3D Artwork A Hidden Treasure Created by Iasonas Raptopoulos

WIP-A hidden treasure © Iasonas Raptopoulos

Iasonas Raptopoulos

A hidden treasure © Jason Raptopoulos

The nostalgic Alfa Romeo racing car is created by Jason Raptopoulos (Iasonas Raptopoulos), a 3D generalist from Greece. Made with 3ds Max, Substance Painter, Marvelous Designer, Adobe Photoshop and After Effects, the project took Jason about one and a half months, which brings a feeling of warmth and nostalgia. Let’s find out how he made the beautiful 3D artwork in the exclusive interview with the best cloud rendering service provider, Fox Renderfarm.

Alfa Romeo is a company with a long history in the automobile and motorsport industry. As a huge car lover, Jason Raptopoulos, the 3rd place winner of Hum3D Car Render Challenge 2020, chose a rare model of Alfa Romeo that few will know of as his inspiration.

Jason Raptopoulos

  • Jason Raptopoulos (Iasonas Raptopoulos)
  • 3D artist / Generalist
  • Greece

Hit the link to find out how he made the amazing artwork.

How To Create A Nostalgic Alfa Romeo Racing Car With 3ds Max

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How to Make a Sci-fi Spaceship with 3ds Max(2)
How to Make a Sci-fi Spaceship with 3ds Max(2)
Your private cloud rendering service provider, Fox Renderfarm, is still sharing with you the production of how to make a Sci-fi spaceship with 3ds max. Rendering The background production directly used a previous project and made some modifications according to the reference diagram. The lighting adopts the sunlight and skylight of V-Ray. When rendering, the spaceship and the background are rendered in layers, and the background does not require too high parameter settings. The final rendering of the background, The sky in the background is not directly rendered, but a sky map is directly synthesized in Photoshop. What needs attention is the color of the water surface. If the sky is blue, then the water, buildings, and especially the reflection-sensitive things in the scene must be changed to blue. After background synthesis, The last is the rendering and post-production of the main spaceship. The rendering settings of the spaceship are the same as those of the background. Several important points to note are, First of all, the material of the spaceship is a reflective material similar to car paint, so the layout of the environment is to better reflect the texture of the car paint. When I tried to render the car paint in the initial stage, it felt very fake, without texture, and the actual material is not necessarily the material. It is not adjusted properly, but it just ignores the influence of the environment on the reflective material. At the bottom of the spaceship, I made a "plate" whose function is to give a darker reflection to the bottom of the spaceship to achieve the effect of the virtual ground. The key point is to pay attention to the height, and remember not to exceed half of the spaceship. The final rendering effect, It can be seen that the background and the spaceship are too integrated. Next, I used a few basic tools to adjust the color of the entire scene. After adjusting the color, it can be seen that the sky contrast has been strengthened and the overall tone has been unified. Finally, add some small details: add lights.
How to Make a Sci-fi Spaceship with 3ds Max(1)
How to Make a Sci-fi Spaceship with 3ds Max(1)
Your private cloud rendering service provider, Fox Renderfarm, is sharing an article for you this time on how to make a fish-shaped spaceship with 3ds max. Introduction This work is inspired by spoons. One day, I saw the spoons when I was eating in the restaurant, I suddenly felt that the spoons turned upside down looked like some kind of fish, and some of them looked like a science fiction-style spaceship. Suddenly I wanted to make this inspiration into a spaceship that can travel in the sky and water. Modeling After returning home, I spent one night combining some handsome sea creatures, such as whales, sharks, etc. and drew this manuscript with a pencil. Later, I thought the shape looked good, and finally decided to make it into a model with 3ds Max. The next step is more challenging for me because it is very challenging to make a 2D concept map into a 3D model. In particular, the 2D concept map will only serve as a reference work, while other angles and details need to be found from references and other materials. The road to spaceship design has just begun. In the production, I constantly modify the details, such as changing the original single tail to a double tail. I also tried to add a co-pilot position next to the tail, but after adding it, it felt unreasonable. Later, the cockpit was changed to a jet engine compartment. Two red fuel tanks were added on both sides of the tail (although some people say they are like batteries)! All models are not very difficult, but they are constantly adjusting their shapes during the production process. But this may have something to do with the person who made it, and I like it very much from the angle in the picture below, the eyes look very imposing. Because I have previous experience in industrial design, the design of the spaceship engine is not too difficult for me. The final model is completed! As long as the overall shape and parts are reasonable, well, the overall shape looks streamlined and comfortable. Texturing When designing the concept map, I have already considered the material of the spaceship. First of all, the main body of the ship is made of car paint, which is very common in industrial styling, and it is not very difficult to make. The texture of the spaceship mainly uses the standard material of V-Ray, and then some blending. This part is mainly to add different materials and textures to the 1 and 2 masks in the mixed material. The important point is that the "Falloff" map is used in the mask, and the default color sorting of attenuation is white on black. Here you should use the invert button to reverse it and turn it into black on white. 