3D Artwork A Hidden Treasure Created by Iasonas Raptopoulos
3ds Max Tutorials
A hidden treasure © Jason Raptopoulos
The nostalgic Alfa Romeo racing car is created by Jason Raptopoulos (Iasonas Raptopoulos), a 3D generalist from Greece. Made with 3ds Max, Substance Painter, Marvelous Designer, Adobe Photoshop and After Effects, the project took Jason about one and a half months, which brings a feeling of warmth and nostalgia. Let’s find out how he made the beautiful 3D artwork in the exclusive interview with the best cloud rendering service provider, Fox Renderfarm.
Alfa Romeo is a company with a long history in the automobile and motorsport industry. As a huge car lover, Jason Raptopoulos, the 3rd place winner of Hum3D Car Render Challenge 2020, chose a rare model of Alfa Romeo that few will know of as his inspiration.
- Jason Raptopoulos (Iasonas Raptopoulos)
- 3D artist / Generalist
Hit the link to find out how he made the amazing artwork. How To Create A Nostalgic Alfa Romeo Racing Car With 3ds Max
How to Make a Sci-fi Spaceship with 3ds Max(2)
3ds Max Tutorials
Your private cloud rendering service provider, Fox Renderfarm, is still sharing with you the production of how to make a Sci-fi spaceship with 3ds max.
The background production directly used a previous project and made some modifications according to the reference diagram. The lighting adopts the sunlight and skylight of V-Ray. When rendering, the spaceship and the background are rendered in layers, and the background does not require too high parameter settings.
The final rendering of the background,
The sky in the background is not directly rendered, but a sky map is directly synthesized in Photoshop. What needs attention is the color of the water surface. If the sky is blue, then the water, buildings, and especially the reflection-sensitive things in the scene must be changed to blue.
After background synthesis，
The last is the rendering and post-production of the main spaceship. The rendering settings of the spaceship are the same as those of the background. Several important points to note are,
First of all, the material of the spaceship is a reflective material similar to car paint, so the layout of the environment is to better reflect the texture of the car paint. When I tried to render the car paint in the initial stage, it felt very fake, without texture, and the actual material is not necessarily the material. It is not adjusted properly, but it just ignores the influence of the environment on the reflective material. At the bottom of the spaceship, I made a "plate" whose function is to give a darker reflection to the bottom of the spaceship to achieve the effect of the virtual ground. The key point is to pay attention to the height, and remember not to exceed half of the spaceship.
The final rendering effect,
It can be seen that the background and the spaceship are too integrated. Next, I used a few basic tools to adjust the color of the entire scene. After adjusting the color, it can be seen that the sky contrast has been strengthened and the overall tone has been unified.
Finally, add some small details: add lights.
How to Make a Sci-fi Spaceship with 3ds Max(1)
V-Ray for 3ds Max
Your private cloud rendering service provider, Fox Renderfarm, is sharing an article for you this time on how to make a fish-shaped spaceship with 3ds max.
This work is inspired by spoons. One day, I saw the spoons when I was eating in the restaurant, I suddenly felt that the spoons turned upside down looked like some kind of fish, and some of them looked like a science fiction-style spaceship. Suddenly I wanted to make this inspiration into a spaceship that can travel in the sky and water.
After returning home, I spent one night combining some handsome sea creatures, such as whales, sharks, etc. and drew this manuscript with a pencil. Later, I thought the shape looked good, and finally decided to make it into a model with 3ds Max.
The next step is more challenging for me because it is very challenging to make a 2D concept map into a 3D model. In particular, the 2D concept map will only serve as a reference work, while other angles and details need to be found from references and other materials. The road to spaceship design has just begun.
In the production, I constantly modify the details, such as changing the original single tail to a double tail. I also tried to add a co-pilot position next to the tail, but after adding it, it felt unreasonable. Later, the cockpit was changed to a jet engine compartment. Two red fuel tanks were added on both sides of the tail (although some people say they are like batteries)!
All models are not very difficult, but they are constantly adjusting their shapes during the production process. But this may have something to do with the person who made it, and I like it very much from the angle in the picture below, the eyes look very imposing.
Because I have previous experience in industrial design, the design of the spaceship engine is not too difficult for me.
The final model is completed! As long as the overall shape and parts are reasonable, well, the overall shape looks streamlined and comfortable.
