How to Use ZBrush and Maya to Make A Stylized Character "The Dark Knight"(1)

How to Use ZBrush and Maya to Make A Stylized Character The Dark Knight- 8

Hi there, your best cloud rendering service provider, Fox Renderfarm, this time we will share with you the production process of how to use ZBrush and Maya to make the stylized character "The Dark Knight" from 3D Artist Mars.

Mars divides the entire production process into pre-reference search, and then makes high-poly model sculptures such as mannequins and clothing, armors, baking and UV splitting, Substance Painter texture production and final rendering, I hope you will like it.


This part is very interesting. When looking for information, I mainly found facial references and a lot of information on medieval costumes and armors. The preparatory work is very important, which directly determines whether the subsequent work process can proceed smoothly.

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Model Making

Because the character itself wears a lot of armor, the focus of the character model is on the sculpture of the head. I made some settings before production, and set the age of the character to around 35 years old, and he is very good at fighting. Because the body is covered by clothing, I just made a rough muscle structure to facilitate the post-production of the correct shape of the clothing.

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Add Pores

After the head was made, I added facial pore details with the XYZ material, and all the pore details were made in ZBrush, not Mari. XYZ officially provides a set of materials with area numbers that can be directly dragged onto the surface of the model, as follows:

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To make pores, now switch the displacement brush of ZBrush, import the XYZ channel material, and finally change the MID of the Alpha material to 50, and then start to sculpt the pores by dragging.

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Clothing production, import the body model into Marvelous Designer for clothing production. The body model is imported into Marvelous Designer, and it is made to make a board (clothing production is mainly based on the effect of 3D display, and there is no need to consider some principle issues of clothing design. After that, the model is exported, and the plane style and 3D are exported here. The style is convenient for retopology for clothes.

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How to Use ZBrush and Maya to Make A Stylized Character The Dark Knight- 15


I imported the flat-layout model into ZBrush and used tools for automatic topology, and then used Maya's topology transfer to wrap the topological model onto the 3D model, and then transferred the re-topological model through Maya's topology to transfer the 2D style again. To the surface of the 3D style, a uniform and smooth 3D clothing model is obtained, which is convenient for subsequent sculpting and modification in ZBrush.

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Armor Making

The armor is made by using different shapes of faces and pieces, and then extruding the edge part and then detailing the model until all the work is completed.

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After importing the model into ZBrush, I once again sculpted the whole part of the outfit. Here I first sculpted the underwear part, and the sleeve part was especially important. This part of the work is to remove the unnatural part of the solution in Marvelous Designer and add smaller wrinkles. The main brush used is the Standard brush.

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In order to make the UV of the neckline model straighter, then import it into ZBrush to add surface texture (note that the subdivision level of the model should be as high as possible, the details will look better, here I give it 7 levels), and then add the displacement texture On the surface of the model (add it through Noise under the Surface menu, and change the projection mode to UV mode).

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I directly use the Slash brush to sculpt the armor pattern. Because the pattern design is already fixed and the material cannot be used, I can only sculpt it manually, which is time-consuming (you can open the ZBrush storage transformation before engraving to facilitate the use of Morph pens. Brush to erase and modify the pattern), the folds of the edge are carved with the help of brush materials to simulate the edge of the leather.

