3ds Max Tutorial: A “Country Shop” Scene Production Sharing(1)


3ds Max Render Farm

The No.1 render farm, Fox Render**farm will share with you a tutorial about how to make a country shop scene with 3ds** Max, ZBrush, Marvelous Designer, Substance Painter, Photoshop, and Substance Alchemist. In the production process, in order to show more details, we made it into a relatively broken scene. Next, I will introduce and show the process of making this scene, I hope you can learn some useful things from it.


The whole scene of this project can be roughly divided into small parts such as houses, floors, square boards, round logs, trash cans, air conditioners, cloth, electric boxes, beverage bottles, headlights, grass, and wires. The PBR process is used, 3ds Max is mainly used to make the model, ZBrush completes the sculpting, Marvelous Designer makes the cloth, and Substance Painter, Photoshop, and Substance Alchemist complete the texture production.


In order to control the scale of the overall model and facilitate the production of sub-components in the later stage, it is convenient to build a simple model at the beginning. The most important thing is to determine the position and size of each component in the entire scene. In this process, I used a model as a reference for all other components.


The model-making process is to continuously refine on the basis of Blocked and add more rich details. The line in Polygon should be loop-based as much as possible, mainly to facilitate the subdividing of a mesh at the back. When making a model, you must not forget the relationship between a single part and the overall proportion. The proportion is the result of continuous adjustment and optimization.

House carving,

The production of the house is very simple, starting directly from a simple box, but the focus of this part of the work is the high-poly sculpture. I plan to make a dilapidated house, so I try to look dilapidated while ensuring the hardness of the house, so the surface details should be enough.

Because of the lack of learning skills, it took a long time to start carving and the work progress was slow. I encountered many errors when engraving the bricks. Finally, with the help of a friend, I changed to another production method: using surface noise to make the bricks, which saved a lot of time. First, find the appropriate material image, use ZBrush's surface noise generation, adjust the parameters to get the final effect. Finally, I tested the combination of multiple brush effects and finally found the most suitable way.

Finally got a high-poly model of this house.

Ground carving

The production of the ground is also very simple, starting from a simple box. I first used 3ds Max to make the basic model and made the main grooves, and then imported it into ZBrush for sculpting. First, use the brush to adjust the corners, and then add small details such as missing corners and cracks, bricks, etc. One thing to pay attention to is the hardness of the ground. The hard areas must be hard enough.

After the house and the ground are made, combine them to adjust (note the size of the groove on the ground). I think the high-poly sculptures are very interesting. I will think of this artwork whenever I see houses and bricks in my later life.

The part of Hard surface

The production of hard surface models is relatively smooth. The most important part is to control the scale of the model and the distribution of lines and then assign smooth groups, and then use the chamfer command to distinguish between smooth groups, and remove the option of minimum angle.

After adjustment, add the turbo smooth command on this basis. If there is a problem with the corners of the model, you need to modify the smooth group or add the Edit Poly command to the chamfer command to modify the line distribution. Try to make the line distribution reasonable. Then add turbo smooth command and there will be no problem.

Fabric and wood part

Fabric making: The fabric is made using Marvelous Designer software. First, adjust the size and shape of the fabric in Marvelous Designer.

Then import the cloth into ZBrush for detailed sculpting, because the cloth exported by Marvelous Designer is a patch, without thickness, and all triangular faces. So you need to use the automatic topology tool ZRemesher for topology in ZBrush. Then we got a clean mesh with the same shape as before, and now we can sculpt details on this model.

Wood production: The wood in this scene is relatively old, and they all use the brushes in ZBrush to sculpt the details.

Organize all the models that have been made, and then assemble them according to the design in 3ds Max. Now you can see the appearance of the house.

Part 2 will be continued.

How to Make A Tomahawk in 3ds Max


3ds Max Tutorials

1 month rendered in 2 hours, the fastest GPU & CPU cloud rendering services provider, Fox Renderfarm still shares with you 3ds Max tutorials, how to make a tomahawk in 3ds Max.


Hello everyone! What I want to share with you today is to use 3ds Max to make a tomahawk and share some skills and techniques used in the production process. This is a relatively basic tutorial, including modeling, sculpting, pbr texturing.