When designing the concept map, I have already considered the material of the spaceship. First of all, the main body of the ship is made of car paint, which is very common in industrial styling, and it is not very difficult to make. The texture of the spaceship mainly uses the standard material of V-Ray, and then some blending. This part is mainly to add different materials and textures to the 1 and 2 masks in the mixed material. The important point is that the "Falloff" map is used in the mask, and the default color sorting of attenuation is white on black. Here you should use the invert button to reverse it and turn it into black on white.
1.The setting of "Material 1" is relatively simple. It is the color displayed in the dark part after the "Attenuation" mask, so the color is black (or a dark color in a certain color system, which is close to black). "Diffuse" is pure black and "Reflection" is pure white, which means 100% complete reflection. Pay attention to check Fresnel reflection. Keep the refraction options as default.
2." Material 2" is relatively complicated. The reason for saying this is because the material in Material 2 is the "Shellac" material. You should know that its function is to change the color, highlight, and Reflection of "Base Material" and “Shellac Material”, and mixed them by the value of "Shellac Color Blend".
In fact, the settings of the two materials are almost the same, but it should be noted that the diffuse color of "Shellac Material" is the color of the car paint. For example, if you want the model to be yellow, then change it to yellow here. And the diffuse black of "Base Material" is an attenuation color, so that the material can richly reflect the contrast of different angles.
3ds Max Tutorial: A “Country Shop” Scene Production Sharing(2)
3ds Max Tutorials
Continue the 3ds Max Tutorial: A "Country Shop" Scene Production Sharing(1), the NO.1 render farm, Fox Renderfarm still share with you the production to make a country shop with 3ds Max, ZBrush, Marvelous Designer, Substance Painter, Photoshop, and Substance Alchemist.
Low polygon production
The low polygon production uses the high polygon that was previously sculpted, mainly to make the model clean by reducing the lines. The cloth is made using Topogun, a topology tool. Topology is a simple but patient task. Topology is divided into two ways: First, you can use editing and adjustment tools to reduce the surface and the surface to get it. You can also use the automatic topology tool, and then adjust it manually (Method: Set the number of faces first and then click the Retopologize tool) . The low polygon should be as simple as possible, but the shape of the model should be kept unchanged.
After the low polygon production is completed, it is the work of UVS. Before UV work, you need to divide the smooth group first, and then cut the UVS seams according to the group. Seams will affect the final texture production, so try to hide the seams in places that are not obvious or corners when working.
UVS work also needs to consider the size of the texture.
We need to match the high poly and low poly in 3ds Max. The edge silhouette must match and overlap, and then the high poly and low poly of the same part must be named and matched, and then the normals will be baked in Substance Painter. In order to get a better normal map, an average normal and a vertical normal will be baked out first, and then the interior of the vertical normal and the edges found on average will be retained in Substance Painter.
When making textures, we give priority to making the overall color and then adding details. It is easier to add details on the basis.
First, I separated several types of textures and distributed them according to the workload. Each person is responsible for several different things. When making, remember to start with the whole, don't be obsessed with the details, you can also communicate with other people and give each other suggestions. When the textures are almost the same, I will add sharpening to the top texture to make the details more obvious, that is, create a new layer and add a sharpening filter.
The texture production of other models also uses the same method, first the whole and then the details.
The grass did not use plants. Instead, some patches were created in 3ds Max and placed where needed. After the reference processing of the grass I was looking for, a transparent texture was placed on the patch.
Now you can integrate all the finished models. Before integration, you need to organize all the models, textures, and file names. The final rendering used Marmoset Toolbag because after the HDR we used in Substance Painter was imported into Marmoset Toolbag, their effects would not differ too much. For the lighting part, we use three lights, one main light source has a warmer color tone, and two auxiliary light sources have a cooler color tone. Adjust the camera to enhance the contrast and test the final rendering effect while adjusting.
3ds Max Tutorial: A “Country Shop” Scene Production Sharing(1)
3ds Max Render Farm
The No.1 render farm, Fox Renderfarm 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.
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.
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.
Making a Japanese-style Scene in 3ds Max(3)
3ds Max Tutorials
Continue the Making a Japanese-style Scene in 3ds Max(1) and Making a Japanese-style Scene in 3ds Max(2), the fastest GPU & CPU cloud rendering services provider, Fox Renderfarm still shares with you Making a Japanese-style Scene in 3ds Max(3).
