bat

1. First download racket image, something like front blueprint and then create plane in front view. Dimensions of plane must be the same with dimensions of picture.





2.In this picture it is more clear what I meant to say. As you can see I placed racket image in diffuse map slot and then assigned this material to plane object.






3. Create basic object like that will present top part of a racket.






4.Apply Edit Mesh modifier to it. With selected Edge option select out edges of object and then hold
Shift and drag. Try to have something like this.






5. The right part of racket in this picture is basically result of step 4 that is repeated several times ( 8 times to be precise). Whit selected one half click on Mirror button on main toolbar and chose Instance option.






6. Select polygons that are marked, hold shift and drag down a little bit and chose Clone to Element. After that select vertex and replace them to follow shape of a racket.






7. Repeat step 6 one more time and this is something I hope you get.






8. Select vertex of these three parts and close them up to each other. After that select all vertex that are blended together, you should have 12 of them, and then Click Weld button under the Edit Geometry properties.






9. In this step use method: select edge and hold Shift and drag and weld vertex wherever they blend. Here is a result.






10. Again, select edge + Shift + drag, but this time don’t weld vertex that blend. Here is a result.






11. Select these polygons and go to Edit Geometry and chose Slice Plane option. Rotate it like shown and click Slice.






12. After all this is done select one half and delete it. Again mirror the half that is left but this time chose Copy option and attach these two objects. Again, weld vertex that blend. Apply Turbo Smooth modifier.






13. To create handle draw cylinder like this and set sides to 6.








15. Right click on line and go to Convert to Edit Spline. After that select segment under the little plus in modifier list and select line object. Go to Geometry and type 18 in Divide slot, and click Divide. Place vertex to fit the wire of a racket.






16. Go to Tools and chose Array option. Window will show up. Under the Type of Object chose Copy. Under the Array Dimensions chose 1D and type 15. Click Preview and set x parameter to fit your scene.






17. Create one horizontal wire line and set Divide to 15. Repeat step 16, but this time type 18 right to 1D option.






18. This part is tricky and is hard to explain. Attach all horizontal line to one object and all vertical to one, then select vertex and try to place them like this.






19. Create little tube like this for net holder.







20. Copy it several times and place them like this.






21. I hope you recognize this part of racket. Select middle edge in racket profile and go to Edit Geometry and Chamfer it a little bit. Now, as shown select new created polygons and extrude them inside the racket.






22. This is a result you should get






23. Now, create tube object and scale it along Y axis, here is a result.






24. Attach horizontal and vertical wire lines to one object. Go to Compound Objects and chose Boolean option. Pick tube object for OperandB.






25. Create this simple stitch using Shape modeling and copy it several times.






26. Finally, this is a completed tennis racket

eyes

In this tutorial I will cover some of the interesting steps of this project.
I will cover modeling and rigging in general, texturing, working with complex hairs, rendering and compositing.
I will also share a few tips and tricks as I show the process.
(click on the thumbnails to see the full chapter's images)


The first step (as always) was to get a good reference. My friend Ella who is actually a model was kind enough to pose for me to get all the reference. I needed. Setting up good reference. for modeling (and for texturing later on) is an important step to do correctly. It is quite impossible to take a "perfect photo reference." because the camera will always have a certain perspective distortion. Also, the front and side images can never align perfectly so I did my best to set them up correctly based on elements like the eyes, nose, lips, and ears. for these reasons, these images only served as guidelines while modeling.
Even though this project is about a head portrait, I've decided to go all the way and make a full body first to save work for my next projects. To maximize my flexibility for later on, I've went ahead and made a quick rig for the model. I've used Biped for bones and did a quick skinning (its not perfect but It's good enough for initial posing, I'll probably use Zbrush to fix badly deformed areas). I've went ahead and created several morph targets to help me find my final expression quickly later on. Since the eyebrows and eyelashes were modeled separately, I found it very frustrating to get them to move correctly with the skin. The only solution that worked well for me was to break them into small groups and attach to.

