This section covers basic 3D concepts. and does not go over any of the 3D Studio Max interface, which will be covered in Chapter 2.

For those of you who are early readers, note that I am writing the chapters as I go so the only thing I have completed so far is Chapter 1.

Objectives

• Learn 3D basics
• Define the third Dimension
• Understand X, Y, and Z axes
• List some of the 3D software available

What is 3D and Why do we User 3D Software?

This may seem like obvious answers to simple questions. But before you can begin building in 3D, you need to understand what it is and what tools are needed in order to create these graphics

Let’s begin by defining the three dimensions:

Zero dimension: A point is an example of a zero-dimensional object. It defines a point in space but has no length, height, or width.

First dimension: A one-dimensional object is a single line. It has length but no height or depth.

Second dimension: A two-dimensional object has any two of the following three dimensions:

• Length
• Height
• Depth

Third dimension: Three-dimensional objects use all three of the dimensions (length, height, and depth) or the X, Y and Z coordinates. 3D applications conform to a standard from of axes called the cartesian coordinate system, first used by Rene Descartes in the mid 1600s. These X, Y and Z axes correspond to dimensions values.

• X: Width
• Y: Height
• Z: Depth

According to the graph, and 3D studio Max, X points left and right, Y is up or down, and Z is at a diagonal representing depth. 3D applications use these axes to transform, rotate and scale according to the specific axis. For example, I can transform or move an object along an X axis which would move it left or right. I can also move my object on the Y axis which would move it up or down. If I move my object on a Z axis the object would appear closer of further away from my view.

The tricky thing with computer generated graphics is that you create 3D data using two-dimensional tools. Your computer screen is a two-dimensional object and your mouse can move in two dimensions; it can report left right and front-back motion but cannot report how far above or below the desk it is. Furthermore, your output will always be two dimensional.

How is this accomplished?

In order to create 3D graphics you need to have 3D software. What I am using is 3D Studio Max, but there is other 3D software applications out there. Some of these include Maya, Softimage XSI, Lightwave, Blender, Cinema 4D and ZBrush to name a few.

Once you obtain the software and have a solid understanding of the key concepts of 3D, the next step you need to take is to learn the interface of the software… which will be covered in the next chapter.

A single 3D model can demand thousands of dollars in profit when sold to graphics or design companies. For a 3D model to command such a high price it must be highly accurate and lifelike.

Creating polygonal models has shown to be more profitable than creating other types of 3D models such as b-spline or NURBs 3D models. This being said, many buyers of 3D models take into account that NURBs models can be transitioned into polygonal models, but it is not possible to create a NURB model from a polygonal 3D model.

There are high market values for models that are lifelike - whether they are human models, organ models or models of household items or furniture. These 3D models are necessary within video games and other animations.

These lifelike models can take extensive periods of time to complete and therefore it is important to focus on specific aspects of the model. For example, when making a model of a popular vehicle, create the exterior of the vehicle first, but overlook parts of the vehicle that are not going to be required - such as the engine, or trunk.

In order for the artist to reach high earnings levels they must have an eye for detail and the know how, and skill to create these highly specialized 3D models. Detail and versatility are the keys to selling designs in the 3D model business. When companies purchase models for thousands of dollars, they expect the models to transition into different formats with ease. Creating models that can transition easily yields more income than a static 3D model.

For these reasons, details such as texture should be avoided as many companies employ individuals that can add on this texture. As well, when an artist adds texture to a 3D Model it can make the model hard to transition into other forms.

I received information today from Autodesk that they have signed an agreement to acquire Softimage, another very powerful 3D software. The acquisition is expected to close next month, until then, Autodesk and Softimage will continue operating independently.

We are pleased to announce that Autodesk and Avid Technology have signed a definitive agreement for Autodesk to acquire substantially all of the assets of Softimage, a Canadian subsidiary of Avid Technology. We are excited by this opportunity to join forces, combining two strong teams into a world-class center for computer graphics software research and development.

