Is s ue 8 January 2007 |Bl

e nde rArt M agazine

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ED ITO RIA L

Go to al m os t any CG s ite on th e w e b th at is jus t w is h fulth ink ing … or is it?

and you w il l find th e m . Cars ; Marin Myftiu s h ow s h ow h e buil t a
h undre ds of CG cars can be found in prototype of a conce pt de s ign car
e ve ry s h ape , s ize and col or. Littl e us ing Bl e nde r in com bination w ith
cars , big cars , fancy cars , s ports cars , oth e r te ch niq ue s .
toon cars , radicalde s igns and e ve n
e conom ical cars ; th e y are Al s o in th is is s ue w e cove r tire s , rim s
e ve ryw h e re . Cars h ave l ong be e n a and a l ow pol y car in a s im ple driving
popul ar s ubje ct for m ode l e rs . Th e y gam e . Gaurav is going to tak e us
tak e gre at s k il l and l ook am azing th rough s om e 'approach e s in
w h e n done righ t. You coul d s pe nd m ode l ing a car body' via th e Nis s an
h ours tw e ak ing e ve ryth ing from 350z m ode l . And as an adde d tre at
ch rom e de tail s to th e tre ads on th e Cl aas Kuh ne n s h ow s us h ow to cre ate
tire s . And a gre at m any m ode l e rs do h is am azing brus h e d m e talte xture s ;
e xactl y th at. us e fulfor car inte riors as w e l las for
je w e l
ry and a h os t of oth e r m e tal
Many m ode l e rs not onl y m ode lfrom ne e ds .
bl ue prints or re fe re nce ph otos , but
actual l
y de s ign th e ir ow n cars . It’s So re v up your bl e nde r e ngine and
CG;th e y can add or de l e te any part l
e t’s ge t th is party s tarte d!
th e y ch oos e . Col ors can be ch ange d
at w il l. D iffe re nt s e ttings can be H appy Ble nde ring
cre ate d to s h ow cas e th e ir ne w s andra@ ble nde rart.org
de s ign. And w ith th e advance s in
re nde ring e ngine s , al ltoo ofte n th e
re s ulting im age s can be /are m is tak e n
for actualph otos of re alcars . Many
car m anufacture rs tak e advantage of
th is and provide us w ith e xce l le nt
adve rtis e m e nts too.

W oul
dn’t it be gre at if you coul d
actual
ly buil
d your conce pt car? But

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CO NTENTS

ED ITO R/D ESIGNER

Gaurav Naw ani
gaurav@ bl e nde rart.org

M ANAGING ED ITO R
Sandra Gilbe rt
s andra@ bl
e nde rart.org

W EBSITE
Nam Ph am
nam @ bl
e nde rart.org

PRO O FER
Ke rnon D il lon
Ph illip A. Ryal s
Ke vin C. Braun
D e re k M ars h

W RITERS
Cl aas Eick e Kuh ne n
Z s ol
t Ste fan
M arin M yftiu
Pabl o De l gado
Th om as Baron
Sandra Gil be rt
Gaurav Naw ani

CO PYRIGH T© 05-07
‘Ble nde rArt M agazine ’,‘bl e nde rart’ and
ble nde rArt l
ogo are copyrigh t of Gaurav
Naw ani. ‘Izzy’ and ‘Izzy l ogo’are
copyrigh t Sandra Gil be rt. Al lproducts
and com pany nam e s fe ature d in th e
publ ication are trade m ark or re gis te re d
trade m ark s of th e ir re s pe ctive ow ne rs .

