This tutorial reveals my approach and production pipeline of making the 'Like a Bull' image of mine. In the sake of clarity, I thought it would be nice for me not to go too deep into the technicality of 3D. Instead, I try to concentrate on telling what phases I went through and where I cut corners in order to reach the satisfactory outcome as fast as possible.
I used 3D Studio Max 9 and scanline, Mental Ray and Vray renderers. And for final compositing I used PhotoshopÂ CS3 (and Wacom IntuosÂ² A5 tablet).
As usual, everything started with sketching on paper. I made a couple of fast scribbles of the car. At the time, I had no intentions to associate the car to a bull, unlike in the final picture. Actually, that idea came during the making of the front bumper.
With some reference pictures, I started to model the engine of the car. The most important objects for me were the belt wheels and the three large pipes. All the little details were added with a very loose hand, as you can see in the pictures. Just a couple of cylinders that were scaled and copied around. As a matter of fact, during the making of any object, I tend to think the importance of that particular object in the final composition. These little details of the engine surely don't gather as much attention as for example the whole rear rim. In fact, when I model some objects, I've adopted an attitude of a painter who suggest a detail in his painting with some carefully positioned paint spot, nothing more.
At this time, I had merged an old car-mesh from my older image to the scene and stretched it with FFD-modifier to match the pencil sketch.
One of the objectives of this image was to be as close to the pencil sketch as possible. So I decided to break and disorient the objects greatly from a working 3D-car. This car definitely could not be animated well. And since it wasn't my intention, I didn't care. I saved a lot of time this way. Some people may see the perspective problems and such, but the image wasn't intented to be realistic anyways.
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