	Uv mapping actually came before rigging. When I've reached the point I've decided the modeling is done, I've unwrapped the model before breaking the symmetry so that I only worked on half the model and this way I'll get pretty symmetrical mapping as well. I've used Pelt to determine where the seams will go and together with a little bit of relaxing and hand pulling of a few UV points, the uv chunks were perfectly ready with only a few very minor stretches. After the initial mapping was good enough, I broke the symmetry and went on to arrange the UV pieces as efficiently as possible. Since fine details on the face are more important, I've decided to break the head from the body and give it much more UV space. After making sure i've minimized the Stretches., had as few seams as possible and used up as much of the uv space as I can without having any overlaps I've decided its time to start painting the textures. I started off by sampling many of the elements from the many reference. pictures I first used for modeling, I've then sort of "flattened" the image, took out the contrast and minimized the highlights and shadows, this gave me a rough initial background for the textures. Next step would be to paint the "shades" - where the skin is generally brighter, darker, redder etc'. At this point it was time for me to start working on the finer details. a method I've used allot for this was to create many different pattern layers for freckles, spots, veins and other skin abnormalities, add a black mask to delete it and then slowly bring it back manually with low opacity white brush strokes. To create bump and specular maps I simply desaturated all the color map layers and changed their value and contrast accordingly, only minor local painting was required afterwards.

	Hair
	When I Started working on the hairs I've approached it as I always do. The first step was to clone the polygons that will grow hairs from the head to a new unrenderable mesh. I then added hairs and started combing and testing many different possibilities. A few pointers when working with max's hair: variation - this is the key to make your hair look interesting. Always try to test out how much you can push parameters that will create variations in your hair such as: rand scale, hue / value variation, frizz tip, randomize etc'. Passes - it is often recommended to test how your hair looks when more than one pass is used. The higher the parameter, the softer the hair will render. Multi strand parameters - Hair often tends to clamp up and this feature simulates it nicely. I usually turn it on with root slay having a larger parameter than tip slay. Lights and shadows of your scene will make all the difference about how your hair's gonna render. usually using spotlights with shadow maps are ideal for hairs. An important decision that always needs to be made when working with hairs is if you want to render the hairs at buffer or MR prim mode. buffer usually renders faster and looks softer but MR prim works well with many different light and shadow types. At a certain point I was struck with frustration when I realized that this method is good but it doesn't allow me full freedom and control to design the hair specifically as I want. That's when I came to realize I can work with many smaller groups of hairs instead and control them by splines. I started up by creating 1 spline which acts like the profile of the hair's shape and cloned it twice to 3 different elements that will control the hair. I've added hairs and pretty much used similar parameters as before. Shaping the hair to specific shapes was easy this way. I've clone the hair pieces many times to smaller and larger parts and re-adjusted every piece until I was happy with how it turned out. For extra touches, I've added a few more groups for random single hairs to give it a little more "natural messy" feel.

	Rendering and compositing.
	The image was basically done with the hit of the render button but rendering many different passes allowed me some more fine tuning which was necessary mostly for high res details. I've rendered many different passes and used masks in photoshop to determine where and how much each pass is used. A few pointers about some of them - Specular - I've rendered this pass by turning off all the color maps and setting the diffuse to black (yep, using the built in pass rendering doesn't seam to like working with the SSS materials) I used this pass to control the level of highlights at different parts of the image. Falloff - Rendered the same way, only specular was turned off and I threw a falloff map in the reflection slot. This pass served to fake the "peach fuzz" effect at certain edges. When used correctly, it slightly gives an "oily" feeling to the skin. Hair - I've rendered out each and every piece of hair separately so that I'll have very good control over the colors of the hair in photoshop. Occlusion pass - this pass helped a bit to add more depth to the geometry. I wrote a tutorial on how I use it. Hair occlusion - Same as above. In order for the hair to render out correctly in the occlusion pass, you need to select your hair, under the "MR parameters" turn on "apply mr shader" and place your occlusion material there (you need to be in MR prim mode). Peach fuzz - This pass was rendered out for extra skin details that mainly show in the full resolution. I used a mask to make it show up only in areas it usually shows up like on the the lip or the chin. That's it, after combining all the passes together, I went through some color correcting and some local fine tuning and this is the result (50% resolution). I hope this was informative and interesting for you.