Both Softimage and Autodesk Media & Entertainment are headquartered in Montreal, Canada. Softimage has been developing state-of-the-art 3D technology for more than 20 years. Its products are recognized as best-ofbreed in the entertainment industry. With nine million users, Autodesk is a world leader in 2D and 3D design software for the media and entertainment, manufacturing, building and construction markets.

Autodesk now has a majority of the powerful 3D software out there, including Autocad, 3D Studio Max and Maya, which was purchased about 3 years ago from Alias. Some of the other 3D software not owned by Autodesk includes Blender, Cinema 4D, Lightwave and Bryce.

What does this mean for Softimage users? When Alias was bought out, a lot of Maya users had concerns about the UI changing so drasticlly that they woudl have to relearn the software. Other concerns were that both software would merge into a hydrid in which neither Max user nor May auser would fully be experts in. With a third major software introduced, it will be interseting to see the plans that Autodesk has for the future. I do think however, we will see drastic improvements in ALL software (3D Max, Maya and Softimage).

Title: Evil Witch

Artist: Sven Geruschkat

URL: http://www.svenger.de/

Title: Obsolete

Artist: Pawel Hynek

URL: http://forums.cgsociety.org/showthread.php?f=121&t=430849

Title: Alien

Artist: Damien Canderle

URL: http://forums.cgsociety.org/showthread.php?f=121&t=528186

Title: Don Quixote de la Mancha

Artist: Fabricio Moraes

URL: http://forums.cgsociety.org/showthread.php?f=121&t=502979

Title: Old Lady

Artist: Krishnamurti Martins Costa

URL: http://www.antropus.com/

TItle: Salad

Artist: Till Nowak

URL: http://forums.cgsociety.org/showthread.php?f=121&t=432943

Title: Frost GIant

Artist: Jérôme Denjean

URL: http://www.jed-online.com

Title: Pink Sugar

Artist: Olivier Ponsonnet

URL: http://re1v.free.fr/imgup/PinkSugarFull.jpg

Title: Opal Child

Artist: Olivier Ponsonnet

URL: http://forums.cgsociety.org/showthread.php?f=121&t=641720

Title: Mr. Coutinho

Artist: Wesclei3d

URL: http://www.3dk.org/m/artgallery/Mr-Coutinho_44d.html

Title: White Teeth

Artist: Jonathan Simard

URL: http://forums.cgsociety.org/showthread.php?f=121&t=378998

Title: Jimi Hendrix

Artist: Marcin Klicki

URL: http://forums.cgsociety.org/showthread.php?f=121&t=431478

Title: N/A

Artist: Oliver Cannone

URL: http://www.gameartisans.org

TItle: Arnold

Artist: Patrick Beaulieu

URL: http://www.squeezestudio.com/Gallery.htm

Title: Suzie

Artist: Andrew Hickinbottom

URL: http://forums.cgsociety.org/showthread.php?f=121&t=428656

Title: Forest Golbin

Artist: Caroline Delen

URL: http://www.carolinedelen.com

Title: Lady of Shalott

Artist: Yang Zhang

URL: http://forums.cgsociety.org/showthread.php?f=121&t=450726

Title: Pavlin

Artist: Anton Bugaev

URL: http://forums.cgsociety.org/showthread.php?f=121&t=608361

Title: The Beast

Artist: Thaddeus Maharaj

URL: http://www.cgchannel.com/gallery/viewimage.jsp?imgID=17587

Title: Don’t Feed The Plant

Artist: Alberto Lozano

URL: http://forums.cgsociety.org/showthread.php?f=121&t=496863

Title: Bad Assassin

Artist: Lon Krung

URL: http://www.cgchannel.com/gallery/viewimage.jsp?imgID=17736

Title: Fat Mafia Boss

Artist: D-E-A-N

URL: http://www.3dk.org/m/artgallery/Fat-Mafia-Boss_979.html

Title: The Penguin

Artist: Adam Schuman

URL: http://gameartisians.org

TItle: Lil Napoleon

Artist: Jonathan Simard

URL: http://forums.cgsociety.org/showthread.php?f=121&t=468115

Title: Automaton

Artist: Almacon

URL: http://www.3dk.org/m/artgallery/Automaton_bc7.html

Title: Blobby Bubble

Artist: Patrick Beaulieu

URL: http://forums.cgsociety.org/showthread.php?f=121&t=464953

