3D Artwork A Hidden Treasure Created by Iasonas Raptopoulos
3ds Max Tutorials
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 (Iasonas Raptopoulos)
- 3D artist / Generalist
Hit the link to find out how he made the amazing artwork. How To Create A Nostalgic Alfa Romeo Racing Car With 3ds Max
3D Artwork The Mini Dream Created by Phil Derbyshire
3ds cloud rendering
The Mini Dream © Phil Derbyshire
What a fantastic and microscopic world!
Hum3D Car Render Challenge, an annual render challenge, announced the winner of 2020 recently. As the long term partner of Hum3D, the best cloud rendering services provider, Fox Renderfarm is pleased to witness that there are more and more excellent car render artworks emerging year by year. This time we are honored to interview Phil Derbyshire, the 2nd place winner of the challenge and also the special prize winner from our Fox Renderfarm team.
Phil’s award-winning artwork, The Mini Dream, shows a fantastic and microscopic world, made with 3ds Max, Redshift, Quixel Megascans, Forest Pack Pro, ZBrush, Substance Painter, Affinity Photo and Affinity Designer. Phil described the artwork,”No matter how small you may be in the grand scheme of things, there is absolutely nothing that can stop you from dreaming big!”
- Phil Derbyshire
- 3D Artist at TekVisual, LLC
Hit the link to find out how he made the amazing artwork. How to Use 3ds Max to Create A Photorealistic Car Render Giving Fairytale Mood
How to Use 3ds Max to Create A Brave Warrior
3ds cloud rendering
Bravehearts © Reyaz Alankandy
Have a look at the amazing mood, lighting and composition!
The work, Bravehearts, is created by Reyaz Alankandy, a freelance 3D artist based in India. It’s a proud tribute to these brave warriors for their selfless hard work through the pandemic.
In “My own 2020” Evermotion Challenge 2020, Reyaz Alankandy, the champion of the competition, shows his own 2020 by creating the artwork “Bravehearts”.
In this artwork, Reyaz portrays a railway station that used to overflow with bustling life, but during the pandemic, it emptied all except the sanitation workers busy in the task.
Made with 3ds Max, Corona Renderer, Photoshop, the award-winning artwork shows a proud tribute to these brave warriors for their selfless hard work. As Reyaz said, while the world hid, some rose to fight back, to stand a chance against the virus.
As a freelance 3D artist specialized in architectural and interior visualization, Reyaz created many excellent artworks, and he adores every challenge and new opportunity along his archviz journey. In the interview with Fox Renderfarm, the largest cloud rendering services provider in the CG industry, Reyaz talked about how he created the work and his career experience.
- Reyaz Alankandy
- Freelance 3D Artist
- 3D Visualizer
In our exclusive interview, Reyaz introduced how he created this amazing piece.
More about interview detials Tribute To Bravehearts In My Own 2020: Introducing 3D Artist, Reyaz Alankandy
3ds Max Tutorials of “God of War 86"(1)
3ds Max Tutorials
The fastest GPU & CPU cloud rendering services provider, Fox Renderfarm still share with you 3ds Max tutorials. This project is made by the 3D artist, Yuliang Zhou. He made the "God of War 86" in 3ds Max, Substance Painter, Photoshop, and others. In this tutorial, he will introduce his workflow.
In this tutorial, I will share the production process of one of my works "God of War 86" finished within 3 weeks. To complete a mecha within 3 weeks, it is a big challenge. Thanks for the help of my friend Xiao Zuo. I will also share the whole production process and some techniques used, including modelling, texturing lookdev, and lighting.
When choosing a concept, it needs to make some preparations in advance. When I saw the figure of the 86 Mecha Ares, I was like making a 3D model of it. The production of this model is not difficult, but it has a lot of small parts that take time to produce. And the difficulty lies in whether the overall proportions can be the same as the original image.
I really like to add some of my own ideas when making models to enrich the work, so I will also find some reference pictures of other mechas on the Internet before starting to make them.
Once the concept is clarified, we can start to make the model. The first step is to use the blocking of the basic shape BOX to make the appearance. In this process, we must ensure that the basic shape is the same as the appearance of the reference. It does not need to be smoothed. We can make the foundation body in all places first. When the foundation body is done, open all the parts, and then make the details for each position. Do not start with small parts in a certain part from the beginning.
I added some details to the model, such as the anti-collision bar of the head guard, pipes, wires, and some small parts to make the mecha more realistic. Hence, it is really important to find references! Next, I will briefly explain the process of a part when I make a mid-poly model. Here I have selected the main body of the head.
