How to Make a Beautiful Elf Mage in 3ds Max Step by Step?

In this article, the best CPU & GPU cloud rendering service provider, Fox Renderfarm, will share with you how an excellent 3D artist converts a 2D elf mage concept into a 3D model using 3ds Max, and show you some of the details of how to make it. Let's read this elf mage 3D modeling tutorial together!

Make a Beautiful Elf Mage in 3ds Max 1

How to Use 3ds Max to Make a Beautiful Elf Mage

Making an elf mage is certainly not easy, but if you put some time into it, then you will certainly be able to create a perfect elf mage just for you.

The specific steps are as follows:

1. Human Model

The author has used a previously stored human model. The scale and style of this model is very close to the 2D concept art. This human model is tall, with a slim waist, long legs and a concave shape, however, the disadvantage is that the muscles need to be adjusted.

2. Face Making

Try to adapt the appearance to a more 2D concept.

3. Equipment Building

The proportions of the equipment should be appropriately sized and layered, and the metal structure should be careful not to be too thin, otherwise it will not look heavy enough.

4. Folds

Pay attention to the neatness of the folds of the clothes, the folds should be painted in a natural way, but also to the variation of the shades of the texture, to have a layered look, not too messy and not too uniform.

Part 1. 2D Concept Art and References

Before making the elven mage, the author searched for a large number of other artists' works as a reference according to the concept art. After all, good references are not only much more efficient, but you can also learn good production methods from them.

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Part 2. Body Proportioning/Mid Poly

A proper human model is the basis for making a good model, which can greatly improve efficiency and save time in production. As shown in the picture below, the author has adjusted the proportions of the ear part and some of the body.

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From the concept art, the proportions of the character's body are exaggerated, with a small head, long legs and a tall body, so the author used masks to modify the proportions of her body.

  • Turn on the mask and click on the feathering mask so that the proportional adjustment is not too stiff.
  • You need to be careful not to destroy the structural wiring of the prime model, especially the face of the model. Be careful that the back mask brush is turned off at the mouth to avoid misalignment, this setting is very commonly used to avoid some areas being misaligned.

The sculpting of the face is very important and is adjusted throughout the production of the model, the beauty of the face sculpting determines the quality of the model. The sculpting of the face needs to be constantly adjusted to the original drawing. The structure of the female face is not obvious, but it still needs to be shown. It is only the degree of expression that makes the difference.

The modifications to the body structure and proportions were probably the most difficult part of the model for the author, as he wanted to keep the structure as close to the concept art as possible, and although the character was wearing clothes, he still had to sculpt the muscles of the torso to ensure that the clothing and equipment would fit and match the character's temperament when added.

  • Structures can be generated in the mask position using the Extract+ plugin

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Tips: Mask drawing shapes - using Extract + Plugin to generate structures

Part 3. High Poly/Hair/Pleats

After building the model of elven mage in 3ds Max, we can go directly into Zbrush to make edge adjustments. The advantages of this production method are the following:

  1. The softness of the sub-tool structure can be adjusted by adjusting the fold level.
  2. It is possible to fold the edges with one click, which increases efficiency and makes it easy to modify the edges even if they are not satisfactory.
  3. Once the mid poly has been built, it is time to fold the edges, add subdivisions and sculpt the high poly. To ensure the neatness of the character, we can turn on the stroke - LazyMouse - to adjust the delay step and delay radius.

The majority of the character's equipment is hard structured and although no obvious breakage or textured structure is visible in the original painting, we still need to sculpt some textures to show its materiality, to give the character more richness and texture, and the hard structure build needs to show a sense of layering.

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The engraving of the cloak is very time consuming and although it is made of fabric, it requires a very high degree of workmanship and the process of making it is as follows:

Alpha (import) - turn vertically - press Alpha Mask - distort - expand/balloon up

Once the general shape was created, it was textured and sculpted, and the author found the following image as his reference:

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The model initially felt stiff when it was created as shown above. The cloak was so prominent that it was too eye-catching, so the author weakened its effect so that it would not steal the attention of the character from the viewer.

The neatness of the hair and folds is very important. If the hair and folds are not sculpted naturally and neatly, the quality of the model will plummet. So once you have made the large shape of the hair and clothing, smooth out the surface in one go. Be sure to avoid intermittent and tinkering. You can turn on the Lazy mouse tool in Strokes to help you sculpt smooth, natural lines.

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The process needs to be carried out using both sculpting and patching to avoid a single structure for the model. It is also possible to import Alpha brushes to give more possibilities.

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Using the hair brush, drag it out and finally adjust it to look as it was rendered in the original painting.

