The Usage of Maya 2018 Attribute Spread Sheet

When I feel that there is no problem with the overall shape, I can start the middle mold of the detailed blade part. Continue to refine the three structural parts that were just split. We have refined the structure of the three parts. At this point, the basic shape of the entire model has basically reached the structure in the concept map. If these details are attached to the basic structure, if it is not easy to make in Maya, you can use the advantages of ZBrush's rapid sculpting for quick sculpting. This stage is just a transitional model, there is no need to sense volume or sculpt, like some smaller details, I just quickly generated the basic shape attached to the details on the whole. These are very time-consuming if they are directly modelled in Maya or 3ds Max, so what we need is to use the advantages of each software to quickly achieve the final effect. The software used is not important, the effect is the final. The specific operation is also very simple: - Masking - If the generated thickness is too thick, adjust the thickness and generate again - Separation model - Then adjust the shape according to the original painting. We need to take the topologies of the models planned in ZBrush into low-polygon models and import them into Maya for further mid-model refinement. Finally, some detailed models such as nails and ropes are put on, and then the models are merged, and the preparatory work is done for the model carving. At the edge, I deliberately added some notches and bumps to make this axe look like it is often used. Summary When making this model, there are more cumbersome parts. Don't be afraid. Just break the 2D concept map into many small parts, and then distinguish the priority and make it step by step according to the previous plan. Then sculpt some worn details to the model in ZBrush. Then you can go to ZBrush to carve some broken details. In this process, you need to pay attention to the overall structure and don't make too much detail. Do it first, then do it again, otherwise, the model will look too trivial. There are no details everywhere because they will distract the viewer. We only need to have relatively large damage in the distant view, middle-level details in the mid-range, and close-range views to see the texture of the details, and all the things can be combined to form a very beautiful model. When making a model, you will need to make the main character first, and then other accessories. The overall model's picture needs to be coordinated, instead of focusing all the energy on a broken sculpture. We need to use damage and details to set off the subject, not to make those details too attractive.

In this article, Fox Renderfarm, the best cloud rendering service provider in the CG industry, shares a tutorial from 3D artist G on how to make an axe with Maya. G is a 3D artist and has been engaged in model making for the game industry. Before entering the CG industry, he also made many mistakes that the beginners would make. In the process of making some 2D concept drawings into 3D works, he gradually realized that as a 3D artist. From flat thinking to three-dimensional thinking, it is necessary to have a good analysis and judgment ability for the understanding and grasp of the sense of space, especially when the 2D concept map is produced in 3D. G will mainly show the production process of the model and explain how to decompose the 2D drawing into a 3D drawing. I hope this article will be helpful for beginners. Reference I looked for a cool weapon concept map as a reference. The concept map of this axe has beautiful lines and a simple structure, which is very suitable for 3D. Before making it, I will observe the concept map first, and then have a blueprint in terms of structure, proportion and colour scheme. Take the following picture as an example. This axe looks very sharp, and the middle position is thicker, forming a strong contrast. Moreover, we need to infer the thickness and curvature of the side from the ratio and contrast of light and shadow, which is very important. Compared with the two weapons, the first one I personally feel is that it is not a knife, because it does not have a sharp blade similar to figure 2, so it must have a heavy texture. In addition, there are sharp thorns on both ends. I can imagine the way this weapon is used. It should first stun the opponent like a hammer, and then pierce his vitals with the spikes. It's bloody to think about it. Since this weapon is very heavy, I would imagine that the person using it should be very strong and domineering! Preparatory work is very necessary. If you need more, you can find more reference pictures, such as the thickness reference of the side, otherwise, the model will be unreasonable. Modeling My habit is to decompose the weapon according to the structure of the original concept painting before making the model, especially for this very complicated weapon, this step is more important. No matter how complicated things are, as long as they are broken down step by step, they will not be so complicated. The important point is that you should not directly make it on the basis of the concept map. If one of the structures has a problem, then a lot of repeated modifications are required, so that you need to redo it. This will be a waste of time and will lengthen the production cycle. Therefore, the early disassembly analysis is very important. In this project, first of all, we need to determine the main shape, which is basically divided into two parts: one part is the definable thing, the handle, etc.; the other part is the main body of the blade. My principle of production is the structure must be made with the least amount of surface in the early stage. What can be determined is that some parts of the above picture, such as the handle and the bottom of the lower end, are cylindrical, so you can make all these simple things first, and give a reference to the width of the blade. The main body of the blade is as follows: The main structure of the blade is composed of two red areas as a basic structure, and other details can be ignored. Therefore, the structure of our first step is as follows: The model of the blade must be made with the least number of faces, and the whole structure must be made first before the other things. This production step requires a lot of patience and time because we need to modify the shape as much as possible to be similar to the concept map in a small number of faces. Because this low-profile model will be a draft of our final effect. Of course, you can also import the reference image into the background image as a reference. For Part two of the tutorial, Maya Tutorial: How to Make An Axe(2)

Armor modelling When making the armor model, it needs to pay attention to some places. Adding two more lines at the edge, especially the corner, so that after smoothing, it will achieve a better final effect. The heads of the characters are all done in ZBrush, which can sculpt out tiny details. Its delicate brush can easily shape skin details such as wrinkles, hair strands, pimples, freckles, etc., including the bump models and textures of these tiny details. ZBrush can not only easily model the shapes and textures of various creatures, but also export these complex details into Displacement and normal maps. There is a principle to follow when carving objects: from simple to complex, from whole to part. When drawing with a brush, I use move brushes, standard brushes and clay brushes. The move brush is used to adjust the overall head shape, the standard brush is used to adjust the shape of the facial muscles, and the clay brush is used to shape large areas. I prefer to use the Layers function in ZBrush when drawing the model. It can record the details of the painting very well. When you change the details of a certain layer of skin, it will not affect the details of other layers. Strength of each layer can also be adjusted according to the final effect of the model. Three brushes When sculpting a character's face, you can first sculpt it in ZBRUSH, draw the texture and then perform the rendering test. If there is any problem, you can directly adjust it in ZBRUSH. Note that when making this adjustment, you can't make too many changes, otherwise the texture may change. Because this is just a personal project, there are no restrictions on the use of textures, so in order to show more details of the skin surface, I try to use 4K textures. UV I usually use Unfold3D to make the UV of the model. Its UV splitting function is easy to use and the speed is fast. However, the character models of this project are all split UVS among Maya. The face of the model uses Maya's Cylindrical Mapping tool. Cylindrical Mapping is convenient for creating UVs on the faces of the characters. Texturing and rendering In terms of the texture of Batman's armor, I want to be more modern, so I didn't make the pictures very old, and there was almost no hand-painted texture. The main reason was to modify some realistic materials. The hair is made using Maya’s Shave plug-in. In order to make the hair fuller, I added several layers of hair, because a layer of hair is difficult to cover everything, like a hairdresser, slowly comb until you are satisfied with the effect. The lighting is a combination of global light and three-point light source The three-point light sources include the main light, auxiliary light, and backlight. I mostly use area light and parallel light for lighting. The basic method is that the brightness of the main light is 3 to 5 times that of the auxiliary light, and it slowly transitions from warm light to cold light. The rendered image was completed in Photoshop. The visual effects of the snow were done with Maya particles, and the motion blur was turned on for more realism. Final effect: