Introduction
Hello! My name is Sandro Bonfanti, I'm 23 years old, I'm from Amposta, Spain and I'm a Hard Surface Artist. A couple of years ago, I finished my Bachelor's Degree in 3D Content creation at CEV Barcelona.
介绍
你好！我的名字是Sandro Bonfanti，我今年23岁，我来自西班牙的Amposta，我是一名Hard Surface艺术家。几年前，我在CEV巴塞罗那完成了3D内容创作学士学位。

My first contact with the video game industry was through Gameloft, working for Disney Speedstorm as Environment / Prop Artist. The experience was unique: I learned a lot of technical aspects about how to approach a new production from scratch. Later on, I wanted to make the jump to a AAA project and started working as a 3D Artist for Ubisoft for the title Rainbow Six Siege. Currently, I am dedicating my time to the development of my personal portfolio and improving techniques focused on Hard Surface.
我与视频游戏行业的第一次接触是通过Gameloft，在Disney Speedstorm担任环境/道具艺术家。这种经历是独一无二的：我学到了很多关于如何从头开始制作新作品的技术方面。后来，我想跳到一个AAA级项目，并开始在育碧担任3D艺术家，名为《彩虹六号围攻》。目前，我正在将时间用于开发我的个人投资组合，并改进专注于Hard Surface的技术。

Alien Gun Project
I had long wanted to make a weapon with an unconventional look and function. When I saw Longque Chen's concept, I thought of recreating that same idea, but in 3D. The first step was to analyze and understand in depth what the artist wanted to express with his original work: silhouette, functional and logical aspects.
外星人枪项目
我一直想制造一种具有非常规外观和功能的武器。当我看到Longque Chen的概念时，我想重新创建同样的想法，但是用3D。第一步是深入分析和理解艺术家想要用他的原创作品表达的东西：轮廓，功能和逻辑方面。

The main feature of the dual-weapon is that it features three types of projectiles followed by three different animations: a green and yellowish energy blade, a red laser blaster, and an orange shot.

To visualize the concept, I created a PureRef with all the necessary images to put the idea into context. During the process, I realized that the internal parts of the concept were not visible, and I decided to base it on the structure of a thermoelectric reactor.
双武器的主要特点是它具有三种类型的射弹，然后是三种不同的动画：绿色和淡黄色的能量刃，红色激光发射器和橙色射击。

为了可视化这个概念，我创建了一个PureRef，其中包含所有必要的图像，以将想法置于上下文中。在此过程中，我意识到概念的内部部分是不可见的，因此我决定将其基于热电反应堆的结构。

更多精彩图片 请登录

Blocking
One of the most important things and the one which takes up most of the time in a project is the creation of the geometric shapes. That's why I always start with blocking first, defining the whole model piece by piece until I get a silhouette that fits the shape of the concept. In my case, I advanced the model from left to right starting with the barrel.
阻塞
最重要的事情之一，也是项目中占用大部分时间的事情之一，就是创建几何形状。这就是为什么我总是首先从块状开始，逐个定义整个模型，直到我得到一个适合概念形状的轮廓。在我的情况下，我从枪管开始从左到右推进模型。

更多精彩图片 请登录

Once the blocking was ready, I proceeded to the advanced blocking, with a higher geometry. It is here where we start to outline the details. This step is fundamental since it will help to maintain a base ready to start with the high poly.

First of all, the order must be maintained. For this reason, throughout this process, it is necessary to rename each one of the pieces and assign a material by colors that will serve to separate the model by the number of sets. In my case, three sets were necessary.

It is necessary to take into account which parts will have symmetry since in this way more space is optimized in the UVs and texel density is gained. Later, with the symmetry modifier, the initial figure will be formed again.

Not leaving tedious work to the end will help maintain an optimal production rate.
一旦阻塞准备就绪，我就继续进行高级块，具有更高的几何形状。正是在这里，我们开始概述细节。此步骤是基本的，因为它将有助于保持准备从高聚开始的基础。

首先，必须维持秩序。因此，在整个过程中，有必要重命名每个部分并按颜色分配材料，这些颜色将用于按组数分隔模型。就我而言，三套是必要的。

有必要考虑哪些部件将具有对称性，因为通过这种方式，在UV中优化了更多空间，并获得了纹素密度。之后，使用对称修饰符，将再次形成初始图形。

不把繁琐的工作留到最后将有助于保持最佳的生产率。

更多精彩图片 请登录

High Poly
For high poly, I usually use support loops with a new editable poly layer, which allows me more versatility in removing it and returning to the advanced blocking state.

In the final polishing, OpenSubdiv is applied. This modifier helps to maintain a smoother and more uniform bevel.
高聚
对于高多边形，我通常使用带有新的可编辑多边形层的支持循环，这使我在删除它并返回到高级阻止状态方面具有更大的多功能性。

在最终的抛光中，应用OpenSubdiv。此修饰符有助于保持更平滑、更均匀的斜角。

更多精彩图片 请登录

Another point to highlight is the use of floaters, which help to define the object with more detail without the need to work in such a destructive way in the advanced blocking. It tends to work very well on flat surfaces, avoiding artifacts on the normal map.
要强调的另一点是使用飞蚊症，这有助于更详细地定义对象，而无需在高级阻止中以破坏性的方式工作。它往往在平坦的表面上工作得很好，避免了法线贴图上的伪影。

更多精彩图片 请登录

To model a high poly, focus on achieving an optimal result no matter how many support loops are applied, as long as pinching in the mesh is avoided.

A quick and easy way to identify such artifacts is to apply materials in the model that have a high specular.
要对高多边形进行建模，只要避免网格中的夹紧，无论应用多少支撑回路，都要专注于实现最佳结果。

识别此类伪影的一种快速简便方法是在模型中应用具有高镜面反射的材料。

更多精彩图片 请登录

To apply organic details to the model, I used ZBrush. In the bandages, I used a cloth alpha that I applied in the surface modifier adapting the scale and depth to reach the level of detail I wanted. In some parts of the model, I used the Chisel brush to draw grooves that appeared in the concept, since traditional modeling in 3ds Max would have been more complex.
为了将有机细节应用于模型，我使用了ZBrush。在绷带中，我使用了在表面修饰符中应用的布料 alpha，调整了比例和深度，以达到我想要的细节水平。在模型的某些部分中，我使用 Chisel 画笔绘制概念中出现的凹槽，因为 3ds Max 中的传统建模会更加复杂。

更多精彩图片 请登录

Low Poly
The reason why I like to work with 3ds Max is that you can organize the project by layers using any kind of modifier. I usually use advanced blocking, adjusting some vertices with Target Weld to start with a good base. In this case, as the model is complex and has many internal parts, the topology density seems to be higher. Besides, I have respected some booleans and screws whose result in the final model was nice. The idea was to keep a functional object that would look interesting in the portfolio, although it could be perfectly applied in a video game.
低聚
我喜欢使用 3ds Max 的原因是，您可以使用任何类型的修改器按图层组织项目。我通常使用高级遮挡，使用Target Weld调整一些顶点，以从良好的基础开始。在这种情况下，由于模型很复杂并且具有许多内部部件，因此拓扑密度似乎更高。此外，我尊重一些布尔值和螺钉，它们在最终模型中的结果很好。这个想法是保留一个在产品组合中看起来很有趣的功能对象，尽管它可以完美地应用于视频游戏。

更多精彩图片 请登录

Once the UVs have been made, the symmetry modifier is applied to the parts that require it, which will complete the whole model. Remember to move one unit in the pieces that have symmetry – this will avoid problems in the baking.
制作UV后，对称修饰符将应用于需要它的零件，这将完成整个模型。请记住在具有对称性的块中移动一个单元 - 这将避免烘焙问题。

UVs
To maintain a good resolution and quality in the textures, it is important to optimize to the maximum the space of the UVs. The cuts are made manually in 3Ds Max – this way, I make sure I can hide them better. In some internal and less visible parts, I reduce the scale, so that I get more texel density, usable in the parts of greater exposure. For this gun, I used two 2 k texture maps and 1k per meter texel density.
副总裁
为了在纹理中保持良好的分辨率和质量，将UV的空间优化到最大是很重要的。剪切是在3Ds Max中手动完成的 - 这样，我确保我可以更好地隐藏它们。在一些内部和不太可见的部分，我缩小了比例，这样我就获得了更多的纹素密度，可以在曝光更大的部分使用。对于这把枪，我使用了两个2 k纹理贴图和每米1k纹理密度。

I always like to keep order and direction in the shells. For this, I use the RizomUV tool, with which I pack them. I used to do it manually, but with highly complex objects it is better not to waste so much time.
我总是喜欢在壳中保持秩序和方向。为此，我使用RizomUV工具，我用它来打包它们。我曾经手动执行此操作，但是对于高度复杂的对象，最好不要浪费太多时间。

更多精彩图片 请登录

Baking
Before starting with baking, it is necessary to apply the smoothing groups on the model, to avoid gradients in the normal map. An easy and effective way is to use the TexTools tool and choose the option "Smoothing Groups from UV Shells".

