we’re bringing you the conclusion of the F-16 series by Sansar
Tripathi. In the second half we’ll finish things up by fine tuning the
mesh and assembling the air intake and cockpit. As well as adding
additional detail to the model by building an arsenal of weapons
including rockets and missiles. The final step will be adding support
edges to the meshes in preparation for subdivision.
Suitable for both beginner and intermediate artists, this
tutorial will get users up to speed on working with some of Max’s more
common modeling tools, and is an ideal project for anyone interested in
creating high quality vehicle models.
we’re bringing you the first part in a new tutorial series that focuses
on modeling the F-16D fighter jet in 3D Studio Max. Suitable for both
beginner and intermediate artists, this tutorial will get users up to
speed on working with some of Max’s more common modeling tools, and is
an ideal project for anyone interested in creating high quality vehicle
Today’s lesson will cover blocking in the overall proportions and
building the planes fuselage, wings and tail section. Click through to
In this tutorial we will learn how to create an advanced and well composited Jumper Punch
by using a matte, some displacement, and smoke to add style to the
final effect. Throughout the tutorial, we will be using basic
expressions. We’ll learn to position the jumps in time and space and
give the illusion of a jumper disappearing and reappearing with a
trajectory. Let’s “Jump” in… :)
In today’s quick tip tutorial, Chandan Kumar will be showing you
how to use 3ds Max’s advanced transparency material options to project a
stain glass window image into a scene. This is an often overlooked but
powerful feature of 3D Studio Max that can be used to create all kinds
of interesting effects. Click through to learn more!
First of all, create a Plane in the Perspective viewport which will act as the floor.
Now create a 3 sided wall and Boolean the front side wall to make room for a window.
Then make the glass for the window using a Plane, and insert it into the empty window opening.
Open the Material Editor (M), take an empty slot and in the Diffuse
channel add the “stained glass’ texture. Now put the same texture in the
Self-Illumination channel also.
Now put the same texture in the ‘Filter’ channel too, which lies in the ‘Extended Parameters’ rollout.
Do remember to turn on the ‘2-Sided’ option also. You won’t get the proper result until you turn this option on.
Now it’s time for the light setup. Add a “Target Spot” light to the scene from outside of the window as shown.
Do remember to use only “Ray Traced Shadows” otherwise it won’t work.
Now open the Material Editor once again and this time reduce the opacity by 50%.
Now if you render the scene you will find something like this. The
light gets filtered through the window and hence you get a nice effect
of the stained glass reflection on the floor.
I added some textures to the walls and floor and an Omni light in the room and hence it looked like this.
After doing some color correction and adding some glow and rays in After Effects, it looks much better now.
Create a new file. Set Width and Height to 700 px and the resolution to 72 PPI. Name: Angel text
Fill the canvas with the Concrete Bunker texture.
Marge the concrete bunker texture to the background.
Go to menu > Image > Adjustments > Hue/Saturation > use the values as shown below.
Apply Sharpen twice: Go to menu > Filter > Sharpen >
Sharpen. Add Noise: Go to menu > Filter > Noise > Add Noise
> use the values as shown in the pop-up, in the left side of the
image below. Create a new empty layer over the background; fill it with
color code #252829. Apply Blend mode "Color" as shown in the menu, in
the right side of the image below. Finally merge it to the background
Type the word “Angel” using the “Argel Font”, font size 310 pt,
tracking 0. Select the letter “A” and set tracking to 40. All values as
shown in the image below.
Using the "Move Tool", select the text and background layer, then
click the align commands: "Align Horizontal Center" and "Align Vertical
Center" on the top menu to center it.
Apply a Layer Style on the text layer (right click over the layer
> Blending Options). Set Blending Options step by step as shown in
the image below and click ok. Note: to edit the Gloss Contour in the Bevel and Emboss step:
click the contour thumbnail to open the Contour Editor pop-up > click
in the contour mesh to add points and enter values for Input and
Copy the image “Palace Balls” from the browser, paste it over the
text layer “Angel” and rename the image layer to “Reflection01.” Using
the "Move Tool," select "Reflection01" image layer and background layer,
then click the align commands: "Align Bottom Edges" and "Align Left
Edges" on the top menu, as shown in the image below.