1.The setting of "Material 1" is relatively simple. It is the color displayed in the dark part after the "Attenuation" mask, so the color is black (or a dark color in a certain color system, which is close to black). "Diffuse" is pure black and "Reflection" is pure white, which means 100% complete reflection. Pay attention to check Fresnel reflection. Keep the refraction options as default. 2." Material 2" is relatively complicated. The reason for saying this is because the material in Material 2 is the "Shellac" material. You should know that its function is to change the color, highlight, and Reflection of "Base Material" and “Shellac Material”, and mixed them by the value of "Shellac Color Blend". In fact, the settings of the two materials are almost the same, but it should be noted that the diffuse color of "Shellac Material" is the color of the car paint. For example, if you want the model to be yellow, then change it to yellow here. And the diffuse black of "Base Material" is an attenuation color, so that the material can richly reflect the contrast of different angles.
3ds Max Tutorial: A “Country Shop” Scene Production Sharing(2)
3ds Max Tutorial: A “Country Shop” Scene Production Sharing(2)
Continue the 3ds Max Tutorial: A "Country Shop" Scene Production Sharing(1), the NO.1 render farm, Fox Renderfarm still share with you the production to make a country shop with 3ds Max, ZBrush, Marvelous Designer, Substance Painter, Photoshop, and Substance Alchemist. Low polygon production The low polygon production uses the high polygon that was previously sculpted, mainly to make the model clean by reducing the lines. The cloth is made using Topogun, a topology tool. Topology is a simple but patient task. Topology is divided into two ways: First, you can use editing and adjustment tools to reduce the surface and the surface to get it. You can also use the automatic topology tool, and then adjust it manually (Method: Set the number of faces first and then click the Retopologize tool) . The low polygon should be as simple as possible, but the shape of the model should be kept unchanged. UVS After the low polygon production is completed, it is the work of UVS. Before UV work, you need to divide the smooth group first, and then cut the UVS seams according to the group. Seams will affect the final texture production, so try to hide the seams in places that are not obvious or corners when working. UVS work also needs to consider the size of the texture. Baking We need to match the high poly and low poly in 3ds Max. The edge silhouette must match and overlap, and then the high poly and low poly of the same part must be named and matched, and then the normals will be baked in Substance Painter. In order to get a better normal map, an average normal and a vertical normal will be baked out first, and then the interior of the vertical normal and the edges found on average will be retained in Substance Painter. Texturing When making textures, we give priority to making the overall color and then adding details. It is easier to add details on the basis. First, I separated several types of textures and distributed them according to the workload. Each person is responsible for several different things. When making, remember to start with the whole, don't be obsessed with the details, you can also communicate with other people and give each other suggestions. When the textures are almost the same, I will add sharpening to the top texture to make the details more obvious, that is, create a new layer and add a sharpening filter. The texture production of other models also uses the same method, first the whole and then the details. Grass production The grass did not use plants. Instead, some patches were created in 3ds Max and placed where needed. After the reference processing of the grass I was looking for, a transparent texture was placed on the patch. Rendering Now you can integrate all the finished models. Before integration, you need to organize all the models, textures, and file names. The final rendering used Marmoset Toolbag because after the HDR we used in Substance Painter was imported into Marmoset Toolbag, their effects would not differ too much. For the lighting part, we use three lights, one main light source has a warmer color tone, and two auxiliary light sources have a cooler color tone. Adjust the camera to enhance the contrast and test the final rendering effect while adjusting.
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