Be careful! In my case, creating a gun with symmetry in several pieces, you have to correct the smoothing group at the point where it is generated. It is enough to put the same group number.
烘
在开始烘焙之前，有必要在模型上应用平滑组，以避免法线贴图中的渐变。一种简单有效的方法是使用TexTools工具，然后选择“从UV Shell平滑组”选项。

小心！在我的例子中，创建一个在几个部分对称的枪，你必须在生成平滑组的点上校正它。输入相同的组号就足够了。

更多精彩图片 请登录

In this case, I have used Marmoset Toolbag for baking, although other times I use Substance 3D Painter. To get a good quality of maps, I recommend doubling the resolution of the final textures. In my case, I have set 8K.
在这种情况下，我使用Marmoset Toolbag进行烘焙，尽管其他时候我使用Substance 3D Painter。为了获得高质量的地图，我建议将最终纹理的分辨率提高一倍。在我的情况下，我已经设置了8K。

更多精彩图片 请登录

In the AO map properties, I recommend removing the Two-Sided option if the model has floating parts, since the shading will be painted on the bottom surface, and we don't want this to happen.

The Floor Occlusion adds additional shading in the lower areas of the model, adding more depth and volume. Later, it could be reduced in the texturing program if necessary.

Ignore Groups will help to maintain a uniform AO between different baking groups. In my case, I had to move the animated parts and some internal parts so that they would not be affected by the shading.
在AO贴图属性中，如果模型具有浮动零件，我建议删除双面选项，因为着色将绘制在底面上，我们不希望发生这种情况。

地板遮挡在模型的下部区域添加了额外的着色，从而增加了更多的深度和体积。之后，如有必要，可以在纹理程序中减少它。

忽略组将有助于在不同的烘焙组之间保持统一的AO。在我的情况下，我必须移动动画部分和一些内部部分，以便它们不会受到阴影的影响。

更多精彩图片 请登录

I recommend taking a look at this tutorial by Joe Wilson, in which he shows several general baking specifications in the Marmoset Toolbag that are key to obtaining a professional result.
我建议您看一下Joe Wilson 的本教程，他在其中展示了 Marmoset 工具袋中的几种一般烘焙规范，这些规范是获得专业效果的关键。

Texturing
Before I start texturing, I consider what kind of materials will define my model. For this reason, it is highly recommended to delimit solid references first.
纹理
在我开始纹理化之前，我会考虑什么样的材料会定义我的模型。因此，强烈建议先分隔实体引用。

To create the textures, I start with a new scene using the Preview Sphere template. I disable all filters and effects to leave the material blank. To get a realistic result, I usually apply a base color followed by a couple of light and dark color variations. I also add different levels of roughness, such as height microdetails and single macro details.
为了创建纹理，我首先使用“预览球体”模板创建一个新场景。我禁用了所有滤镜和效果以将材质留空。为了获得逼真的结果，我通常应用一个基色，然后是几个明暗颜色变化。我还添加了不同级别的粗糙度，例如高度微观细节和单个宏细节。

The exercise of moving away from the screen to contemplate the whole composition is highly recommended, as it helps to clarify the main idea.

Afterward, the sphere can be converted as a smart material and brought into the main scene of the model.
强烈建议从屏幕上移开以思考整个构图的练习，因为它有助于澄清主要思想。

之后，球体可以转换为智能材质，并带入模型的主场景。

更多精彩图片 请登录

I have made some details in Photoshop and imported them as alphas to have more precise control of their position, color, and roughness. I have also created some decals that appeared in the concept as shown in the picture.
我在Photoshop中做了一些细节，并将它们作为alpha导入，以便更精确地控制它们的位置，颜色和粗糙度。我还创建了一些出现在概念中的贴花，如图所示。

更多精彩图片 请登录

更多精彩图片 请登录

At the end of each set, I like to add the sharpen modifier with a very low value to finish defining the overall detail of the textures.
在每组结束时，我喜欢添加值非常低的锐化修饰符，以完成纹理的整体细节定义。

Animation
In this process, I basically changed the pivot point of the animated parts, which I used as the main gear. In 3ds Max, the way to animate by frames is quite simple: add a frame and activate the Autokey in the initial pose, move the frame slider to the desired point and make the movement. In my case, I only had to use the rotation gizmo on all the pieces of the weapon.
动画
在这个过程中，我基本上改变了动画部分的枢轴点，我将其用作主要齿轮。在 3ds Max 中，按帧进行动画处理的方法非常简单：添加一个帧并在初始姿势中激活自动键，将帧滑块移动到所需点并进行移动。就我而言，我只需要在武器的所有部件上使用旋转小工具即可。

3D VFX
When I saw the effects of the projectiles, I decided to combine 3D and some retouching with Photoshop. Since this part of the model is more visual than technical, if it were applicable for video games, it would be done with sprites – this way, a much lower load of textures and geometry would be achieved.
3D 视觉特效
当我看到弹丸的效果时，我决定将3D和一些修饰与Photoshop结合起来。由于模型的这一部分更具视觉性而不是技术性，因此如果它适用于视频游戏，则可以使用精灵来完成 - 这样，将实现更低的纹理和几何体负载。

