Hello, my name is Vadim Valiullin, I live in Russia, Ufa, and I am currently a student of the 5th course of Bashkir Pedagogical University, studying design. I want to share with you an article about the creation of the work, "CG Painting". I would like to note that this article reflects my point of view and is not an axiom. 3ds Max 8 (2008), Mental Ray and Photoshop CS3 were used in the creation of this 3D image.
I had an idea for this work one day: I thought that I had not been drawing using traditional methods for a long time, and I was thinking about how fine arts have practically passed into digital format. I remembered how I painted from life with pleasure a few years ago, and I imagined a situation in which I could take the computer out into plain air. The idea seemed pretty crazy, but funny. I thought about it constantly and eventually I imagined the scene visually; after 2 months I decided to turn the idea into 3D. So I had a distinctive idea of what do I wanted to achieve at the end; there was no need to jot down the concept or a sketch, I used only my imagination. It took about 1.5 months to complete the work, all done in my free time (Fig.01)
This work is not complicated in terms of modelling; all the models are rather simple and were made from primitives and splines with Editable Poly. Using the rich collection of Editable Poly tools I have not met any serious problems in modelling. At the same time, with modelling, I did the texturing and shading, but I will tell you about that later. In my opinion, we have an opportunity to control and correct details and not to waste time, to get rid of problems and to use recourses more efficiently. At the beginning, we should keep to the shapes and the peculiarities of the surfaces of the objects. If it is a wooden board we should curve the geometry, because ideal and equal boards do not exist. Also, the chamfers will have different thicknesses and irregularities. Such small, and at first sight imperceptible distortions of geometry will give a more natural feel to the work. Here are some screenshots of the geometry of the wood (Fig.02). There is nothing difficult in the modelling of these objects so I will not pay too much attention to it here.
If it is necessary to model metal then do not forget that metal usually curves, it does not break and burst like wood and so it would be good to make some deviations away from symmetry and ideal forms when poly modelling. It is also necessary to remove chamfers on metal objects or it will be difficult to achieve normal highlights, despite even the most advanced shaders. If we have to model some all- metal objects, the more differences we have, the better (but it is not good for advertising visualisation). Also, the cast objects take more numbers of faces or they will look rather rough, like forged products, so the Mesh Smooth tool is therefore necessary, especially when they are visible from a close distance (Fig.03).
As for the geometry of plastic, it will be better to stay equal and only to add chamfers (plastic is more round on the corners than metal) because plastic will burst and will not curve and distort. Moreover, plastic is rather flat and it is practically impossible to notice changes; the abrasions we can imitate with shaders. The wire in some places is not ideal, some objects are not whole and somewhere it would be possible to save faces. My aim was to do everything fast and not to use too many faces. In Fig.04 we can see that sharp and direct lines reflect the shape of plastic products.
I modelled the paint box looking at photos; I had to think up some of the elements because of the absence of certain references. Nevertheless, I tried to make it all true. I then supplied the paint box with the monitor, and drew a preliminary sketch as a texture on the screen (Fig.05).
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