After the low model is completed, place it according to the set camera angle in the entire scene. The position and size of the model need to be exactly the same as the original image. After the placement, the ID is separated according to the material. Note that the name of the material needs to be the same as the name of the model. Then add a shader, and finally export the scene resources to Substance Painter to make textures.
Before making the texture, we need to make all the UVS of the low mode well. Note that the accuracy of the UV needs to be consistent with the whole scene. After dividing the UVS, match it with the high-poly to make the two models completely overlap and bake the normal, And then open the exported model resources in Substance Painter, and bake the remaining textures in Substance Painter.
It should be noted that the texture of the house needs to be made with seamless textures, while the billboard UVS needs to be done in Substance Painter for the content and colors of the advertisement, and then mapped to the model.
Let's share the basic process of material with the shark head.
For the production of basic colors, the shark head is divided into several parts, eyes, teeth, black part, and white part of the shark head, as well as the tongue, gums, and oral cavity.
Create different layers and give black masks, and use the UVS fill in the geometry fill to select the range. It should be noted here that when the model is made and when the UVS is split, it is necessary to think about the wiring between different materials on the same object in advance. When making shark heads, there is the wiring between different materials, so that we can cut along the line when we develop UVS. And we can choose the range while making the material. We can also add a brush tool to draw after using the mask, select the range or make the ID map in 3ds Max, and select the color in Substance Painter. Specific materials are selected according to different models and materials.
In the basic step, not only the color, roughness, and metallicity of the model shall be adjusted, but also filters, color levels, etc. shall be added to the background color according to the material of the object to enhance the texture of the object. Use some procedural textures or masks, combined with brushes to draw dirty marks. Carry out some detailed descriptions, through procedural textures, generators, etc., to increase some surface details such as scratches, damage, stains, dust, etc., which can be adjusted by adding a brush.
Due to a large number of scene props, the workload is heavy. The Marmoset toolbag was used for test rendering at the beginning, but the effect was not very good, and the screen display was slightly shiny and rendered. There is also a certain difference between the atmosphere of the whole scene and the original painting. Finally, the V-ray renderer is used, and the still frame rendering scheme is adopted, which can improve the rendering quality of the scene.
After learning some basic rendering operations of V-ray, I decided to rearrange some parts.
- Texture: Due to the difference between the V-ray texture process and Substance Painter's PBR scene channel, it was tested many times in the early stage, and finally the texture was mapped to the correct path one by one.
Lighting: V-Ray has a rich variety of lighting. The main light source I use is V-Ray Sun, and there are some auxiliary light sources, area lights, and point lights. I encountered many problems when adjusting the light, such as choosing the type of light, controlling the intensity of the light, and the placement of the position. The most important thing is to gradually test the effect of the shadow.
Environment fog: The environment fog is a difficult problem in the scene. The environment fog is arranged in the last step before rendering. The parameters are also very complicated. After debugging for a long time, I also asked the teacher some questions, and finally found that the main thing is to adjust the height of the fog. The three parameters of distance and color are arranged to have an effect similar to the original painting.
Making a Japanese-style Scene in 3ds Max(2)
3ds Max Tutorials
Continue the Making a Japanese-style Scene in 3ds Max(1), the fastest GPU and CPU cloud rendering services provider, Fox Renderfarm still share with you how to create a Japanese-Style Scene in 3ds Max.
After the mid-poly is finished, some models with very few details, such as lanterns, can be converted into high-poly models with threading. When adding threads, be careful not to damage the original model structure. And some models with a lot of details, such as shark heads and wooden boxes, must be carved with Zbrush.
Let's take shark head and plank as examples.
The first step is to divide the shark head into two parts, head and teeth. The shark head is made in Zbrush. Because the head part is biological, we must always pay attention to the exact proportion of the model when carving. On this basis, some details such as scratches and damage are described.
The part of the teeth is done in 3ds Max. First, reduce the surface of the shark head carved by Zbrush and import it into 3ds Max to determine the position of the teeth. Making teeth in 3ds Max is conducive to the placement and can better reflect the sense of dislocation of the teeth. Then, after adding the lines, adjust the details of the tooth surface in Zbrush
Finally, the two are combined to complete the high-poly.
First split the wood from the scene, add a number of line segments to each board in 3ds Max, and pay attention to the segmentation. Then import the segmented wooden board into Zbrush, refer to the wood pictures collected on the Internet, and carve the details of the board, and use some wood brushes to reflect the feeling of bumps on the damaged surface of the board. In Zbrush, the strength of the brush can be increased appropriately, because the broken details will be reduced when the normals are baked.