Select “Reflection01″ image layer and using the “Rectangular Marquee
Tool”, right click over the picture and choose “Free Transform”. Then
lock the proportions with the loop icon “Maintain Aspect Ratio” on the
top menu, as shown in the image below and reduce Width and Height to
70%, set Horizontal Position to 1099.2 px and set Vertical Position to
-7.8 px and press enter.
Apply a Layer Style on “Reflection01″ image layer (right click over
the layer > Blending Options) and apply Gradient Overlay values as
shown below and click ok, to get a metal copper tone.
Apply Sharpen thrice: Go to menu > Filter > Sharpen > Sharpen (remember repeat this step three times).
Reduce Noise: Go to menu > Filter > Noise > Reduce Noise. Using the values as shown below.
Duplicate layer “Reflection01″ and rename to “Reflection02.” After
renaming it apply: Blend mode to Lighten and Opacity to 50% as shown
To achieve a stunning reflection effect, select “Reflection02″ image
layer and using the “Rectangular Marquee Tool”, right click over the
picture and choose: Free Transform > Flip Horizontal > and reduce
Width to -90% and Height to 90%, set Horizontal Position to 513 px and
set Vertical Position to 108 px as shown below and press enter.
Select the two image layers and go to menu > Layer > Create
Clipping Mask. To put the reflections inside the layer font. Finally,
select the two image and text layers to link them by clicking over the
"Link Layers" icon at the bottom of the layers palette. To have the
final text effect linked.
We’re kicking the week off with a great new ZBrush tutorial from
Shaun Keenan. This tutorial will show you how to create a toon style
Squid character from scratch in ZBrush. You’ll learn how to quickly
block out the character’s base mesh using the awesomeness that is
ZSpheres, and further refine and detail the character using various
brushes and alphas. Finally you’ll paint everything up and make it look
sexy with ZBrush’s polypainting tools!
In this tutorial we are going to model a 20th century design legend, the Eames Lounge Chair.
The reason I chose this particular object are its different shapes and
forms. It has both soft, organic pillows (with wrinkles) and a hard,
defined structure that holds it all together, making it an excellent way
to learn how to model both soft and hard structures.
This is a comprehensive tutorial with 98 steps, and will provide
complete instruction to modeling high-end 3D art for the intermediate to
advanced 3ds Max user.
few weeks, we revisit some of our reader's favorite posts from
throughout the history of the site. This tutorial was first published in
June of 2009.
Final Effect Preview
The first thing we need to do is find reference photos, blueprints
and drawings. I usually create a collage for this kind of modeling job,
so I don’t have to look through dozens of images.
I generally model these kind of models by eye, although I would
suggest using the right dimensions on models you will be handing to
other people, or placing in scenes. Another tip is to get one detail to
exact scale or size and then model everything else in proportion to
that. This will help you achieve relatively precise results in less
Creating the Upper Backrest
Let’s begin with the upper backrest. Create a box and subdivide it.
Then create a plane that is a bit bigger, and set it behind the box. It
will be the wooden shell for the backrest.
Select the plane and subdivide it. To add these edge loops, select edges which will be crossed by the edge loop.
Click Connect to add an edge loop. I will use this very frequently so
whenever I mention ‘Add an edge loop’ you should refer to this
Move forward the end vertices and scale them down slightly.
Use the Chamfer tool to split the corner edges as shown.
Add an edge loop vertically.
Delete the right half. We will be using the symmetry modifier to get the other half in place.
On top of the symmetry modifier add a shell and a turbosmooth
modifier with these settings. This is just a way of optimizing the
workflow, and a good habit to get into. If you want, you could also get
rid of one half vertically and use another symmetry modifier, so you
would need to work on just one corner. However, later on we will be
getting rid of these symmetry modifiers and giving each detail a bit
Below the first image you can see the result, but these settings may
change as you go along. For example this wooden shell may be too thick
or too thin and so on.
