junzhang123

[junzhang123]

Creative Project Development_Blog46

I made the upper body texture in substance by overlaying AO.

[junzhang123]

Creative Project Development_Blog45

I made a hair color map in substance painter and pasted it in Maya. The lighting mode of Maya should be changed to flat light, so that it is easier to observe. At the same time, because the model of the back of the head is relatively simple, more effort should be put into painting the hair. The key point of the hair is that the hair should show an overall change from light to dark from top to bottom, and each hair end needs to have a dark color to emphasize the thickness of the hair.

[junzhang123]

Creative Project Development_Blog44

I learned how to create stylized maps in substance painter through this video.

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Creative Project Development_Blog43

I learned how to bake maps in toolbag through this video and summarized some experience.

When baking texture maps in Toolbag, it's essential to first standardize the model naming convention: high-poly models should uniformly use the "_high" suffix, while low-poly models use "_low", with matching prefixes for corresponding pairs (e.g., a_high and a_low). This standardized naming enables Toolbag's "Match by Mesh Name" feature to automatically pair high and low-poly models, significantly improving workflow efficiency. Before importing models, it's recommended to triangulate low-poly models in Maya (Mesh > Triangulate) - this crucial step effectively prevents abnormal normal maps that may occur when baking quad-based geometry.

For the baking process, several key parameters require special attention: For normal maps, select "Tangent Space" mode and enable "Anti-Aliasing", with the "Bias" value suggested at 0.01 to prevent edge flickering; For AO maps, be sure to uncheck "Ignore Groups" to ensure accurate occlusion calculations between components, with Ray Distance recommended at 1/10 of the model's size (e.g., 3-5cm for character models) and Samples increased to 128 for smoother results; For ID maps, enable the "Material Colors" option to ensure distinct color blocks for different material regions.

A baking resolution of 4K (4096x4096) is recommended, using 16-bit PNG format to maintain sufficient color depth. For complex model groups, utilize the "Cage" function (recommended value: 0.5-1cm expansion distance) or manually draw "Skirt" to fully envelop high-poly details. After baking, carefully compare high and low-poly differences using Toolbag's "Difference" mode, paying special attention to: normal map smoothness on hard edges, AO shadow depth in recessed areas, and accuracy of ID map boundaries at material seams.

For final output, check "Use Naming Convention" to automatically generate standardized texture names (e.g., a_Normal.png, a_AO.png), facilitating subsequent material creation and engine import. If issues are found in specific areas, individual components can be rebaked separately to avoid time-consuming full-model reprocessing. Throughout the process, remember to regularly save project files to prevent accidental progress loss.

Then I learned how to use Knald from this video. With this software I was able to convert the normal map I had into a curve map, and I could also transfer a new ambient occlusion map, which I overlaid with the AO map baked in Marmoset in Photoshop to get the final AO map.

The reason I did this was that the AO baked in Marmoset ignored the influence of the group, so there was one less layer of relationship between objects. In Knald, we can solve this problem, so that the synthesized AO will be more three-dimensional and clean.

[junzhang123]

Creative Project Development_Blog42

I finished the UVs of the low poly model in MAYA. When unwrapping UVs, three core principles must be strictly followed: First, ensure proper UV proportion allocation by giving more UV space to critical areas (like faces and weapons), and verify stretching by checking that checkerboard patterns remain perfectly square. Second, strategically place seams by prioritizing hidden locations such as inner garment seams and armor joints, maintaining at least a 5-pixel safety margin during cutting to prevent baking artifacts - hard surface 90-degree angles must always have split UVs to avoid texture distortion. Finally, optimize UV layout by overlapping identical elements wherever possible to maximize UV space utilization.

[junzhang123]

Creative Project Development_Blog41

I learned how to unfold UVs in Maya through this video.

[junzhang123]

Creative Project Development_Blog40

I made a low poly model based on the high poly model.

[junzhang123]

Creative Project Development_Blog39

Through this video I learned how to achieve cartoon rendering effects in Zbrush and gave it a try.

[junzhang123]

Creative Project Development_Blog38

Added more details and accessories.

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Creative Project Development_Blog37

[junzhang123]

Creative Project Development_Blog36

Through this video, I learned how to create hard-surface models in ZBrush. The tutorial systematically demonstrates the entire workflow for crafting professional-grade mechanical models, with a particular focus on overcoming three major technical challenges.

