在3ds max中創(chuàng)建硬表面

我完全在3ds Max中完成了這個模型，所以本教程大部分都將重點介紹我用來建模的主要技術(shù)。 我也將介紹一些Photoshop步驟的紋理過程。

I made this model entirely in 3ds Max, so most of this tutorial will focus on the main techniques I used to model it. I will also cover some Photoshop steps for the texturing process too.

Building base meshes

The first step when creating hard surface modeling (also applicable with organics) is to establish all the base meshes. Once placed, we can start adjusting the shapes, scales, proportions and gesture.

It is important to define this general view of the model before starting to make any detail. Of course, we will being adjusting shapes and proportions during the entire process but it is a good idea to set up as best we can

in the beginning.

建筑基地網(wǎng)

創(chuàng)建硬表面建模（也適用于有機(jī)物）的第一步是建立所有的基礎(chǔ)網(wǎng)格。 一旦放置，我們可以開始調(diào)整形狀，比例，比例和手勢。

在開始做任何細(xì)節(jié)之前，定義模型的這個一般視圖很重要。 當(dāng)然，我們將在整個過程中調(diào)整形狀和比例，但最好建立一個好主意在一開始的時候。

Adjusting shapes and proportions with the base meshes

調(diào)整形狀和比例與基礎(chǔ)網(wǎng)格

Defining the meshes

Once all of our base meshes are well-placed and adjusted in shapes and proportions, we can start adding some general details to them. Don't go very in deep with details in this step; we are just suggesting the principal details on the pieces. Later on, we will walk around each individual piece and add deeper details to them.

定義網(wǎng)格

一旦我們的所有基礎(chǔ)網(wǎng)格都以良好的形狀和比例進(jìn)行調(diào)整，我們可以開始向他們添加一些一般的細(xì)節(jié)。 在這一步中不要深入細(xì)節(jié); 我們只是提出了這些作品的主要細(xì)節(jié)。 后來，我們將圍繞每一件作品展開更深入的細(xì)節(jié)。

Suggest general details to the pieces without going in very deep

建議一般的細(xì)節(jié)，而不會非常深入

Details

Now is when we look deeper at each piece and add the details to them. In this step I walk through every single piece making lines, cuts, screws, and all those details that look good on mechanical parts. The tools I use the most in 3ds Max to do so were: Bevel and Extrusion of polygons, Edge Extrude, Connects, Array, and Chamfer, as shown in the

following images.

As you can see, I work my pieces thinking that they will have a TurboSmooth modifier applied to them after, so I know I need to make connections near the borders to support the smooth effect.

細(xì)節(jié)

現(xiàn)在是當(dāng)我們更深入地了解每一件作品，并向他們添加細(xì)節(jié)。 在這一步中，我走過每一條線，切割，螺絲和所有那些在機(jī)械部件上看起來很好的細(xì)節(jié)。 在3ds Max中使用最多的工具是：多邊形的斜面和擠出，邊緣擠出，連接，數(shù)組和倒角，如以下圖像。

正如你所看到的，我的作品認(rèn)為他們將使用一個TurboSmooth修飾符，所以我知道我需要在邊界附近進(jìn)行連接，以支持平滑的效果。

Use of basic tools in 3ds Max to make details in the pieces

在3ds Max中使用基本工具來完成細(xì)節(jié)

TurboSmooth trick

In this project I use one nice trick with the TurboSmooth modifier. This is a very cool trick because you will obtain a perfect smooth to the piece without having too many loops in the geometry. This will cost more polygons in render-time, but fewer polygons in the viewport while working, so you can have the iterations in 0 and use only the render iterations.

First, I build the piece without any edge loops, or at least I only need to make very few loops on the bigger pieces. It is important to apply the correct Smoothing Groups to each polygon - this is the key for the TurboSmooth modifier to

work correctly.

Then I apply one TurboSmooth modifier with 2 Iterations and check the Smoothing Groups option under Surface Parameters. This will smooth the geometry but will respect the changes in the smoothing groups, keeping the sharp edges between them.

Finally I add another TurboSmooth modifier on top but this time with only 1 Iteration and without checking the Smoothing Groups option. Now, we've got a nice smooth surface to the geometry without the need of adding too many loops.