Now we will be modeling the cushion and we will use the box we
created earlier. Select the right half of the box and delete it, then
copy the turbosmooth and symmetry modifiers from the wooden shell. You
may need to adjust the symmetry or maybe flip it. From the top view
adjust the vertices accordingly.
Continue to add edge loops and adjust vertices.
Select the polygons on the back of the cushion and hit ‘Inset’. This
is to add more definition so it looks like it’s attached to the wooden
back. Move vertices and polys accordingly.
Create a sphere and use the scale tool to squash it to create the
button. We will use the button to adjust the cushion model itself, so
place these two accordingly and sink them into the cushion model.
Select the vertex in the middle of the cushion and chamfer it, so you get these four vertices.
Using the Inset tool, inset the polygon we just created and push it
inwards. You could also use the Bevel or Extrude tool to similar effect.
Using the Cut tool create edges as shown. It is very important to
keep all these polygons four edged as they divide the best and the
smoothing is predictable and doesn’t have any glitches.
Add two more edge loops in between the middle ones to add detail for
the creases and folds. Add one edge loop vertically to the right and
left of the indentation for the button.
Add two more edge loops, but now a bit closer to the center. Adjust them somewhat randomly to give direction for these folds.
Round out the overall shape to give it a smoother look.
Raise some of the edges to create a cloth-like effect.
To create additional cloth folds, create an edge loop and extrude it. Collapse the ends of the new polys.
Repeat these steps several more times across the button hole to add more creases. The results are shown below.
Next, we will be adding sewn lines around the cushion that hold it to
the wooden base. To do this, add an edge loop on the side. Then, using
Edge constraints in the Edit Geometry rollout, move the new edge loop
closer to the sewing line. This is a very useful tool, and I use it
daily as it helps to move vertices along already made edges.
Select edges using Select Ring. Hold Cntrl and click on the Polygon
Subobject mode. This will select all polygons adjacent to the selected
edges. This is another useful technique I use very frequently. Using
the Extrude tool, extrude these polygons inwards, but don’t close the
Extrude dialog box. Hit Apply and then extrude it outwards. This will
create nice curvature and definition in that area.
Select the edge loop as shown below and use the Chamfer tool to
chamfer it slightly. This will add a more defined edge so that it looks
sewed on to the base.
To finish the main modeling of the cushion, adjust the extruded areas until they look good.
Creating The Lower Backrest
Holding down the Shift key, move both the wooden base and the cushion
downwards. This will create a copy of these objects. There is no need
to model everything from scratch as the chair has many parts that are
similar to each other.
Select the new wooden base object and add another loop in the middle,
then move this down a bit. Select the lowest outer edge, and holding
the Shift key move it outwards. This is how it should look.
Move the outer edge up a bit. Add two new edge loops crossing each other, like this.
Move the new vertices until it looks like the image below. In the
screenshot I have Shell modifier enabled, so that’s why it has that
thickness. The second image is how it looks smoothed with Turbosmooth.
After these modifications I noticed that the cushion weren’t quite
sitting in right. I pushed them out according to the wooden base lines
like this. Also, make sure to check the back view as in my model some
vertices were sticking out.
Creating The Seat
Then again copy second cushion and rotate it 90 degrees.
Select the wooden base, go to Edge Subobject mode and again using
Shift key extrude left side edges. Then select the middle edge loop and
chamfer it. After that add an edge loop between these two new edges.
You could also use Extrude tool with height value set to 0.
Then add another edge loop where I have shown and adjust vertices accordingly.
Delete the cushion if you have copied it from the second backseat, as
its shape has been changed to flow along the second wooden base and
that won’t work for this part. It’s easier to adjust the first cushion
as it has a very generic shape. Place it in the middle of the base.
Using the Scale tool, scale it according to the shape of the base.
After that, move the outer vertices closer to the edge of the wooden
base. I would suggest turning Turbosmooth on from time to time, just to
see how it is smoothing and to see if there are any glitches.
Now select the top vertices on the cushion and lift them up to even
the surface out. This is to give it more of a volume as before it was
Select vertices along one of the sides and push them in to round-out the shape. Do the same for the other side.