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How to Make a Viking Warrior in Maya and ZBrush(2)
How to Make a Viking Warrior in Maya and ZBrush(2)
Fox Renderfarm, the best CPU and GPU render farm, will still bring you the tutorial about how to make a Viking Warrior in Maya and ZBrush from 3D Character Artist Yuyong Jie. Production of low-polygon models After the high-poly model was completed, I made a topology on it. The character's face and limbs are reduced to the low-polygon model obtained by subdividing the original model, and then enter TopoGun3 for appropriate modification and matching. If the requirements are not very high, we can also directly use the plug-in to delete the model to get the final model. If some places are very different, we may need to re-topology. The topology needs to pay attention to the position of the line, the joints need to be more, and the invisible faces are deleted. If you encounter large undulating folds, we need to increase the line appropriately. Baking and material making After all the objects are topological, I split the low polygon model again by UV, and consider how many textures to make according to the expected requirements. PS: The structure that can be straightened by UV should be straightened as much as possible so that the UV space utilization rate will be higher when placed. After setting up the UV, the model can be baked. I usually use MAYA for baking, but this time I want to try Marmoset Toolbag3. It is said that his operation is also very convenient. Next, import the low poly model into Substance Painter for material production. By the way, pour the previously baked textures into Substance Painter, and then bake the remaining unbaked textures to complete the texture creation. First, the skin texture is performed. Here I use the Specular Glossiness workflow for texture production. I paste the previous XYZ colour map on the colour channel and then create a new filling layer to adjust the facial colour and makeup according to the original painting. After the makeup is determined, the gloss of the picture will be engraved. The gloss of different parts will be different. For example, the T area of the face will have more oil, which will be more shiny, and the gloss around the eyes and lips will not be the same. To the same, adjust according to the specific situation. After finishing the face material, make the character's hair. Here I first use Maya’s XGEN to make the hair texture, and then paste the texture on the patch, and then combine the patches into different densities. The hair group is then placed on the head one by one, and the shape is adjusted through the lattice or bending life, soft selection, etc. There is no technical content in the hair placement, mainly because of the styling and patience of the hair, and it also takes a lot of time to adjust. After finishing the face and other skin parts, the next step is to make the materials for the remaining equipment. Here I use the workflow of Metallic Roughness to make. First, distinguish the colours and textures for different materials, and then make them separately For meticulous adjustments, a generator that calculates dark and bright colours is combined with some grayscale textures to portray the surface texture of the object. For example, the colour and roughness of the dirty and worn surface will change. After the surface of the object is dirty, the metallicity and roughness will become different. Pay attention to the original painting. We can also learn from the reference picture to bring more inspiration to ourselves. When the object is used, make it old accordingly. Lighting and rendering After finishing the materials of all the objects, export the textures and perform lighting and rendering on the model. I used Marmoset Toolbag 3 for rendering. First, I imported all the low polygon models into Marmoset Toolbag 3, and then mapped the corresponding models. According to the situation, I can adjust the properties of the shader to make the material effect better. For example, I used the 3S effect on the skin here to make the skin look more transparent. Before lighting, we choose the ambient light we want and then turn on the light. The atmosphere created by the light can be based on the effect we want. To do this, we can refer to the lighting in some movie screens. I tried the main light, and added a slightly darker light on the other side as auxiliary light, and added a contour light on the back so that a simple three-point light source was formed. Next, I can adjust the shadow of the light. The edges are soft and excessive, and then adjust some of the camera's effect attributes to make the picture softer or sharper. After everything is set, the output is rendered, and the work is complete! If we want to pose the character, we can use Maya to bind the bones first, then import the model into ZBrush, just separate the adjacent objects separately, import them into ZBrush to group them, and then select the corresponding group or object to adjust it.
How to Make a Viking Warrior in Maya and ZBrush(1)
How to Make a Viking Warrior in Maya and ZBrush(1)
Fox Renderfarm, the best CPU and GPU cloud rendering service provider, will bring you a tutorial about how to make a Viking Warrior in Maya and ZBrush from 3D Character Artist Yuyong Jie. In the following production, he'll show you how to use ZBrush and Maya to make a Viking-style female warrior. The main process is divided into several parts, including finding references, modeling, baking and texturing, and light rendering. Reference and modeling I looked for a lot of concept maps on the internet and finally decided on one of them. Then follow the concept map to find different references, such as a large number of references to bodies, clothing, Armor, etc. I think these references are very useful. I then found a basic female model of ZBrush, which can also be carved directly into ZBrush, of course, but using the basic model modification saved me a lot of time. After adjusting the scale and structure, I copied a copy of the model, and to save the number of faces, I deleted the parts that were blocked by the clothes. Keep the original model and use it to do MarvelousDesigne's cloth solving and build equipment. When I carve the model, I carve the face and other exposed parts in detail. The difficulty of this part is mainly the muscle structure. In addition, I can carve the outline of the hair as a guide to making the hairstyle. After making sure the character's image is consistent with the concept map, I import the model with the lowest number of faces into Maya, split the UVs, and then import it into ZBrush, without changing the model. And all the subdivisions are there, and the technology adds the subdivision to the model with the split UVs, ready for the skin texture projection later. Next, I started to prepare to project the XYZ skin texture map in ZBrush. First, I created a rectangular patch in Maya with the aspect ratio close to the XYZ texture map that needs to be projected. Then I imported the patch into ZBrush and used the ZWrap plug-in. Carry out the topology and have completed the UV model, and then paste the XYZ displacement map on the model Topological with the ZWrap plug-in of ZBrush just now, and then use the ZWrap plug-in of ZBrush to transfer the textures on the topological model to the original model and export Stickers. Finally, link the MAP to the displacement map, and use the skin texture Alpha for the details of the hands and legs. Adjusting the number of model faces I finished the details of my face, hands, legs, etc., And then began to work on Armor accessories and clothing. First, I'll make a medium-polygon model in Maya, and then import it into ZBrush to carve. The medium polygon model is mainly to make the main concave-convex structure out, and then add lines appropriately, or directly reduce the subdivision to get a relatively matched low polygon model, and properly arrange the model to make the lines more reasonable and the matching degree better. Once a polygon model with a medium number of faces is made, we can deeply sculpt the model. For part of the metal pattern, I use pattern Alpha production, first, reduce the model subdivision export split UV, and then use Photoshop to align Alpha to UV, paying attention to the head and tail of the pattern connection. Then import the split UV model into ZBrush, then use the Alpha mask, and then expand the height to get the pattern effect.
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.
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