TurboSmooth技巧

在這個項目中，我使用一個很好的技巧與TurboSmooth修改器。這是一個非常酷的技巧，因為您將獲得一個完美的光滑的零件，而不會有太多的幾何環(huán)。這將在渲染時花費(fèi)更多的多邊形，但在工作時，視口中的多邊形較少，因此可以將迭代設(shè)置為0，并僅使用渲染迭代。

首先，我建立沒有任何邊緣循環(huán)的片段，或至少我只需要在較大的片段上做很少的循環(huán)。將正確的平滑組應(yīng)用于每個多邊形很重要 - 這是TurboSmooth修改器的關(guān)鍵

正常工作

然后我應(yīng)用一個具有2個迭代的TurboSmooth修改器，并檢查Surface Parameters下的Smoothing Groups選項。這將平滑幾何，但將會遵守平滑組中的變化，保持它們之間的尖銳邊緣。

最后，我在頂部添加了另一個TurboSmooth修飾符，但這次只有1個迭代，而不檢查“平滑組”選項�，F(xiàn)在，我們有一個很好的光滑表面的幾何，而不需要添加太多的循環(huán)。

TurboSmooth trick to work without too many edge loops

TurboSmooth技巧在沒有太多邊緣循環(huán)的情況下工作

Building the ammo belt

To make the ammo belt I model one single piece, and then repeat this several times and attach all of them together in the same object. I make a Spline with the desired shape, and then I apply the Path Deform Binding modifier to the object and pick my spline under the Pick Path button. After that, I select the correct axis under Path Deform Axis and pressed the Move to Path button so that the object will move to the same place where the spline is.

Finally, I play a bit with the Stretch value until I find the one that works better for me (you can also try changing the Rotation and Twist values for more variations. The good thing about this is that once you make all of these steps you can modify the spline and the object will still follow it.

建造彈藥帶

要使彈藥帶我模型一個單件，然后重復(fù)這幾次，并把它們?nèi)�部放在同一個對象中。 我使用所需形狀的樣條，然后將Path Deform Binding修飾符應(yīng)用于對象，并在Pick Path按鈕下選擇我的樣條。 之后，我在“路徑變形軸”下選擇正確的軸，然后按“移動到路徑”按鈕，使對象將移動到樣條線所在的相同位置。

最后，我彈奏一些Stretch值，直到找到一個更適合我的工具（你也可以嘗試改變Rotation和Twist值，以獲得更多的變化。這樣做的好處是，一旦你完成了所有這些步驟 可以修改樣條線，對象仍然會跟隨它。

Making the ammo belt with Path Deform Binding modifier

使用路徑變形綁定修改器制作彈藥帶

UV groups

For the UVs I separate all the pieces of the robot by similarity in color and shader, this makes it much easier to work their textures in Photoshop. So, I finish up with 6 texture maps: The main and exterior body, interior pieces and joints, cables, pistons and tubes, little pieces, details, screws and the weapon.

UV組

對于UV，我通過顏色和著色器的相似性分離機(jī)器人的所有部分，這使得在Photoshop中更輕松地處理其紋理。 所以，我完成了6個紋理貼圖：主體和外部的身體，內(nèi)部件和接頭，電纜，活塞和管，小件，細(xì)節(jié)，螺絲和武器。

Lighting and textures

First of all I set up my HDRI light, one Key light, one yellow Fill, one Blue RIM and some blue little fill lights for the face. After that I bake an AO map using Render to Texture.

照明和紋理

首先我設(shè)置了我的HDRI燈，一個鑰匙燈，一個黃色填充物，一個藍(lán)色RIM和一些藍(lán)色的小點燈。 之后，我使用“渲染到紋理”來烘烤AO地圖。

Baking an AO map using Render to Texture

使用“渲染到紋理”來繪制AO地圖

Textures

I follow these steps for making the textures in Photoshop:

1.    Add Solid Color layers for the main colors

2.    Research metal textures and add them on top of the colors in Soft Light blending mode

3.    Paint over the yellow details

4.    Add the rust by masking one solid color

5.    Add the peel the same way as the rust, by masking one solid color

6.    Finally I add some texts and logos here and there

I follow the same process with the rest of the textures and make the final render using VRay.

The result: Sniper Bob.

紋理

我按照以下步驟在Photoshop中制作紋理：

1.為主要顏色添加實色圖層

研究金屬紋理，并將它們添加到Soft Light混合模式中的顏色頂部

3.涂抹黃色的細(xì)節(jié)

4.通過掩蔽一種純色來增加生銹

5.以與生銹相同的方式加上剝離物，通過掩蔽一種純色

最后我在這里和那里添加一些文字和標(biāo)志

我遵循與其余紋理相同的過程，并使用VRay進(jìn)行最終渲染。

結(jié)果：狙擊手鮑勃。