game maker 3d how to draw gun
Learning
How to Create Your Ain Hand-Painted 3D Characters
Draw Your Weapons by Manuel Sitompul on Sketchfab Games have e'er been a large involvement for me. As a kid I spent the majority of my time exploring the story and worlds of Zelda, Pokémon and Rayman. I got so immersed in these worlds that I decided to start making
Games accept always been a big interest for me. Every bit a child I spent the majority of my time exploring the story and worlds of Zelda, Pokémon and Rayman. I got and so immersed in these worlds that I decided to start making my own past playing with Game Maker and learning GML.
However, my first real game art experience started when I decided to study Visual Art at Breda Academy of Applied Sciences. At school I learned about the many sides of game art, such as: procedural modeling, 3D blitheness, standard asset cosmos and engine implementation. Experiencing this provided me with a skilful base of operations to kickoff making my ain projects.
The Motivation
The journeying started when I participated in a competition hosted past Yekaterina Bourykina. The challenge was to create a hand-painted character bust. I ended upward winning the competition and gaining tons of feel with paw-painting!
My Thoughts and Goals
After the 3D bust was received and so well, I wanted to ready the bar higher and create a full graphic symbol. I'm a large fan of Jake Wyatt and his Necropolis comic, so I decided to create the protagonist from the comic.
The biggest matter I wanted to smash in this project was the emotion. The daughter is a ferocious character filled with rage, which she eventually demonstrates by slaughtering a agglomeration of bad guys. Those kinds of emotions aren't easy to translate into a 3D model, but I took information technology as a challenge.
Sculpting the Character
I started the character by creating a block-out in ZBrush. Creating quick blobs in the shape of a human allowed me to plant the beefcake and style pretty quickly.
I continued by Dynameshing the block-out and refining the basic shapes of the body. Adding muscular particular wasn't a priority considering information technology was not yet adamant where the clothing pieces would cover up the body. Additionally, I didn't need to sculpt very detailed, because the sculpt would only be used for a diffuse bake which I could paint over.
While sculpting the face, it was very helpful to take some extra features in place, such as eyebrows, eyelashes and hair. For the hair I used a haircurves castor, edited by Chris Whitaker, chosen makkon_haircurves_03. For the eyelashes and other pieces of special geometry, I modeled it in Maya and put it in ZBrush. I suggest anyone who is new to sculpting, if there's whatsoever job that seems easier in your preferred modeling software, it'southward probably worth information technology.
The daughter from the comic has very dynamic and wrinkled clothing, and then it took me some experimentation to figure out how to approach this problem. I started by creating a elementary apparel in Marvelous Designer, which allows me to create realistic creases in the habiliment.
In the cease I decided to sculpt all the wear except the skirt. In this case I liked the amount of command I had by sculpting the folds past hand. Even though it isn't equally realistic as a Marvelous Designer simulation, I could get abroad with information technology because of the paw-painted nature of the projection.
Using ZBrush to create the clothes was simple, I took the base torso, masked information technology, and used Subtool > Excerpt with a subtle Thickness. I continued by using the Standardbrush to paint some folds.
Retopologizing the Grapheme
When the sculpt was finished, it was time to create a depression-poly version which I could bake the sculpt on. I merged all my subtools with Merge > Merge Visible. Unfortunately, Maya doesn't similar a 12 million poly mesh, so I had to decimate the mesh using Decimation Chief to lower the poly-count a bit.
When the decimated model was in Maya, I fabricated the object live, and used Quad Draw to depict the faces on the mesh. I used this technique to retopologize the entire grapheme. I ended upward connecting a lot of the clothing to the peel, which would help me skin the character more than easily, and result in less artifacts in animation.
Texturing the Character
I started this project to build some experience doing hand-painted textures. Like my last hand-painted project, I used 3D Coat because of its dynamic link with Photoshop. 3D-Glaze also allows me to brand projections of the 3D model, which I can paint over in Photoshop.
For this project, I decided on diffuse-simply textures, which means the final product volition non interact with lighting in any way. This ways all the shadows, reflections and highlights must be painted by hand.
To kickoff off, I wanted to create some base colors and basic lighting. I imported my model into Substance Painter and broiled the loftier-poly model on the low-poly. I continued by using an incredible smart-cloth called SoMuchDiffuse. This smart-material takes the high-poly sculpted data and bakes it downward into a unmarried diffuse texture. Using this tool, I added base colors and gradients for every part of the character.
This is where the hand-painting starts. I continued by exporting the new lengthened texture and importing it into 3D-Coat. My painting process is very direct-forrad. My main focus is always to add more than definition and highlight to the areas that I desire the viewer to focus on. I started by painting lighter values fading from the heart of the face up, which gives the face more depth. Additionally, I tried painting a lot of different hues in the confront such equally reds, greens and blues. I treat this process no dissimilar than painting a character in a 2D illustration.
The eyes in item were fun to brand! The vertex in the centre of the eyeball is going inwards to create a parallax issue. Additionally, there'south a separate mesh for the cornea, on which I painted the eyes' reflection. Because there's distance between the reflection and the pupil at present, the eyes have much more depth.
Additionally, there's a separate mesh for the cornea, on which I painted the optics' reflection.
I couldn't call the textures finished until the character was rigged and posed. For example, irresolute the position of the arms can create new shadows and creases which I need to hand-paint. I proceeded to create a basic skeleton for the graphic symbol and a few bones for the facial expression.
Settling on a pose and the facial expression took a while. Eventually I settled on a specific panel from the comic (Affiliate 01, page x), where the daughter held a unproblematic just stiff pose. When the posing was finished, I could paint the shadows and ambient occlusion, considering I now knew which side of the limbs would face outwards.
The Surroundings
I think an important role of selling your character is presentation. You tin spend hundreds of hours on a project, but if you don't present it right, people volition miss out on what you fabricated. For this project I cared a lot about emotion and immersion in graphic symbol, so I tried to take that into business relationship when presenting. Adding a simple pedestal wouldn't exist very immersive, and so I decided to create a modest blithe forest environment around the girl.
Retrospective
I have never done a hand-painting projection this big, and it's prophylactic to say information technology was quite a challenge. Getting all the materials to experience coherent while keeping the hand-painted details consequent took a long time.
However, the biggest challenge was the face. The character is supposed to be an angry and violent young woman. However, I needed to sculpt her in a neutral pose so the grapheme could be used in possible future scenes where she is carrying unlike emotions. In retrospect, I would've sculpted the graphic symbol with her expression immediately, so I could go the feeling of the scene from the beginning. I could always resculpt the face if I need new expressions.
Afterword
If you got this far, thanks for reading! I promise this inspires you lot to make something new! You can detect me on Artstation and Twitter. Feel free to send me a message if you have whatsoever questions!
Source: https://discover.therookies.co/2019/07/21/how-to-create-your-own-hand-painted-3d-characters/
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