This tomahawk was inspired by a weapon concept image in "World of Warcraft". It looks cool and looks very beautiful. So I want to make it into a 3D version in my own way.

In the concept drawing, I first observed the outline of the front and side and modified some details. These main structures are very important for making the model. We can see the white and black side profile in the figure below. The black is obviously more three-dimensional than the white.


Firstly, I split the model into three parts, the handle, the main body, and the axe body on both sides. Each part is modeled in the most suitable way, and then merged. This part is very easy and simple to make this type of mode in 3ds Max.

The axe body on both sides of the battle axe is very important, so its shape is very important. The thread exists for structure, so please add enough thread at the turning point, and pay attention to the thickness of the axe since it needs to have layers. Models that can be made separately, please make them separately. Use as few faces as possible, and make transitions as smooth as possible.


UV production can be divided into four parts,

  • Plane projection: put the messy uv in a box.
  • Dismantling: adjust the UV without stretching and saving space.
  • Operation: solve stretching.
  • UV placement: a. The UV of objects with a larger model can be enlarged, and the UV can be reduced if there is less texture information; b. Try to optimize the UV space, and then the seams.


Now that the model is complete, we can start making textures. Firstly, I filled in the background color. For example, If the overall concept map is blue, fill it with blue. If the overall concept map is red, fill it with red.

We can use the concept map for reference. As the background color, don't use too dark or too bright colors.

The next step is to create a hand-painted texture. There is a concept map for reference, just follow it to draw it. When drawing, pay more attention to the light source. I want it to look like a cold light source illuminates from the upper left, so that it can have a good sense of volume. In this step, large blocks of colors and changes need to be drawn, and no details are needed.

Next is the details. It should be noted that no matter what we draw, such as bandages, decorations, and bumps on the handle, we need to pay attention to the sense of volume.

Final effert:

3D Tutorials: Hard Surface Modeling(3)


3ds Max Tutorials

For example, if we want to make such a more complicated robot model, what should we do?


Build a rough head model structure, paying attention to the overall proportional structure. First of all, don't rush to make a detailed structure, we must first build the overall outline of the model.

In this way, the key structure of the model is roughly constructed, without worrying about the details of the model, just the simplest geometry. For this model, it is a symmetrical structure, so we only need to make half of the head, and then copy the other half with symmetry. After ensuring that the proportional relationship is basically accurate, we can move on to the next step.


Refine the preliminary model, and further make the topological structure, pay attention to the quasi-structure line with uniform and appropriate wiring. The next step is to add details, follow the reference to make some lines of the concave and convex structure of the model, this step needs to be as accurate as possible. The surface and line parts need to be as reasonable as possible, More subdivision is needed for smooth areas, less subdivision for flat areas, and the curvature of the model is adjusted.

Finally, the topological structure of the model is made. The following is to make the topological structure of the model.

For this model, it is more complicated, and the key consideration is the red shell part. Although the other parts look complicated, they are actually composed of relatively simple small parts, which are easier to handle.

Continue to add details and deal with parts of the hard surface model. Since there are many problems will be encountered at this stage, adjustments and changes are required.

Tips: During this process, we can press the Q key to quickly open and close the subdivision surface to check the effect of the model.

After that is the production of eye sockets, ears and other structures. These are not difficult, but require patience and time. Finally, some small parts will be added to perfect some deficiencies.

Now the model is basically completed. Thanks!

3D Tutorials: Hard Surface Modeling(2)


3ds Max Tutorials

According to the principle mentioned above, the closer the line is, the harder the structure.

Diamond structure

The diamond structure is a very important and practical technique in modeling.

The shield model and the top six lines finally converge on the bottom corner. Because the upper part of the shield is a relatively wide structure, we need more faces to form its structure. But the bottom corner is a very small structure, and we don't need so many faces. This wiring will make the bottom surface look very crowded, wasting a lot of surfaces, and it is also very inconvenient for subsequent modifications. So, how should we optimize the lines here? This requires the so-called diamond structure.

After the modification, the upper part of the model still has six faces, but at the bottom corners, there is only one face. Such lines are evenly distributed on the model. By using the diamond structure many times, the number of faces can be gradually reduced, and the wiring of the model can be more optimized.