Title: We Are Not Alone 2

Artist: Damien Canderle

URL: http://forums.cgsociety.org/showthread.php?f=121&t=484714

Title: Open Green

Artist: Andrius Balciunas

URL: http://www.cgchannel.com/gallery/viewimage.jsp?imgID=17619

Main UI

Angle Snap Toggle - A
Auto Key Mode Toggle - N
Camera View - C
Display as See-Through Toggle - Alt + X
Fetch - Alt + Ctrl + F
Hold - Ctrl + H
Grid Toggle - G
Material Editor Toggle - M
Maximize Viewport Toggle - Alt + W
Perspective User View - P
Render - Shift + Q
Redraw All View - Single Quote
Redo Scene Operation - Ctrl + Y
Redo Viewport Operation - Shift + Y
Set Keys - K
Show Edges - F4
Smooth + Highlights/Wireframe Toggle - F3
Transform Gizmo Toggle - X
Undo Scene Operation - Ctrl + Z
Undo Viewport Operation - Shift + Z
Zoom Extents All - Shift + Ctrl + Z
Zoom Extents All Selected - Z
Toggle SteeringWheels Feature (only for 2009) - Shift + W
Toggle ViewCube Visibility (only for 2009) - Alt + Ctrl + V

Edit/Editable Poly

Vertex Level - 1
Edge Level - 2
Border Level - 3
Polygon Level - 4
Element Level - 5
Bevel Mode - Shift + Ctrl + B
Chamfer Mode -  Shift + Ctrl + C
Extrude Mode - Shift + E
Target Weld Mode - Shift + Ctrl + W
Ignore Backfacing in Selections - Shift + Ctrl + I
Grow Selection - Ctrl + Page Up
Shrink Selection - Ctrl + Page Down
Hide Selection - Alt + H
Repeat Last Operation - semicolon
Select Edge Loop - Alt + L
Select Edge Ring - Alt + R
Unhide All - Alt + U

Track View

Add Keys - A
Move Keys - M
Zoom Horizontal Extents Keys - Alt + X
Zoom - Alt + Z

Unwrap UVW

Edit UVWs - Ctrl + E
Show Seams in Viewport - Alt + E
Unwrap Options - Ctrl + O
Update Map - Ctrl + U
Zoom Extents Selected - Z
Zoom Region - Ctrl + X
Zoom to Gizmo - Shift + Spacebar
Zoom - Alt + Z

Selection

Select All - Ctrl + A
Select Ancestor - Page Up
Select Child - Page Down
Select and Move - W
Select and Rotate - E
Select from Scene - H
Select and Scale - R
Select Invert - Ctrl + I
Select Toggle Lock - Spacebar
Subobject Level Cycle - Insert
Subobject Selection Toggle - Ctrl + B

Playback Controls

Backup Time One Unit - comma
Forward Time One Unit - period
Expert Toggle Mode - Ctrl + X
Go to End Frame - End
Go to Start Frame - Home
Play/Stop Animation - /
Show Safeframes Toggle - Shift + F
Show Statistics Toggle - 7
Scale Start of Timeline - Ctrl + Alt + click-drag
Scale End of Timeline - Ctrl + Alt + right-click-drag

Spline cage modeling is a process that requires the use of 2d shapes, or splines, in order to build a cage that can later be surfaced. This tutorial will show you how to use splines in order to create a shark. Spline modeling take a while to get use to, but is a very valuable skill to have when using organic modeling.

1. Obtain some reference photos

Start by getting some reference photos of your shark. You can usually find some good one online, the key is to find an exact side profile, and if you can, a front profile, of the shark. From looking at my reference image, I created a plane in the left view about the size of the shark. Then I added the image to the plane as a texture. This is going to be used as a reference for obtaining the outline of the shark.

2. Outline the shark using line.

Go to the create panel and choose shapes > splines > line. From the left view, trace the outline of your shark, trying to use as little clicks as possible. Don’t worry if it’s not perfect, you can fix that next. Close the spline by clicking on the first vertex created. Select the line, and under the modifier panel, choose vertices. Select all the vertices in your outline and right-click and choose the option smooth. This will auto smooth the curves between the vertices. Adjust the outline by selecting individual vertices and moving them until you get a desired shape.

