Free modeling 3dmax | Maya 3d | Blender 3d

Creating Balloon in Cinema 4d

2012-01-17T00:00:00.000-08:00

In this tutorial “Gfx Buddy” going to show you How to create a balloon in Cinema 4D and animate it with the emitter and after that the process of compositing in After Effects. Let’s ‘ve a look !

Source: 3dlib.org

Pill bottes model in cinema 4d

2012-01-16T23:20:00.001-08:00

Link download: http://www.mediafire.com/?ehcrtgd48mj0rgr
Source: 3dlib.org

Street bike model cinema 4d

2012-01-16T23:19:00.001-08:00

Link download: http://www.mediafire.com/?g0986wymi942jm5
Source: 3dlib.org

Learn 3ds Max - Step by Step Architectural Modeling

2012-01-16T22:46:00.000-08:00

This tutorial will teach you the basic architectural modeling and working with Editable Poly. This tutorial is strictly for those which opening the Autodesk 3ds max first time or frightened with the number of buttons and options in 3ds Max, but in the beginning you will only use some of them.

Before we start working, we'll set some parameters in program preferences, so there would be no errors while working. From main toolbar select Customize - Preferences. Thank on Viewports tab, select Backface Cull on object Creation. This will prevent some weird orientation of faces of your object later. I suggest you to keep this option always turned on when working in 3ds Max.

The first thing you see are 4 viewports that let you see your object from different sides. Right-click each viewport that you want to work with. The selected viewport will be highlighted.

Source:www.cgarena.com

How to Make Tooth Paste in 3D Max

2012-01-16T22:40:00.000-08:00

Step 1:

Create cylinder from standard primitives with following parameters.

Step 2:

Convert this object to poly.

Step 3:

Select the vertices and adjust
the shape.

Step 4:

Select the following face with Polygon and apply bevel.

Step 5:

Use bevel and inset .

Step 6:

Select the following face of the
object and apply extrude.

Step 7:

Turn on swift loop for add segments.

Step 8:

Add segments to tighten the edges of the objects.

Step 9:

Turn on the nurms for meshsmooth.

Step 10:

Shape up the following vertices.

Step 11:

Press (M) key for material editor.
Change the following Parameters.
Drag and drop the material on the Object.

Step 12:

Change the second material.

Step 13:

Scroll down the 2nd material slot and apply Image based reflection .

Use this image:

Step 14:

Select the object go to the modify
for polygon.
Turn on polygon and select
Following faces of the object.
Drag n drop the material on the
selected faces.

Step 15:

Select another material slot for Graphics.

Graphics used:

Step 16:

Select these faces
Turn on the (show standard
map in viewport) button. To
view the map in the viewport.
Drag n drop the material.

Step 17:

Adjustment of graphic map
While selecting the following
faces go the modifier list.
Apply uvw map for adjustment.

Step 18:

Try to adjust the map by moving
gizmo and following parameters.

Step 19:

After adjustment of graphic map of select object’s faces with
uvw map.

Step 20:

Create line for paste.

Step 21:

Draw line from left view.

Step 22:

Go to the top view port.
Select the line and go to the
modify panel.
Turn on the vertex and adjust the
line.

Step 23:

Create circle from the shape.

Step 24:

Select the line and open the
compound object panel.

Step 25:

Click on the get shape button then select the circle.

Step 26:

Select the loft object.
Go to the modify panel.
Open deformations and click
on the scale.
Scale deformation window will
appears.
Click on the Bezier point to insert
the points on the scale line.

Step 27:

Insert points and adjust the following scale line.

Step 28:

Create cylinder with following parameters for cap.

Step 29:

Convert this object to poly.
Select the following face and hit delete.

Step 30:

Select the following faces .

Step 31:

Extrude the following faces.

Step 32:

Go to the modifier list and apply
shell for wall thickness.
Adjust the following parameters

Step 33:

Go to the modifier list again and apply taper .
Adjust the following parameters.

Step 34:

Open material editor again and create following material for paste and cap.
Apply white material on the cap.
Blue on trhe paste.

Step 35:

Create plane for ground base.
Create and apply following material
on the plane.

Step 36:

Go to the standard lights and create sky light with following parameters.

Step 37:

Finally render the scene using (F9)
key.

Final Result:

source:3dlib.org

Particle Dispersion Effect Using 3DS Max and Particle Flow

2012-01-16T22:35:00.000-08:00

There are lots of similar animations on the Internet but I couldn’t actually find a good tutorial that is explaining how to create effect like this so here you can find one. First let’s take a look at the final animation and a sample screenshot from the middle of the movie.