更多精彩图片 请登录

Once the effect was modeled, I made the UVs of the general sword and I added an emission material with transparency in Substance 3D Painter.
一旦效果被建模，我就制作了通用剑的UV，并在Substance 3D Painter中添加了具有透明度的发射材料。

更多精彩图片 请登录

For the final touches, I imported the rendering from Marmoset Toolbag to Photoshop. The intention was to give a little more action to each of the projectiles with sparks, smoke, and manual touches with the brush. Very interesting effects with black backgrounds can be found at Photobash. To apply them, make sure that the layer is in Screen mode so that the effect blends well with the main image.
为了最后的润色，我将渲染从Marmoset Toolbag导入到Photoshop。目的是用火花，烟雾和用刷子手动触摸每个弹丸多一点动作。黑色背景的非常有趣的效果可以在Photobash上找到。要应用它们，请确保图层处于“屏幕”模式，以便效果与主图像很好地融合。

更多精彩图片 请登录

Rendering
This is the moment when you have to demonstrate and visualize all the hours of work in one or several images. In my case, I wanted two types of renders: one that could tell a story, and a more technical one. Let's start with the technical one.
渲染
这是您必须在一张或几张图像中演示和可视化所有工作时间的时刻。就我而言，我想要两种类型的渲染：一种可以讲述一个故事，另一种是更具技术性的渲染。让我们从技术开始。

The first step is to change the FOV of the camera. To maintain a more general focus on the gun, I preferred to set it to a value of 10.

In order to show a good silhouette of the gun, I used three types of rim light: one-directional and two spots to provide a more global illumination. To finish giving volume, I put a fill light to illuminate the weapon in general, two key lights to create contrast in the shadows, and an overlight to define a little more the silhouette at the top of the model. The detail light is optional; in my case, it adds very interesting reflections on the golden material of the energy charger.
第一步是更改相机的视场。为了保持对枪的更一般的关注，我更喜欢将其设置为值10。

为了展示枪的良好轮廓，我使用了三种类型的轮辋光：单向和两个点，以提供更全局的照明。为了完成体积，我放了一个补光灯来照亮武器，两个关键灯在阴影中产生对比，还有一个过光灯来定义模型顶部的轮廓。细节光是可选的;在我的情况下，它为能量充电器的金色材料增加了非常有趣的反思。

更多精彩图片 请登录

To move around the space, I assigned a different camera. This way, it was not necessary to move the fixed frame of the main render. I recommend this tutorial by Emre Karabacak. Although it is for Marmoset Toolbag 3, the lighting basics are applicable for new versions as well.

I felt that the gun with a black background was too formal; I wanted to present the context of a story in which everyone could interpret what they wanted.
为了在空间中移动，我分配了一个不同的相机。这样，就不必移动主渲染的固定帧。我推荐埃姆雷·卡拉巴卡克的本教程。虽然它适用于狨猴工具袋3，但照明基础知识也适用于新版本。

我觉得黑色背景的枪太正式了;我想呈现一个故事的背景，每个人都可以解释他们想要的东西。

The importance of this render is its composition. I used a rocky material from the Quixel Megascans library and adapted its texture into a plane. The model was animated with the Energy Blade position. I moved the animation a few seconds so that the weapon was half open as if it was broken. The energy chargers are buried to the surface to distract attention from other parts of the model. Being a dual weapon, I tried repeating the model in the same scene. The result was interesting.
这种渲染的重要性在于它的组成。我使用了Quixel Megascans库中的岩石材质，并将其纹理改编成平面。该模型带有能量刃位置的动画。我把动画移动了几秒钟，这样武器就半开着，就好像它被打破了一样。能量充电器被埋在地表，以分散对模型其他部分的注意力。作为双重武器，我尝试在同一场景中重复模型。结果很有趣。

更多精彩图片 请登录

Conclusion
This is the first time I have made a weapon of this magnitude based on a fictitious concept, and the truth is that I have really enjoyed the process. The project has helped me to improve many technical aspects of hard surface modeling, texturing, baking, and rendering.  
结论
这是我第一次根据一个虚构的概念制造出如此巨大的武器，事实是我真的很喜欢这个过程。该项目帮助我改进了硬表面建模、纹理、烘焙和渲染的许多技术方面。

Never stop learning: there are many resources available, and they are becoming more and more accessible to everyone. Let nothing and no one cut your wings!
永远不要停止学习：有很多可用的资源，每个人都可以越来越多地获得这些资源。什么都不做，没有人砍掉你的翅膀！

Thank you very much to the platform for trusting me. I hope this article can help other artists to discover new aspects of this exciting world.
非常感谢平台对我的信任。我希望这篇文章可以帮助其他艺术家发现这个激动人心的世界的新方面。