The low poly is used to match the high poly for baking, so part of the low mold can be directly adjusted and manufactured in the 3ds Max. It should be noted that some concave and convex structures can be made by baking, so these structures can be directly deleted in the middle poly. And delete all the lines that have no effect on the structure, which is the largest reduction in the number of model faces. Part of the sculpted model needs to be reduced in Zbrush or topology with TopoGun.
It should be emphasized here that the low model should be carefully checked for problems with the model, such as no overlapping points or surfaces, and multilateral problems.
The baking of normals takes wooden boards as an example, and the tool used in Substance Painter. First, match the high and low modes in 3ds Max. The high and low modes can be created in different layers, and then use the 3ds Max automatic naming function to name the high and low modes separately, and modify the naming so that the high and low modes correspond to each other. After changing the name, export the model to obj. Note that the name of the exported model file also corresponds to the name in 3ds Max.
Then import the low poly model into Substance Painter, and use the following five steps to bake the normals.
- Click the baking model texture
- Adjust the resolution
- Adjust the expanded boundary value
- Identify the position of high mode
- Adjust the matching method to follow the model name
Finally, export the normal map and paste it on the low model to complete the production of the board.
Making a Japanese-style Scene in 3ds Max(1)
3ds Max Tutorials
Your powerful CPU/GPU cloud rendering services, Fox Renderfarm still shares with you the 3ds Max tutorial. In this tutorial, I will talk about using 3ds Max, Zbrush, Substance Painter, and V-Ray Renderer to make a Japanese-style Scene.
After looking through many references, I chose a street with Japanese elements. The materials in the scene are very rich, including metal, cloth, wood, glass, and other elements. There are many points that can be practiced. For example, there are many billboards in the scene, and no billboard has the same texture. We must combine them and blend them in harmony.
The model of the whole scene is completed in 3ds Max to complete the construction of the basic model and the production of the high-model. Some models with more complex structures and obvious changes in details, such as shark heads, are sculpted directly in Zbrush. The normals are baked in 3ds Max and Substance Painter according to the model; and the textures are completed in Substance Painter. The production of textures is finally rendered using the V-Ray renderer.
Because the scene is complicated, there are a lot of models that need to be made. So the first step is to split the entire scene. The whole street is divided into individual resources, and they are named, such as houses, billboards, bicycles, electric boxes, etc., and then grouped. Then it is needed to import them into Substance Painter to complete the texture production.
After all the models were almost made, I decided to set the camera perspective first and place all the models with the angle as the center point. The height of the closest house in the scene can be used as a reference, and the floor height of the house is set at 2.6m to determine the width and length of the ground, and the position of the telegraph pole is a reference for the distance of the scene.
- There are two points to pay attention to, the size and proportion of the model.
- Some structures need to be extruded to make shape changes, and the edges of the model should be cut corners. Don't make the edges look particularly sharp. Finally, delete the invisible surfaces to save resources
3ds Max Tutorials of “God of War 86"(1)
3ds Max Tutorials
The fastest GPU & CPU cloud rendering services provider, Fox Renderfarm still share with you 3ds Max tutorials. This project is made by the 3D artist, Yuliang Zhou. He made the "God of War 86" in 3ds Max, Substance Painter, Photoshop, and others. In this tutorial, he will introduce his workflow.
In this tutorial, I will share the production process of one of my works "God of War 86" finished within 3 weeks. To complete a mecha within 3 weeks, it is a big challenge. Thanks for the help of my friend Xiao Zuo. I will also share the whole production process and some techniques used, including modelling, texturing lookdev, and lighting.
When choosing a concept, it needs to make some preparations in advance. When I saw the figure of the 86 Mecha Ares, I was like making a 3D model of it. The production of this model is not difficult, but it has a lot of small parts that take time to produce. And the difficulty lies in whether the overall proportions can be the same as the original image.
I really like to add some of my own ideas when making models to enrich the work, so I will also find some reference pictures of other mechas on the Internet before starting to make them.
Once the concept is clarified, we can start to make the model. The first step is to use the blocking of the basic shape BOX to make the appearance. In this process, we must ensure that the basic shape is the same as the appearance of the reference. It does not need to be smoothed. We can make the foundation body in all places first. When the foundation body is done, open all the parts, and then make the details for each position. Do not start with small parts in a certain part from the beginning.