  • The hair brush has a small feature, it is attached to the surface of the object, so before making the hair you can lay out a large outline of the hair where it needs to grow out in a relatively whole, and then pull the hair out one by one on this shape, which will save a lot of time in hair adjustment.

Part 4. Rendering

1. About the lighting

The author adjusted the lighting many times and finally chose to light the front with a main light source, followed by a surface light not far from the head to differentiate the top and bottom of the model to achieve the effect of light on top and dark on the bottom. A cold light source and a warm light source on either side of the model, and a secondary light behind to light the back. The top and bottom need to be differentiated, but not too dark. Even if it is dark, make sure it is not pure darkness. (As shown in the picture below)

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2. About camera adjustments

The author has chosen an orthogonal view, where the perspective is not as pronounced, so that no big perspective errors are likely to occur.

3. About the choice of model rendering engine

This time the author used KeyShot for the rendering, which gives a better rendering and more natural lighting, and the image below shows the final result.

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The above is all Fox Renderfarm's explanation on how to make an elf mage in 3ds Max. Fox Renderfarm is sure you can make a very nice elf mage too. If you want to render your 3D models, why not try a render farm, which can help you render offline without any extra work on your part.

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Behind the Scenes: 3D Game Scene
Behind the Scenes: 3D Game Scene
Today, as the leading cloud rendering service provider, Fox Renderfarm will share a production process of a 3D game scene. This project uses the standard PBR process, and uses 3ds Max to complete the basic modeling, determines the proportion of objects. Finish sculpting in ZBrush for high poly, topology in Maya, baking in Marmoset Toolbag 3, finish making PBR materials in Substance Painter, and finally use Marmoset Toolbag 3 for rendering.!Behind-the-Scenes-3D-Game-Scene 1The production is divided into three parts:1. Modeling2. Material production3. Rendering ModelingBefore production, determine what materials, objects, and overall proportions are in the scene, and then determine the production order according to the proportions. Most of the scene in this scene is walls and stones and wooden furniture, so they are the focus of the production.Quickly set up their approximate proportions in 3ds Max.!Behind-the-Scenes-3D-Game-Scene 2Complete the medium face number modelAfter establishing the proportion of large objects, continue to build the remaining objects in the scene. And further enrich the details of the model. There are a large number of repeated objects, and several different shapes can be made.!Behind-the-Scenes-3D-Game-Scene 3Taking the above book as an example, many different types have been produced, which can reduce visual repetitions very well.There are two pieces of cloth in the scene. Here we take the pillow as an example,!Behind-the-Scenes-3D-Game-Scene 4This production uses the cloth calculation that comes with 3ds Max. The specific process is as follows,!Behind-the-Scenes-3D-Game-Scene 5Create blocking objects:!Behind-the-Scenes-3D-Game-Scene 6Create a pillow base model (the higher the number of segments, the better the simulation effect),!Behind-the-Scenes-3D-Game-Scene 7Squash and find the cloth in the modifier,!Behind-the-Scenes-3D-Game-Scene 8 Simulation!Behind-the-Scenes-3D-Game-Scene 11 !Behind-the-Scenes-3D-Game-Scene 9 !Behind-the-Scenes-3D-Game-Scene 12The end result is a simple pillow model. (The shape of the wrinkles of the fabric should be well organized, and the top is a simple demonstration. Similarly, curtains may have better effects).Finally in 3ds Max medium face model,!Behind-the-Scenes-3D-Game-Scene 13Next, import the model into ZBrush for sculpting. High Poly sculptureHere is an example of a house's walls and stones:!Behind-the-Scenes-3D-Game-Scene 14The medium face model was imported into ZBrush because of the irregular shape of the stone. You can use Dynamesh (dynamic mesh) in geometry editing to edit the model.!Behind-the-Scenes-3D-Game-Scene 15Brushes 1, 2, and 3 are used for large-scale carving of stones. Brush No. 4 adjusts shape to prevent penetration. Finally, brushes 5 and 6 are used to flatten some edges and corners to make the structure hard. Thus reflecting the texture of the stone.The big ideas on the wall are the same. Finally, use the surface noise, adjust the curve, and the noise ratio to simulate the graininess of the wall and stone surface.!Behind-the-Scenes-3D-Game-Scene 16Finally, add some details such as cracks and bumps to enrich the picture. Use the brush No. 6 mentioned above to suppress it again for better results.Take the wooden table as an example below, first determine the material to be carved, and then look for the corresponding reference picture. Because the wood in the scene is too old, you need to find some pictures of old wood when looking for reference pictures, for example,!Behind-the-Scenes-3D-Game-Scene 17The sculpting process needs to be combined with actual life, so as to achieve a more realistic effect. In this scene, the wooden table is a little bit decayed, so the edge of the table will not be made into a hard, right-angled structure, so when carving, you can use the brush to make the right-angled portion of the edge more rounded, so reflect the texture you want to express. With appropriate deformation, it can increase the visual impact more vividly (adjust the place with the Move brush a little).!Behind-the-Scenes-3D-Game-Scene 18 !Behind-the-Scenes-3D-Game-Scene 19The wood in the scene needs to have an old feeling, so cracks are a good way to show that the objects are worn out. At this time, you need to use the reference picture. For example, a crack on a window plate can be carved according to the crack in the reference figure. This can better and more realistically and quickly reflect the material.!Behind-the-Scenes-3D-Game-Scene 20 !Behind-the-Scenes-3D-Game-Scene 21 !Behind-the-Scenes-3D-Game-Scene 23 !Behind-the-Scenes-3D-Game-Scene 22The final High Poly display,!Behind-the-Scenes-3D-Game-Scene 24Low polygon model and bakingThe final low-poly model was reduced using ZBrush, and then imported into Maya for final low-poly model production. This can get Low Poly models faster, but the wiring will be relatively less neat. Note that it is important to distinguish between the smooth group and split UV where the angle is close to 90 degrees.!Behind-the-Scenes-3D-Game-Scene 26 !Behind-the-Scenes-3D-Game-Scene 25The final baking uses Marmoset Toolbag 3. 2. MaterialAfter baking all the normals and IDs, import Substance Painter to make the material. It is worth noting that the normals baked in Marmoset Toolbag 3 and Maya use Opengl mode in Substance Painter, and the normals baked in 3ds Max use DirectX mode. After successfully importing, bake the rest of the textures in the texture set-baking model textures.Wall material basic processFirst of all, we make the natural color of the material, and the natural color layer can add filters appropriately to increase the details.!Behind-the-Scenes-3D-Game-Scene 27Add a dark color and use the Dirt generator. Partially unsatisfactory add a drawing layer to fix it. Add bright colors and color variations to create the approximate effect of wall decay. Here, it is mainly modified by hand-drawn layers. Continue adding color changes and roughness changes. Try to be as close to real effects as possible.Finally, you can add an adjustment layer to increase the brightness. The material made in Substance Painter should be imported into Marmoset Toolbag 3 and the brightness will be a bit lower than that seen in Substance Painter. The wall material production is complete.!Behind-the-Scenes-3D-Game-Scene 28And because the furniture in the scene should reflect the old feeling, the overall color is grayish and dark. The damage and abrasion are to reflect the original color of the wood, so the color saturation will be higher than the surface color.!Behind-the-Scenes-3D-Game-Scene 29 3. RenderingFinally, before importing into Marmoset Toolbag 3, you need to set up the lighting, the main light establishes the main light, and the auxiliary light supplements the light source to maintain the brightness of the picture. And to turn on high DPI and oversampling, turn on GI global illumination and AO environment occlusion.!Behind-the-Scenes-3D-Game-Scene 30The explanation of the production process of a 3D game scene is over. We hope this sharing will help you. Fox Renderfarm is an excellent CPU&GPU cloud render farm, so if you need to find a render farm, why not try Fox Renderfarm, which is offering a $25 trial for new users.Source: Thepoly
Big News! 3ds Max 2021 Is Now Available
Big News! 3ds Max 2021 Is Now Available
Hey guys! You know? 3ds Max has updated the new version 3ds Max 2021.1. As the leading cloud rendering service provider, Fox Renderfarm, will check out the new features in the lately released 3ds Max 2021.1 with you together, including texture baking improvements, Arnold as Default Renderer, expanded PBR workflow capabilities, viewport, fluid and modeling tool enhancements.The feature-rich update is targeted at modernizing and upgrading performance for artist workflows across design visualization and media and entertainment disciplines. Bake to Texture:- Output now supports multi-tile UV mapping (UDIM)- Animated map outputs are now supported as well as multiple animated frames- Various usability improvements.Model courtesy of TurboSquid and their artist, Luke_Ahearn. Fluids:- The Fluid loader is now exposed so that object types such as particle systems can work with the data- The Velocity channel now reports correct information when not using meters as your default scene scale. This fix will enable motion blur in your renderer- PRT now supports a signed and unsigned integer values (via .ini change). Interactive Extrusion and Inset:- Users can now utilize a Shift+Drag (left mouse button) with the Move transform tool to extrude polygon component selections when using an Editable Poly or an Edit Poly modifier- Shift+Drag with the Scale transform tool now performs a polygonal inset action on selected polygon component selections when using an Editable Poly or an Edit Poly modifier- Clone/Copy