COVER ART
Ph il
ippe Roubal

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Bl
e nde r Ne w s 4

M ode l ing For furth e r update s and curre nt

Modifie r s tack upgrade s . re le as e l
ogs , go to:
Ne w m odifie rs : Edge s pl it and D is pl
ace h ttp://w w w .ble nde r.org/cm s /Ch ange s _
UVProje ct, Scul pt m ode ling s ince _2_42.771.0.h tm l
Mul ti-Re s ol ution Me s h and Re topo
Fluid D ynam ics s upporting anim ate d
Bl
e nde r Re l
e as e O bje cts 2007 Bl
e nde r F1
2006 h as com e and gone , bringing Mul ti-l
e ve lUVe diting Th e 2007 Bl e nde r F1 conte s t is h e re
w ith it a l arge num be r of e xciting Face D upl icators again. Curtis S is running th e conte s t
ch ange s and e ve nts . I h ad pl
anne d on again th is ye ar and w il ls oon h ave th e
doing a re vie w of 2006, but b@ rt be at Anim ation officialconte s t s ite up and re ady w ith
m e to it and did s uch a good job, W al k Cycl e Modifie rs allth e rule s and s pe cifications for th e
th e re is no point in doing it again. If Proxy O bje cts , for l ocalcontrolove r im age s .
you m is s e d it, you can ch e ck out h is re fe re nce d data from Librarie s
2006 re vie w ofBl e nde r at:
Re nde ring
(h ttp://w w w .bl
e nde rnation.com /2006/1 Re nde r fe ature s : Alph a Mas k s , Node
2/31/l ook ing-back -on-2006/). Sh ade r s pe e dup, Tange nts and
Norm alMaps
Th e re le as e of Bl e nde r 2.43 is on th e Irre gul
ar Sh adow Buffe rs
h orizon. RC1 and RC2 h ave al re ady Sh adow Buffe r, H al fw ay Ave rage
be e n re le as e d for bug te s ting and th e Re nde r Bak ing
official re l e as e s h oul d be fol low ing Re nde r Pas s e s
w ith in a fe w w e e k s . Th e re l
e as e h as
q uite a fe w ne w fe ature s to pl ay w ith . Com positing
O f particul ar inte re s t to m e are th e UVMap, Inde x Mas k and Z -Com bine Ch e ck at th e Bl e nde r F1 Conte s t s ite
W al k -Cycl e Modifie rs . D e focus for las t ye ars re s ul ts . Al
s o, ch e ck th e
Matte Node s dis cus s ion th re ad in th e forum s , for
Th e W al k -Cycle Modifie rs re pl ace th e Matte Node s , tutorial update d ne w s and to jus t ge ne ral ly
Stride bone al l
ow ing for an e as ie r dis cus s th e conte s t.
s e tup of w al k cycl e s for us e in th e Im aging
NLA. Additional l
y, an Action Modifie r Mul ti-l
aye r im age s , Se q ue nce im age s , Good l uck and ge t re ady to s tart your
al low s you to us e a Curve Path to fl
ip book s bl
e nde r e ngine s !!!!!!!!
de form th e m otion of control ling
bone s in th e arm ature . Fol low ing is a
lis t ofincl ude d ne w fe ature s :

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Iz z y K now s 5

Top, Righ t, and Front vie w ports us ing can m ode l3-4 row s of ve rtice s cl
os e
Vie w |Back ground Im age . toge th e r.
Ste p 3: Add a Pl ane , pos ition it ne ar
th e ce nte r-l ine . Painting y our car
Ste p 4: Mirror th e Pl ane , s o you onl y At s om e point, you w il lw ant to paint
h ave to m ode lh al fofth e car. your car;w h e th e r it is a toony car or
Ste p 5: Extrude th e e dge s of th e a s upe r re al
is tic one . It can be as com -
Pl ane and m ove ve rtice s around to plicate d or as s im pl e as you w ant to
m atch th e profil e of th e car in th e m ak e it. H e re are s om e re s ource s to
Righ t vie w . h elp ge t you s tarte d.
Ste p 5a: Move ve rtice s around to
m atch th e profil e of th e car in th e Top A de m o car paint m ate rial , us ing
vie w . node s , can be found h e re (pos te d by
Ste p 5b: Move ve rtice s around to "brok e n"): h ttp://ble nde rartis ts .org/for-
m atch th e profil e of th e car in th e um /s h ow th re ad.ph p?t=71232& h igh -
Front vie w . ligh t=car+ paint
Ste p 6: Re pe at Ste p 5 untilth e m ode l
is finis h e d. H e h as al s o pos te d a vide o tutorial
Introduction Ste p 7: Add s om e te xture s , w ork on th at s h ow s you h ow to fak e a laye re d
Mode l ing cars can be as e as y or as ligh ting, and do a re nde r. car paint m ate rial
com pl icate d as you w ant to m ak e it.
You can de s ign your ow n car or m ode l To m ak e it e as ie r to m ode lth e inte ri- Sonix cre ate d a l ibrary of car
e xis ting cars . It is am azing h ow m uch or, you can m ove th e roof s e ction to paints /ch rom e /gl as s /tire s and m is c
inform ation is avail able to h e l p you anoth e r pos ition or Laye r to m ak e it m ate rial s ne e de d for cars :
ge t your car m ode l e d. In fact, th e for- e as ie r to s e e ins ide th e car. Bl e nde r 2.34 Car Mate rialLibrary Re -
um databas e at w w w .bl e nde r- le as e 1.
artis ts .org h as page s of l ink s to gre at It is e as ie r to m ode lth e w h e e lw e l
ls in- h ttp://w w w .fre e -w e bs pace .biz/s onix/
tips , tutorial s and im age s of s om e s te ad oftrying to cut th e m out l ate r.
am azing cars .
Se am s on car
H e re are a fe w ge ne raltips to Cars h ave l ots of s e am s and s m al l
ge t you going. gaps w h e re parts fit toge th e r. And
s ince s ubs urf is ge ne rally us e d on car
Ge ne ralSte ps to m ode l ing a car m ode ls , s e am s ge t s m ooth e d aw ay.
Ste p 1: Ge t bl ue prints or cre ate To cre ate s e am s , you can cre as e th e
s k e tch e s ofyour de s ign conce pt. targe te d e dge s w ith 'Sh ift + E' or, you
Ste p 2: Se t th e bl ue prints up in th e