Introduction
Hello! My name is Sandro Bonfanti, I'm 23 years old, I'm from Amposta, Spain and I'm a Hard Surface Artist. A couple of years ago, I finished my Bachelor's Degree in 3D Content creation at CEV Barcelona.
介绍
你好！我的名字是Sandro Bonfanti，我今年23岁，我来自西班牙的Amposta，我是一名Hard Surface艺术家。几年前，我在CEV巴塞罗那完成了3D内容创作学士学位。

My first contact with the video game industry was through Gameloft, working for Disney Speedstorm as Environment / Prop Artist. The experience was unique: I learned a lot of technical aspects about how to approach a new production from scratch. Later on, I wanted to make the jump to a AAA project and started working as a 3D Artist for Ubisoft for the title Rainbow Six Siege. Currently, I am dedicating my time to the development of my personal portfolio and improving techniques focused on Hard Surface.
我与视频游戏行业的第一次接触是通过Gameloft，在Disney Speedstorm担任环境/道具艺术家。这种经历是独一无二的：我学到了很多关于如何从头开始制作新作品的技术方面。后来，我想跳到一个AAA级项目，并开始在育碧担任3D艺术家，名为《彩虹六号围攻》。目前，我正在将时间用于开发我的个人投资组合，并改进专注于Hard Surface的技术。

Alien Gun Project
I had long wanted to make a weapon with an unconventional look and function. When I saw Longque Chen's concept, I thought of recreating that same idea, but in 3D. The first step was to analyze and understand in depth what the artist wanted to express with his original work: silhouette, functional and logical aspects.
外星人枪项目
我一直想制造一种具有非常规外观和功能的武器。当我看到Longque Chen的概念时，我想重新创建同样的想法，但是用3D。第一步是深入分析和理解艺术家想要用他的原创作品表达的东西：轮廓，功能和逻辑方面。

The main feature of the dual-weapon is that it features three types of projectiles followed by three different animations: a green and yellowish energy blade, a red laser blaster, and an orange shot.

To visualize the concept, I created a PureRef with all the necessary images to put the idea into context. During the process, I realized that the internal parts of the concept were not visible, and I decided to base it on the structure of a thermoelectric reactor.
双武器的主要特点是它具有三种类型的射弹，然后是三种不同的动画：绿色和淡黄色的能量刃，红色激光发射器和橙色射击。

为了可视化这个概念，我创建了一个PureRef，其中包含所有必要的图像，以将想法置于上下文中。在此过程中，我意识到概念的内部部分是不可见的，因此我决定将其基于热电反应堆的结构。

更多精彩图片 请登录

Blocking
One of the most important things and the one which takes up most of the time in a project is the creation of the geometric shapes. That's why I always start with blocking first, defining the whole model piece by piece until I get a silhouette that fits the shape of the concept. In my case, I advanced the model from left to right starting with the barrel.
阻塞
最重要的事情之一，也是项目中占用大部分时间的事情之一，就是创建几何形状。这就是为什么我总是首先从块状开始，逐个定义整个模型，直到我得到一个适合概念形状的轮廓。在我的情况下，我从枪管开始从左到右推进模型。

更多精彩图片 请登录

Once the blocking was ready, I proceeded to the advanced blocking, with a higher geometry. It is here where we start to outline the details. This step is fundamental since it will help to maintain a base ready to start with the high poly.

First of all, the order must be maintained. For this reason, throughout this process, it is necessary to rename each one of the pieces and assign a material by colors that will serve to separate the model by the number of sets. In my case, three sets were necessary.

It is necessary to take into account which parts will have symmetry since in this way more space is optimized in the UVs and texel density is gained. Later, with the symmetry modifier, the initial figure will be formed again.

Not leaving tedious work to the end will help maintain an optimal production rate.
一旦阻塞准备就绪，我就继续进行高级块，具有更高的几何形状。正是在这里，我们开始概述细节。此步骤是基本的，因为它将有助于保持准备从高聚开始的基础。

首先，必须维持秩序。因此，在整个过程中，有必要重命名每个部分并按颜色分配材料，这些颜色将用于按组数分隔模型。就我而言，三套是必要的。

有必要考虑哪些部件将具有对称性，因为通过这种方式，在UV中优化了更多空间，并获得了纹素密度。之后，使用对称修饰符，将再次形成初始图形。

不把繁琐的工作留到最后将有助于保持最佳的生产率。

更多精彩图片 请登录

High Poly
For high poly, I usually use support loops with a new editable poly layer, which allows me more versatility in removing it and returning to the advanced blocking state.