Usage

That’s what we are going to create but before we start I’d like to point out some possible methods of creating this effect that I’m familiar with and some situations where you may find it useful. Effects like this one are usually very basic stuff and at the same time they have a wide usage anytime when you want to:

dissolve,
explode,
burn,
destroy,
hide,
and more…

something in a quick, simple and believable way. You can do it using different techniques and some examples include:

using modifiers such as “delete mesh”
using plug-ins like RayFire that are affecting object’s mesh
using materials that are not affecting mesh but making object invisible.

Here I will show you the third method because that one works best for me and is probably the best one in most cases, especially, when it doesn’t have to be perfect. Also it’s probably the quickest one to do and it gives you relatively the best results. So, of course you don’t have to play with all your mesh because it is much more complicated, time consuming and hard to calculate on average computer that you are probably working on at the moment, than if you had to use particles that are in a matter of fact made for such things. We won’t even touch our object (excluding a need of selecting it occasionally) but we will hide it using materials instead and let particles simulating sand appear in the correct place and time.

Step 1 – Objects to disperse

Open up your Max and create some kind of an object. I chose teapot because it is more complex and has more details than other objects. It doesn’t really matter if it’s big or small. I used 40 centimeters for radius so I was playing with quite big teapot . Don’t forget that size does matter if you are going to render your scene. Some rendering engines works better if you keep real world dimensions.

Step 2 – Setting Up Particle Flow

Once you’ve done that turn on Particle View window. Usually it’s under 6 hotkey so you only have to hit 6 right after you’ve made teapot but if it doesn’t work go to Graph Editors -> Particle View in the top menu of your 3ds Max. Right click in the window that will appear and create Empty Flow (under Particle System section). Then create Birth right next to that and connect them together (find part of table that makes your mouse cursor like 3 arrows pointing to the center and drag and drop this part of your table on the top of another).

Step 3 – Modyfing Particle Flow

We have to modify a list of items by adding there some new objects. Right-click again and add Position Object, Force and Shape from a list.

Position Object – because we want to add our teapot (or whatever you are using) to a system
Force – because we want to add wind (otherwise particles won’t fly away)
Shape – because we want to see particles on renders

We have to modify all of them slightly before we can go any further but first let’s add one more thing to our scene.

Step 4

Go to Space Warps, choose Forces and then Wind. Place it somewhere on your scene. Again it can be either big or small as you wish because it doesn’t make any difference except it’s easier to find in viewports. I made it around 10 meters. Rotate and move it a bit so that it has direction in which you want your particles to fly. You can also make it falling ground but in this tutorial I’ll only cover flying.
Once you have your wind you can modify its setting. I found that standard wind’s strength is too high so it’s good idea to decrease it a little bit. Also you’ll probably want to add some turbulence to it so that it won’t go perfectly straight. Try to change other settings here if you won’t satisfied when we’ll be able to see the result (we can’t yet).

Step 5

Go back to Particle View and select Position Object. Add your teapot to Emitter Objects list.

Step 6

Now choose Force and obviously you have to add there your forces. In our case there is only wind.

Step 7

Go to Display and choose there your particles’ color as well as their type. I decided to make them look like a sand so I think Dots and yellowish color will be great.

Step 8

Now select Shape and decrease its size a lot like for example to 1cm or 2cm.

Step 9

Go to the Birth and change Emit Stop to something bigger like 50 and Amount to something really high. I think 20,000 would be enough for now but for the final renders you’ll probably need to increase this number to around 100,000 (depending on how many particles you need). Finally we can close that and get back to viewports and our teapot. Animation is already there. Maybe values I chose are not good for you but always you can play with them as you like. Now it’s good time for that. If it slows down your computer don’t worry. You can go to your PE Source settings and look for Quantity Settings. Decrease Viewport % a bit and it will show less particles in your viewport but still they will be visible on your renders.

Step 10

We can get back to our teapot again. We want it to disappear and that can be done using gradient ramp as an opacity map. Opacity slot as many others works that way it grabs value from color of any grayscale map and make your objects more or less transparent. For instance, if you will put there black bitmap it will be invisible all the time because black has value of 0. Go to Material Editor (M) and select one of the material slots. Select opacity slot and then change it from NONE to Gradient Ramp.

Step 11

Basically what we want to achieve is animated material which will make teapot disappear while there are particles flying around. We need to animate gradient and make it change from white at the beginning to black at the end during 100 frames. It’s a bit complicated process. Try to even set key frames for already set indicators (colors)(for instance if indicator is already white set it white again anyway when you move it to another position). Turn the Set Key mode on and go to the 1st frame.