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3D W ork s h op - Low Pol
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al
ong w ith out m uch difficul
ty.

Low Pol
y Car
As w ith a gre at m any m ode l s, w e
are going to s tart w ith a pl ane . W e
w il
lm ode l1 h al f of th e car and th e n
m irror th e oth e r s ide .

1.In s ide vie w , add th e car re fe re nce

im age Vie w > Back ground Im age >
Load (l oad s uppl ie d re fe re nce im age
“Car”)
2.Th e n add a Pl ane ; Space bar>
Add> Pl ane , de le te al lbut 1 ve rtice .
3.W e are trying to m ak e as fe w
Le ve l
: Be gine r to Inte rm e diate face s as pos s ibl e s o onl y add as
m any ve rtice s as ne e de d. Se l e ct th e
Introduction re m aining ve rtice and ControlLM B
Low pol y cars can be a l ot of fun; to cre ate an outl ine of th e car. Th e n
both to m ak e and to pl ay w ith . You cre ate face s to fil lin your outl ine by
can m ak e th e m as fancy or as se le cting 4 ve rtice s and h itting “F
s im pl e as you w ant. I’m going to k e y”. (Fig 1)
s h ow you h ow to m ak e a s im pl e low 4.In top vie w , s e l e ct allth e ve rtice s
pol y car and th e n w e are going to cre - and e xtrude (E k e y) 2 tim e s . (Fig 2)
ate a gam e l e t (gam e l e t = m ore 5.Se l e ct th e oute r row of ve rtice s
th an a de m o, not q uite a ful lfle dge d and h it Sm ooth a fe w tim e s . (Fig 3))
gam e ) s o w e can pl ay w ith our car. 6.Add a M irror m odifie r, you m ay
h ave to cycl e th rough th e X,Y,Z axis
I us e d Ble nde r 2.43 RC1 during th e buttons to ge t it to m irror on th e cor-
w riting of th is tutorial . Th e re fore it re ct axis , al s o m ak e s ure your pivot
s h ould be com patibl e w ith Bl e nde r point (l ittl
e circl e /dot in ce nte r of
2.43 w h e n it re l e as e s . It s h ould al so m ode l ) is pos itione d on th e ce nte r
be com patibl e w ith 2.42 as w e are line . And s e l e ct “D o cl ipping” to ge t
not going to us e a l ot of gam e fe a- a cl e an join be tw e e n th e 2 h al ve s .
ture s to s e t th is up. Th is is an inte r-
m e diate l
e ve l tutorial al th ough O k ay, th e re it is . O ne l
ow pol
y s ports
be ginne rs s h oul d be abl e to fol l
ow

