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How to Build a Realistic Gun for Video Games

In this interview, Simon Fuchs talks about his new handgun tutorial that may train you ways to create a practical, present era weapon for video games utilizing the newest business methods. You will get the complete tutorial on Gumroad or on Cubebrush.

Life Updates

80lv: Simon, it’s been a whereas since we’ve final talked to you. What have you ever been up to in the meantime and what tasks have you been working on?

It has been a whereas certainly! Thanks for having me once more. I’ve been working on Overwatch full time as well as a few small aspect tasks. Most just lately I’ve been wanting into Autodesk Fusion in my spare time to study extra about CAD-based workflows. Different then that, I have mainly been engaged on this new tutorial. Tutorials have a tendency to take fairly some time to end and I often take a few breaks while working on them, simply to clear my head each once in a whereas. On prime of that, I’ve been doing a bit of mentoring with a few students, which has been really rewarding. Seeing someone develop as an artist and serving to them improve their paintings is certainly one of my favourite issues to do.

About Handgun Tutorial

80lv: Are you able to speak a little bit about your latest tutorial? When did you start working on it and why did you determine to mannequin this gun?

I’ve started working on this tutorial about 6 months ago and needed to concentrate on one other course for 3D Studio Max. Individuals actually appreciated the army radio tutorial and I needed to make a new one that exhibits a boolean based mostly workflow in 3D Studio Max in addition to deep dive into texture creation in Substance Painter and rendering in Marmoset Toolbag. Lots of people really like modeling weapons so I made a decision to create a high-quality version of a handgun based mostly on the Mauser C96 Broomhandle and make it into a tutorial. The rationale I selected this gun is due to its unique design. I particularly just like the picket handle of the gun. It’s a intelligent design where the stock both serves as a transport case as well as a long vary inventory for the gun turning it into a carbine version when hooked up.

80lv: What are the subjects you’re masking on this tutorial?

In the tutorial, I’m masking your complete creation process from begin to end. Every part is recorded in real time so that you’re not missing any steps. I feel this is the easiest way to study since you’ll be able to comply with along at your personal tempo.

There’s a 5 and a half hour introduction to 3D Studio Max and ZBrush included in the tutorial where I’m overlaying all of the fundamentals that you simply want to know to comply with the course. In addition, I am supplying you with all the scripts and plugins that I exploit to create this mannequin and I’ll present you a high-level overview of the workflow. You will find out how to create complicated geometry using boolean operations after which take your objects from Max to ZBrush to generate highpoly geometry.

After the introduction chapter, we begin with creating a blockout of the gun that can be used as a base for the highpoly mannequin.

As soon as the blockout is completed, we’re going to create the precise highpoly utilizing boolean operations. No help loops are needed to create this gun as I am counting on ZBrush and smoothing groups to create all the bevels. This makes the creation course of fast and simple.

Once the highpoly is completed, we’ll take the model to ZBrush the place we’ll create all of the bevels. After these are finished you will find out how to add plausible injury to your mannequin. This makes it look reasonable and stand out from all the opposite guns on the market. I’m going to train you in detail how to add injury to your model and present you the totally different tools obtainable in ZBrush to make the mannequin look real looking and convincing. Once the sculpting course of is finished, we’ll take the gun again to Max and create the lowpoly and the UV coordinates for baking. I’m supplying you with a detailed overview of the UV creation process and you’ll find out how to create an efficient UV format.

With the lowpoly completed we’ll set up the whole lot for baking in Substance Painter. I’ll train you all you need to know to create good bakes out of your highpoly mannequin in addition to how to fix baking errors and create shade ID maps for your mesh.

As soon as the bake is completed we are going to deep dive into Substance Painter. We’re going to build every material from scratch and I’ll train you all you want to find out about PBR texture creation for recreation belongings in Substance Painter in over 5 hours of video. We’ll deep dive into the creation of the metallic and wooden supplies on this gun and afterward, you will be able to create your personal, beautiful materials for some other venture.

After the ultimate textures have been created we’ll export them and take the mannequin to Marmoset Toolbag. In the final part of the tutorial, I’ll train you ways to properly mild your object to create portfolio ready photographs of the gun and make use of the newest options in Toolbag like International Illumination.

The course incorporates over 50 hours of video and you’ll study your complete process of creating this top quality, game-ready gun from begin to end.

Integrating a Number into a Grip

80lv: How was the number on the deal with accomplished? How did you handle to combine it so properly into the material of the grip? The transition seems to be superb!

I’ve tried a couple of various approaches for this and determined that I might get the most effective end result when using actual geometry to create it. I began modeling the geometry for the number after which pores and skin wrapped it to a aircraft. That aircraft was then projected onto the floor of the deal with, deforming the geometry of the quantity on the similar time.
As soon as I was proud of the position, I took every little thing to ZBrush and used reside booleans to subtract the shape of the quantity from the grip. After that, I polished all the things which created a small bevel on the transition from the grip to the number after which proceeded to sculpt some minor imperfections and scratches into the transition area, which made it integrate so properly into the handle.

Often, I might rely on Substance Painter to add these sorts of particulars, but since this is likely one of the centerpieces of the design I made a decision to spend some additional time on it to really make it stand out.

Detailing the Floor

80lv: How did you create all the delicate details within the metallic? The weathering on it seems to be great and really reasonable, how did you achieve this look?

Thank you, I feel the materials turned out pretty convincing as nicely. They have been created using a mixture of sculpted injury in ZBrush and procedural turbines in Substance Painter.