Frame: 1 – 1% indicator set to black and rest white at positions 2%, 3% and one at 100%
Frame: 2 – 1% and 2% indicators set to black and rest white at positions like before (remember to change their color to the same color here even if they already have this color – this will make key frame)
Frame: 98 – move indicators from 2% and 3% to accordingly 98% and 99% (1% indicator is black and 2% indicator is white all the time)
Frame: 99 – 99% indicator set to black and rest black but 100% is still white
Frame 100 – 100% indicator set to black and rest are black

Now you should have nice gradient moving from left to the right. It may be hard to achieve so I’ve prepared a video presenting whole process. Make sure to turn on Set Key mode as I did and to press key button each frame to create a key frame.
A couple things to note:

to see material’s key frames on your time line you have to add this material to teapot or other object first
you will have to move key frames then because particles are starting to appear slowly and you want your teapot to disappear only when there is a lot of particles already and not right after animation starts.

Step 12

If we now render that at for example 50th frame it will be ok for some objects but not for teapot. You have to add some mapping to it. Modifier called UVW Map should work fine with standard settings but simple objects like teapot. Animation is ready. It looks almost or exactly like we wanted to but you can play with gradient a bit and make it softer or add there some noise to make effect better. I’ve set my noise amount to 0,08, size to 0,93 and mode to Fractal.

Conclusion

Well, that is all for now. I hope you enjoyed my tutorial. As I mentioned you can use this effect in variety of ways. Especially it is useful when you are going to burn something and want to burnt part of your object disappear, when you want to make an explosion and want your object to disappear consecutively part by part. It doesn’t require much calculating power as it is with modifying mesh and gives you quite good results.

The 220-701 online training program offers great collection of design work for inspiration. Download the 350-030 tutorials and PMI-001 guide to learn the best web design practices.

Source: 3dlib.org

Creating Realistic Facial Cream in Blender 3d

2012-01-16T22:22:00.000-08:00

In this tutorial author “Aditia A. Pratama” going to show you the process of Creating Realistic Facial Cream in Blender 3d. This covers the whole process of Modeling, Texturing, Rigging and Rendering. For more information visit Fossgrafis.

In Part 1 tutorial you will learn :
- How to model a facial cream

- How to set parent on the object

- How to create rig for controlling the lid
TUTORIAL PART 1/2:

In part 2 tutorial we’ll going to learn:
- How to UV unwrapping in Cycles render

- Using Inkscape to create texture

- light up your scene using HDRI

Source: 3dlib.org

ArchInteriors model 3dmax – 02

2012-01-10T16:35:00.000-08:00

Link download: http://www.mediafire.com/file/4u18dsipp9xcmsu/3dlib.org-ArchInteriors-02.rar

Source: 3dlib.org

ArchInteriors model 3dmax – 01

2012-01-10T16:34:00.000-08:00

Link download: http://www.mediafire.com/file/jv33yowq7iqmub2/3dlib.org-ArchInteriors-01.rar

Source: 3dlib.org

Couches modeling 3d

2012-01-09T06:24:00.001-08:00

Link download: http://www.mediafire.com/file/gc5rb2cie28sdf2/3dlib.org-couches.rar
Source: 3dlib.org

Tables modeling 3d

2012-01-09T06:23:00.001-08:00

Link download: http://www.mediafire.com/file/606xsad322bjvc9/3dlib.org-tables.rar

Source: 3dlib.org

Bed modeling 3d

2012-01-09T06:22:00.000-08:00

Link download: http://www.mediafire.com/file/msnfo31fvvugava/3dlib.org-beds.rar

Source: http://3dlib.org

Chair modeling free

2012-01-08T23:19:00.000-08:00

Link download: http://www.mediafire.com/file/ih0dc7uhhngexny/3dlib.org-chairs.rar
Source: 3dlib.org

Armchair modeling free

2012-01-08T23:18:00.000-08:00

Link download: http://www.mediafire.com/file/rgga9mji9zxvivr/3dmax.org-arm-chairs.rar
Source: 3dlib.org

Modeling Buildings Using Modifiers – Part 3

2012-01-07T05:33:00.000-08:00

Part 3. Creating the Metallic Shell
In this lesson, you will create another reference object and apply additional polygon editing techniques that will cloak the building in a metallic shell.
Set up the lesson:

Continue working on your scene from the previous lesson, or open \modeling\highrise\building1_mullions.max.You will start by temporarily deactivating the modifiers on the glazing object, so you can work with the polygons of the shell object more easily.

Create a metallic shell for the building:

Press H and use the Select From Scene dialog to select the Building 1 – Glazing object. On the Modify Panel, in the modifier stack, click the (light-bulb icon) to the left of each modifier to turn off the effect of the modifier.
From the menu bar, choose Edit Clone. In the Clone Options dialog Object group, choose Reference and change the name of the object to Building 1 – Metallic Shell.
With the shell object selected, right-click the active viewport and from the quad menu, choose Isolate Selection.
From the Modifier List, choose Edit Poly.
Right-click the Perspective viewport if it is not already active. Zoom, orbit, and pan until the bottom of the building is clearly visible.
On the Selection rollout, click (Polygon) to turn it on.
Select the middle polygon on the bottom of the building. On the Selection rollout, click Grow repeatedly until you have the entire bottom selected. Press Delete to remove the polygons.You now need to remove additional polygons to create the window pattern on the building exterior.