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3D W ork s h op - Low Pol
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car. Now w e ne e d to add s om e 2.Se l e ct al lth e face s of th e car (but

wh eel s . Th e y don’t ne e d to be fancy not th e tire s ) and in th e Paint Pane l
as th e y w on’t be re al ly s e e n in our in th e Edit buttons w indow , s e t your
gam e le t. So I jus t us e d a s cal ed paint col or. I ch os e re d. H it th e “Se t
tube for e ach w h e e land joine d it to Ve rt Col or” in th e Te xture Face pane l
th e body. Th e re as on I us e d a tube to appl y your col or to th e car body.
w as th at I w ante d to cl os e onl y one Se e fig 6.
e nd and cre ate a s im pl e rim for 3.I’m going to cre ate s om e s h adow s
and h igh l igh ts us ing ve rte x paint,
oth e r w is e if you pre s s “P” to s tart
th e gam e e ngine you w il l notice
th at your car h as no re alde finition
and l ook s rath e r ugl y.
m e m ory re q uire m e nts dow n. 4.Se t your Brus h s ize dow n to
Re m e m be r to vie w your m ode l in around 10-12 and opacity to 0.200.
Potato m ode (Al t + Z ) to s e e your Ch oos e a col or dark e r th an you
ve rte x paint. ch os e for your car body. Start
painting around th e e dge s to give it
1.H it “V k e y” for Ve rte x paint and “F de finition. Th is is w h at I cam e up
k e y” for UV/Face m ode . M os t l ik e l
y w ith . Not be autiful , but it’s a s tart.
painting. Se e fig 4 your car turne d com pl e te l
y bl ack . Se e fig 7. Notice I al s o painte d a
Ne xt D upl icate your tire (Sh ift + D ) Th at’s ok ;w e w illfix it in a m om e nt. littl
e bl ue on th e bl ack tire s and
and pl ace both tire s in th e ir w h e e l m ade th e h ub of th e w h e e la l igh t
wel ls . Se l
e ct both tire s and th e car grayis h col or. You coul d als o add
and Join (Control+ J). Se e fig 5. I
h ave n’t appl ie d (m ade final ) th e
M irror m odifie r ye t be caus e I w ant
to ve rte x paint th e car and I w ant
both s ide s to be th e s am e .

Painting th e Car
At th is point you can go off and
appl y a fancy UV m ap to your car or
appl y s im ple ve rte x paint. Th e
ch oice is yours . For th is tutorial , I
de cide d to us e ve rte x paint to k e e p

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3D W ork s h op - Low Pol
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w indow s and paint th e m a ve ry l

igh t
blue color. Se e fig 8.
button”. Se e fig 11.
Wel lour car is finis h e d at th is point. Now you h ave your bas ic track , but
Now go ah e ad and appl y th e M irror it is a l ittl
e boring. I’m going to add
M odifie r and m ak e your car al lone a fe w h il l
s and val l
e ys us ing th e
pie ce . Ne xt w e w il l be m ak ing a Proportionale dit tool(O ). You h ave
s im ple e nvironm e nt to drive around s e ve ralch oice s of “fal l
off” to ch oos e
in. from , and I’l ll e ave it to you to
de cide w h ich one you w ant. In fact
D rive th rough th e Country m ix and m atch th e m for diffe re nt
W e are going to m ak e a driving e ffe cts . Se e fig 12.
cours e th rough th e country for our
car to drive around in.
1.Go to l aye r 2
2.In Top vie w , Space bar> Add> Grid
(de faul t of 32 x 32 is fine ) 6.Se t your paint col or to a m uddy
3.In Edit m ode , toggl e th e Face brow n and pre s s th e “Se t Ve rt Color
se le ction button and cre ate a track button”, Tab back to Edit m ode and
for your car. Se e fig 9 . us e th e “Se le ct Sw ap button” in th e
4.In Side vie w , Extrude your track M e s h tool s 1 pane lto inve rt your
dow n a l ittl
e . Se e fig 10. se le ction. Tab back to UV/Face m ode
5.Sw itch back to O bje ct m ode (Tab), and s e t your paint col or to a nice
th e n go into UV/Face M ode (F) and gre e n and pre s s th e “Se t Ve rt Col
or
Ve rte x Paint (V)

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3D W ork s h op - Low Pol
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et 9

