AuthorAaron F. Ross
Skill Level Intermediate
- [Instructor] For stylized, non-photorealistic effects, the Arnold renderer gives us the toon map or shader and that allows us to create contours around the edges of objects, and also to map the base color with a flat ramp to give us the effect of a toon shader or a cartoon cell. The first step is to make some changes in the render setup dialog. Let's go in there to render setup. I've got it set up for active shade mode currently, and so the change I make here is only going to affect the active shade rendering. If I want to do a production rendering, I'll need to make those changes in the production rendering mode target, as well. But for the sake of the demonstration, I'm going to be using active shade mode. I'll just do a quick render of this without any toon shading so that we can see what that looks like, click render. Once that's completed, I can make a clone of that rendered frame window and just minimize that, store that off to the side to compare later. And in order to get contours, you'll need to enable that in the render setup dialog. Go to the Arnold renderer tab and scroll down a little bit until you see a rollout labeled filtering. Change the type over to contour, and when this is enabled, we'll be able to add an Arnold map to an object and play around with the contour settings in there. The width here is the greatest width of the contour lines in pixels. We can reduce the width within the material or map, but we can't go any greater than this value. All right, now let's close render setup and open up the material editor. The material assigned to the character's head is actually a multi sub object material, and so that I don't lose the assignments of that, I'm going to grab the material from the selected object, select the character's head, and in the material editor, go to the menus and choose material, get from selected. And we see that we've got a multi sub object material assigned to the head, and it's got two physical materials. The skin and the interior of the mouth. I'm just going to replace this skin material with the Arnold toon. That's actually a map. Let's load it into the graph. Right click and from the popup menu, choose maps, Arnold, surface, toon. And it can't be plugged directly into a node that's expecting a material because this is a map. So we'll need to convert this map to a material. Click and drag on the output of that toon map and release the mouse. From the popup menu, choose materials, Arnold, utility, map to material. So now we've got a toon map and it's being converted to a material and we can then, in turn, plug that into and put one on the multi sub object material. And we see that character's face turns gray. All right, we don't need this physical material anymore. We just select that and delete it. Let's clean up our graph a little bit here. Drag a rectangle around everything. Right click on any one of those nodes and choose hide unused nodes lots just to make everything smaller, and then we can clean up the graph. Click on layout children, and then also I can zoom in to 100% and we can see the structure here. Let's rename things. We've got a map to material node here. Double click on that and call it skin toon material. Then also select the actual map node. Double click it, rename it, as well. Skin toon map. We've got the parameters exposed here. We don't see any contours yet in our active shades, so we might need to refresh that active shade rendering just by clicking active shade on the main toolbar. And once we do that, now we see it gets some toon lines. Those toon lines will appear anywhere on the silhouette of that material. And over here, we've got some settings. For example, we have the width. We can reduce the width. Bring it down to, for example, 0.5, and we'll get a much narrower toon line. It almost kind of disappears now with a width of 0.5. Bring that back up to one. Most importantly, we have the angle threshold here in edge detection, and that will determine where the edges will be drawn. As we lower the angle threshold, we'll see more and more contour lines. I'm going to bring this down to a very low value of five degrees, just for illustration purposes, and so now we can see anywhere the surface has an angle of five degrees will get a toon line. The edge detection mode is set here from a pull down list. The default is shading normal, and that's what we usually want, but we can change it over to, for example, geometric normal, and that will show us how the edge detection is going to be based upon the angle between adjacent polygons. But in fact, the best option really is shading normal. While an angle threshold of five degrees is giving us some extra edges here, but it's looking a little bit too strong. These edges are too thick. But we do want a thick edge around the material or on the silhouette. And if we scroll down here a little bit, we'll see that there is a section, in fact, for silhouette and that will override the settings here in edge. And just to make it clear, what's going on, I can click on the edge color and change that to something else like a bright red. Now all of the edges, including the silhouette, are in red. Go down into the silhouette section and turn on enable silhouette, and now we see two different colors. We have the edges and then we have the silhouette. The silhouette settings here override the global edge settings. So we might want to do something like have a full-strength silhouette width but reduce the width of the interior edges here. I can go up here and set the edge width scale for the global edge to 0.5 and bring the edge color back down to black. Waiting for that to update. And now we are getting some subtle edges on the interior here. And of course, we can play around with the angle threshold. Maybe bring that down one more degree to a value of four. And if you want thicker edges overall, then we can go back into our render setup dialog, back into the filter settings, increase the width of the contours to three pixels and we'll need to click render to refresh that. Once that's completed, we can compare it to the rendering we made previously. I've got it minimized down here. And we can see that we've given it some contours, but we also still need to provide a cell-shaded effect for the base color. We'll see how to do that in next week's movie. And that's the basics of applying contours using Arnold Toon.
3ds Max 2017: Advanced Lightingwith Aaron F. Ross2h 52m Advanced
3ds Max 2017: Advanced Materialswith Aaron F. Ross2h 34m Intermediate
3ds Max 2019 Essential Trainingwith Aaron F. Ross10h 39m Intermediate
New This Week
3ds Max: Tips and Tricks
- Mark as unwatched
- Mark all as unwatched
Are you sure you want to mark all the videos in this course as unwatched?
This will not affect your course history, your reports, or your certificates of completion for this course.Cancel
Take notes with your new membership!
Type in the entry box, then click Enter to save your note.
1:30Press on any video thumbnail to jump immediately to the timecode shown.
Notes are saved with you account but can also be exported as plain text, MS Word, PDF, Google Doc, or Evernote.