Ornatrix Plugin Tutorial in 3ds Max

The TPN-Accredited cloud rendering service provider, Fox Renderfarm share with you an Ornatrix Plugin tutorial in 3ds Max. Ornatrix is a hair system in 3ds Max developed by Marsel Khadiyev. It is the leader in 3ds Max hair making tools. In this tutorial, I will demonstrate how to use Ornatrix to make hair ,the trend of the hairstyle when making hair, especially from the root to the end of the hair. At present, hairstyles are divided into several categories according to different production methods.

1. The style focusing on showing volume

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The direction of the arrow indicates the direction of hair growth. The hairstyle of a stylized character above is easier to show the volume of the hair.

2. Sculpted hair

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This hair method is very common, but the distribution of hair also requires some design. The front part like the hair is made separately from the back. The red and blue parts will slowly disappear along the green part at the place marked by the arrow, and the green part will continue to extend downward. At the same time, another branch will be separated.

3. Cartoon style hair

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Take the female character above as an example, her hair is mainly divided into two parts, the left part of the hair, the red arrow is on the outermost layer, the blue arrow can be counted as a branch, and the yellow arrow is under the blue arrow. When making hair, not only the direction of the hair, but also the layer and thickness must be considered.

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The block of hair in the character above is relatively large, and the level is more intuitive. Yellow and red hair are more outside, green and blue hair are more inside, and the hierarchical relationship of the hair will make the overall hair richer.

4. Realistic hair

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The realistic hair in the picture above is the most difficult to make of all hair types, and the use time cost is higher. It takes time and brainpower to distribute all the hair reasonably, and to make the fine hair and the whole match reasonable and beautiful. Here is a hair tuft as an illustration. The red part is the bottom layer, the blue is on top of the red, and the green is on top of the blue. This layered superposition makes the hair performance extremely vivid.

Conclusion The first and second types of hair are made by models, and the third and fourth types are made using hair software. The production method is to make the whole first, and then modify the details. The look and feel of the hairstyle comes from the distinction between the trend and level of the hair. If you do not do well in the first step, it will affect your overall effect later. It is recommended that before making a hairstyle, find the necessary reference on the Internet, and then analyze the trend and level of the hair. After the hairstyle is split, it will be more reasonable to make it.


The production process of using Ornatrix to make one of the hairs will be explained in detail below. First, import the character into ZBrush and use the curve brush to quickly build the basic hair. In this state, it is convenient to adjust the hairstyle

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Import the model into 3ds Max, first use Ornatrix to create and edit guidelines based on the model.

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First select a surface and use ox Guides from Surface to generate guidelines. Ox Strand Detail is used to edit the number of segments of the guideline. The number of segments is determined by the length of the hair and the degree of distortion. Ox Edit Guides use the numbers in the edit guidelines to comb the guidelines into the shape you want.

Hair generate

Different point diagrams are different modes of hair generation, and the distribution parameters control the number of hairs.

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Width adding

Next is to adjust the width of the hair. Add clusters to control, the degree of hair aggregation, generation method: guideline and random.

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Add noise

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Hair will have some small fragments randomly hanging around the hair, which will make the hair look more natural. These fine hairs will be generated using Ox Strand frizz function. Finally, add an Ox Mesh from Strands to make the hair done.