In the final polishing, OpenSubdiv is applied. This modifier helps to maintain a smoother and more uniform bevel.
高聚
对于高多边形，我通常使用带有新的可编辑多边形层的支持循环，这使我在删除它并返回到高级阻止状态方面具有更大的多功能性。

在最终的抛光中，应用OpenSubdiv。此修饰符有助于保持更平滑、更均匀的斜角。

更多精彩图片 请登录

Another point to highlight is the use of floaters, which help to define the object with more detail without the need to work in such a destructive way in the advanced blocking. It tends to work very well on flat surfaces, avoiding artifacts on the normal map.
要强调的另一点是使用飞蚊症，这有助于更详细地定义对象，而无需在高级阻止中以破坏性的方式工作。它往往在平坦的表面上工作得很好，避免了法线贴图上的伪影。

更多精彩图片 请登录

To model a high poly, focus on achieving an optimal result no matter how many support loops are applied, as long as pinching in the mesh is avoided.

A quick and easy way to identify such artifacts is to apply materials in the model that have a high specular.
要对高多边形进行建模，只要避免网格中的夹紧，无论应用多少支撑回路，都要专注于实现最佳结果。

识别此类伪影的一种快速简便方法是在模型中应用具有高镜面反射的材料。

更多精彩图片 请登录

To apply organic details to the model, I used ZBrush. In the bandages, I used a cloth alpha that I applied in the surface modifier adapting the scale and depth to reach the level of detail I wanted. In some parts of the model, I used the Chisel brush to draw grooves that appeared in the concept, since traditional modeling in 3ds Max would have been more complex.
为了将有机细节应用于模型，我使用了ZBrush。在绷带中，我使用了在表面修饰符中应用的布料 alpha，调整了比例和深度，以达到我想要的细节水平。在模型的某些部分中，我使用 Chisel 画笔绘制概念中出现的凹槽，因为 3ds Max 中的传统建模会更加复杂。

更多精彩图片 请登录

Low Poly
The reason why I like to work with 3ds Max is that you can organize the project by layers using any kind of modifier. I usually use advanced blocking, adjusting some vertices with Target Weld to start with a good base. In this case, as the model is complex and has many internal parts, the topology density seems to be higher. Besides, I have respected some booleans and screws whose result in the final model was nice. The idea was to keep a functional object that would look interesting in the portfolio, although it could be perfectly applied in a video game.
低聚
我喜欢使用 3ds Max 的原因是，您可以使用任何类型的修改器按图层组织项目。我通常使用高级遮挡，使用Target Weld调整一些顶点，以从良好的基础开始。在这种情况下，由于模型很复杂并且具有许多内部部件，因此拓扑密度似乎更高。此外，我尊重一些布尔值和螺钉，它们在最终模型中的结果很好。这个想法是保留一个在产品组合中看起来很有趣的功能对象，尽管它可以完美地应用于视频游戏。

更多精彩图片 请登录

Once the UVs have been made, the symmetry modifier is applied to the parts that require it, which will complete the whole model. Remember to move one unit in the pieces that have symmetry – this will avoid problems in the baking.
制作UV后，对称修饰符将应用于需要它的零件，这将完成整个模型。请记住在具有对称性的块中移动一个单元 - 这将避免烘焙问题。

UVs
To maintain a good resolution and quality in the textures, it is important to optimize to the maximum the space of the UVs. The cuts are made manually in 3Ds Max – this way, I make sure I can hide them better. In some internal and less visible parts, I reduce the scale, so that I get more texel density, usable in the parts of greater exposure. For this gun, I used two 2 k texture maps and 1k per meter texel density.
副总裁
为了在纹理中保持良好的分辨率和质量，将UV的空间优化到最大是很重要的。剪切是在3Ds Max中手动完成的 - 这样，我确保我可以更好地隐藏它们。在一些内部和不太可见的部分，我缩小了比例，这样我就获得了更多的纹素密度，可以在曝光更大的部分使用。对于这把枪，我使用了两个2 k纹理贴图和每米1k纹理密度。

I always like to keep order and direction in the shells. For this, I use the RizomUV tool, with which I pack them. I used to do it manually, but with highly complex objects it is better not to waste so much time.
我总是喜欢在壳中保持秩序和方向。为此，我使用RizomUV工具，我用它来打包它们。我曾经手动执行此操作，但是对于高度复杂的对象，最好不要浪费太多时间。

更多精彩图片 请登录

Baking
Before starting with baking, it is necessary to apply the smoothing groups on the model, to avoid gradients in the normal map. An easy and effective way is to use the TexTools tool and choose the option "Smoothing Groups from UV Shells".