Create openings for the front and back of the building shell:

Press Shift+Z repeatedly to undo viewport changes until you can see the entire building again.
In the Perspective view, click Front on the ViewCube, then right-click the ViewCube and from the pop-up menu, choose Orthographic.

TipIf the ViewCube is not visible in your viewports, from the General viewport label menu (“[+]”) choose ViewCube Show The ViewCube.
You will be selecting faces on both the front and back of the building, and this is more reliable in Orthographic views. (In a Perspective view, the Perspective projection can cause selection to choose back faces that are out of alignment with the front.)
On the Selection rollout, make sure that Ignore Backfacing is turned off (it is off by default).
While Ignore Backfacing is off, selecting a face on the front of the building also selects the corresponding face on the back.
Press Alt+W to maximize the viewport.
Turn on (Select Object). Ctrl+click+drag to select a 5×15 grid of polygons in the upper portion of the model, leaving one row of polygons unselected at each edge of the building.
This selects polygons on both the front and back faces of the model.
Alt+click to remove each corner polygon from the selection, as shown in the illustration. This removes the selected polygons on the front and back faces of the model.
Ctrl+click+drag to select the remaining polygons, as shown in the next illustration. Use the Alt+drag technique to remove polygons from the corners of the window patterns, and the archway of the entrance.
Press Delete to delete all of the selected polygons on the front and back of the building.
Next, you will remove polygons from the sides of the building, using a slightly different pattern.

Create openings for the sides of the building shell:

Use the ViewCube to change to a Left view of the building.
Select polygons in a pattern of 5×7, 5×15, 5×15, and 5×8, with the corners removed, as shown in the illustration.
Press Delete to delete the polygons.
Press Shift+Z until the viewport shows a perspective view again.
Next, you will edit the building edges to make them rounded.

Chamfer the corners of the shell:

On the Selection rollout, click (Edge).
In the Perspective view, zoom in to see the shell more closely. Use the ViewCube to rotate the view so you can see all four corners of the shell, whether inside or out.
At one level of the shell, click and Ctrl+click to select the four vertical edges at each corner of the building.
On the Selection rollout, click the Loop button. This selects all four edges of the building in their entirety.
On the Edit Edges rollout, click the Settings button next to the Chamfer button (just to the right of the main button).
3ds Max Design displays the caddy controls for the Chamfer tool.
On the Chamfer caddy, set the first control, Amount, to 2.0m. This sets the width of the bevel created by the chamfer operation. Set the second control, Segments, to 4. This divides the chamfered region into four segments. The more segments you set, the more rounded the edge will be. Click (OK).
Click (Edge) again to exit the Edge sub-object level.

Give thickness to the shell, and inspect the result:

From the Modifier List, add a Shell modifier and on the Parameters rollout, set the value of Outer Amount to 2.0m.This gives the metallic shell a thickness of two meters. Now, let’s look at the building with the modifiers applied.
Exit Isolation Mode.
Click Alt+W to view all four viewports again.
On the Modifier Stack, turn on the three modifiers you turned off earlier: FFD, Twist, and Taper.
In the Perspective view, click (Zoom Extents Selected).
Click an empty area of the viewport to deselect the building.The modeling phase of the building is now complete. Next, you will add materials to the building exterior.

Apply materials to the building:

Press H and on the Select From Scene dialog, highlight the Building 1 – Glazing object, and then click OK.
On the main toolbar, click (Material Editor) to open the Slate Material Editor.
On the Material Editor menu bar, open the Options menu and turn off Propagate Materials To Instances.
In the Sample Slots section of the Material Editor Browser (on the left), locate the Glass material, then drag it to the View1 window (in the center).
3ds Max Design asks whether to make this a copy or an instance. Choose Instance, then click OK.

TipTo navigate conveniently in the Slate Material Editor, enlarge the window from its default size. It also helps to drag the width of the Browser panel to make it wider.
On the Material Editor toolbar, click (Assign Material To Selection) to apply the Glassmaterial to the glazing object.3ds Max Design applies the glazing material to the glazing. In the Scene Materials section of the Browser panel, now you can see a Glass entry, and the object name.

NoteIf Propagate Materials To Instances is on when you do this step, then all of the buildingl is assigned the Glass material.
Press H again, and select the Building 1 – Metallic Shell object.
In the View1 panel, click the Glassmaterial to highlight it, then press Delete.This removes the Glass material from the active material view, but doesn’t remove it from the scene.
In the Sample Slots section of the Browser panel, locate the Metal material, and drag it to the View1 panel.
This time drag from the Metal material node’s output socket, the round control at the right,

Dragging from a material’s output socket
… and in the viewport, drop the wire on the metal shell object.