A lot of the small dents and damages have been sculpted into the highpoly mesh. This provides me full management over the place the injury appears and permits me to make it look practical. I`ve targeted on including injury in areas where it might naturally appear like the picket handle of the gun or the entrance part of the body. These areas are more exposed and would naturally accumulate scratches, injury, and wear and tear over time. It’s really essential to think about which elements of your model would touch different objects and give attention to including plausible injury in these spots. On prime of that., I’ve looked at a lot of reference pictures of this handgun and use them as inspiration for the injury details. In the tutorial, you’ll see me add a injury cross to the complete mannequin and I’m explaining the totally different methods in detail that I’m using to achieve this look in ZBrush. Right here is a screenshot of the final sculpt of the gun that exhibits the level of detail within the injury.

On prime of the sculpted particulars, I’m also counting on procedural turbines in Substance Painter to make the supplies look practical. I construct the materials beginning with a base layer after which add detail layer by layer. I create a new layer for each further element that I would like to add to my base materials, which provides me full management over each facet of the look. In the long run, it permits me to tweak the look of the material by turning layers on or off or by simply decreasing or growing their opacity. In the tutorial, I’m going by means of the creation of every material from start to end which provides you with a thorough understanding of how to use Substance Painter and allow you to create your personal, unique supplies.

Right here is a breakdown image of the dark metallic material that I am utilizing for the body of the gun that exhibits you how it was built and the way every layer affects the base materials.

Picket Stock

80lv: Simon, we absolutely love the picket inventory of the gun. It’s such a cool mechanism with a lot of different parts. Might you speak a little bit about the way you approached constructing this part of the gun?

To start out out, here is an animation of how the stock truly works:

Once I began working on the gun I’ve decided that I needed to have the ability to animate the stock and have the gun sit in there for one of the ultimate pictures. That meant that I had to build out the whole mechanism and actually research the way it works on the actual model of the gun. After spending a while taking a look at numerous totally different youtube videos and pictures of the gun, I had a common understanding of how it works and what it was used for. The ring on the backside of the handle allows you to attach the gun to your belt and the picket inventory protects the gun from injury when transporting it when it sits in there.

After figuring that out, I proceeded to mannequin out each component, identical to I did on the rest of the gun. I made positive that the hinges to open up the back of the gun have been within the right spot so that it will probably open and close appropriately. The opening in the stock was created using boolean operations. I first created a piece that represents the overall form of the body of the gun and subtracted that from the inventory. After that was accomplished, I nonetheless had to create an opening for the gun deal with, so I simply duplicated the deal with on my gun, scaled it up and subtracted it from the inventory. As a end result, I had a good opening for the gun to sit in. In any case of that was executed, I proceeded to create the rest of the weather like the button to open the stock using the same method.

Here is an animation that exhibits you the method:


80lv: What are your ideas on presentation? Can you share some insights on the way you strategy lighting this gun?

Completely. Within the tutorial, I’m going to present you ways to create lifelike wanting renders for your portfolio and I’m going by means of all the means of lighting the asset, rendering it and then adding post-processing in Photoshop to create the ultimate pictures.

Every time I mild an object, I attempt to arrange my lighting so that it compliments my model. The most important mistake individuals make in Marmoset is to solely select an HDRI picture and never use any manually positioned lights. Don’t be afraid of including multiple lights to your scene. Good lighting takes time to arrange and there’s a lot of iteration involved, so don’t just choose an HDRI picture and call it a day. There’s so much more you can do by manually putting lights and shadows to make your mannequin stand out!

Right here is the method I often undergo:

First, I select an HDRI picture in Marmoset that has some good contrast to it. After that, I often improve the brightness of the image a bit in order that the mannequin doesn’t look too dark. As soon as I am proud of the bottom look, I will begin by putting some rim lights. I would like to be sure that I get some nice gradients and highlights on the silhouette of my model to really make it stand out from the background. This step is basically essential, particularly when utilizing a darkish background. You don’t want your mannequin to bleed into the background, it makes the picture actually exhausting to read. Once these are in place, I’m going ahead and place my most important mild supply to emphasize the a part of the model that I would like the viewer to give attention to. In the example under that is the body of the gun, so I’m putting a blue mild that basically highlights that space. With that in place, I’m specializing in other areas which might be nonetheless wanting too flat. Each time I see giant surfaces that haven’t any hue or value variation, I’m going ahead and manually place lights in those areas. This introduces some nice wanting gradients, which makes these areas look a lot extra fascinating. In the image under, you’ll be able to see me do this for the stock as well as the journal. Watch out to not overdo it, those gradients ought to be delicate in order that they don’t compete with the primary focus of the picture. On prime of all of that, I attempt to make sure that to use totally different colors for my lights to get some hue variation. After all of the lights are in place, I regulate the curves on the digital camera to get some more contrast.

With the lighting all set up, I render out the pictures and then take them to Photoshop.  I’m adding some vignetting to my photographs, do some minor ranges changes in addition to add some bloom to the highlights of the gun. Because the final step, I like to introduce a little bit of lens dust and delicate scratches and mud to the image to get the ultimate look. I feel this works especially properly with this gun as its been round because the late 19th century and ties into the theme of it being previous. Listed here are a few of the last photographs for the gun:


80lv: Thanks a lot for all the knowledge, Simon! Where can individuals discover more of your work and the place can individuals get this tutorial?

Thanks so much for the interview!  You will get the tutorial on Gumroad or Cubebrush for 34.99$.

I’m on:

Simon Fuchs, Senior Surroundings Artist at Blizzard Leisure

Interview carried out by Kirill Tokarev

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