I added some details to the model, such as the anti-collision bar of the head guard, pipes, wires, and some small parts to make the mecha more realistic. Hence, it is really important to find references! Next, I will briefly explain the process of a part when I make a mid-poly model. Here I have selected the main body of the head.
We can see the basic shape of the head, the part of the red frame is a cuboid with a smaller front part. The green line is where the model is recessed. It takes time to make a slightly complicated structure like this. Once we have ideas, it will be relatively simple for us to start production. After adjusting the points and adding lines, we get the following model,
Next, let’s look at the yellow circle again. It is obvious that there is a model similar to a lighting lamp stuck in the brain in the yellow circle. At first, I thought that just make a lighting lamp and insert it directly. But after I tried it, I can obviously see that there will be many connection problems in the interspersed place, and it will obviously feel fake when making the material. I will release the comparison chart below，
It can be clearly seen from the above two pictures that the method of using Boolean to create a pit in the first picture is obviously more realistic and reasonable than the direct interspersed in the second picture. In contrast, there will be a little difficulty in the card line.
Part 2 and Part 3 will be continued soon.
3ds Max Tutorials of “God of War 86''(2)
3ds Max Tutorials
We can see that the heads of these mechas all have a bumper similar to the head protection. So we can consider adding this detail to the head position when making the head.
In order to consider the rationality, I added a model similar to a retainer at the end of the protective bar and added some similar protective sleeves to reduce impact in the middle. Next, we continue to analyze the references.
On these mechas, there are obviously similar wires and small pipes interspersed on the model. This is what we want because these will make the mechas more accurate. So when I make these details, I also have to consider whether I was reasonable or not.
By constantly adding details, the mecha model is made to look a little more refined, and the presence of those parts looks real and reasonable.
I use the traditional way of making hard surface models and the Chamfer plug-in. The higher version of 3ds Max comes with a Chamfer plug-in, which will cut corners and card lines based on the distinction of smooth groups, which is very useful for hard surfaces making. This is a screenshot according to Chamfer:
It should be noted that in the From Smoothing option, we need to check the third Unsmoothed Edges option. In the Tension option, we also need to call up our desired edge between 1 and 0 according to the effect.
One more thing to note is that before using Chamfer, the smooth groups must be distinguished. All surfaces do not need to be connected to a quadrilateral, but there will be no problems if the lines are connected to a flat surface.
It can be seen that the effect of using Chamfer is very good, saving us a lot of working time, and improving work efficiency very well!
Low Polygon production is actually a very simple step. It just needs to copy a set of High Polygon models to reduce the lines on the model without affecting the appearance. Since this is personal work, there is no need to be too strict on the number of faces, and it can be relaxed appropriately.
The part 3 will be continued soon.
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.
3ds Max Tutorials of “God of War 86”(3)
3ds Max Tutorials
The following is the process of making textures.
I plan to make it look like a battlefield. Its appearance is rather worn, not so new, there will be some dust, stains and other things, showing a sense of oldness. Then, we can start making textures.
First, make the most basic texture, which is divided into three layers, inherent color, light, and dark. These three layers of texture are the most critical. Only when these three layers are superimposed can the effect of worn-out dirt be better. What still needs to be considered is what other details will be on the metal surface. It is best to look for references.
As we can see in the above references, the details on the metal surface are still rich, including dust, scratches, breakage, paint peeling, dark edges of objects, strong reflections, rough surfaces, etc. Of course, the fastest way is to directly use the material that comes with Substance Painter to test what we need. Other textures are made in the same way, including wood, plastic, and so on.
Since the color of the texture and the color of the metal are both cold, it is necessary to add some color changes to the metal when making the texture, such as adding some warm stains, so that the complementary colors will not appear as monotonous.
One more thing to note is that lighting should also be considered when making textures in Substance Painter. A good model must be equipped with good lighting to show the best results. If possible, we can perform a rendering test when making textures.
Texture map made by Substance Painter，
We need to set up the light before Renderer. Since the color of the mecha and the metallic tone are relatively cold, the main light source must be a warmer light. For the backlight, I chose a purple light to illuminate the outer contours of the back. Since the mecha is still relatively large, many places are not illuminated by the main light source, so we still have to make some warm light to illuminate partially dark places.
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