At the same time, the diamond structure can not only play the role of lowering the surface, but also can play the role of raising the surface. If we look at the wiring in reverse, it actually starts from the bottom side and gradually increases the number of sides to the top six sides. We must flexibly use the positive and negative effects of the diamond structure according to the different situations of the model.


Sometimes the model may need to have some very regular structures. For example, this model has a semicircular structure on top and bottom. The best choice is to use some basic shapes to make it. The cylindrical shape is probably used the most.

First create a cylinder and adjust the size of the lower cylinder. The parameters here are set as integers as much as possible to facilitate the matching of the size of the lower cylinder. At the same time, it needs to reduce the number of segments of the cylinder, so there is no need for so many segments, leaving 12 segments.

Delete the unused half of the surface and extrude the structure below; create a new cylinder, reuse the shape again, adjust the parameters of the bottom cylinder, and pay attention to matching the size of the structure above.

Then we can select all the lines at the break and use the stitching tool to connect the two structures. The last is some follow-up work, cleaning up the number of faces and so on.

3D Tutorials: Hard Surface Modeling(1)


3ds Max Tutorials

The fast and affordable cloud rendering services provider, Fox Renderfarm still share with you 3d tutorials. In this project, we will learn to use 3ds Max's hard surface modeling technology to practice making a robot head. In this process, we will also explain some points that need to be paid attention to in the production.


When using NURBS to make a model, the position of the point and the distance between the points determine the curvature of the NURBS. The closer one point to another, the harder the structure.

This is a figure drawn by NURBS. The mode of the spline is B-spline. Five key points constitute this figure.

Next, start drawing with polygons and place the five points of the polygon at the same positions as the five vertices of the B-spline, and finally add subdivisions.

At this time, it can be found that the curvature of the graphics obtained by using polygons and subdivision surfaces is almost the same as that of the graphics drawn by using splines. Therefore, the principle of modeling using subdivision surfaces is similar to that of drawing splines. Editing the point, line and surface of a polygon is actually the same as using a pen to draw lines in PhotoShop. The steps are to draw the key points on the structure first, and finally get a smooth surface through these points.

The above graphics are very smooth, so what should we do if we want the structure of the model to look harder?

In fact, the method of making splines in B-spline mode is the same. Just add one or two points close to it next to the hard point, and the structure will become hard.

The figure below is a combination of polygons and subdivision surfaces. Similarly, as long as you add two very close points on the edge of the hard point, the result is the same.

Therefore, when modeling with subdivision surfaces, the closer the points are, the harder the structure.

Four-sided principle

An important principle of polygon modeling is to try to ensure that all faces are four-sided faces, and avoid triangular faces and faces with more than four sides.

The reason is simple. When adding subdivision surfaces to the model, if there are triangles and more than four sides on the model, the result may be very bad.


In a polygon mesh, if a point is connected to more than four edges, it is easy to make the surface of the model not smooth, so there should be as few such points in the modeling process. If this point cannot be avoided, it can be placed in an unimportant place or on a flat surface.

As shown in the figure, this point is just on the middle crease line, resulting in an ugly pothole in the middle of the model. But if moved to the plane, there is no problem.

3D Modeling Tutorial of Chang’e, the Chinese Goddess of The Moon Ⅱ


3ds Max Tutorials

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.


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.


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.


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.


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.


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.

3ds Max Tutorials: Semi-realistic 3D Game Scene Interior Production Sharing(2)


3ds Max Render Farm

Fox Renderfarm, as the best Maya render farm in the CG industry, the tutorial we shared for you this time is from the 3D artist Thepoly, on how to use 3ds** Max and Maya and other software to make a semi-realistic 3D game scene interior production process.

Taking the wooden table as an example below, first of all, we must determine the material to be sculpted and then look for the reference picture corresponding to it. 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,

The carving process needs to be combined with actual life, so as to achieve a more realistic effect. In this scene, the wooden table is a bit decayed, so the edge of the table will not be made into a hard and sharp right-angle structure, so you can use a brush to make the right-angle part of the edge more smooth when carving. Reflect the texture to be expressed. Coupled with appropriate deformation, it can more vividly increase the visual impact (the modified place is slightly adjusted with the Move brush).

