How to Make High-precision Models For Motorcycle Tire Patterns And Wheels in 3ds Max and Zbrush(2)

Zbrush - Tire 24

In this tutorial, Fox Renderfarm, your TPN-Accredited cloud rendering service provider, will still bring a set of vehicle model making skills.

C. Wheel production

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  1. The production of the wheel: firstly outline the cross-sectional structure;

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  1. Add a lathe, an angle of 360, a number of segments of 60, and click on a subset to adjust the radius of the wheel;

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  1. Add symmetry to bilateral symmetry \Edit poly card line\ Turbo smoothing

D. Brake pads

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  1. The idea of making brake pads: use 2D graphics (star and round) and use 2D Boolean tools to adjust the graphics;
  2. Process: large-scale adjustments \ add circular hole \ circular copy \ extrusion thickness

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  1. The final extrusion effect: before importing Zbrush, the model needs to be converted to poly, so that the model will not appear broken;

E. Spoke structure

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  1. Use the spline to make a spoke, and replicate it according to the reference picture;

Zbrush - Tire 21 Zbrush - Tire 22

  1. Select the spline to display the solid model: add Edit poly\ and turn to poly
  2. The final effect in 3ds Max.

Boolean operation pattern and drawing in Zbrush

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  1. The whole model is imported into Zbrush in the form of obj or GoZ;
  2. Create a tire folder; select the sub tool under split \ split by group; select the difference pattern; open the preview of Boolean rendering;

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  1. After the preview effect goes well, select the gear icon of the tire folder, the Boolean operation folder, and generate a new Boolean model;

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  1. Dynamesh: the resolution can be set to 1024 or 1280, the higher the resolution, the finer the model;

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  1. Mask: According to the characteristics, the mask will be generated according to the edge of the group, the mask will be expanded once and blurred once;

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  1. Inversely select the mask and select the lower polishing command. The value should be 2-3. If you want the edge to be softer, you can polish twice.

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  1. Add pattern details; select the groove brush; click x key to turn on symmetry; turn on the R ring symmetry value to 10; increase pattern details;

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  1. The final effect of the first pattern;

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  1. The operations of the second pattern are the same as above. Note: the Boolean operation needs to select a collection and merge the model into a whole. The next steps are to dynamesh, polish, use the groove brush to increase the pattern details;

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  1. The final effect of the tire

