Girl Modeling – In this text image tutorial, Ziv Qual explains creation of 3D Girl (Ella) in 3dstudio Max. In this text and image tutorial, Ziv will cover a few of the interesting steps of this task. He will cover modeling and rigging in general, 3ds texturing, working with simple hairs, rendering and compositing. Ziv will also share a some tips and tricks as I show the method.
Girl modeling and rigging
The opening step (as always) was to find a good reference. My friend Ella who is in fact a model was kind enough to pose for me to find every the reference. I required. Setting up good reference. For 3d modeling (and for texturing later on) is a main step to do properly. It is quite impossible to capture an “ideal photo reference.” because the camera resolve always have a certain perspective bend. Also, the face and side images can never align completely so I do my most excellent to set them up properly based on elements similar to the eyes, nose, lips, plus ears. For these grounds, these images just served as guidelines while modeling. Even though this development is about a head portrait, I’ve decided to go every the way and create a complete body first to save work for my next tasks. To maximize my flexibility for shortly on, I’ve went ahead and complete a fast rig for the model. I’ve used Biped for bones and did a fast skinning (it’s not ideal but It’s good enough for first posing, I’ll probably use Zbrush to fix badly deformed areas). I’ve gone ahead and formed several morph targets to help me find my last expression rapidly later on. Since the eyebrows plus eyelashes were modeled separately, I found it extremely frustrating to find them to move correctly with the skin. The just solution that worked well for me was to crack them into little groups and connect to.
Girl Texturing
Max Uv mapping in fact came previous to rigging. When I’ve reached the point I’ve decided the modeling is complete, I’ve unwrapped the model before observance the symmetry so that I just worked on half the model and this way I’ll get pretty symmetrical mapping as well. I’ve used Pelt to determine where the seams will go and together with a small bit of relaxing and hand pull of a few UV points, the UV chunks were completely ready with just a few extremely minor stretches. After the earlier mapping was good enough, I broke the regularity and went on to position the UV pieces as efficiently as feasible. Since fine details on the look are more important, I’ve decided to smash the head from the body and provide it much more UV space. After creation sure I’ve minimized the Stretches., had as some seams as possible and used up as a lot of the UV space as I can without having every overlaps I’ve decided it’s time to start painting the textures.
I started off by example many of the elements from the lot of reference. Pictures I original used for modeling, I’ve then sort of “flattened” the image, took out the difference and minimized the highlights and shadows; this gave me a rough earlier background for the textures. Next step would be to paint the “shades” – where the skin is normally brighter, darker, redder etc’. At this point it was time for me to start running on the finer details. a technique I’ve used allot for this was to make a lot of different pattern layers for freckles, spots, veins plus other skin abnormalities, insert a black mask to remove it and then slowly bring it back manually with low opacity white brush strokes.
To create bump and specular maps I only desiderated every the color map layers and modified their value and contrast accordingly, just minor local painting was needed afterwards.
Girl Hair
When I in progress working on the hairs I’ve approach it as I always do. The opening step was to clone the polygons that resolve grow hairs from the head to a fresh unendurable mesh. I then added hairs plus started combing and testing a lot of different possibilities. Little pointers when working with 3ds max’s hair:
variation – this is the key to create your hair look interesting. Always try to trial out how much you can shove parameters that will make variations in your hair such as: rand scale, hue / value variation, frizz tip, randomize etc’.
Passes – it is frequently recommended to check how your hair looks when extra than one pass is used. The higher the parameter, the softer the hair will render.
Multi strand parameters – Hair frequently tends to clamp up and this characteristic simulates it nicely. I typically turn it on with root slay having a better parameter than tip butcher.
Lights with shadows of your scene will create every the difference about how your hair’s goanna render. Usually using spotlights and shadow maps are perfect for hairs. An important decision that always requirements to be made when working with hairs is if you desire to render the hairs at buffer or MR prim style. Buffer usually renders quicker and looks softer but MR prim works well with a lot of different light with shadow types.
At a certain point I was strike with frustration when I realized that this technique is good but it doesn’t allow me full choice and control to design the hair specifically as I want. That’s when I came to realize I can work with a lot of smaller groups of hairs instead and manage them by splines. I in progress up by creating 1 spline which acts like the profile of the hair’s outline and cloned it twice to three different elements that will manage the hair. I’ve added hairs plus pretty much used comparable parameters as before. Shaping the hair to exact shapes was simple this way. I’ve clone the hair pieces a lot of times to smaller and bigger parts and re-adjusted each piece until I was content with how it turned out. For spare touches, I’ve added a some more groups for random single hairs to give it a small more “natural messy” feel.
Girl rendering and compositing
The image was mostly done with the hit of the render key but rendering a lot of different passes allowed me a few more fines tuning which was necessary typically for high res facts. I’ve rendered many different passes plus used masks in Photoshop to determine where plus how much every pass is used. A little pointers about a few of them –
Specular – I’ve rendered this go by turning off every one the color maps and setting the disperse to black (yep, using the built in pass rendering doesn’t seem to like working by the SSS materials) I used this pass to manage the level of highlights at different parts of the image.
Falloff – Rendered the equal way, simply specular was turned off and I threw a falloff map in the reflection slot. This pass served to sham the “peach fuzz” result at certain edges. When used correctly, it slightly gives an “oily” emotion to the skin.
Hair – I’ve rendered out each and all piece of hair separately so that I’ll have very fine control over the colours of the hair in Photoshop.
Occlusion pass – this pass help a bit to insert more depth to the geometry. I wrote a tutorial on how I use it.
Hair occlusion – equal as above. In order for the hair to render absent correctly in the occlusion pass, you require to select your hair, under the “MR parameters” turn on “affect MR Shader” and place your occlusion stuff there (you require to be in MR prim form).
Peach fuzz – This pass was render out for spare skin details that mostly show in the full resolution. I used a mask to create it show up simply in areas it usually shows up like on the lip or the chin.
That’s it, after combine every one the passes together, I went through a few colour correcting and a few local fine tuning and below is the result (50% resolution). I expect this was informative and attractive for you.