The wood in the scene has to make a sense of oldness, so cracks are a good way to show that the objects are worn out, and reference pictures are also needed at this time. For example, the cracks on the window plate can be carved according to the cracks in the reference picture. This can reflect the material better, more realistically, and faster.

The final high poly showed as below,

Low polygon model and baking

The final low-poly model uses ZBrush to complete the reduction and then imports into Maya to make the final low-poly model. This can get the low polygon model faster, but the wiring will be less neat. Note that near 90-degree angles, it is necessary to distinguish between smooth groups and split UVs.

The final baking used Marmoset Toolbag 3.

Material production

After baking all normals and IDs, import Substance Painter to make materials. 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 successful import, the remaining textures are baked in the texture set-baking model texture.

Wall material basic process

First, we make the intrinsic color of the material. The intrinsic color layer can add filters to increase details.

To add dark colors, use the Dirt generator. Add a drawing layer to repair some unsatisfactory areas. Add bright colors and color changes to create a rough effect of wall corruption. Here mainly relies on hand-drawn layers to modify. Continue to add color changes and roughness changes. Try to get as close to the real effect as possible.

Finally, you can add an adjustment layer to increase the brightness. The material made in Substance Painter should be led to Marmoset Toolbag 3, which will be a little lower than the brightness seen in Substance Painter. The wall material is finished.

The furniture in the scene is gray and dark because of the old feeling. The damage and abrasion are to reflect the original color of the wood, so the saturation of the color will be higher than the color of the surface.

  1. Rendering

Before finally importing into Marmoset Toolbag 3, the lights must be set before rendering. 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.

The final effect showed as below,

I hope this learning and sharing can help you.

3ds Max Tutorials: Semi-realistic 3D Game Scene Interior Production Sharing(1)


3ds Max Render Farm

Fox Renderfarm, as the best 3ds Max render farm in the CG industry, the tutorial we shared for you this time is from the 3D artist Thepoly, on how to use 3ds** Max and Maya and other software to make a semi-realistic 3D game scene interior production process.

This project uses the standard PBR process, using 3ds Max to complete the basic model building, and determine the object scale. Complete high poly carving in ZBrush, topology in Maya, baking in Marmoset Toolbag 3, Substance Painter to complete the production of PBR materials, and finally use Marmoset Toolbag 3 for rendering.

Production process

The production is divided into three parts:

  • Modeling
  • Material production
  • Rendering


Before production, determine what materials, what objects are in the scene, and the overall ratio, and then determine the production order according to the ratio. Most of the scenes are walls and stones and wooden furniture, so they are the key part of the production.

Quickly build up their approximate proportions in 3ds Max.

Complete the medium polygon model

After establishing the proportion of large objects, continue to build down the remaining objects in the scene. And further, enrich the details of the model. There are a lot of repetitive objects, just make a few different shapes. This does not seem to be too repetitive.

Taking the above book as an example, many different types have been produced, which can reduce visual duplication.

There are two fabrics in the scene, here is a pillow as an example,

This product uses the cloth calculation that comes with 3ds Max. The specific process is as follows,

Create blocking objects,

Create a pillow basic model (the higher the number of segments, the better the simulation effect, but it also stuck).

Squash and find the fabric in the modifier,

Analog computing

Finally, get a simple pillow model. (The folds of the fabric should be sorted out, the above is a simple demonstration. The curtains are the same, MD may have better results)

Next, import the model into ZBrush for sculpting.

Carving High Poly

Take the wall and stone of the house as an example:

After importing the medium-surface model into ZBrush, it is because of the irregular shape of the stone. You can use Dynamesh in geometry editing to edit the model.

The No.1, No. 2, and No.3 brushes are used for large-scale carving of stones. The No. 4 brush adjusts the shape to prevent insertion. Finally, the No.5 and No.6 brushes flatten some edges and corners to make the structure hard. Thus reflecting the texture of the stone.

The big idea of the wall is the same. Finally, use the noise in the surface, adjust the curve and noise ratio, etc. to simulate the graininess of the wall and the stone surface.