Be careful! In my case, creating a gun with symmetry in several pieces, you have to correct the smoothing group at the point where it is generated. It is enough to put the same group number.
烘
在开始烘焙之前，有必要在模型上应用平滑组，以避免法线贴图中的渐变。一种简单有效的方法是使用TexTools工具，然后选择“从UV Shell平滑组”选项。

小心！在我的例子中，创建一个在几个部分对称的枪，你必须在生成平滑组的点上校正它。输入相同的组号就足够了。

更多精彩图片 请登录

In this case, I have used Marmoset Toolbag for baking, although other times I use Substance 3D Painter. To get a good quality of maps, I recommend doubling the resolution of the final textures. In my case, I have set 8K.
在这种情况下，我使用Marmoset Toolbag进行烘焙，尽管其他时候我使用Substance 3D Painter。为了获得高质量的地图，我建议将最终纹理的分辨率提高一倍。在我的情况下，我已经设置了8K。

更多精彩图片 请登录

In the AO map properties, I recommend removing the Two-Sided option if the model has floating parts, since the shading will be painted on the bottom surface, and we don't want this to happen.

The Floor Occlusion adds additional shading in the lower areas of the model, adding more depth and volume. Later, it could be reduced in the texturing program if necessary.

Ignore Groups will help to maintain a uniform AO between different baking groups. In my case, I had to move the animated parts and some internal parts so that they would not be affected by the shading.
在AO贴图属性中，如果模型具有浮动零件，我建议删除双面选项，因为着色将绘制在底面上，我们不希望发生这种情况。

地板遮挡在模型的下部区域添加了额外的着色，从而增加了更多的深度和体积。之后，如有必要，可以在纹理程序中减少它。

忽略组将有助于在不同的烘焙组之间保持统一的AO。在我的情况下，我必须移动动画部分和一些内部部分，以便它们不会受到阴影的影响。

更多精彩图片 请登录

I recommend taking a look at this tutorial by Joe Wilson, in which he shows several general baking specifications in the Marmoset Toolbag that are key to obtaining a professional result.
我建议您看一下Joe Wilson 的本教程，他在其中展示了 Marmoset 工具袋中的几种一般烘焙规范，这些规范是获得专业效果的关键。

Texturing
Before I start texturing, I consider what kind of materials will define my model. For this reason, it is highly recommended to delimit solid references first.
纹理
在我开始纹理化之前，我会考虑什么样的材料会定义我的模型。因此，强烈建议先分隔实体引用。

To create the textures, I start with a new scene using the Preview Sphere template. I disable all filters and effects to leave the material blank. To get a realistic result, I usually apply a base color followed by a couple of light and dark color variations. I also add different levels of roughness, such as height microdetails and single macro details.
为了创建纹理，我首先使用“预览球体”模板创建一个新场景。我禁用了所有滤镜和效果以将材质留空。为了获得逼真的结果，我通常应用一个基色，然后是几个明暗颜色变化。我还添加了不同级别的粗糙度，例如高度微观细节和单个宏细节。

The exercise of moving away from the screen to contemplate the whole composition is highly recommended, as it helps to clarify the main idea.

Afterward, the sphere can be converted as a smart material and brought into the main scene of the model.
强烈建议从屏幕上移开以思考整个构图的练习，因为它有助于澄清主要思想。

之后，球体可以转换为智能材质，并带入模型的主场景。

更多精彩图片 请登录

I have made some details in Photoshop and imported them as alphas to have more precise control of their position, color, and roughness. I have also created some decals that appeared in the concept as shown in the picture.
我在Photoshop中做了一些细节，并将它们作为alpha导入，以便更精确地控制它们的位置，颜色和粗糙度。我还创建了一些出现在概念中的贴花，如图所示。

更多精彩图片 请登录

更多精彩图片 请登录

At the end of each set, I like to add the sharpen modifier with a very low value to finish defining the overall detail of the textures.
在每组结束时，我喜欢添加值非常低的锐化修饰符，以完成纹理的整体细节定义。

Animation
In this process, I basically changed the pivot point of the animated parts, which I used as the main gear. In 3ds Max, the way to animate by frames is quite simple: add a frame and activate the Autokey in the initial pose, move the frame slider to the desired point and make the movement. In my case, I only had to use the rotation gizmo on all the pieces of the weapon.
动画
在这个过程中，我基本上改变了动画部分的枢轴点，我将其用作主要齿轮。在 3ds Max 中，按帧进行动画处理的方法非常简单：添加一个帧并在初始姿势中激活自动键，将帧滑块移动到所需点并进行移动。就我而言，我只需要在武器的所有部件上使用旋转小工具即可。

3D VFX
When I saw the effects of the projectiles, I decided to combine 3D and some retouching with Photoshop. Since this part of the model is more visual than technical, if it were applicable for video games, it would be done with sprites – this way, a much lower load of textures and geometry would be achieved.
3D 视觉特效
当我看到弹丸的效果时，我决定将3D和一些修饰与Photoshop结合起来。由于模型的这一部分更具视觉性而不是技术性，因此如果它适用于视频游戏，则可以使用精灵来完成 - 这样，将实现更低的纹理和几何体负载。

