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So let’sstart:

1. Createa scene in 3D MAX.
2. Go to Geometrya Geosphere and create a new spherewith the radius equal to 132 (Actuallyit doesn’t matter what radius you are going to use).
3. Name the sphere as “Planet”.

3. Planetmaterial.
CreatePhong material.
Set basicparameters as follows:
Specular level — 500
Glossiness — 35
Soften — 0,1

CreateFallout map for Diffuse Color. Set Falloff Type to “Shadow/Light”. Falloff will contain two maps – Composite and RGB Tint.

I usuallyuse a hard bump texture or Noise map for the RGB Tint which makes directlyreflected light unevenly distributed on the planet surface. But you can try your own technique.

I assembleComposite map from two parts: RGB Tint is responsible for thevisual depth of the shade.

Mix provides reflection color gamut.

For Specular Color map I use thesame RGB Tint material as in Falloff.

Set to Specular the map that you areplanning to use as a Self-Illumination map, if you want to create cities on thesurface of the planet of course. If not leave Specular map slot empty.

And the last but still veryimportant map – Self-Illumination. Create Falloff map again with two submaps –Falloff map and a map which would illuminate your cities (if you have any) onthe darks side of the planet. And of course set Falloff Type to “Shadow/Light”.

For the inner Falloff assign thesame map as for the previous map. But use “Perpendicular/Parallel” as a FalloutType. Then light transition on the surface of the planet will not be so sharpin the area of light and shadow division comparatively with the clouds.

And at last select any map with a good relief for the Bump. Preferably bump map should accentuate main contoursof the texture you use as a color (Diffuse) map. Set Bump amount 30.

Information:

I created this piece as a tribute to Metal Gear Solid. Base modeling in Lightwave, detailing and texturing in ZBrush, and post work in Photoshop.

The process:

I used Grey Fox from Metal Gear Solid as my main reference (Konami): ->

I decided to start with a sporty body type (Lightwave). There were no ears in the base model since they wouldn’t be seen under the helmet, and I didn’t want the extra polys. Then I exported the base mesh into Zbrush, subdividing and refining the body.

Next I began modeling the helmet. In ZBrush, I squeezed a transparent sphere around the head using the move tool. I masked out the areas I wanted to indent, and then used the negative inflate:

Make a copy of the last made layer and choose for the copy different parameters, the ones you may see below:
Fill 0%, Blending Options>Bevel and Emboss

Next we have to combine in a group all the layers composing the both web layers (press Ctrl button to mark out the corresponding layers and then hold on the left mouse’s button when moving the marked layers on Create a new group selection). Make a copy of the last represented group; choose Free Transform option to turn around the copy, placing it the same way from below:

On the next new layer (Create new layer) we’ll select the standard brush and paint out the dividing zone between the web’s halves. The color is # E9ECC

Next we’ll represent the spider, using the Pen Tool (P) and the Convert Point Tool and the color #929292 for the layer.

The layer’s parameters: Blending Options>Satin

Blending Options>Stroke

Gradient’s parameters:

Conception:

The idea of “Automaton” was born from the unique corporal images from anatomy models, crash test dummies, and mechanical dolls. I became deeply interested in the variable structure and antique mechanism of these bodies. Then, I hoped to add the pleasure of this variableness to the character I designed. In order to represent surreal images of stillness and motion symbolically, I produced the countenances before and after a change, in a symmetric composition, as if they were mirror images.

Modelling:

”Shade” was used for modeling. Most of the model configurations were produced with spline curves, and rendering was carried out with ”Callist” employed by Shade. I first produced each part, including the skull, eyes, nose, and mechanical parts, and assembled them in a balanced manner. In particular, rotation joints were incorporated into the eyelids, nose, head frame, and jaw, so that the countenance of the character can be freely changed later.

Texture mapping:

I wanted to add mechanical textures of antique machines and armors, etc. to the skin of the character, and pursued an atmosphere like the combined machine tools and aged mannequins one might find in a corner of an antique shop. As for the material for mapping, texture images were selected and used from “Total Textures CD” (v1, v2, and v5). The contents of the Total Textures CD were all amazing, and so I wondered which image to use. I was able to obtain the texture as I imagined, by combining several texture images and adjusting colors and color density..

Finished Image:

The name Nemesis, inspired from the decals Che Guevara* a revolutionar, that I put on the hood of the car. Then the Tribal design was inspired from the Ches’s hair.

So here ill explain step by step, the making of or maybe I can say the progress on how I went about creating this

Modelling:

For the Modelling, first we must have the Blueprints of the car we are making (Nissan 350Z).

You may search for car blueprint at:
http://blueprints.onnovanbraam.com
or
www.smcars.net

Here, I made a simple box, then I detached the polys part by part then imported the car prints as a material. But before, i cropped the car prints part by part. I use UVW map to make the print more fitted to the box if necessary.

Here im using Spline/surfacing method. From my progress, i start modelling the Standard version of this 350Z, then i continued to a custom version. Then, i traced the prints using Spline but make sure that the line is a (corner). Trace it through front, top, left viewports(according to the prints).

While tracing, in here i only use the “geometry” section such as Refine = to create a new vertex Create line = to draw a line (don’t forget to use Snap while using it) Weld = to weld the vertex as well as “Fuse”. Keep tracing until it looks the shape of the car. In this case, make sure all the lines are in a quad. You can fix if there are any problems when converted into poly. When your done with the caging (and make sure all the vertices are weld), apply a “surface” modifier. Threshold : 1.0 Flip normal’s if necessary* Patch topology with a 0 steps.

After the Surfacing, convert it into poly. Detach part by part such as hood, doors, and glass.

This is the hood part. You can make some thickness of the part by applying “shell” modifier. But here im just extruding the edges by using Shift + Drag the edges.

Then chamfer the edges.

When finished with chamfering all the parts, Apply a “symmetry” and “meshmooth” modifier with 2 Literations. You can also copy the symmetry and the meshmooth modifier to the other parts of the car by selecting those two, right click, copy, and paste Instance.

This is the progress mesh that’s been chamfered and meshmoothed.

When your done with the hood,im pretty sure you can follow up modelling the rest of the car. Add more details of the car such as wheels, side mirrors, lights etc.

Done with the standard version, then move on to the custom version. Here, mostly I work on polies.For the front bumper, I just extrude the poly forward, and edit some parts with “cut” tools. Keep continuing upgrading the cars. Add rear wings, and custom side mirrors.