I wanted to push myself on how far I could go, so I decided to build a piece capable to make an art statement; I didn’t want to feel that it was just another 3D model.

Being an automobile nut, I, like some of you, have had the idea of building a car from the first to the last bolt. I find out that for this task a good set of blueprints is never enough. I spent around a week collecting photographs before the beginning of the modeling process, and I was still collecting references at the end of the texturing and rendering steps.

My first advice to you will be, if you are trying to make a model above average, start with planes, boats or cars that had been restored. You will easily find part catalogues, illustrations, schemes and diagrams of objects with historic meaning. I made a quick selection of some of the GT-40 pictures I found during my research (Fig. 01).

I usually try as much as possible to start from spline cages. It comes very handy to have a tridimensional blueprint of your model; it will guide you making decisions about size, position, and where your components should be organized, even before you model the shell.

Later on, you can use the spline curves to loft panels that will be the base mesh of your car body.
Once I had my cage done, I started modeling the chassis using photo references (Fig. 02).

The next step was modeling all the components that have direct relationship with the chassis.

I always started creating primitives to establish rotation and proportions, and then I went in detail using pictures. Here once more I used techniques like nurbs revolves, lofts and extrusions than later on turned into polygons.

Finally, I used lattice and nonlinear deformers to achieve the desired shapes (Fig. 03, Fig. 04, Fig. 05).

This is a story about making of the “Restricted Area” artwork.
I won’t be speaking about modeling process or shaders settings etc. Instead of this let me tell you how the raw idea became the artwork. Sorry about a lot of text. I couldn’t do the different way.

The ideas are surrounding us everywhere. They came as they are or we can make them of things we see around. It was about two years ago when the idea of the locust-concretemixer has come to me. I liked concretemixers which went past me on the streets. The angle of the bowl with concrete reminded me the grasshopper belly. It was a moment when the idea has started. I thought how I can show the enormous heavy duty machine in shape of insect. My purpose was to force you to believe that machine is real and it able to work. I took pictures of concretemixers a lot. Analyzed these photos. Tried to understood how these machines are made and how they work. So at last there came the moment I got I must “think on paper”. So the very first sketch was created. I made it like a simple collage of concretemixer and grasshopper photos

As you can see it’s so rough then I can’t say anything about it. But after further developing this idea became more and more shaped and detailed. Not a thousand but tens of sketches were made.

I tried different variants both of technical and stylizing aspects. Attempting to moving from general to particular I’ve started to thinking over the mechanical things just after the rhythm, plastics, contour and proportions were accomplished. However all this things were changed and remade afterwards. I also made several sketches illustrating how this idea could exist if it was a different type of insect.

Little by little I fine-tuned the variants until the desired appearance had done.

Now I was faced with inventing the functionality of this machine. It means I was needed to create all the basic mechanical parts.

As usual I watched tons of reference images. It was robots, heavy duty machinery, engines pictures etc. I tried to get how such machines might look like. I was inventing and changing things during modeling. Then I was painting textures and tuning shaders. I moved to the final appearance with every new detail, every test render.

When I was completely satisfied with that model I started to think of the environment.

First the idea was to show locust-concretemixer standing on the restricted area behind the rabitz fence. We standing by this fence and looking through. But this kind of thought was changed. The sense of composition was transformed.

Picture 1. The end result could look for example like this. Notice that this is a stylized head which is not exactly realistic. For example the eyes are too big.

Human head is one of the most difficult subjects to model believably. The structure and form of a human face is so familiar to everyone that even a small fault in the 3D model is easy to notice.

This tutorial covers the 3D modeling of a human head in 3D Studio MAX using polygons. The head is modeled roughly using polygons. The head will get its final form when Meshsmooth modifier is added to it. When the Meshsmooth modifier is added to it the face becomes a so called subdivision surface. Subdivision surface means a surface which is created by dividing the original surface into smaller polygons. Meshmooth modifier does exactly this. This way the rough surface can be made rounder and smoother. The end results is a head similar to the one in picture 1. Notice that this is a stylized head which is not fully realistic. For example the eyes are too big and the ears have been simplified. However, I believe that this model could very well work as a basis for realistic geometry of a human head.

Topology, Edge loops and Poles

Picture 2. In the picture above you can see the polygon construction of the model. By seeing the construction of the model you can conclude how well the model is suited for animation.

Picture 3. The picture above is rendered so that you can see the Isolines of the Meshsmooth modifier.

