Scale to 0 and in Frizz Parameters set Frizz Root and Frizz Tip values to 0 in order to remove any randomness. Set Hair count to the number of splines you have memorized. Apply the Hair and Fur (WSM) modifier to the splines. The total number of splines shows up in the modifier (at the bottom of the Selection menu). "Select the splines object, change the sub-object selection mode to spline and select all splines. In the OBJ Import Options enable Shapes/Lines to be able to import the splines and also enable Import as a single mesh so that all splines are attached together into a single object. In 3ds Max, choose Import from the File menu and choose the OBJ file. In ZBrush, in the FiberMesh menu, choose Export Curves and save it as an OBJ. You can replicate the hair created in ZBrush with FiberMesh in 3ds Max by exporting the hair curves and using them as guides for the Hair and Fur modifier in 3ds Max. Metal can be hard to get right, but its worth the effort, as José Alves da Silvas work shows © José Alves da Silva Tip 5: Exporting hair guides from ZBrush into 3ds Max José Alves da Silvaĭoes the detail need to be on the model, or in the final image? Change the Fill value percentage to control the intensity of the details. Then just add this Normal map on a new layer on top of your original Normal map and set the blending mode to Overlay.
With free software like xNormal (which installs a set of handy filters in Photoshop) you can convert a Bump map into a Normal map (Height2Normals). Many times, especially when texturing cloth or other types of small tileable details, I use Photoshop to add those details. You dont need to create all the tiny details in your sculpting software. Plan your own way of doing things, but have a system to keep your colors and textures clear Tip 4: Overlay details on Normal maps 1 is the main color 2 is the secondary main color 3 is a lighter and darker variations of the main colors 4 is a warmer variation of the main colors blended with the color of the blood 5 is a desaturated variation and 6 is the pattern colors. To PolyPaint my models I use a simple scheme I created. Making things dusty, dirty and generally imperfect is the name of the gameĬarlos Ortega Elizalde likes to use the Dry brush in Mudbox to create some of his textures © Carlos Ortega Elizalde Tip 3: PolyPaint in ZBrush Along with a cavity map you can quickly paint rust on hard surfaces or dust/dirt on organic objects. Since it can grab only peaks or valleys you can easily paint the zones of the object that are more exposed and therefore more susceptible to damage. Useful tools like the Dry brush in Mudbox (and similar brushes on equivalent software) can help quickly to paint worn-out zones in organic and non-organic surfaces. Andrew HickinbottomĮvery strand of hair is worth working on Tip 2: Organic options This way, I can UVUnwrap the model, straighten out the topology strips and then simply use a stretched (or motion blurred in Photoshop) noise texture to create the look of stylized hair strands. I model the hair meshes on my characters as neatly as I can, making the topology flow like real hair would. Many times, especially when texturing cloth or other types of small tileable details, I use Photoshop to add those details José Alves da Silva Tip 1: Hair today, gone tomorrow "You dont need to create all the tiny details in your sculpting software.
If its not naturally you, then read on, and see if what our experts say inspire you to mess up those models a little. And if thats naturally you, then you probably love giving your work texture.
These are the people who believe not only in dotting every i and crossing every t, but polishing every blade of grass too, and giving even the newest and cleanest tank a tiny spot of rust. If concept artists are the dreamers of the 3D world, then the texture artists are the detail guys.
Some of the worlds most exciting 3D artists share their top tricks and pro tips to help you master modeling and become an all-round better artist