If you look from the top view you will see that the wrinkles are
squashed because of the scaling we did. To correct this select all of
the middle vertices and some around it and scale it to the sides until
it looks as shown.
As the size of the model has increased but the amount of detail is still the same, add a few edge loops.
Select the base of the seat and add another edge loop. Push it
outwards to round it out. I did this because I noticed that the seat and
the leg rest both have rounder shapes to hold the cushion in.
Adjust the part that touches the extruded base. You need to push them
according to the form of the base, so that it looks like there is
pressure for the cushion to stay in place.
Unhide all other parts. We need to group them for easier scene
management, and we also need to name them. I named the second back seat
‘lower back seat’, for example. It’s up to you how to name you objects
as long as it makes sense to you.
After that I adjusted the Pivot point of the lowest back seat. This
is for easier rotation and placement of these objects. After placing
these objects correctly, it should look as shown.
At this point I noticed that the lowest back seat wasn’t matching the
photos. To correct this, I selected vertices that didn’t match and
moved them to the right place. This is what I got.
Group all of these objects and name the group (I called it
‘Whole_seat’). Rotate it so that is in the same position as the photo
Creating The Chair Leg
Next we will create the main leg for the chair. Start by creating a
plane and then adding one edge loop vertically and two horizontally.
After that you will need to adjust them to shape, as shown.
As the main leg has a five star shape, create a cylinder with five
sides and placed it next to the plane we just created. This will be
useful when copying the leg four more times.
Copy the Shell and Turbosmooth modifiers from previous models to the
plane and adjust them (I made the thickness amount smaller). Select its
Pivot and use Alt + A (Align tool) to align to the cylinder. This is so
you can easily copy and rotate it.
To copy it four more times you need to copy it by 72 degrees, and you
need to do it precisely. Right-click on the Angle Snap button and make
the Angle value 2. This will angle snap it by every 2 degrees. Rotate
it by 72 degrees while holding Shift, and in the Copy dialog box enter 4
copies. After that, combine all these copies into one object using the
Attach command. Be sure not to attach other objects if they have Shell
and Turbosmooth on top of them. If so, delete these modifiers first. If
you attach them with modifiers on them, they will be collapsed and
attached and will have another pair of Shell and Turbosmooth multipliers
on them. They will have double the amount of shell and smoothing on
Select 5 vertices as illustrated and click Collapse.
Raise the center vertices up to mimic the photo reference.
Create a cylinder at the edge of one of these legs. Try to eyeball
its length according to the photos and scale the vertices at the bottom
of it to achieve the result below.
Create another cylinder or copy the existing one underneath the one
you just created. Use extrude and inset to achieve this result.
Attach these two objects together, and then align its pivot point to the center of the base that will hold them together.
Now create a cylinder, inset it a bit, and extrude it inwards.
Another method would be to create a Tube object from the Create rollout.
Then create a box, and align it in between the tube and the cylinder
we created earlier. I added another vertex so that fits more nicely
Select the polygon at the end of the box near the cylinder, and
extrude it so it sinks into the tube. Then, using the Scale tool, scale
it in the top viewport so that it extends a bit. Add another edge loop,
and scale it down a bit to add the curvature needed.
Now we need to copy this box four more times. For this I used the same technique I used for copying the legs.
Extrude the top polygons on the leg, scale them in a bit, and inset them two times.
Now we will be creating the part which is screwed into the bottom of
the chair and holds it to the main leg we created previously. Start with
a plane, subdivide it similarly to what we did for the main leg, and
then create a copy of it.
Copy these two objects, rotate them by 180 degrees, and adjust the vertices so they are shorter than the first pair.
Use the Bridge tool to connect these objects. Copy and paste the
Shell and Turbosmooth modifiers from previous models and adjust them.
Select all outer ends of the model and scale them down a bit. After that move these ends further out from each other.
Move it under the seat and rotate it to match the angle of the seat.
Create a cylinder and select the bottom edge loop (to do this select the
bottom poly and while holding Ctrl click on the Edge subobject mode
icon). Chamfer it using similar values as in this screenshot.
Inset it and extrude it a bit.