We can see the basic shape of the head, the part of the red frame is a cuboid with a smaller front part. The green line is where the model is recessed. It takes time to make a slightly complicated structure like this. Once we have ideas, it will be relatively simple for us to start production. After adjusting the points and adding lines, we get the following model,
Next, let’s look at the yellow circle again. It is obvious that there is a model similar to a lighting lamp stuck in the brain in the yellow circle. At first, I thought that just make a lighting lamp and insert it directly. But after I tried it, I can obviously see that there will be many connection problems in the interspersed place, and it will obviously feel fake when making the material. I will release the comparison chart below，
It can be clearly seen from the above two pictures that the method of using Boolean to create a pit in the first picture is obviously more realistic and reasonable than the direct interspersed in the second picture. In contrast, there will be a little difficulty in the card line.
Part 2 and Part 3 will be continued soon.
3ds Max Tutorials of “God of War 86''(2)
3ds Max Tutorials
We can see that the heads of these mechas all have a bumper similar to the head protection. So we can consider adding this detail to the head position when making the head.
In order to consider the rationality, I added a model similar to a retainer at the end of the protective bar and added some similar protective sleeves to reduce impact in the middle. Next, we continue to analyze the references.
On these mechas, there are obviously similar wires and small pipes interspersed on the model. This is what we want because these will make the mechas more accurate. So when I make these details, I also have to consider whether I was reasonable or not.
By constantly adding details, the mecha model is made to look a little more refined, and the presence of those parts looks real and reasonable.
I use the traditional way of making hard surface models and the Chamfer plug-in. The higher version of 3ds Max comes with a Chamfer plug-in, which will cut corners and card lines based on the distinction of smooth groups, which is very useful for hard surfaces making. This is a screenshot according to Chamfer:
It should be noted that in the From Smoothing option, we need to check the third Unsmoothed Edges option. In the Tension option, we also need to call up our desired edge between 1 and 0 according to the effect.
One more thing to note is that before using Chamfer, the smooth groups must be distinguished. All surfaces do not need to be connected to a quadrilateral, but there will be no problems if the lines are connected to a flat surface.
It can be seen that the effect of using Chamfer is very good, saving us a lot of working time, and improving work efficiency very well!
Low Polygon production is actually a very simple step. It just needs to copy a set of High Polygon models to reduce the lines on the model without affecting the appearance. Since this is personal work, there is no need to be too strict on the number of faces, and it can be relaxed appropriately.
The part 3 will be continued soon.
3ds Max Tutorials of “God of War 86”(3)
3ds Max Tutorials
The following is the process of making textures.
I plan to make it look like a battlefield. Its appearance is rather worn, not so new, there will be some dust, stains and other things, showing a sense of oldness. Then, we can start making textures.
First, make the most basic texture, which is divided into three layers, inherent color, light, and dark. These three layers of texture are the most critical. Only when these three layers are superimposed can the effect of worn-out dirt be better. What still needs to be considered is what other details will be on the metal surface. It is best to look for references.
As we can see in the above references, the details on the metal surface are still rich, including dust, scratches, breakage, paint peeling, dark edges of objects, strong reflections, rough surfaces, etc. Of course, the fastest way is to directly use the material that comes with Substance Painter to test what we need. Other textures are made in the same way, including wood, plastic, and so on.
Since the color of the texture and the color of the metal are both cold, it is necessary to add some color changes to the metal when making the texture, such as adding some warm stains, so that the complementary colors will not appear as monotonous.
One more thing to note is that lighting should also be considered when making textures in Substance Painter. A good model must be equipped with good lighting to show the best results. If possible, we can perform a rendering test when making textures.
Texture map made by Substance Painter，
We need to set up the light before Renderer. Since the color of the mecha and the metallic tone are relatively cold, the main light source must be a warmer light. For the backlight, I chose a purple light to illuminate the outer contours of the back. Since the mecha is still relatively large, many places are not illuminated by the main light source, so we still have to make some warm light to illuminate partially dark places.
Is This Simulated By Houdini? No! This Is Max!
First, let's take a look at a work released by Tyson Ibele on Instagram. Perhaps you can hardly believe that such accurate rigid body collision and fragmentation calculations are actually simulated inside 3DS Max? Even using Houdini to simulate is also difficult, and the use of Particle Flow.
Particle Flow is a new feature in the Max 6 version. It was also Max's first particle tool to break the no-node function. In the years that just came out, the utilization rate was still relatively high.
However, with Houdini and some Max plug-ins more and more stronger, the PF is slowly weakened, and PF has become not very important in Autodesk.
There are Max users who want to replace PF, so Max and Houdini have a fight, some people think that it is impossible, after all, the advantages of each of Autodesk's products are there, it is impossible to develop a block separately.
Tyson Ibele is an animator who has lived in Toronto, Canada for a long time. He rewrote the ParticleFlow in 3ds Max and got a tool called tyFlow.
The physical flow of tyFlow is inseparable from its bound skin system. By combining them, it is very easy to simulate effects like rigid body deformation. In this video, the car's outer casing is a rigid body that combines with the PhysX constraint of tyFlow. The tyFlow constrained deformation system is capable of local deformation when the pressure on certain parts of the constrained mesh reaches a certain amount.
Every part of the system is controlled by the tyFlow program, so it is easy to iterate and tweak.
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