Archive

Martin takes you step by step on a modeling, texturing, lighting, and rendering extravaganza. He shows, in great detail, how to model every single piece of his Les Paul guitar. This is one of the most in-depth, complete lessons that I have ever seen. Martin doesn’t miss a thing!
He goes completely through his texturing process to demonstrate this "photorealistic” project. This tutorial has it all!

This making_of_demonstration and lecture began with the decision to take a personal sketch, develop it in 3D and produce a life-size print. This would require the development of high-resolution detail and textures that could hold up to a 4000x6000 pixel render, effectively making Jester a film-res character. Observe and listen as Alex shares his workflow, thought process and techniques. Volume One covers the character modeling process using Maya and ZBrush, as well as some lighting, composition and texture exploration. Alex begins by creating an organized base mesh in Maya that accurately follows the 2D design. Using UVlayout, he flattens the UVs of the multiple basemesh_components. Jester is then imported into ZBrush for sculpting and detailing. We give some thought as to the resolution for each subtool that should be sent to Maya and export them with normal maps generated in Zmapper. Once in Maya, the shader networks are blocked-out so that Jester renders in Maya with the same level of detail that he had in ZBrush. The final step prior to texturing is to then create a Photoshop- color study that will guide our further progress on the character.

n this series of lessons, we will explore the process of creating polygonal hair for our 3D characters inside of Maya.

High detailed models of food with all textures, shaders and materials. It is ready to use, just put it into your scene.

This course will delve in the animation principle of Timing and Spacing in Max. Throughout this course, we'll define Timing and Spacing and work through a variety exercises to help get the point across. We'll even discuss techniques we can use to make sure our animations are Timed accurately. By the end of this course, you'll have a deeper understanding of the principle of Timing and Spacing, which will help you become a better animato

In this tutorial, Joe takes you through his process for modeling a Colt 1911. Using an image plane for reference, he creates the low polygon slide, handle, trigger guard, trigger, barrel, hammer, and sights. He then creates the Sub-D and high poly slide, handle and barrel models. Joe shows how he optimizes the geometry for rendering normal maps and lays out the UVs of the slide, handle and barrel. He discusses trouble shooting normal maps, common errors and things to look for and demonstrates how to create a grayscale 2D normal map, and composite it over the high poly normal map. Finally Joe completes the final model in Maya with textures applied.