更多精彩图片 请登录

Once the effect was modeled, I made the UVs of the general sword and I added an emission material with transparency in Substance 3D Painter.
一旦效果被建模，我就制作了通用剑的UV，并在Substance 3D Painter中添加了具有透明度的发射材料。

更多精彩图片 请登录

For the final touches, I imported the rendering from Marmoset Toolbag to Photoshop. The intention was to give a little more action to each of the projectiles with sparks, smoke, and manual touches with the brush. Very interesting effects with black backgrounds can be found at Photobash. To apply them, make sure that the layer is in Screen mode so that the effect blends well with the main image.
为了最后的润色，我将渲染从Marmoset Toolbag导入到Photoshop。目的是用火花，烟雾和用刷子手动触摸每个弹丸多一点动作。黑色背景的非常有趣的效果可以在Photobash上找到。要应用它们，请确保图层处于“屏幕”模式，以便效果与主图像很好地融合。

更多精彩图片 请登录

Rendering
This is the moment when you have to demonstrate and visualize all the hours of work in one or several images. In my case, I wanted two types of renders: one that could tell a story, and a more technical one. Let's start with the technical one.
渲染
这是您必须在一张或几张图像中演示和可视化所有工作时间的时刻。就我而言，我想要两种类型的渲染：一种可以讲述一个故事，另一种是更具技术性的渲染。让我们从技术开始。

The first step is to change the FOV of the camera. To maintain a more general focus on the gun, I preferred to set it to a value of 10.

In order to show a good silhouette of the gun, I used three types of rim light: one-directional and two spots to provide a more global illumination. To finish giving volume, I put a fill light to illuminate the weapon in general, two key lights to create contrast in the shadows, and an overlight to define a little more the silhouette at the top of the model. The detail light is optional; in my case, it adds very interesting reflections on the golden material of the energy charger.
第一步是更改相机的视场。为了保持对枪的更一般的关注，我更喜欢将其设置为值10。

为了展示枪的良好轮廓，我使用了三种类型的轮辋光：单向和两个点，以提供更全局的照明。为了完成体积，我放了一个补光灯来照亮武器，两个关键灯在阴影中产生对比，还有一个过光灯来定义模型顶部的轮廓。细节光是可选的;在我的情况下，它为能量充电器的金色材料增加了非常有趣的反思。

更多精彩图片 请登录

To move around the space, I assigned a different camera. This way, it was not necessary to move the fixed frame of the main render. I recommend this tutorial by Emre Karabacak. Although it is for Marmoset Toolbag 3, the lighting basics are applicable for new versions as well.

I felt that the gun with a black background was too formal; I wanted to present the context of a story in which everyone could interpret what they wanted.
为了在空间中移动，我分配了一个不同的相机。这样，就不必移动主渲染的固定帧。我推荐埃姆雷·卡拉巴卡克的本教程。虽然它适用于狨猴工具袋3，但照明基础知识也适用于新版本。

我觉得黑色背景的枪太正式了;我想呈现一个故事的背景，每个人都可以解释他们想要的东西。

The importance of this render is its composition. I used a rocky material from the Quixel Megascans library and adapted its texture into a plane. The model was animated with the Energy Blade position. I moved the animation a few seconds so that the weapon was half open as if it was broken. The energy chargers are buried to the surface to distract attention from other parts of the model. Being a dual weapon, I tried repeating the model in the same scene. The result was interesting.
这种渲染的重要性在于它的组成。我使用了Quixel Megascans库中的岩石材质，并将其纹理改编成平面。该模型带有能量刃位置的动画。我把动画移动了几秒钟，这样武器就半开着，就好像它被打破了一样。能量充电器被埋在地表，以分散对模型其他部分的注意力。作为双重武器，我尝试在同一场景中重复模型。结果很有趣。

更多精彩图片 请登录

Conclusion
This is the first time I have made a weapon of this magnitude based on a fictitious concept, and the truth is that I have really enjoyed the process. The project has helped me to improve many technical aspects of hard surface modeling, texturing, baking, and rendering.  
结论
这是我第一次根据一个虚构的概念制造出如此巨大的武器，事实是我真的很喜欢这个过程。该项目帮助我改进了硬表面建模、纹理、烘焙和渲染的许多技术方面。

Never stop learning: there are many resources available, and they are becoming more and more accessible to everyone. Let nothing and no one cut your wings!
永远不要停止学习：有很多可用的资源，每个人都可以越来越多地获得这些资源。什么都不做，没有人砍掉你的翅膀！

Thank you very much to the platform for trusting me. I hope this article can help other artists to discover new aspects of this exciting world.
非常感谢平台对我的信任。我希望这篇文章可以帮助其他艺术家发现这个激动人心的世界的新方面。