1.For e as e in s e l
e cting w h e re I w ant brow n col ors . Se e fig 14. (You m igh t car s o th at it fits on th e track . Afte r
m y h il l
s, I se l e cte d th e face s I dis cove r w h e n you ge t your gam e l et you h ave re s ize d it, m ak e s ure th at
w ante d in UV/Face s e l e ct m ode (s o I s e t up th at your te rrain is a littl
e too you h it “Control+ A” to appl y s cal
e
coul d s e e w h e re th e y w e re in rough , th is can be s ol
ve d by and rotation. It’s a good ide a to
re lation to th e track , you w il lnotice appl ying a Subs urf M odifie r to se le ct th e track /e nvironm e nt and do
your ve rte x col ors don’t s h ow up in s m ooth it out a l ittl
e) th e s am e th ing. Se e fig 15.
Edit m ode ).
2.Th e n Tab back to Edit M ode , w ith
Proportionale diting on (O ) in s ide
vie w , grab th e face s (G) and m ove
th e m up. Th e y l ook a l ittl
e too
bl ock y to be re al h il ls , s o h it th e
Sm ooth button a fe w tim e s , and
th e n you m ay w ant to m ove th e m
up a l ittl
e bit m ore . Se e fig 13.

2.Ne xt l e t’s pare nt th e cam e ra to

M ak ing a G am e l
et th e car s o th at w e can s e e w h e re
O k ay, now w e h ave a car and an w e are going. (Se l e ct th e cam e ra
e nvironm e nt for th e car to drive 1s t, th e n th e car and h it "Control+
around in. It is tim e to put toge th e r P")
our l ittl
e gam e l
e t s o w e can pl ay 3.W e are going to us e l ogic brick s to
w ith it. s e t up bas ic driving control s for th e
3.Us ing th e s am e te ch niq ue , cre ate car. W e w il l only be cre ating 4
val l
e ys by m oving dow n, not up. 1.Turn on l aye r 1 s o you can s e e control s , tie d to th e arrow k e ys on
Al s o, don’t be afraid to s e l e ct your car. You w il
lne e d to re s ize your your k e yboard for navigation. Th at
portions of your track and m ove w illgive us forw ard, l e ft and righ t
th e m up or dow n al s o. You can al so turns and th e abil ity to go in
us e th e Se l e ct> Random in th e fil e re ve rs e .
m e nus . Afte r playing around, th is is 4.Se l e ct your car; go to th e gam e
w h at I got. I adde d s om e ve rte x logic w indow (F4).
paint to bre ak up th e fl at gre e ns and

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3D W ork s h op - Low Pol
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et 10

5.Toggl e th e “Actor” button, a w h ol e righ t

bunch ofne w buttons appe ar 4. Th uds as you h it th e ground
6.Toggl e D ynam ic 5. Add m oving obje cts (i.e . cow s ,
7.You can l e ave th e re s t of th e pigs , tum bl e w e e ds )
s e ttings at de faul t for now 6. Add ram ps or obs tacl e s w ith or
8.Toggl e “Bounds ” and ch oos e “Box” w ith out w ate r traps
as bounding type 7. Add fal ling obje cts to avoid
9 .O nce you h ave s e t th e bounding 8. Add buil dings /cove re d bridge s
type , go back up to th e Actor buttons 9 . Add l ak e s in s om e of th e
and l ook for th e one th at s ays de pre s s ions /val le ys
"Radius ", s e t it to fit around your car 10. D rop a fe w l ow poly tre e s in
m ode l . You don't w ant it too big or too 11. Surround th e track /grid w ith
s m al l. Sw itch to s ol id or w ire vie w to w ate r (turning it into an is l and)
s e e th e s ize of th e radius in re l ation 12. Add a s k y
to your m ode l .
8.Click on th e littl
e bal
lne xt to th e You can find gre at tips on im proving
Now I am going to s h ow you h ow to Se ns or colum n and drag it to th e th e gam e e nvironm e nt in Is s ue # 7,
s e t up th e 1s t control , th e n you can Control l
e r col
um n and th e n from th e “Cre ating a Re al is tic Environm e nt for
s e t up th e re s t by l ook ing at fig 16 or Control l
e r colum n to th e Actuator BGE” by Joh n Allie (pl antpe rs on).
ch e ck ing out th e incl ude d bl e nd file. colum n.
1.You w il ls e e 3 s e ts of boxe s to th e Furth e r gam e e ngine re s ource s :
righ t of th e s cre e n (s e ns ors , You h ave now conne cte d l ogic brick s h ttp://m e diaw ik i.ble nde r.org/inde x.p
control le rs , and actuators ) to cre ate your firs t control . In e ffe ct h p/Gam e _Engine
2.Toggl e th e “Add” box ne xt to th e 1s t you h ave tol d th e gam e e ngine th at h ttp://w w w .continuous ph ys ics .com /
one (s e ns or) you w ant th e car to go forw ard (or Bul le t/
3.Cl ick on th e box th at s ays “Al w ays ” m ove al ong th e Y axis ) anytim e you h ttp://ble nde rartis ts .org/forum /foru
s crol ldow n to “Ke yboard” pre s s th e up arrow k e y. Th at’s pre tty m dis pl ay.ph p?f=12
4.Cl ick on th e box ne xt to “Ke y”, it m uch al lth e re is to it. Pre s s “P” to
w illth e n s ay “Pre s s a Ke y”;pre s s th e play your gam e l e t.
up arrow on your k e yboard
5.Toggl e th e “Add” box ne xt to th e H e re are a fe w s ugge s tions to
2nd one (Control l
e r) im prove your gam e ;
6.Toggl e th e “Add” box ne xt to th e 1. Add s ound
3rd one (Actuator) 2. Engine re vving w h e n you pus h th e
7.In th e m iddl e col um n of “dLoc” up arrow .
type (0.25) 3. Tire s turning w h e n going le ft or