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3D Modeling Tutorial of Chang’e, the Chinese Goddess of The Moon Ⅱ
3D Modeling Tutorial of Chang’e, the Chinese Goddess of The Moon Ⅱ
This time, your TPN-Accredited cloud rendering service provider, Fox Renderfarm brings you a 3D modeling tutorial of Chang’e, the Chinese Goddess of The Moon Ⅱ. It is shared by the Chinese 3d artist CGWang, we hope that it can help you in 3ds Max learning from this production, and get inspiration from this artwork. Introduction This work is inspired by a myth in ancient China, telling the story of Chang'e who lives on the moon. In order to highlight this story, the center of the vision is made into a circular moon, and a crescent moon and osmanthus trees are used to form a circle. With a full crescent moon and a figure running towards the moon from a distance, you can see a cyclist running towards the moon when you look up close, and the little rabbit in the car is not only her partner but also illuminates the shadow with a lamp that gives directions. Modeling The model was made in ZBrush. Based on a body model from the previous project, some modifications were made on this model. After the model is made, I will not make clothes, but use ZBrush tools to take a picture of the POSE. The pose requires attention to the coordination of the body and limbs to make the character's pose look natural and comfortable. Composition After the character's body was made, some other important objects were added to the scene, such as the addition of a bicycle that used a model from the previous project, the waning moon, and the osmanthus tree. These objects form a circle in the center of the vision, and this circle constitutes an important structure in the work. In this step, there is no need to consider the details of those objects, as long as the overall shape is intact. Clothing After the composition is complete, you can add some details to the character. The production here can start with the costume. Because the protagonist is a legendary character in ancient times, her dress skirt is very long, and she also has some streamers similar to a cloak. Firstly make the shape of the clothes in 3ds Max, and then import it into ZBrush to use some plug-ins to sculpt the folds of the cloth. Now that there are not many elements in the scene, you can continue to refine the scene and add other objects. Because only Chang'e lived on the moon, it was deserted. The palace where Chang'e lived was on the moon, so the moon and the palace were blended together during the production. For the balance of the scene, a small resting pavilion was made and placed on one end of the moon. When the character was finished, the bicycle basket was a bit empty, so I added a bunny to the basket and made the bunny to carry a light to show Chang'e the way. Then it is time to modify some details, such as thinning the hair and adding headwear to the character, adjusting the details of the clothes, and giving some details and some leaves to the trunk. The bottom part is some clouds floating in the air as decoration. Rendering All models have been finished, but some adjustments are needed after stitching together. One of the most important points is to pay attention to some proportions and perspectives of the character and the scene, and then choose the best frame to render.
3D Modeling Tutorial of Chang’e, the Chinese Goddess of The Moon
3D Modeling Tutorial of Chang’e, the Chinese Goddess of The Moon
This time, the TPN-Accredited cloud rendering service provider, Fox Renderfarm brings you a share from the 3D artist CGWang. This project originated from a competition. Since it was produced during the COVID-19 pandemic, a Chinese mythological story was chosen as the main story. The protagonist is the fairy Chang'e who lives on the moon. She looks at her homeland on the moon every day. What will it feel like sorrow, hope, longing, these are the feelings the artist wants to express. And the artist wants to learn some new technologies through this project and use these technologies in his own production process, we hope you can learn new things from it. Modeling The head modeling is made in ZBrush. In order to save time, the head model that comes with ZBrush is used as the basis, and several basic brushes that come with the system are also used to model the character's face details. When the head model was made, 4 different facial expressions were modeled to choose which one works best. Before making this character, I looked for a lot of references about Chang'e from the Internet, especially the reference of the action, hairstyle, and clothing. After determining what to make, the expressions selected from the candidate expressions after testing are placed in ZBrush to continue sculpting the face and hairstyle. The details of the face and the refinement of expressions mainly use the Move brush, Claybulidup brush, and Damstandard for sculpting. And the hair is made in Maya. Chang'e is a beautiful female character. Her body is a pose made and adjusted in Zbrush. This action needs to be natural and coordinated. The ancient Chinese costumes she wore used fabric simulation and put them in Blender for carving and adjustment. Details The overall shape of the character has been determined, but when adjusting the details, it was found that there was a problem with the movement, and then the POSE was adjusted. There are many decorative things for the characters in the setting and reference. These hard-surface models are made in 3ds Max and then imported into Zbrush for placement and refinement of some small textures. The main part of the character has been completed and some background and other decorations need to be added. Some things representing traditional Chinese architecture, mountains, and rivers have been made in Blender. And some scattered shapes are built in the scene. The lens is placed closer to the characters floating in the air, and the buildings on the ground look relatively small, and the perspective of the space is very important to the buildings. Here we have done some distortion processing to make the scene and the characters combine better. The last step is to add details to the character, including eyebrows, eyelashes, tears, flowers, clothes corners, etc.
3ds Max Tutorials: 3D Toilet Scene in Silent Hill(2)
3ds Max Tutorials: 3D Toilet Scene in Silent Hill(2)
Your TPN-Accredited cloud rendering service, Fox Renderfarm still shares with you a toilet scene made with reference to the horror and thriller game "Silent Hill". Texturing If you want the scene to look real, the production of normals and textures is very important, especially the normal mapping, which can record the details of the high-variable polymorphism perfectly. The details here refer to the normal mapping with bump information, color mapping, metallic mapping, roughness mapping, and others. After the baking is completed, import the low poly model into Substance Painter for material production, adjust the parameters of various materials, increase the details of the texture, such as dirt, wear, and cracks, to show a more realistic effect. To make the dirt on the ground, first, fill the model with the original color based on the ground color of the original painting, and then use channels to fill a layer of dirt in the dark and bright parts: Then fill with a layer of roughness and bloodstains; Roughness of tile The effect of the texture refers to the actual falling off the situation of tile, adding the inherent color, dark part, and bright part as above, and adding soil, moldy stains, dust, etc. with Alpha as a new filling layer. Wall cracks Observe the color of the cracks on the wall of the original painting, and create a new filling layer to fill the natural color, the dark part of the crack, and the bright part of the wall. Now you can see the color of the wall, and then depreciate the wall and add stains. In order to be more detailed, you can add moss material to the cracks to highlight the age of the scene. After determining the texture style of the wall, you can make some personalized adjustments, such as adding some bloodstains, blood handprints, graffiti, etc. to highlight the style of horror and thriller. The same steps were performed on other walls. Lighting rendering 1. The most important factor affecting the rendering effect of the overall scene is the lighting. First, enable lighting, global illumination, and ambient occlusion effects. 2. Main camera options, change the field of view and adjust the effects of sharpness and noise. 3. Import the model and load the texture. The gloss channel must remember to invert the rough texture. 4. Change the angle, adjust the brightness of the background to achieve the desired environmental lighting effect, and then add lights to illuminate the object and corners through multi-angle observation to show the clear structure of the object, the roughness, and details of the surface texture. Remember to add light used for basic lighting. Now that the production of the scene is basically completed, you can also try to make a browsing animation of the camera.

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