3ds Max and ZBrush
How to Create Chinese Style Scenes in 3ds Max and ZBrush
In this article, your trusted CPU & GPU cloud rendering services provider, Fox Renderfarm will share with you a production process about how to create Chinese style scenes in 3ds Max and ZBrush from 3d artist ZX. IntroductionThe project is created by a small team. It's also the first time they've done the scene independently. When they first saw the concept map, they thought it was beautiful and decided to make it a 3D version. Next, we'll show you the whole process and explain in detail the problems encountered in the project and how to solve them. !How to Create Chinese Style Scenes in 3ds Max and ZBrush -17!How to Create Chinese Style Scenes in 3ds Max and ZBrush -13!How to Create Chinese Style Scenes in 3ds Max and ZBrush -6We wanted to save production time as much as possible, so before we did it, all of the team analyzed the concept map together, and we decided that the UVs for those things could be shared, and those materials could be made with duplicate maps. The parts of the model, those that only need to be made in one copy, can be reused. We've assigned everything by type and map. And when making, we will give priority to the large model, from the whole to the part, the pre-production does not need to be too detailed, and finally is a number of various styles of small ornaments. So we've made some basic shapes, and then we've used this basic shape to build a large scene.!How to Create Chinese Style Scenes in 3ds Max and ZBrush -9!How to Create Chinese Style Scenes in 3ds Max and ZBrush -12!How to Create Chinese Style Scenes in 3ds Max and ZBrush -10!How to Create Chinese Style Scenes in 3ds Max and ZBrush -5 Basic modelThe low model is made to determine the scale of the entire model and facilitate later work. At first, I ignored the small props and started with the big buildings. After the whole Hall was built, I carefully checked all the structural parts and there was no problem. Otherwise, after half of the production, it will be troublesome to modify these structural things. So the hall scale structure must be confirmed before making details.!How to Create Chinese Style Scenes in 3ds Max and ZBrush -2When the structure of the hall is finished, the number of faces of all models will not be too high, which will facilitate the subsequent engraving of the high model in ZBrush. I then divided all the models into several parts and distributed them to my team members for follow-up work. As long as everyone completes the work according to their assignment, it will save a lot of time when the later scene is assembled. After we finish the scene, we refine it on the basis of the low model, so as to ensure that the model scale will not have problems in the later integration. It is important to note that all high models maintain size uniformity and that all engraving details are consistent.Due to task assignments, it is necessary for someone to check everyone's progress to ensure that the project can be completed on time and that all models can achieve the same details. I sculpted two of these models as I made them, both starting with the basic ZSphere, and then converting them to polymesh3D. DynaMesh is used for carving, and the fewer faces the better in the early carving, and the better to adjust the shape.!How to Create Chinese Style Scenes in 3ds Max and ZBrush!How to Create Chinese Style Scenes in 3ds Max and ZBrush -1All that's left is some tedious work that requires a lot of patience. I spent a lot of time in TopoGun to get the best models and details. Of course, in the project, there are also members who learn to make while learning and learn to use new tools to speed up the project process. Texturing As with the high model, all textures have to be consistent in color and texture, so some common base textures need to be made in advance. And, because it's a multi-person collaborative project, all progress sharing is important. So the production needs continuous communication, as far as possible to avoid repetitive work.!How to Create Chinese Style Scenes in 3ds Max and ZBrush -16!How to Create Chinese Style Scenes in 3ds Max and ZBrush -11 Rendering First, it's an important step to integrate all the models into one scene. Especially for the large scene of multi-person cooperation, the name of the file made by each person must be good, and the shader in the file is named the same as the exported map folder, so as to facilitate the later search of textures and the replacement of maps.!How to Create Chinese Style Scenes in 3ds Max and ZBrush -7!How to Create Chinese Style Scenes in 3ds Max and ZBrush -8Three common types of lights are used, the main light source that simulates sunlight, a supplementary spotlight and a point light source to make up for too dark places. We started with Marmoset Toolbag, but we weren't satisfied with the results. Then we added some extra effects to the scene, ambient atmosphere and so on, and finally, we got the most satisfying effect.!How to Create Chinese Style Scenes in 3ds Max and ZBrush -14!How to Create Chinese Style Scenes in 3ds Max and ZBrush -4!How to Create Chinese Style Scenes in 3ds Max and ZBrush -18!How to Create Chinese Style Scenes in 3ds Max and ZBrush -3!How to Create Chinese Style Scenes in 3ds Max and ZBrush -15
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2021-07-06
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