Finally, add some details such as cracks and bumps to enrich the picture. Use the No. 6 brush mentioned above and press it again to achieve better results. (This part of the production reference is very important)

Big News! 3ds Max 2021 Is Now Available


3ds Max Render Farm

Hey guys! Let’s check out the new features in the lately released 3ds Max 2021.1, 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.


  • 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 display

When 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.


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.

From: ?guid=GUID-9C24A540-EDA3-4BE3-BBF6-EB5C005BE8CC

Behind the Scenes: Spy House Production (3)


Behind The Scenes

Next, we will share the production process of two other materials:

Making wood material

Pay attention to the following points when making wooden materials:

• When you split the UV, try to place the squares as much as possible to ensure that the post-texture image will not be distorted.

• It is also necessary to consider the utilization rate of UV space and try to give priority to the things you can see, which can improve the quality of the material.

• The texture of the wooden structure is simple to produce, and it is necessary to find a lot of references that combine with the situation of the scene. For example, what does the wooden structure look like in an underground wet environment for a long time? Or the wood in this environment is more corroded? So to make such a feeling, a lot of references is very important.

Substance Painter wood texture production

• Import the baked Normal stickers and prepared materials into Substance Painter. Before creating something, create two fill layers, leaving only the Color option. One layer puts the AO diagram on the Color and adjusts to a positive overlay, which is used to improve the dark color. Another layer puts the Curvature map on Color and adjusts to Overlay, which is used to improve the bright color of the edge. After these operations are completed, the production of the texture begins.

Pay attention to the production of wooden texture: Consider the actual situation of the scene. Take the scene we made (spy house) as an example. For a long time in a dark and humid environment, the corrosion will be relatively serious. Afterward, it should be noted that the edges of the wood will not be particularly bright. The bright edges of the wear marks will also be darker, and then the scratches and the wear of the places where they are often used. A little brightness is needed here. Finally, there is dust accumulation and stains in places that are not often encountered. After these things are done, you can basically get a good real texture.

The material for making paper and book

When making a single-page paper with no thickness, please pay attention to the following points:

  1. When you split the UV, try to place the square as far as possible to ensure that the textures in the later period will not be distorted.

  2. The texture of the paper is simple to produce, without Hight Polygon, just baking Low Polygon Normal.

How to make paper in Substance Painter:

Import the baked Normal map and prepared materials into Substance Painter. Create a layer (unfilled layer), select Color for the material and put the material in Base Color, and select None for UV Wrap. In F1 3D/2D mode, place the picture material in the corresponding position.

Just pay attention to the book texture production: from the beginning, it is necessary to distinguish between the shell and the content. If it is made into one, it will not be easy to separate when making the texture.

Marmoset Toolbag 3 rendering

Finally imported into Marmoset Toolbag 3 for rendering, the first is to layout the light source, choose to add an HDR suitable for the scene, adjust the Child Light to the appropriate position to make the model produce a 45-degree shadow.

Because the scene is larger, more lights are added, but when rendering, pay attention to adjusting the size and illumination range of those fill lights to prevent the mutual influence of light.

I hope our learning and sharing can help you, thank you.

Behind the Scenes: Spy House Production (2)


Behind The Scenes

Material production

After baking all normals, AO, and curvature, import Substance Painter to make materials. 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. The first step after successfully importing the model must be to check whether the normal direction is correct.

After successful import, the remaining textures are baked in the texture set-baking model texture.

The following uses the sofa leather material to share the basic process of the material: the production of sofa leather material.

Inherent color of the leather

Choose a suitable material map and paste it in the color channel, adjust other parameters appropriately to make the effect more natural

Bump height

Create a new fill layer to keep the height channel, paste the height map corresponding to the background color layer, and add Level to adjust the height. At the same time, add anchor points to ensure that the color changes with the height.

AO layer

The AO diagram of the model pasted in the AO channel is that the dark parts of the edges are deepened, and the bumps are more three-dimensional.


Adjust the roughness of the sofa surface. Frequent contact with objects will wear more, such as the edge of the cushion, the inner and upper sides of the armrest, the bottom of the sofa, the top of the backrest, etc. Grunge textures can be added to make the effect more natural.