3. Setting up the cage.

We are only going to build a cage for one side of the shark and later use symmetry to complete the other half.. This is the hard part. Splines are fairly picky when it comes to how they work. In order to build a spline cage, each spline needs to be attached in order to make a cross-section. This will make more sense soon. Hold shift and the move your spline and make a clone of your outline. Choose attach and click on the other spline to attach them together. Now these shapes are treated as one object. Scale in the new spline so that it is slightly smaller than the original outline. Select the newest spline (you will have to make sure attach is deselected and that you are now under sub-object mode of your spline, remember now it is on object) and make a shift copy of that and scale that down.

4. Using Cross Section and Surface.

Under the modifier panel for your spline, select the option cross section. Start at first outline created and click, then click the second outline create, then the third and then right click. The cross section tool should have built out a cage. The cross section tool works best when the splines are identical. Under the modifier drop down list, select surface. This will add a surface to your cage. If your surface is flipped, choose the flip normals option to flip it to the correct side.

Increasing the patch topology will increase the amount of curve to yoru surface. The number represents how many smaller line between the two vertices make up the curve. Keep this number no grater than 8.

Notice how certain parts of the shark are not surfaced, this is because splines wont have a surface unless the cage is 3 sided or four-sided. This may be better explained in a picture. The green dots are 4 vertices that are connected by 4 lines, They will have a surface. Now look at the blue dots, they do not have lines connecting them and will not surface as there are more than four vertices. In order to create a line, you need to use the create line option under the modifier panel of the spline. Close holes in the cage my creating lines to complete the cage. In order to do this, you need to click from one vertex to another vertex, and right click when done. Think of it as connect the dots. Continue to do this until you have completed the cage. Try to keep the cage as clean as possible, avoiding intersecting lines, and if possible, keep your surfaces four sided as opposed to 3 sided.

To make this process easier, turn on show end result so you can see if the cage surfaces properly . Also, turn on the snap to vertex option by right clicking on snaps toggle button at the top toolbar.

If you cannot select any one the splines, it is because it is not attached as one object, so select attach and click on all your outlines to make sure they are attached.

5. Adjusting the Vertices.

Once you have completed your cage with a surface, you can go back and tweak the vertices by moving them around until you get a shape you like. You will need to adjust the areas around the fins and the tail to create a less boxy shape. Use reference photos to try to get the best accuracy. Go to the modifier panel and select symmetry from the drop down to create the other side of the shark. Make sure you are mirroring the correct axis and adjust the mirror to match the seam. Make any further adjustments to your model and tweaking the vertices to avoid seeing a harsh seem.

If you wish to later add textures and a rig for your shark Once you have tweaked the object, its time to graduate from the spline cage, right click on the object and convert it to an editable poly.

Polygon Modeling a Head

This tutorial from “The Hobbit Guy” walks you through spline modeling to poly modeling an orge head. Provides great insight to the process of detailed modeling.

Making of a Female Zombie

A making of article of a female zombie. Walks you through conceptualizing, modeling, unwrapping texturing, morph targets, rigging and lighting and rendering of this character.

Anisotropic Reflections

Find out what anisotropic reflections are and how and why they are used in 3d programs.

Secrets of Normal Mapping

Baking, creating and correcting. The process of using normal maps when texturing.

Animating Tank Treads

I have been asked several times how you would animate a tank tread around a tank. This tutorial explains one method of doing just that.

Making an Underwater Scene

he steps on how to create an underwater scene. How to use caustic lights and volume light and fog to create the illusion of underwater.

How to Use Pelt Mapping

What is pelt mapping and how is it used. Save yourself soem time and trouble when using Unwrap UVW.

Creating Neon Lights with Scanline

Not very good at using mental ray. Don’t worry, here is a tutorial on how to make neon lights using the default scanline renderer.

Using Cloth and Reactor

There are very few good reactor tutorials out there. This is a great tutorial on how to use the cloth modifier with reactor.