… and dropping onto an object
Dragging and dropping is another way to assign a material.

NoteYou won’t see the wire as it crosses the panel at the right of the Slate Material Editor, or in the viewport.
Press H again, and select the Building 1 – Mullions object.
In the Sample Slots section on the Browser panel, locate the Mullionsmaterial (you’ll have to scroll down), then apply it to the mullions object using the methods described in the previous steps.The Mullions material is a matte gray, not shiny like the metallic shell.
Close the Slate Material Editor.

Render the building:

Make sure the Perspective viewport is active, then click (Render Production) to check your work.Your scene should look something like this:

Save your work:

Save your file as mybuilding1_final.max.You can use this scene file as your starting point in the next tutorial, Modeling Buildings Using Boolean Operations.

Summary This tutorial demonstrated how easy it is to quickly visualize architectural concepts using 3ds Max Design. You learned how to build an organically-themed architectural model from simple geometric objects by adding Twist, Taper, and FFD modifiers. You also saw how basic polygon editing techniques can be used to create detailed elements such as mullions, and to round off building corners.

source: 3dlib.org
download.autodesk.com

Modeling Buildings Using Modifiers – Part 2

2012-01-07T05:32:00.000-08:00

Part 2. Adding the Mullions
You will start by cloning the object you created in the previous lesson. You will then take the clone, which retains twist, taper, and FFD modifiers, and use polygon editing techniques to create the structure’s mullions.
Set up the lesson:

Continue working on your scene from the previous lesson, or open \modeling\highrise\building1_glazing.max.

Create the mullions for the building:

Select the glazing object (the tower). From the menu bar, choose Edit Clone. In the Clone Options dialog Object group choose Reference. Change the name of the object to Building 1 – Mullions, then click OK.
As a reference, the newly created mullions object behaves in a specific way. Any subsequent edits to the mullions object will not affect the glazing object. However, if you modify the glazing object, the mullions object will be affected. This way, any changes to the modifiers that affect the tower structure, which were created in the glazing object, can be carried forward to the mullions. But any polygon edits intended to affect the mullions only, will not affect geometry in the glazing object.
If the mullions object was cloned as a copy instead of a reference, it would be completely independent of the original. If the mullions object was cloned as an instance, it would be completely dependent on the original, and vice versa: Any subsequent edits made to either object would affect the other.
With the Building 1 – Mullions object selected, right-click the viewport, and from the quad menu, choose Isolate Selection.
Isolation mode ensures you are working on the correct object.
You now want to take the polygons that form the window grid and modify them to take on the characteristics of mullions. You will do so using the Edit Poly modifier.
From the Modifier List, choose Edit Poly.
Notice how a gray bar is inserted between the newly added Edit Poly modifier and all other modifiers. The bar indicates that all modifiers above the bar affect the reference object only and will not affect the original object. This way, you can keep on modifying the mullions object without affecting the glazing object.
Next, you will remove some unneeded polygons.
Activate the Perspective viewport. Zoom, orbit, and pan until the roof of the tower is clearly visible, and then on the Selection rollout, click the Polygon button.
Select the middle polygon on the roof. On the Selection rollout, click Grow repeatedly until you have selected the entire roof. Press Delete to remove all the selected polygons.
Repeat the previous two steps to remove the polygons that make up the bottom of the building.Now you will create insets out of the remaining polygons, which you will use as the window mullions.

Turn the mullion object into a lattice:

Press Shift+Z repeatedly to undo the viewport changes, so you can see the entire building in the Perspective viewport, again.
Press Ctrl+A to select all the polygons in the building.
On the Edit Polygons rollout, click the Settings button next to the Inset button (just to the right of the main button).
3ds Max Design displays the caddy controls for the Inset tool.
On the first control of the caddy, choose By Polygon from the drop-down list.
On the second control, Amount, change the value to 0.3m, then click (OK).
The By Polygon option applies the inset poly edit to each polygon in the selection.
Press Delete to remove the selected polygons and keep their insets.
On the Selection rollout, click (Polygon) to turn it off and exit Polygon selection mode.
In the Perspective viewport, zoom in to the mullions you just created.The mullions appear as thin, two-dimensional faces. You need to give them some thickness.

Make the mullions thicker:

From the Modifier List Object-Space Modifiers section, choose Shell. On the Parameters rollout, set Outer Amount to 0.3m.
Now the mullions are thick enough to show up when you render the scene.

Unhide the glazing structure:

In the Warning: Isolated Selection dialog, click Exit Isolation Mode to view the glazing and mullion objects together.

Now you are ready to create the structure’s metallic shell.