In picture 2 and 3 you can see the topology and edge loops of the model. By seeing the structure of the model you can conclude how well the model is suited for animation. Edge loop means a row of edges that goes through successive four sided vertices. Four sided vertex is a vertex where four edges meet. In my opinion, in an ideal model that is made for animation edge loops are parallel or perpendicular to the movements of the muscles.

There are almost only four sided polygons (quads) in this model which is good if the model is going to be animated. One should always aim to construct the model from four sided polygons when modeling a character. There are naturally three sided and five sided poles in this model. A pole is a vertex where less or more than four edges meet. Pole ends an edge loop and might sometimes cause trouble in animation. If you want to know more about the subject I recommend reading Bay Raitt’s instructions about 3D modeling and edge loops. Another great resource where to find more information about edge loops, head modeling and 3DS MAX is www.cgsociety.com.

3D Studio MAX Tools

Picture 4. Low polygon version of the human head. This is how the complete 3d model will look like before the Meshsmooth modifier is added.

Before starting the 3D modeling one should be familiar with the following concepts and 3DS MAX tools:

• Editable poly
  • working in sub-object modes
  • copying polygons
  • weld
  • cut
  • extrude
  • create
• Symmetry modifier
• Meshmooth modifier
• Basics about materials

Reference Pictures for the 3D Head

Picture 5. Reference pictures provide a lot of help when modeling a human head.

It’s best to use real photographs as reference pictures when modeling a human head but if real photos are not available you can download pictures below.

Create reference pictures in 3D Studio MAX according to picture 5. Change Left view to Right view. Create two plane objects whose size is 512 x 512 (the same as the pixel dimensions of the pictures. It’s relevant that the proportion between width and height is the same as in the pictures) and add textures to them. Set the Self-Illumination of the materials to 100 (material will become self illuminating and therefore is easier to see).

• Human head reference picture: right
• Human head reference picture: front

Prepare the Views

Turn on Smooth + Highlights (F3) and turn off grid (g) in all view ports. Set the width and height segments to one in both plane objects. The head is considerably easier to to create when we can model according to the reference pictures in the background.

Page 2: 3D Modeling a Mouth in 3DS MAX

Hi there, I have chosen one of my own digital paintings, “Macaw”, for this step-by-step demonstration. Here im working in Artrage, to have a painterly look. Working in Artrage is like doing a real painting, one has to do things manually and that’s what I love about it.
An important note here, is, that though I am writing down all the steps, there is a whole process of thinking behind each stroke and there is no rule, nor any formula for that, you have to follow your instincts with spontaneous actions to bring out what is there in your mind.
I am sure my method of painting would help you in some way or the other.
What you see here, is my very personal style, so rather than copying each and every step, I am very sure that you will be developing your very own distinct style, an ultimate goal of a real artist.About this painting: I will paint in an impressionistic manner, with no definite shape, I will suggest things, make impressions of shapes, light and dark. I think, visible, expressive, brushwork gives interesting texture and character to a painting as compared to those over blended strokes.

Note: No tracing, no painting over, no initial sketch, I start directly with a brush and patches of color.

Step 1:Using a tablet, I start by blocking in the main shape first, with no detailing at all. Divisions and composition is all that matters at the moment.

Step 2:Refine the basic shape. Just in masses of color. I work on the background as well, with some color that I plan to have in the end.Note: One must know how to draw well before going into this style of painting, though I don’t sketch/draw first when I paint (even in real painting), the drawing knowledge/rules help me throughout. When we sketch on a canvas with pencil first, we often end up with a colored drawing rather than a painting.

Step 3:I add patches of light.

Steps 4 and 5:Do some blending and apply more strokes. Thin strokes this time, keeping in mind the feathery look, which is required. Still, no detailing at all. Direction of the brushstrokes is important. I go to build the composition as a whole, working on related areas simultaneously with small strokes of paint.

Step 6:Now I start building up the form. Blending the strokes, to achieve volume. Random scribbling and strokes that define the direction of the feathers are applied.
Lay in bold pattern of value, until the subject begins to take shape. Reduce the subject down to a large mosaic of shapes and values. As the painting takes shape, I start modeling each of the individual items, like the beak, face, feathers etc.
I plot the light and dark tones of the feathers using various mixes of orange and red. I apply them rapidly and don’t bogged down in detail, concentrate instead on capturing the gestures of the feathers.