Creating Glued Particles

An interesting effect created using particles.

Modeling Joan of Arc

The famous Joan of Arc tutorial. This is highly recommended to do if you want to improve your modeling skills.

Creating a Nuclear Explosion

How to model a nuclear explosion. Very cool material creation process.

Create Fire Without Plugins

Using particles, video post and materials to create a realistic fire effect in 3d Studio Max.

Modeling a Shark

A step by step process on polygon modeling a cartoon shark.

Modeling a Watch

Photorealisitc watch modeling and material creation.

Growing Flowers

How to create growing flowers using Maya.

Modeling a Golf Ball

A quick and simple tutorial on how to turn a geosphere into a golf ball with dimples.

1.The ocean floor
Start by creating a plane 300 x 300, 30 length and width segments
Put a noise modifier on the plane, this will add the irregularities to the ground. Scale 40. Change the Z strength to 8.0. You can add a sand texture to the ground to add more realism. Right click on the ground plane and choose freeze selection. This will prevent you from accidentally moving the plane.

2. Camera is a must
Place a camera in your scene to a desirable view. I chose this angle to place my camera. You want to get a view that doesn’t allow you to see the outer edges, don’t worry about the far edges, we will next add a fog effect to the scene so that they wont be visible.

3. Setting fog
If you don’t have any objects to place in your underwater scene, just create a teapot and a couple of boxes so that you can properly test the fog effect. Set up three objects so that one is close to the camera, the next one is further away, and last one is the farthest away. Hit 8 to bring up the Environment and Effects dialog box. Under atmosphere select add and select Fog and hit ok. Under Fog Parameter, check fog background, type standard, far % 100.0. Choose a bluish color for the fog color.

4. The Environment Range
The environment range on the camera controls where the fog effect starts in relationship to the camera. The camera now needs to set up to receive the fog effect so the next step is setting up the environment ranges on the camera. Select the camera, under parameter choose “show” Under environment ranges. Change the far range to reach the edge of your ground plane. Anything behind the far range will become foggier and less visible. Doing a quick render, you should see that the object farthest from your camera is barely visible and the object closest to your camera is the most visible.

5. Lighting the scene

Now its time to add some lighting. This is the trickiest part to creating an underwater scene. Start my throwing in a couple omni lights surround your environment. This primary purpose is to get shadows into your scene. The omni lights don’t have to be too bright. I turned my two omni lights down to a multiplier of .5 each and gave one of them an area shadow. To do this, select Tools – Light Lister to display all of your lights in the scene. Then choose the light you want to turn on shadows and check the shadows check box.

Now to add the advanced effects to the lighting. From your left view draw out a target spotlight so that the spotlight is shining down onto your scene at an angle. Click on the modifier panel to get to the spotlight parameters.
Under General Parameters, turn on shadows and select shadow map.
Under Spotlight Parameters, increase the falloff field to soften up the spotlight. I have the Falloff/Field set to 36 and Hotspot/Beam to 13. Check atmospheric shadows, this allows the atmospherics effects to effect the shadow, since our fog is blue, then the shadows will have a bluish color.
Now here is the fun part. In order to get the caustic water effect that casts on the ground of the ocean floor, we are going to add a projector map to the spotlight. Under Advanced Effects click on the click on None button under Projector map. It will then bring up the material browser. Doubleclick on bitmap to browse for a map. You are going to apply the caustic water texture seen below.

Right click and save as if you don’t have it yet. You can use any caustic water texture you want to get different results.
Under Atmosphere and Effects, choose add, volume light, the click on setup. This will bring up the same environment dialog box you added the fog with. Make sure that you have Volume Light selected before changing the parameters. Turn the density down to around 1.5 and the max light to about 85. This is going to add a volume light to your spotlight and is going to take a while to render. Click the render button and grab a sandwich. While setting up your environment, it’s a good idea to turn this off when test rendering other effect.

6. Finishing up
The last thing you need to do is just add your objects to your scene. I added a submarine, shark, some plants and some pillars that I modeled. You can also try adding projector maps to your omni lights get various different caustic effects..

Here is my final result.