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3ds Max Tutorials: Making of firearms(1)
3ds Max Tutorials: Making of firearms(1)
Your TPN-Accredited CPU/GPU cloud rendering services, Fox Renderfarm still share with you 3ds Max tutorials. In this tutorial, I will talk about using 3ds Max 2018, Zbrush, SubstancePainter, and other software to make a game-style firearm. I will not only talk about the process of how to make High polygon and Low polygon in 3ds Max, but also the baking method of normal map and ID map, the making of texture map in Substance Painter, and final rendering. Finally, I would like to thank my good friend "LAO MENG" for his great help in the preparation of this tutorial. Concept/References The picture below is a work related to the "Call of Duty" I found on the Internet. I like his firearms very much. These firearms are very good in appearance and texture! A work of "Call of Duty" For example, the works in this tutorial, although the appearance looks very normal, they can attract our attention. The work looks real, and the production of details is also very rich. The shape conforms to the basic structure of a gun. The material is distinct, with metal, leather, matte, etc. We can clearly see its roughness, highlight, metallicity, and other parameter attributes. The combination of various materials makes the whole gun look harmonious, and the metal texture is used for a long time. The metal parts will also have dust and wear. The overall style is still in line with the current game requirements. At the same time, I also found other real gun pictures as references to analyze the metal texture and traces after use. Blocking The blocking of the model is very simple, focusing on the proportion. If you cannot follow the correct scale, you can decompose the reference diagram. I mainly divided the gun into three big pieces, the butt, the body, and the barrel. In this way, we could determine the proportion of the three parts to arrange the overall size. Then the proportion of our small parts, screws, etc. can also be determined according to its proportion in the original painting. Modeling It is necessary to add more details when making the mid-poly, but always pay attention to composition. High polygon The next step is High polygon carving. The following are the places we need to sculpt because adjusting the material parameters in SubstancePainter can’t get the best results. So those details that need to be carved still cannot be omitted. When it comes to engraving leather, it needs to show the flexibility of the leather and the fit of the close part of the gun. Because the metal part is a mechanical product of industrial products, there is no need to add irregular scratches to it. Metal uses 3ds Max to make high poly, and it must be divided into groups in the Low polygon stage. Small scratches, abrasions, and dust can all be made with texture.
3D Tutorials: How to Make a Destroyed Library in 3ds Max and Zbrush(3)
3D Tutorials: How to Make a Destroyed Library in 3ds Max and Zbrush(3)
Continue the 3D Tutorials: How to Make a Destroyed Library in 3ds Max and Zbrush(1) and 3D Tutorials: How to Make a Destroyed Library in 3ds Max and Zbrush(2), the faster and easier cloud rendering services provider, Fox Renderfarm still share with you 3D Tutorials: How to Make a Destroyed Library in 3ds Max and Zbrush(3). Visual effects Next, I will introduce the production methods of some details of the visual effects in the scene: 1. Lighting In the middle of the scene, a beam of light illuminates from the broken glass window. The production of the beam is completed by a face with alpha, and the face itself presents an inverted V shape. To make the light beam through an alpha transparency map, we should use photoshop to make a few vertical beams in the alpha channel, fill the RGB layer with a yellow color, and make a little gradient if you want to be richer. It’s important to pay attention to fill in the selected range of UV. Then import this picture into Substance Painter, add a fill layer, drag this picture to the color map, turn off other channels, and turn on the opacity channel, reducing the transparency to about 0.5. If not satisfied with the color, we can modify it. Then add another fill layer, turn on the color channel, transparency channel, and luminescence channel. The transparency of the transparency channel must be adjusted to zero, and add a black mask. 2. The effect of light shining through the glass on the ground Before the light is made, the glass must be made first. The glass is also made from a face. A special method is used here. First, make a face and place it on the window as glass. Note that the glass is a separate shader. Next, import the glass model and the high model of the window into Substance Painter; bake the glass ID separately. Click to bake and we get an ID map with window location information. Then we can draw the glass according to the window ID range! The glass texture is also easy to make. it just needs to pay attention to the light and shade changes of the glass. After the stained glass is made, the projection effect of the floor can be made. The projection effect of the floor is completed in Substance Painter by mapping + luminous texture. Materials for books The book is a structure with many copies in the scene. So when baking, the model is deliberately placed outside the scene to avoid being affected by the AO of other models. Another advantage of putting it outside is to facilitate the adjustment. Because the books on the concept map have different colors, if we want to make books of different colors, we must create a different folder group for each book, add a black mask, add drawing options, and use the geometry filling tool to distinguish different book covers. The material of the book is easy to make. In order to avoid the texture from being too monotonous, I searched the cover of some real books on the Internet and carried out a hand-painted copy in PS. Rendering Marmoset Toolbag is used for rendering. A total of three lights are used, one of which is parallel light. The light coming in from behind the window is to match the beam effect and the projection effect on the ground, so it is a fixed light. We can increase the width under the light shape to make the shadow softer. The vegetation under the lighting is too light, so we need to add two more exhibition lights and turn on the shadow and AO to rich the vegetation. Next, we need to turn on GI and local reflections to simulate the scattering effect of light shining on the glass. We can see the scattering of the glass hitting the stone. The final effect:
3D Tutorials: How to Make a Destroyed Library in 3ds Max and Zbrush(2)
3D Tutorials: How to Make a Destroyed Library in 3ds Max and Zbrush(2)
Continue the 3D Tutorials: How to Make a Destroyed Library in 3ds Max and Zbrush(1), the smarter and cheaper cloud rendering services provider, Fox Renderfarm still share with you 3D Tutorials: How to Make a Destroyed Library in 3ds Max and Zbrush(2). Retopology Retopology is a very tedious but important process. After making some projects, some experiences have been summed up as follows: 1. Ensure the integrity of the contour during topology 2. Try to give more faces to the corners to facilitate the final normal texture 3. Hide the UV seams as far as possible where they won’t be noticeable After some tests, the retopology is very careful this time. Of course, the normal result baked is good. The two methods of retopology will be introduced as follows. One is the model with little change in shape. For example, the model of the bookshelf is modified using a model with a medium number of faces. Since the shape of the high model engraved on the model with a medium number of faces will not change much, the high model can be directly modified by the model of a medium number of faces. At the same time, we also need to pay attention to placing the UV seams where people will not notice. The other is a model with an exaggerated appearance. The model below is made in ZBrush. The appearance of this stone wall is exaggerated, and the side has a lot of bumps made of bricks. If the sides are retopologized as a plane, the brick wall will look worse. Even using the top gun, the efficiency is not ideal. Finally, use the dynamesh tool to adjust the resolution appropriately, keep the outline of the stone, and weld some places with large gaps together. Using a Decimation master to control the number of faces to 2500 triangles, the shape will not be too different from the high model. But the model of the Decimation master retopology still needs to be imported into 3ds Max to match the high model, and clean up some problematic triangles. Finally, the model maintains 2400 triangles, which is already relatively small. Also, hide the UV seams. Plant making The method of making plants is very simple. Make a model in 3ds Max; put it into ZBrush to sculpt the high model; Use Substance Paint to bake the normals of the plant onto the patch; use Substance Painter as the material. The next step is to place the plants in the scene. When placing them, we need to pay attention to the proportion and size of the plants and the scene, as well as the density between the plants. I found some top views of real flowers on the Internet and used Photoshop to modify the original Base color. First import the modified Base Color map into Substance Alchemist to calculate the normal map. After modification, just replace the normal map, color map, and transparent channel map. The final result is very good. Baking After the plants are finished, we can start baking the normals. Before baking the normals, pay attention to the distinction between the smooth groups and organize the names. The stone brick wall, which I was worried about before, looks good after finishing the normal map. And Substance Painter calculates the texture based on the baked channel, so we must ensure that the baked texture channel is correct.

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