Save your work:

Save the scene as my_building_mullions.max.

source: 3dlib.org
download.autodesk.com

Modeling Buildings Using Modifiers – Part 1

2012-01-07T05:30:00.001-08:00

File source (using for all part in this tutorial) DOWNLOAD
Part 1. Creating the Tower
In this lesson, you will create the basic geometry of the model, then use 3ds Max Design modifiers to give the object a distinctive shape.
Set up the lesson:

On the Quick Access toolbar, click (Open File), navigate to the \scenes\modeling\highrisefolder, and open building1_start.max.

NoteIf a dialog asks whether you want to use the scene’s Gamma And LUT settings, accept the scene Gamma settings, and click OK. If a dialog asks whether to use the scene’s units, accept the scene units, and click OK.
A daylight system has already been set up, so you can start building your model right away.

Create the tower object:

On the Create panel, click (Geometry), then in the Object Type rollout, click Box.
In the Perspective view, click and drag diagonally at the center of the ground object to set the width and depth of the box. Release the mouse button and drag upwards to set the height. Click a final time to complete the box.Do not worry about dragging the box to an exact width, depth, or height. You will set these parameters in the next step.
On the Modify panel Parameters rollout, set the parameters of the box as follows:
- Length=70.0m
- Width=70.0m
- Height=300.0m
- Length Segs=7
- Width Segs=7
- Height Segs=50
  The segments are necessary to define the tower floor and window grid.
NoteNormally, a building 300 meters in height would be divided into 100 height segments to create floors of three meters each, but in this tutorial the value is halved to make for easier polygon selection.
On the Name And Color rollout, change the name of the object to Building 1 – Glazing.
This name change is appropriate, since you will later be applying a glazing material to this object.
From the Modifier List Object-Space Modifiers section, choose Taper.
On the Parameters rollout, set Amount to –0.45 and Curve to –0.9.
The negative Amount value tapers the building inwards at the top. The negative Curve value pulls the sides of the building in, as shown in the next illustration.

Next, you want to give the tower a twist.
From the Modifier List Object-Space Modifiers section, choose Twist.
On the Parameters rollout Twist group, set Angle to 90.0 and Bias to 45.0.
The 90-degree Twist value creates a quarter turn of the building. The Bias value of 45 causes the twist to start part-way up the side of the building, rather than immediately at its base.
To give the building a serpent-like quality, from the Modifier List, choose FFD(Box). FFD modifiers surround the selected geometry with an adjustable lattice box.
On the FFD Parameters rollout Dimensions group, click Set Number Of Points.
In the Set FFD Dimensions dialog, set the parameters as follows to set the number of control points for the lattice used to deform the structure:
- Length=2
- Width=2
- Height=7
In the modifier stack, click the plus-sign icon to expand the FFD(Box) modifier hierarchy. Click to choose Control Points.This lets you select and manipulate the lattice control points you defined in the previous step.
In the Front view, create the serpent effect by dragging a box to select the top row of control points, then holding down Ctrl and dragging another box to select the fourth row of control points.
Click (Select And Move), then drag right slightly, as shown in the next illustration.
Exit the FFD Control Point sub-object level by clicking the main modifier entry: FFD (Box) 2x2x7 in the Modifier stack.

Now you are ready to create the mullions.

Save your work:

Save the scene as my_building_shaped.max.

source: 3dlib.org
download.autodesk.com

Render command in 3dmax 2009

2012-01-07T04:43:00.001-08:00

Rendering tools are located on the main toolbar, but because the resolution of the screen + small size of the screen so the hidden tools, to see this stuff go to your mouse similar in this position until the pointer turns into a hand then click + drag to the left until you see the only tool needed.

To enable the Render Frame Window window, press F9 key to use the Quick Render tool.
- When you press F9, the Perspective viewport by default. In case you want to render any view you can just press Shift + Q. Or press F10 to open the Render Settings and then select the view to render in the viewport and then click [Render].
Rendering tools are located on the main toolbar, but because the resolution of the screen + small size of the screen so the hidden tools, to see this stuff go to your mouse similar in this position until the pointer turns into a hand then click + drag to the left until you see the only tool needed.

You will see the following tools:

- On Render dialog box (similar to when you press F10).

- Quick render.

In this section we need to consider the options in the render:
. View: Render the entire view.
. Selected: Render the selected object.
. Region: Render selected areas.
. Crop: Render selection (selection may vary by enlarging / shrinking or moved to any location)
. Blowup: Render selection (selection may vary similar Crop)
There are also some other types such as Box Selected, Selected Region, Crop Selected you find out, is quite interesting.
To use this option, you click to select a type of render, then press Shift + Q -> select the object, or create the need to render.