Step 7:
I go for the background now. Add more color and shapes, for a better composition, I usually add or subtract things during the process, like an On The Spot Decision. I give some attention to the background as well. Apply some color, contrasting with what I used in the foreground. Again, there is no rule for such actions, just follow your heart and put strokes to balance things according to your own instincts.

Step 8:

I see some strokes for the feathers look too strong for the moment, so I blend them more.

I usually work on the entire canvas at a time. Analyzing every area and working every where at the same time. I keep on observing, balancing stuff, subtracting and adding things to get what I want. I don’t finish any one particular part at one time, esp. when I am painting in this loose manner. I keep my brush moving and working on all areas of the canvas/picture plane..

Step 9:I decide to work on the face now, I painted over the eye, which was just a spot, I applied in the start for the placement. I did add some suggestion of texture on the face as well. That ill be defining later. Note, that I keep on working on the feathers and beak as well, adjusting everything all the time as I proceed.

Software Used: ZBrush 3.1, 3ds Max 8, Mental Ray & Photoshop CS3

I’d like present in this article the process of creation of my latest work, “The Guards” (Fig.01).

Fig.00

Fig.01
I outlined a quick sketch using pencil on paper, and then realised that it was necessary to extend the hind legs – so I did (Fig.02).

Fig.02
As I was working on the sketch I remembered the work of another artist, and with that the concept of a jumping creature was born (Fig.03). I even did a sculptural sketch in ZBrush, but gave up on it (Fig.04). I wanted the monster to be of my own design and creation, right from the end of the tail to the tips of the tusks. Which is why, the next day, I started with the primary planning in ZBrush.

Fig.03

Fig.04
I started from ZSpheres, lining them up to create a basic form, and then modelled from there (Fig.05). I continued sculpting and establishing the basic masses. When you model anything in ZBrush, it’s much more comfortable to work with two monitors. On one, have your sketch and reference images on the musculature, and so on, and on the other have your ZBrush work open. Most attention needs to be given to the anatomy of your model. Even if I’m modelling a fantastic creature, I always start off with the anatomy of animals that are most similar to my concept creation, for better understanding whilst I sculpt, making for a more believable model.

Fig.05

At this stage, before creating a model of the horseman, I tried the model of the BMP out with a basic male model to determine the correlation between the sizes of man and beast. Once I was happy, I could continue modelling further (Fig.06).

Fig.06

Here I started to work on the protective leather straps on the body by creating new Subtools. For this purpose it was necessary to mask the areas of the surface which I wanted to extrude (Fig.07 – 08).

Fig.07Fig.08
By the way, I was asked a question: What is the growth protruding from his back? Well, it’s a light, such as some fish have in the deep sea (Fig.09).

Here I made some time to incorporate a horseman and detail his clothing. Taking advantage of the Transpose tool, I gave the man a suitable pose and approximately set where the fabric of his garment would hang on him (Fig.10).

Fig.09Fig.10
Whilst creating the fabric, I decided to stop detailing it; I had it exactly where I needed it, covering the man’s torso, flowing in the wind. I make a few trial sketches of the fabric in ZBrush and realised that something was missing … it didn’t look vivid enough. To fix this, I exported the low poly model of the man into 3ds Max and used the SimCloth plugin, simply putting the fabric on a low poly “doll”. The result was already much better, it was still not quite what I needed. I then made an attempt to make the fabric more dynamic, and I created a short animation of the doll, turning him clockwise and a slightly sideways. To reflect the flow of the wind on the fabric I created a few animated objects; I tried playing with the variants of their motion, but the final result didn’t really satisfy my needs (Fig.11). The only option was to complete the desired effect in ZBrush.

Fig.11
I applied a Shell modifier to the designed piece of fabric which gave the material its thickness. I then took it back into ZBrush where I smoothed out any excessive unevenness, and continued with the detailing. Here’s how it turned out for me in the end (Fig.12).

Fig.12
When the design was finished, the most labour intensive process came: retopologising, starting with the stone, making make sure that the textures would all fit properly and to avoid the texturing process becoming too complex (Fig.13). With the stone retopologised, I did the same for all the other objects in the scene (Fig.14).

Fig.13Fig.14
I used the programme Unfold3d to generate the UV maps, and then loaded the unfolded objects back into ZBrush (Fig.15).

Fig.15
Fig.16 shows the stage with all objects combined.

The time then came to start incorporating the textures. First and foremost, I took everything apart in local colours, making it easier to do the work (Fig.17).

Fig.16Fig.17