౩ద్స్ max

1. To create pawn draw these two shapes for the beginning.

2. Here are 3 sub steps that you have to do. In first select circle and convert it to Edit Spline. Go to Geometry rollout and with selected Refine button create new vertex. In second sub step delete segments like it is shown and attach these two shapes. In third weld vertex that blend and select all vertex without first one and last one. Right click on it and chose Smooth.

3. Apply Lathe modifier and follow instruction from next picture.

4. To create knight draw plane in one of the viewports and again follow these three sub steps.

5. When you create profile of the knight figure apply Shell modifier and set inner amount whatever you like but try to get something like I did. Convert object to Edit Mesh and select outer edges and chamfer them a little bit and apply Turbo Smooth. To create base of a figure, use lathe method.

6. Convert knight to Edit Mesh and create simple cylinder with 3 sides and place it like I did. Go to Compound Object under the Create Panel and with Boolean operations cut the hole.

7. Here is a quick creating of the king. You can use this picture as reference.

8. For the rest of a figure just create little cross and for queen eight spheres. Using same lathe and Boolean method you can create bishop and rook figures.

9. To create board you must create one half. Here is a print screen of it. Convert to Edit Mesh and detach all sides, one by one.

10. Here is a print screen how you should place your maps, diffuse and bump( they come with tutorial)

11. Wood material ( only change diffuse map).

12. Here is a light setup and. Color of light is light orange.

13. Very simple VRay render setup.

14. Go Render Element and Add VRay Zdepth element, click on enable. When you do this go to renderer and turn on VRay frame buffer.

15. When you save RGB and ZDepth images go to Photoshop for little make up. Copy ZDepth image to channel of RGB like in this print screen. After that is done go to filers and apply Lens Blur to RGB image, in source chose Alpha 1 and set Blur Focal Distance and Radius whatever you like.

16. For that old picture look import some old paper texture and paste it above RGB image and chose Overlay blend type and reduce opacity a little bit. To finish picture like I did type something like ‘’Chess’’ and blur it.

Textures used in this tutorial:

black figure.jpg
white figure.jpg
figure bump.jpg
top diff.jpg
top disp.jpg
side diffuse.jpg
side disp.jpg

3dmax

1. For this example we are going to create simple city landscape. So, create this plane as ground.



2. With boxes do something like this. And there we have our city.



3. Put VRay Sun light in to a scene like this and set intensity multiplier to 0.035.



4. Put VRay Physical camera in to a scene and set Type to video camera, f-number to 8 and film speed to 200.



5. Go to material editor. Click on Get material and chose VRaySky from the list. Click on sun node slot and pick on sun in the scene and set sun intensity multiplier to 0.035.



6. Here is a print screen of a render setup.



7. Drag the VRaySky map to the skylight slot.



8. Under the Color Mapping change type to Reinhard and set Gamma to 2.2.



9. When you click render you should get something like this. On my computer it last 30 seconds.



10. But we can cut our render time when we have animated camera. For nice circle camera path create sphere like I did in next picture and place Vray Physical camera on top of the sphere.



11. With selected sphere go to Hierarchy panel and click on Affect Pivot Only and move pivot to the middle of ground plane so that pivot of sphere is on top of the camera target.



12. With selected camera click on Select and Link. Hold left click and release it on the sphere. After that you can go frame 100 and click on Auto Key and rotate your sphere. When you finish with animation hide the sphere.



13. To create Irradiance map set mode to Multiframe Incremental in V-Ray Irradiance Map. Check Don’t delete and auto save for output file.



14. In VRay Global Switchers check Don’t render final image.This is very important.



15. Under the Common Parameters in Time Output Set Every Nth Frame to 10 and check Active Time Segment 0 to 100.



16. When rendering is done ( 10 minutes on my comp) go to V-Ray Irradiance map and chose From file Mode and Browse your irradiance map. Don’t forget to go back to Common Parameters and set Every Nth Frame to 1 and to uncheck Don’t render final image in VRay Global Switchers.
This way you will save a lot of render time. For this particular scene render time was 26 minutes with irradiance map and about 60 minutes without it.

face

animation