(After each use of this option, please click on the button to delete the images were not displayed if you do not see clearly what you want)

Rendered Frame Window

Render window to display the final results of a scene, with this window you can:

- Save the results after the render image file format.
- Create a copy of the render window, to compare the situation before the change and after change.
- Enable or disable the presence of RGB primary color channels.
- Show images with transparent background (alpha channel) (save file as. png image you get a transparent background).
- Display images as monochrome (monochrome)
- Clear display pictures stored in the render window

In the window that you can render key combinations:
. Shift + click the mouse to use the Pan tool.
. Ctrl + click to use the zoom tool.

Defining Tree Shadows - 3dlib.org

2012-01-07T04:42:00.000-08:00

In this lesson, you will instruct the particle system to generate a second set of trees, with only its shadows visible. You will then orient the shadows so they continually face the light source in the scene

Set up the lesson:

Continue working on the scene file you saved in the previous lesson, or open ptrees.max.

Generate a second set of tree particles:

Press 6 to display Particle View, drag a Spawn operator from the depot to Event 001, and drop it at the bottom of the event, below the Display 001 operator.
The Spawn operator will generate a new set of particles from the ones you defined in Event 001.
Highlight the Spawn 001 operator to display its parameters. In the Spawn 001 rollout Spawn Rate And Amount group, the Once option should be chosen, indicating that only one set of particles will be created.

Set the particles to follow the sun:

In Event 001, click to highlight the Shape Facing 001 operator, then right-click it and from the pop-up menu, choose Copy.
Right-click an empty area of the event-display area below Event 001, and from the pop-up menu, choose Paste.
3ds Max Design creates a new event, called Event 002, with an operator that also instructs the particles to face the camera. Now you will modify this operator so that the particles will face the scene light source instead of the camera.
Click the new Shape Facing 002 operator so you can see its parameters. In the Shape Facing 002 rollout Look At Camera/Object group, click the Pick button (which at first is labeled Camera01), then in any viewport, click the [Daylight01] Sun01 object.
In Event 002, click the Display 002 operator. On the Display 002 rollout, click the color swatch and use the Color Selector controls to choose a red color.
This color is used to display the shapes of the second set of particles in wireframe views. It will not be visible in renderings. The red color will help you better identify the second set of particles.
Open the Type drop-down list and choose Geometry.
In Event 001, click the Display 01 operator and choose a dark blue color, to better see the first set of particles in wireframe view.
Click the blue handle to the left of the Spawn operator and drag it to the Event 002 input (the empty circle that protrudes from the top of Event 002).
With this connection, Event 001 spawns a set of particles once and sends them to Event 002, where they are instructed to face the sun.
In the Front viewport, select the camera. On the main toolbar, click (Select And Move). In the Top viewport, move the camera about the scene.

Top: Camera position 1
Bottom: Camera position 2
Billboard trees (shown in blue) follow the camera position, while the shadow particles (shown in red) do not
Press Ctrl+Z to undo the camera movement.

Do a test rendering:

Render the Camera01 viewport.

Rendered scene showing two sets of particle tree shadows
There are now two sets of particle trees, each of which cast shadows. You need to hide the shadows of the particle trees that face the camera, then hide the particle trees that face the sun but keep their shadows visible.

Fix the visibility of shadows:

Highlight the header of Event 001, then right-click it and from the pop-up menu, choose Properties. Remember that in Particle View, Event 001 represents the particle trees that face the camera, while Event 002 represents the particle trees that face the sun.
In the Object Properties dialog General panel Rendering Control group, click By Layer (if By Object is not already active) and turn off Receive Shadows, Cast Shadows and Apply Atmospherics. Click OK.
Highlight the header of Event 002, then right-click it and from the pop-up menu, choose Properties.
In the Object Properties dialog General panel Rendering Control group, click By Layer (if By Object is not already active) and turn off Inherit Visibility, Visible to Camera, Visible to Reflection/Refraction, Receive Shadows and Apply Atmospherics. Click OK.
Render the Camera01 viewport again.

Particle trees with only one set of shadows visible
The rendering shows one visible set of particle trees, and shadows cast by the second set of trees, which are otherwise hidden.

source: download.autodesk.com

Modeling plumbing pipe in 3d studio max 2009

2012-01-07T04:40:00.000-08:00

I have used following techniques shown below in this 3ds max tutorial.

[1]-Start 3dsmax and choose “Chamfer cylinder” with the following size as shown below
Create chamfer cylinder in the front view port

[2]-Now apply the bend modifier with the good following amount as shown below

[3]-Create another chamfer cylinder and set like this

[4]-Now Boolean it

[5]-Create two more chamfer cylinder now set like this

[6]-Open the material window and make material like me

[7]-Set the skylight like this with the following parameter as shown below

[9]-This is my final result

Animating Camera Rotation

2012-01-07T04:33:00.001-08:00

Now that the camera is constrained to the path, you'll animate the camera rotation so that it is aimed in a more natural position at points of interest in the scene.