The first is the implementation of a three-stage modeling strategy—"DynaMesh + ZRemesher + Subdivision Surfaces"—to achieve high-precision topology control. The second involves the innovative use of a hard-edge processing combo: "ClipCurve brush cutting + DamStandard refinement + Inflat beveling." Lastly, the tutorial employs NanoMesh scripted arrays for rapid placement of repetitive elements like bolts.

A particularly impressive aspect of the video is its demonstration of advanced Boolean techniques—combining ZModeler’s QMesh real-time preview with Live Boolean dynamic updates—effectively resolving the mesh fragmentation issues common in traditional Boolean operations. It also provides a detailed breakdown of how to sculpt high-detail models while preserving UVs on the low-poly base. Additionally, the tutorial compares different surface treatment techniques, such as armor wear and laser engraving.These methods have been incredibly helpful for creating the mechanical components behind my models.

At the same time, I also learned that the "Topology Sculpting Synchronous Method" proposed in the "ZBrush Hard Surface Design Bible" is a revolutionary hard surface modeling methodology. Its core is to break the traditional high-poly-low-poly separation workflow, and through the real-time collaborative advancement of modeling and topology, ZBrush and Maya can be switched at any time to achieve the desired hard surface model.

[junzhang123]

Creative Project Development_Blog35

In the past few days, I have some experience in sculpting clothing wrinkles in ZBrush. First of all, accurately grasping the shape and structure of wrinkles is the core key. I pay special attention to the performance of two basic types of wrinkles: Z-shaped folded wrinkles and Y-shaped radial wrinkles. For Z-shaped wrinkles (commonly seen at the bend of the elbow), I use the ClayBuildup brush to stagger and carve at a 45-degree angle, and strengthen the turning angles by adjusting the Focal Shift value of the brush; after the basic wrinkles are formed, I will use the Surface function to project woven textures and other Alpha maps, set the UV projection mode, and let the cloth texture deform naturally along the direction of the wrinkles, especially the texture compression effect at the Z-shaped turning point should be focused on. For Y-shaped wrinkles (such as underarms or waist accumulation), use the DamStandard brush to radially carve outward from the center of force, and hold down the Alt key to deepen the root shadow, while superimposing the Alpha texture, and adjust the Surface noise intensity to make the texture at the end of the radial wrinkles gradually sparse, simulating the real cloth stretching state.

During the carving process, I pay special attention to the rhythm of the folds. The main fold depth is controlled at 0.3-0.5mm and matched with the rougher Denim texture. The secondary folds are reduced to 0.1-0.2mm and the fine Linen texture is used. When the Move brush is used to adjust the fold spacing to make it present a natural density change, the Z Intensity of the Surface brush is adjusted synchronously to ensure the consistency of the texture density. For light fabrics such as silk, I will use the hPolish brush to soften the transition of the fold tail, and reduce the Surface noise intensity to less than 15% to maintain a smooth feeling; for heavy fabrics, the Inflate brush is used to enhance the volume of the folds, and then high-contrast textures such as Heavy_Canvas are superimposed. The Radial Symmetry setting of the Surface function is used to allow the texture to accumulate naturally in the depressions of the folds. Through this method of combining structured carving with texture projection, even complex skirt folds can quickly establish clear mechanical logic and material characteristics, so that the fabric presents a realistic drape effect and surface details.

[junzhang123]

Creative Project Development_Blog34

I added a lot of clothing details in Zbrush. There are a few key points here. First, it is best to do the hemming of the clothing separately. Then, when making some special textures, you can separate the model of this part, divide it into UVs, and use the surface function in Zbrush to add texture details.

[junzhang123]

Creative Project Development_Blog33

I made the rest of the fabric the same way I did before.

[junzhang123]

Creative Project Development_Blog32

Sculpting the details of the scarf in ZBrush.

[junzhang123]

Creative Project Development_Blog31

I learned how to sculpt cloth wrinkles and details in ZBrush through these videos.

[junzhang123]

Creative Project Development_Blog30

Because the wiring of the model made by MD is very messy, which is not conducive to the later production, I need to process the wiring of the model in Maya. The following are the skills I learned on the Internet. First, you need to export the clothing model and the 2D plate of the model in MD. The key is to ensure that their UV positions must be exactly the same.

Then topologically create a new model on the 2D plate in Maya, and pay attention to the wiring of the model here.

Then transfer the original 2D plate's UV to the topography model according to the diagram.

Then modify the settings, and then transfer the fixed point position through UV so that the model position of the new topology becomes the shape of a scarf.

Then increase the number of faces in the model and pass the vertex positions again.