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3D W ork s h op - M ode l
ing A
Le ve l
: Be ginne r to Inte rm e diate
Introduction
H ave n’t you e ve r l ook e d at your car
and h ad an ide a for a s e t of rim s
th at w oul d turn h e ads ? M aybe you
h ave gone as far as s k e tch ing th e m
out on a pie ce of pape r. W e l l, now
you are going to l e arn h ow to bring
th at ide a to l ife ! W e l
lal m os t. In th is
tutorial I w il l te ach you a s im pl
te ch niq ue th at you can us e to m ode l
your ve ry ow n rim s .
I h ave trie d m y be s t to provide tool
nam e and k e y com binations th at I
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h ave us e d, s til
lI as s um e th at you
are fairl
y fam il iar w ith ble nde r and
k now your w ay around.
Le ts G e tS tarte d
O nce you h ave de cide d on your
de s ign and you k now h ow m any
s pok e s your rim is going to h ave ,
th e n w e be gin l aying out th e
foundation. For th is tutorialw e are
going to m ode la five (5) s pok e rim .
So in orde r for m e to be abl e to l ate r
corre ctl y attach m y s pok e s , I h ave
to cre ate a bas e w h os e ve rtice s
al ign pe rfe ctly w ith th os e of th e e nte r to l
e ave it in pl ace . Th e n from
s pok e s . th e top vie w , pre s s S to s cal e dow n
th e e xtrude d ve rtice s untilyou h ave
So to do th at I find a l ow num be r an im age th at re s e m bl e s im age
th at can be e q ual ly divide d by th e num be r 2.
num be r of s pok e s th at I am going to
de s ign, w h ich in th is cas e is 5, but
h igh e nough to al l
ow us to give th e
rim nice de tail s and pl ace s a ve rte x
de ad ce nte r of m y s pok e . So I ch os e
25. Cre ate a circl e by cl ick ing th e
righ t m ous e button and s e l e cting
“add> > m e s h > > circl e ” and rotate
th e circle s o th at one of th e ve rte xe s
is al igne d w ith th e y-axis . Your w ork
s h ould re s e m bl
e Fig 1.
e
From th e s ide vie w s e l e ct th e top
ve rtice s us ing th e box s e le ction tool.
Now pre s s “E” to e xtrude , but do
not m ove th e e xtrus ion. Sim pl y h it
Is s ue 8 - January 2007
3D W ork s h op - M ode l
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Se le ct th e e ntire obje ct and pre s s E
to e xtrude again and h it e nte r
w ith out m oving your s e l e ction. From
th e s ide -vie w m ove th e e xtrude d
ve rtice s dow n a bit untilth e tube
you are cre ating is th e s ize of a rim .
Se e Fig 3 and 4.
Se le ct th e e ntire obje ct and cl
ick th e
s ubdivide button from th e M e s h
Tool . Th is is s o w e h ave m ore
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pol ygons to w ork w ith w h e n w e
be gin to de ve l op our s pok e s and l ip.
From th e s ide vie w s e l e ct th e l
ine
th at runs around th e tube and m ove
it up clos e to th e top. Se e Fig 5.
value 3. Your w ork s h oul
d re s e m bl
e
Fig 7.
Se le ct th e e ntire e dge of th e inne r
tube at th e top by s e l e cting one
e dge and pre s s ing “Crtl + E” and
se le cting “Edge Loop Se l e ct” from
th e m e nu. Now from th e s ide vie w
bring it dow n cl os e to th e e dge th at
w e e arl ie r m ove d up ne ar th e top.
Pre s s S to s cal e th e e dge a bit s o Se le ct th e las t e dge of th e tire , ne ar
th at it look s lik e Fig 6. th e bottom of th e tube , and m ove it
clos e to th e bottom about th e s am e
Now w e are going to m ode l th e as th e e dge w e m ove d tow ard th e
w al l
s around th e rim w h e re th e tire top. M ove th e oth e r tw o e dge s w e
goe s . Se l
e ct al lth e face s along th e cre ate d and ce nte r th e m s o th at w e
outs ide of th e tube . M ak e s ure you h ave tw o l arge row s running around
do not s e l e ct th e face s from th e th e rim , th e n s e l e ct al
lth e face s .
ins ide or you w il lbe in for s om e Se e Fig 8.
h e adach e s . Us e th e k nife tool(Sh ift
+ K), s e le ct m ul ti-cut and e nte r th e
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3D W ork s h op - M ode l
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Fig 10. Final l