The edge fades

Create a fill layer and add a generator to produce a faded edge wear effect. Adding only one generator effect will be very stiff. Add a few more layers to interrupt the continuous effect to make the wear more natural, and finally, add hand-painted details.

Details added

Use the Grunge map to add scratches, stains, and other details to the surface.


There are two kinds of dust: dust accumulated in corners and trace dust on the surface. Create a fill layer to leave the color, roughness, and height, and then use the generator to calculate the dust position adjustment parameters to make the effect natural, and you can appropriately add hand-painted details.

Gap treatment

Manually add black to deal with gaps and other details.

Behind the Scenes: Spy House Production (1)


3ds Max Render Farm

This is a sharing of making a spy house with 3ds Max, provided by your TPN-Accredited 3ds Max render farm. The main software used in this article is ZBrush, Marmoset Toolbag 3. The following is the final effect display, then share the overall production process.

Goal setting

First of all, this project uses the standard game production process, using 3ds Max to complete the basic Polygon construction, and part of the production of Hight Polygons, and ZBrush completes the carving of local Hight Polygons, Marmoset Toolbag 3 baking, Substance Painter, complete the production of the PBR material, and finally use Marmoset Toolbag for rendering.

After the above process is established, production begins,

In the Low Polygons stage, Polygon is started according to the angle of the original painting, which is convenient for establishing the scale of the model.

After the Low Polygons are completed, in order to facilitate the unification of the material style, the production of the Middle Polygons, High Polygons is completed according to the material.

Production process

  • Modeling
  • Material production
  • Marmoset Toolbag rendering


First of all, there is an iron table in the center of the scene, so we first set the height of this table as the scene height reference, the table height is set to 1.3m, and then complete the Low Polygons in 3ds Max.

After Low Polygons is completed, put the models together, and adjust the size and distribution of each model.

It is established that the proportion position of each part of Low Polygons is correct, and some details can be added to the model. There are a lot of reusable objects, we have added different details to them so that the repetition is not too high.

Taking these metal boxes as an example, adding different details to them can better reduce visual duplication.

Here takes one of the metals as an example to share the production process:

After Low Polygon was completed, it began to add details, and then the model was UVS split:

Points to note:

We made the prototype groove on the surface so that when making materials, we can use the intelligent mask to calculate the paint and stains, reducing the workload. When making circular grooves, pay attention to controlling the number of lines according to the size of the circle, and try to make Low Polygons and High Polygons match each other when baking to produce a good normal map.

When making the lampshade, the glass cover is a Geosphere, to avoid a strange texture when the glass cover reflects.

After selecting the sphere, click Hemisphere to get a hemisphere, so as to avoid the generation of strange textures, and then use the zoom tool to adjust the size ratio.

The edges of the sphere need to add lines to avoid the deformation of the model and check for useless points or lines.

High Polygon Production

It is not difficult to make the metal part Hight Polygons. The edge position needs to add lines to avoid model deformation. Add a turbo smooth modifier to check if there is any deformation. If there is any adjustment, adjust it again.

Low Polygon Production

Directly use the Hight Polygons made by Turbo Smooth, directly reduce the surface based on the model with added details, delete the lines that do not affect the structure, and use the options in the graphite tool to check whether there are polygons.

Make the Low Polygons of the sofa, make the basic shape of the sofa in max, and then sculpt the High Polygon in ZBrush, and then use the topology tool to complete the Low Polygon. Note that the place close to the 90-degree angle must distinguish between the smooth group and the cut-off UV.

The sofa Hight Polygon is completed in ZBrush. When sculpting, different wrinkle effects should be added according to the different materials finally presented. As shown below: a relatively hard leather sofa, the folds are mainly distributed at the stitches, and there will be no large and wide folds. The surface of the seat cushion will be slightly concave and convex due to long-term use, and the foot cushion and the bottom of the armrest near the place will be slightly slack. The stitching of the sofa is not easy to be too neat, and a little curvature will appear more natural.

Baking normal

Baking uses Marmoset Toolbag 3, of course, there are many other ways, you can also use Substance Painter and ZBrush baking normal. But the advantage of choosing Marmoset Toolbag 3 is because we intuitively modify the normal.

The following figure is a basic introduction to the baking normal of Marmoset Toolbag 3:

Next is the normal modification panel:

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