Set up the lesson:

Continue from the previous lesson, or on the Quick Access toolbar, click (Open File) and in the \animation\walkthrough_asst folder, open great_wall_head.max.

TipIf the Units Mismatch dialog displays, choose Adopt The File's Unit Scale and then click OK. This is the same scene from the previous lesson. The camera is now in place, but you will use Walkthrough Assistant to animate the Turn Head parameters.

Turning off Follow Path:

If the Walkthrough Assistant dialog is not visible, go to the Animation menu and choose Walkthrough Assistant.
In the Advanced Controls rollout, in the Path Controls group, disable the Follow Path option. You will not need it because you will control the head rotation manually.

NoteDisabling the Follow Path option resets the camera orientation to its default value (positive Y). You will fix that as you start animating the head rotation from the Walkthrough Assistant dialog.
Make sure you are at frame 1, then turn on (Auto Key).
In the View Controls rollout, move the Turn Head slider to the left and adjust the Head Tilt Angle to 16.4 in order get a better viewing angle of the brick path in the Camera viewport.
Drag the time slider to frame 206. You are now at the other side of the hilltop. Adjust the Head Tilt Angle to –3.3 to level the camera head, then slide the Turn Head slider to the right to adjust the rotation. The goal is to adjust the camera head rotation so that it looks towards the tower as if it has suddenly caught your attention.
Drag the time slider ahead to frame 408. Adjust the Head Tilt Angle to –13.5 so that you are looking at the paving stones in front of you. Although it's nice to look at the scenery, it’s also important to create a walkthrough that “feels” comfortable; in other words, to make it so that the viewer doesn’t feel off balance while doing the a virtual walkthrough of your scene.
Drag the time slider to frame 615. Change the Head Tilt Angle to –0.8 and drag the Turn Head slider a little to the right so the camera is looking at the tower again.
Drag the time slider to frame 800. Change the Head Tilt Angle to 5.6. Move the Turn Head slider to the right until the tower opening is centered in the camera view.
Scrub the time slider to frame 1050. Change the Head Tilt Angle to –0.8. Move the Turn Head slider a little to the left so that the camera is tilted in anticipation of turning left after exiting the tower.
Drag the time slider to frame 1150. Change the Head Tilt Angle to 6.6. Move the Turn Head slider slightly to the left so that you're looking the second tower in the distance.
Drag the time slider to frame 1280. This time change the Head Tilt Angle to –10.4 so that the camera head is tilted downwards to match the slope of the path.
Drag the time slider to frame 1420. Change the Head Tilt Angle to –11.9 to tilt the camera head further down.
Drag the time slider to frame 1680. You're now looking up again towards the tower ahead of you. Adjust the Head Tilt Angle to 24.7. Slide the Turn Head slider a little to the left so that is aimed at the second tower.
Drag the time slider to frame 1860. Change the Head Tilt Angle to 29.4. Move the Turn Head slider slightly to the right so until you’re looking at the second tower opening.
Drag the time slider to frame 2030. Change the Head Tilt Angle to –12.6.
Drag the time slider to frame 2125. At this point in the walkthrough, you are going downhill again. Change the Head Tilt Angle to about –23.3. You want the camera head tilted downward toward the path instead of out towarde the scenery, because you want the animation to feel as if you're watching your step.
Drag the time slider to frame 2250. You are still looking at the path in front of you. Change the Head Tilt Angle to –12.5. Adjust the Head turn and tilt to that purpose.
Drag the time slider to frame 2550. You are now going up the path. Change the Head Tilt Angle to 22.7, and move the Turn Head slider slightly to the right so that you’re looking toward the end of the pathway.
Turn off (Auto Key).
Play the animation in the camera viewport to see the results. Notice that the camera motion is far more natural than it was in the previous lesson.

NoteThe camera path will not be visible when you render the animation.
source: download.autodesk.com

Modeling pin in 3d studio max 2009

2012-01-07T04:27:00.000-08:00

I will show how create a 3dsmax 3d pin model tutorial.
I have used following techniques shown below in this 3ds max tutorial

1]-Start 3dsmax and choose “Chamfer Cylinder” with the following size as shown below
Create chamfer cylinder in the left view port

[2]-Apply the FFD modifier now select the control point then drag the control point like this

[3]-Create another chamfer cylinder and set like this

[4]-Create one more chamfer cylinder and again apply the FFD modifier now select the control point then drag the control point like this

[5]-Your object should like this

[6]-Create another chamfer cylinder and apply the taper modifier with the good following amount as shown below

[7]-This is my material palette and creates materials something like that

[8]-Set the skylight like this with the following parameter with the following amount as shown below

[9]-This is my final result
Source: tutorialqueen.com