Hello everyone! My name is Feng Wupeng, and today I will share and exchange some experience in the production of hand-painted stickers. The monster produced this time was produced in accordance with the conventional online game production specifications, with a texture of 512*3 and a model face of 3200. This tutorial will mainly explain some techniques that can improve your daily work efficiency, including the selection of brushes, the projection of the original painting, and the adjustment of light and shadow. I hope you will like it.
Production ideas:
1. Model making
2. UV split
3. Texture drawing
One. Model making (3ds Max)
First of all, I made independent equipment. The overall structure of the ghost head on the back of the monster is more complicated. If it is a traditional method, it usually starts from one face and gradually tangents to the details, as shown in the figure:
Once the model face number is too high, this approach will appear inefficient. I used the next-generation method to make it. That is, I first made a relatively simple high model in ZBrush, and then topped the obtained low model. Topology recommends that you use the graphite modeling tools added after 3ds Max2010, which is much more convenient than Topogun and other topographic tools.
The high model does not need to be very detailed, and the large structure can be determined. The advantage of this is not only higher efficiency, but more importantly, the wiring is more suitable for the structure. [ Poke me into the learning circle ]
Huo Li Yao's body was made directly from a similar monster that was made before, which can save a lot of time. The head difference is relatively large, so the head is completely remade.
The whole body of this monster is relatively dynamic, which caused a lot of trouble in the production. Here I used ZB again. I have to say that once the number of faces of the model is too high, direct adjustment in 3ds Max becomes incomparable. Pained. ZB's adjustment tools can greatly simplify this work. The longest used is Rotate, which can quickly change the shape of the model with the mask.
Due to the smooth brush, the wiring of the model will also become very uniform. After Huo Li Yao's general shape is made, we will add details. The more complex the model, the more organized it is.
Huo Li Yao’s iron chains were originally intended to be made into entities, but later when the textures were made, it was found that making the entities would cause the screen to become more fragmented, so only part of the physical iron chains were retained, and the others were replaced with patches.
The last is the production of the base. The base is not difficult, mainly the grass on the stone. For the grass here, I use the Paint Effects tool in Maya. This tool can easily obtain various plants and the effect is sufficient.
After adding plants, the model part is basically completed
Personally, I’m used to when the model is about 90% complete, I start to draw textures by UV, because in the case of a vegan model, many details are not intuitive to observe. If there are textures, especially patterns or structural lines, and The ratio is clear at a glance.
Note that the online game model should not be too extravagant. Although the hardware configuration of players has been improved now, we still have to study the size of the client and the trial experience. If it is a general NPC, we can save it. Try to save the line Used in large outlines, with some important transitions, and equipment hierarchy. For a single BOSS or a world-class BOSS, the number of faces can be increased appropriately.
two. UV split
There are many methods and tools for dividing UV. For low-to-medium polygon models and the requirements for texture placement, I prefer to use Maya to split UV.
Select the part to be split, enter the UV editor menu, ctrl+right mouse button, I choose to shell. Then shift+right mouse button choose unfold uvs (pictured). In this way, as long as your UV cutting has no major errors, or is not a hard-edged model with a large corner, other things can be done in one step, which is very fast. This unfold 3D can also be done, but the online game model is more particular about pixels, UV leveling, and table alignment can all be operated here. So I personally prefer Maya.
3. Texture drawing
In the initial stage of drawing textures, it is actually the same as painting, you can choose to apply the inherent colors first. In order to greatly improve work efficiency during work, some of the original paintings can be projected using Deep Paint. As shown in the figure below, many of the structure positions have been accurately positioned, and the inherent colors are probably not bad. We only correct the details and light and shadow.
After using the results of the projection, some friends may say that if you only need the structure within the red line, then you can directly select the frame and directly put it in the texture. But the biggest advantage of projecting it is that when it matches the model, if it is found to be very different from the model, then it can be determined that there is a problem with your model.
The oral flame effect can be used. Brushes like clouds and flames can get effects beyond your imagination:
Select the colored layer after paved, flame brush.
Change the brush attribute to lighter and filter color.
The game light source of the hand-painted model is usually set at a 45-degree angle above. First, the light source can be determined to draw the light and shadow relationship accurately. The light and shadow relationship is the basis of everything. Without a good light and shadow relationship, no matter how beautiful it is, it will be useless.
Since hand-painted textures do not have dynamic light sources and highlights, usually metal objects can put the texture on the stone, and the light feel will be better than the complete metal texture.
If a character contains large-scale and more important equipment, I personally finish it one by one. The above ghost faces are drawn to the current level for the time being to complete the monster body.
1. Probably inherent color and structure
The first is to spread the colors. Don't rush to paint the details at this step. Try to relax the structure as much as possible. Don't paint that makes people feel nervous.
Many newcomers will bother with a mistake when making monsters, that is, they will make monsters weird to the point of failure. Although Huo Li Yao is a monster, its muscle structure still needs to be convincing enough. The direction of the muscles is actually the same as that of humans, except that the proportions of body masses are different.
2. Detailed description
Note: When doing this step of the detailed drawing, pay attention to the perspective of the game and the relationship with the primary and secondary. Generally, the game is usually set as the head and chest. The so-called upper body, coupled with the help of large equipment like ghost faces, so we focus on the head, gradually weaken the details, grasp the relationship between reality and reality, and open the top and bottom relationship.
The details cannot be drawn too evenly. If the whole body is full of details, then there will be no priority. The picture will only appear messy. The details that should be discarded must be boldly discarded. The texture is not painted by whoever paints it.
3. Detail adjustment
Figure 1 below is a detailed drawing of the finished picture, you can see that the dark part is boring at this time. The whole character becomes black, you can use BODYPAINT's OVERLAY to brighten it, and draw the color tendency of the highlight. The CTRL+M curve command of PS can also get the wrong effect.
This role is almost complete. In order to increase the atmosphere, I decided to add a base seat for him. Because the character was born in the background of Huoli Yao, I added a rock and a little lava base to him.
reference:
When drawing the base, the details should be modest, and the appearance does not need to be too much, otherwise the bottom will be excessive and the details will conflict with the visual center.
The final effect of the model is as follows:
In the later stage, you can also synthesize some effects in the PS to make the work have a better composition. The flame is a black material downloaded from the Internet, and the color filter effect is used in the PS.
Well, this is the final result, thank you for watching.