This is how it should look together.
Create a cylinder with five sides, then move it and rotate it to match the four ends of the part that holds the seat.
Select all edges of this cylinder and chamfer them with a small
value. It will yield a nicer reflection if the rendering camera is below
seat level. Create another cylinder, but this time with about 30 sides,
and again chamfer all its edges.
Copy them to all four ends of the object.
Create a box and place it between the main cylinder and these five
sided cylinders (which are essentially screws). Adjust its vertices so
that they match this screenshot.
Select the edge that is closest to the screw and chamfer it using similar settings to those show below.
Creating the Arm & Backrest Details
Now we will create the armrest. Create a box and use extrude and edge loops to create a shape similar to the one pictured below.
Add edge loops near all three vertical edge lines.
To smooth out the overall form, move the vertices at the edges so they are a bit rounder.
Select the edge loops as illustrated. Select one edge and loop it.
If it is not going all the away around the object, select edges manually
until you get full edge loop. At the end you should have two full edge
Then use Extrude with negative values and click on the Apply button.
After that, make the extrude value positive (something similar to mine)
and click OK.
Click Chamfer and use something similar to my settings.
After that you will notice that there are some problems on some corners. To correct them, collapse the vertices like this.
Then select all the polys we just created. You could again select the
edge that is in the middle of these polys, and holding Ctrl, select
polygon Subobject icon. After that is done, extrude these polys a bit.
This will create the right amount of detail in that area.
Below is how it looks together with all models.
Create a box with one edge loop in the middle, and adjust it so that it sits as shown.
Add an edge loop in the middle of it, and move the top vertices out.
Select the top and bottom edges that you pushed out, and chamfer them
using these settings. Do the same for the middle edge loop length wise.
I modeled it slightly sunk in the chair, so move it out a bit to create some space.
Add three cylinders with chamfered tops under that object we just
created. Copy it, and move it accordingly so we have two of these
objects separated evenly.
Creating The Leg rest
Copy the top backseat and rotate it by 90 degrees.
Using soft selection, select the top part of the vertices and move them up to give the cushion more volume.
Copy the main chair leg and position it under the new cushion
As the leg rest base has a four star leg, we will need to modify the
one we copied from the chair. Select four of the five starred shapes and
delete them. Copy the one that is left 3 more times by Shift rotating
it by 90 degrees (making sure the pivot point is still in the center).
Remember to scale it down, as it is smaller than the main leg.
Collapse all the vertices that are near each other.
Delete all other parts of the leg except the one that you will copy. Select them and copy them three times by 90 degrees.
Copy the part that is holding the bottom of the seat and move it
roughly to the center of the leg rest. We need to make all these shapes
the same length, so add a Symmetry modifier and make it mirror both the
Adjust the box that will hold the structure together.
Smooth out the boxes that hold it together by chamfering the side edge and the one that is closer to the screw.
Adding Additional Details
Now you will create the steel angle that will hold the armrest.
Create a plane, and position it between the soft armrest and the wooden
Extrude the upper edge to the right using the Shift key. After that,
select the edge that is in the corner and chamfer it. Add a shell
Next you will need to create a screw head. Create a sphere and a
cylinder. Squash the cylinder, copy it and rotate it by 90 degrees.
Attach both cylinders together. Using the Boolean tool cut out the cross
shape into the sphere.
Squash it a bit flatter and add a cylinder at the end of it.
Copy these screws accordingly. Then copy all these objects to the other side.
Everything is almost done, but first we need to add a bit of
variation to the model. This is because most of it was made using
symmetry, so it looks pretty generic and computer made. To add the
natural variation, we need to collapse all cushions so they don’t have
Symmetry modifiers. Cut out the Turbosmooth modifiers and collapse the
model to Editable Poly. Paste back the Turbosmooth. Do this to all the
cushions and armrests.
Using Soft selection, move some of the wrinkles around to make it
more random. Make some parts smoother or more extruded and visible. As
for armrests, add one edge loop between those sewing seams and then push
it in to give the impression that these lines are holding it together.
Don’t make these identical for both armrests, as it will look copied.