actions are now performed with Ctrl+Shift+Drag when using the Move transform tool on the polygon component on and Editable Poly or an Edit Poly modifier. Viewport Improvements:- Depth of field now affects the environment map- Vignetting scale is now the same value as defined in the camera- Matte/Shadows material now work in the viewport- Each view can now have its own exposure, white-balance and vignette settings. Arnold Renderer:- MAXtoA 4.0.4- AOV token system- Animation support for Alembic- Increased shader spinner accuracy- Bake to Texture support for projection of normals from high to low resolution, normals spaces, and Mikkt. Enhancements and Changes Weighted Normals Modifier Now includes support for multi-threaded processing to enhance speed and performance when performing calculations as well as other stability improvements. Explicit Normals Preservation for Mesh Applying an Edit Mesh modifier no longer invalidates explicit normals, nor do the following actions: Attach, Detach to Object, Detach to Element, Clone to Object, Clone to Element, Detach as Clone to Element. PBR Material Both PBR materials now support displacement. Shared Views Shared Views now supports Physical material. SketchUp Model Importation There is improved handling of internal edge visibility, improving the imported mesh quality, and SketchUp 2020 models are now supported. Slate Material Editor The Slate Material Editor now pans and zooms smoother and faster when using a 4k monitor. In addition, the Search field has been improved to perform global search through all materials and maps in the editor. For example, if you were searching for the Advanced Wood map and typed "wood," the old search would not find it but now it will. Render Output Size HDTV resolution of 1280 x 720 is the new default output size. UDIM DisplayWhen you work with UDIM, you are now able to view all textures in the viewport when using the Bitmap Lookup OSL shader, instead of just viewing one as when using the Multi-Tile map. User Defined Defaults Allows you to set your own default values for ParamBlock2 supported spinner, radial, checkbox, or input field through MAXScript calls. Viewport Depth of field now affects the environment map, the vignetting scale is now the same value as defined in the camera, Matte/Shadows materials now work in the viewport, and each viewport can now have their own exposure, white-balance and vignette settings. ConclusionThese are all the update points of 3ds Max 2021.1. Let's make more good artworks with 3ds Max in the future! As a leading cloud render farm, Fox Renderfarm, will continue to bring you the latest news about 3ds Max. Thank you for reading!From: ``
3ds Max Tutorials: 3D Toilet Scene in Silent Hill (1)
3ds Max Tutorials: 3D Toilet Scene in Silent Hill (1)
Today your TPN-Accredited cloud rendering service provider, Fox Renderfarm will share with you a toilet scene made with reference to the horror and thriller game *Silent Hill*. The process is from the original painting to the 3ds Max model production, then to the texturing in Substance Painter, and finally the Marmoset Toolbag for rendering. Let’s have a look at the final effect:!3ds Max Tutorials 3D Toilet Scene in Silent Hill-8Software used: 3ds Max, ZBrush, Substance Painter, Photoshop, Marmoset ToolbagHow long does it take: one and a half weeks IntroductionThis is a personal project for practice, the purpose is to learn some new skills and improve workflow, and make your work better.In this project, the production is not so difficult, but the texturing and rendering took a lot of time. A lot of tests were carried out in these two stages, and the most perfect results were obtained. And through texturing in Substance Painter production and rendering with Marmoset Toolbag, the overall thrilling atmosphere of the scene is perfectly displayed, making people feel as if they are on the scene at a glance.The whole production process is divided into five parts: target, modeling, UV, texturing, rendering, etc. ModelingThe scene is based on the original setting of the game scene, so the model production is not too difficult. In the early stage, I first decide the angle of the scene, and then increase or decrease the number of model faces according to the distance from the scenes.First import the image into 3ds Max, build the entire room with simple shapes and then start adding props and details. For the smaller details, such as the breakage and cracks of the wall tiles, they are all made by Dam Standard brush, OrbFlatten_Edgeprotect, and Alpha.Part of the details after the carving is completed:!3ds Max Tutorials 3D Toilet Scene in Silent Hill-12!3ds Max Tutorials 3D Toilet Scene in Silent Hill-4!3ds Max Tutorials 3D Toilet Scene in Silent Hill-14 UVMost of the work in the UV part is relatively simple, and the most difficult part is the broken tiles and gravel falling from the ground.1. The small pieces are baked as much as possible in the post-production2. Reduce the number of faces of other models that are not part of the visual center3. Use the correct model resolution to make the size of the texture, etc.Follow the leading cloud render farm, Fox Renderfarm, for the next part: 3ds Max Tutorials: 3D Toilet Scene in Silent Hill (2)").
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