AC Cobra Modelling Challenge Outcome

I'm really happy to conclude this little project I've had on the fly, a Car Modelling Challenge. The primary objective of the project was (as per the description) to focus on the modelling of a vehicle. I chose the AC Cobra 427 partly because it's iconic curved bodywork presented a challenge as it would clearly force me consider the changes in its geometry, the curves as pinch points: and partially because I've always been fascinated by the vehicle, even as a kid. I still had one of those 1:30 scaled toys of the Cobra on my window seal.
All in all it's been nice to develop my ability to model accurately, render, texture and composite.

AC Cobra 427 Outcome Cam 01

AC Cobra Outcome Camera 03

Product Rendering: The Watch

Just a quick one, I thought I would share this nice watch I designed and made inside 3DS Max. The larger learning curve for this mini project was working with advanced shaders to produce realistic rendering results. I took my light rig from the previous post (Automotive Design project) and altered some values. Leave any comments, questions or suggestions below. Ta.

Fig.1 Model Untextured

Fig.2: Advanced Metal shader 

Fig.3 Advanced Leather Shader

Fig.4 Final Outcome

Fig.5 Final Outcome Wireframe

Rendering RealisticFruit.

As part of practise I'm frequently required to create small objects like pieces of fruit. This requires me to model a basic object and UV map it. I then move into photo shop whereby I will build a repeating texture. See the below example whereby I've used these techniques to create a realistic SSS2 shader for an orange, apple and watermelon.
I've also added a quick render of plant leaves so you can visualise how the 2 sided VRay Material can be used to create transparency for petals.

Fig.1: The orange 

Fig.2: The orange shader network.

Fig.3 Two sided Vray material used for transparency on petals

Fig,4: The Apple 

Fig.5 The watermelon

Fig,6 Mirroring a cut with the watermelon UVs to create a mirrored seamless texture

Interior Vis: Modelling

I keep on pushing myself with a variety of personal projects. In my second interior visualization in 3DS Max I'm coming towards the end of the modelling process. This involves modelling assets to populate the scene (consequently to make it look more interesting).  See below are a series of pictures of just some of the assets I've been modelling lately. In some of these assets such as the sofa I used Marvelous Designer to simulate realistic folds and bends in the fabrics which you simply couldn't achieve inside Max. 

Fig.1: A sofa asset featuring cushions simulated from Marvelous Designer.

Fig.2: A Lamp. Creating a VRay blend material of a lightmtl and a glassy plastic was key in producing this lit effect. 

Fig.4 The Room Step One

Fig.5: The Room Step two 

Fig.6

Fig.7

Fig.8

Bourbon: Texture Modification

Before I jumped into rigging I wanted to make some basic texture changes to my character, Bourbon. For starters the blue and yellow/cream fur diffuse was too punchy and bold. I opted to a paler shade of yellow and a still strong copper brown colour as I still wanted my character to reflect a stylised approach rather than realism. I also made some adjustments to the Nut texture on the helmet and pads. I'm fairly happy with his overall look now, although I think I will come in and tweak textures between the rigging process (the carrots for example could do with an SSS2 MTL and I would also like to add a logo to the chest plate). 

Fig.1 Bourbons fresh new colour range. 

Fig.2 The Raw output of the Complete Map 

Fig.2 displays a simple 'length map' for the VRay fur, which utilises monotones to determine a the length of a hair on the basis of 0-100% (black to white value). To produce such a map I used the 'render to texture' tool and rendered a complete map, placing a VRay Dirt MTL into the diffuse channel of a  100% self illuminated white standard 3DS Max shader. I then had to analyse the complete map and paint over a few sections (such as the nose) where I knew no hair would exist. The VRay dirt basically allowed me to bake an ambient occlusion channel across Bourbons UV texture space, meaning objects such as the bag straps and the military vest which previously were penetrated by the hair were now being shortened to a degree in which they were no longer. 

Bourbon: VRay_Fur and Block Texturing

After getting Bourbon modelled I've gone straight into UV/ Block texturing.The textures I have used so far are by no means the final look but a place holder for me to think upon before I come to the final render. 

To make Bourbon look more bunny like and friendly I've also used the VRay fur modifier. Whereby I toggled with the thickness and length until happy and also added an opacity map onto the chest and nose so that those details weren't occluded. 

Fig.1: VRay Fur Base

Fig.2 VRay Fur Toggling Presets 

Fig.3 Texture Blocking

Fig.4: Texture Blocking (Rear)

Fig.5 Texture Blocking Complete

GOW_LAV Concept Final Render

The Hardcore modelling challenge has been a busy few weeks which have pushed me to get something out of 3DS Max as quickly and efficiently as possible. I'm glad to be approaching my final few renders now, with the debate once composited weather I should try to attempt to create a shock wave effect from the main turret by exploring particle systems or possible environment Fog.

It was also nice to move into Photoshop after so much time and effort spent in 3DS Max, to switch things up with a bit of compositing this afternoon.

 Here is how it's looking so far, I'll have a high quality render with a few changes tomorrow.  

Fig.1 Final Composite 01

After a few tweaks, plus rendering out various passes for the tank I have come to my final render for the Hardcore modelling challenge (see below). 

Fig.2 The Final Render

Fig.3 The Final Render 1600x1200px

(format required for the competition).

Fig.4 :Front Orthographic

Fig.5: Side Orthographic

Fig.6: Aerial Orthographic

Fig.7 Wireframe (1600x1200px)

Fig.8: Wireframe (1920x1080 px)

GOW_LAV Tank Texture Blocking.

Yesterday I started the task of texture blocking my GOW_LAV Tank concept, my main focus to add a cool camo pattern onto the model and strat to get some colour in there.
My next task will be to add some nice bumps, displacement and dirt to the textures before the final pass.
Also a quick note on the default VRAY HDRi sky background; I'm thinking of rendering an alpha pass so I can include a matte painting/ photograph behind the image of sand and tank. For now here is my latest progress.

Fig.1 Making a start to the texture blocking

Tornado GR4

Recently I've been working on this beauty, modelling a Tornado GR4 to scale in 3DS Max. The aim of this project was to develop all of my existing skills in Max and VRay by taking a real world vehicle and building it from scratch. I may some point later add a simple rig to the retractable wings, landing gears etc, but for now here are some pics highlighting each stage of the pipeline so far. 

Fig.1: Modelling (Aerial View)

Fig.2: Modelling (Shot Cam)

Fig.3: UV Layout (Aerial View)

Fig.4: UV Layout (Persp Cam)

Fig.5: Texturing Stage 01 (Shot Cam)

Fig.6: Modelling Stage 02 (Aerial View)

Fig.07: The result so far 

Using 3DS Max and VRay to Create a Hyper real Still Life Set

Overview:

The main objective of this task was to develop my skillset in VRay by pushing myself to make a hyper real still life set. 

I used the VRay Blend materials of an SSS2 shader and a standard VRayMTL for the plants and fruit. The helped me get nice glossy reflections over the fruit whilst applying sub-surface scattering. 

Throughout the scene I used some of Max's standard maps such as Fractal noise, cellular maps and dent maps to add some extra details into the renders. 

Fig.1

Fig.2

Fig.3

Fig.2 and Fig.3 show how my model changed a lot throughout the progression of this project. The cabbage for example was completely remodelled after I took photographs of real cabbage leafs to develop an opacity map for each individual leaf. 

Fig.4 The Final Result

Interior Visualisations in 3DS Max. Lighting and Texturing

This post displays a step by step for the lighting and texturing process for my interior scene.