Skill Level Intermediate
- [Instructor] For non-photo realistic or cartoon shading, the 3ds Max scan line renderer offers a material called Ink 'n Paint and we'll use that material to give a cartoon or toon shading look to this fruit bowl here. And let's go ahead and open up the material editor and in the materials section under general we have Ink 'n Paint. Drag that over into the view and double click it to load its parameters.
Let's rename it. This'll be for the lemons so I'll call it lemon. And over here in the view port select the lemons, hold down control and select all of those and with the lemon node active in the slate material editor, click on assign material to selection. And those have now turned blue which is the default color of the paint. Let's do a rendering of that. Click on render production. Here's the default look that we get.
Let's improve that. First of all of course, let's make it yellow. Click on the paint swatch and give that a bright yellow color. Then we have the number of paint levels and we're not really seeing any paint levels here, just looks like a flat constant value. As we increase the number of paint levels, we'll see more bands of color. Let's say we bring this up to a value of five and do another render. Now, if we look closely we'll see some bands of color and those are based upon the lighting in the scene.
We can make that more exaggerated by going back into our parameters. We have a shaded section here and by default the parts of the object that are in shadow are going to be the same color as the lighted areas but we can make them darker by disabling this switch and when it's on then this value here, this number indicates the intensity of the shaded region. When that's off then we can specify a shaded color and we can see that over here in the swatch, if I double click on that and make it larger.
Let's make this black. Click on that and just bring its value down to zero and also let's put some shiny highlights on the skin of the lemon, so turn on highlights and make the highlights a little bit smaller by increasing the glossiness amount here to a value of 70 and do another render. Okay, that's pretty good but we don't really have a lot of control over how these bands of color appear on the surface. All we could do is change the lighting and I don't want to do that, I want to be able to art direct this a little bit more precisely and so, instead of using these paint levels here, I'll plug in a gradient ramp instead.
Let's bring the paint levels down to the minimum which is one, and then click on the no map button here in the lighted section of the paint controls, and from the material map browser choose gradient ramp and click OK and now I've got a gradient ramp connected. I'll pan over there with the little mouse button. Double click on that and let's name it diffuse lemon. In the gradient ramp parameters let's set the gradient type to lighting and that's just basically going to orient the gradient according to the position of the light source in the scene and the interpolation will set to solid.
For this first flag here let's set that to a dark yellow. Right click on that flag and choose edit properties, click on the color swatch and for the hue we'll make it 40 and the saturation the maximum of 255 and the value 90. We'll create another flag here. Just click in the yellow area and this new flag will inherit that color. Let's set the position for the new one to 35 and then over here set the value for that new one to 170 and we need one more.
Click in the yellow area once again to create another flag and we'll set its position to 95 and set its value to 255, a very bright yellow. Now we have an extra flag here we don't need, so let's just right click on that and delete. Okay, so we've got a gradient ramp that's being driven by lighting and that's now plugged into the Ink 'n Paint lighted area. Go ahead and do another render.
Alright, now I have the ability to art direct the positions of these various color bands. I can go back into the gradient ramp here and move these around and change how the shading occurs. Let's add a bump map. Go back to the lemon material, double click on that Ink 'n Paint node, and the bump map is found in the basic material extensions at the top. Open that up and in the bump channel click on no map and the material map browser, let's do a cellular, double click on that and it's connected.
Let's double click on it and in its parameters rename it, we'll call it bump lemon. We need to invert the colors, so just drag the white color swatch down onto the black one and choose swap and now they're reversed, and let's just reduce the size as well down here to a value of .2 and we'll render that. Alright, this is really starting to shape up. We can also play around with the ink here which is the black lines on the edges.
We'll go back to our lemon material, double click on that and we have the ink controls down here and the ink is going to appear on the outlines by default and we'll have the ink width here, we got the minimum width. Let's make it a variable width, so turn on variable and we'll set the minimum ink width to a value of 1.5 and the maximum to a value of five and also enable clamp which will use this full range here.
In the 3ds Max help documentation it says that the ink width is in pixels and you would assume that that meant if we changed the resolution of our rendering, the ink width would remain constant but in fact, the ink width will change to accommodate the size of your render. So, it's not actually in pixels and that's a good thing because you can change the render resolution without changing the look of your ink, okay? So, let's do a render of that.
And now we've got a little bit thinner lines and it'll look better when we do a full screen rendering. So, that's just for one of the objects here, just one material but I've actually included the materials for all of the objects and you can analyze those. If we go into the material map browser and scroll down to the bottom of this file, in the sample slots I've got materials for all the objects and you can analyze these and figure out what I've done.
So for example, I've got the bowl here. Let's drag that over, drag the bowl over and choose instance and it's got a more interesting shading network in which I've actually got a dent for the bump map and I'm using a ray trace map to capture reflections in the scene and combine that with a lighting through a composite node. So, you can analyze all those materials and see what I've done. Let's take a look at the final rendering.
And that's the basics of how to use Ink 'n Paint to achieve a non-photo real toon shading look.
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