y, th e bas e of th e w h e e l
is com pl e te ! Now w e can s tart
w ork ing on th e s pok e s .

Scal e dow n th os e face s s o th at it

cre ate s a l ip ne ar th e top and
bottom of th e rim . Se e Fig 9 .

m irror so th at it be com e s
Ce nte r your curs or and add a pl ane . pe rm ane nt. Se e Fig 13.
M ove th e pl ain s o th at th e ce nte r of
th e plane is in th e bottom l e ft corne r.
O n th e m odifie rs pane ladd a m irror
and e nabl e cl ipping. Pul lth e top of
th e plane untilit e nte rs th e w al ls of
th e rim . Th e n s e l
e ct th e pl ane and
Th e re is one final de tail th at w e m ove it to anoth e r l aye r. Se e Fig 11.
ne e d to do be fore w e be gin w ork on
th e s pok e s of th e rim . Se le ct allth e Se le ct Knife > > M ul ti-cut and e nte r
face s of th e ins ide of th e rim th at 5 and cut th e pl ane h orizontal ly.
fal l
s be low th e e dge w e h ad m ove d M ove th e points to give th e s h ape of
up. Pre s s S and s cal e th e m dow n th e s pok e . Se e Fig 12.
jus t a bit s o th at th e y m ak e th e
ins ide w al l
s s m al l
e r. Now us e th e From th e s ide vie w s e le ct th e plane
Knife toolto m ak e a ne w e dge and and e xtrude it upw ards to give th e
m ove it dow n s o th at it re s e m bles s pok e its th ick ne s s and appl y th e

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3D W ork s h op - M ode l
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bottom . O n th e proportional drop

dow n m e nu, w h ich is th e one th at
look s lik e a donut, s e l
e ct conne cte d
and on th e fal loff m e nu, w h ich is
th e drop dow n righ t ne xt to it, s e l
e ct
“Sph e re Fal loff.” From th e s ide vie w
us e th e arrow m anipul ator to pul l
th e tw o ve rtice s dow n until you
cre ate a concave s h ape . Se e Fig 16.
H urray, w e h ave our firs t s pok e -
four m ore to go. W e can do th is th e
h ard w ay (By e ye bal ling it) or w e
can do th is l ik e pros and do a l ittl
e
m ath . A circl e h as 360 de gre e s and
w e divide th at by 5(th e num be r of
s pok e s w e h ave ), s o w e ge t 72.
W h ich m e ans w e are going to l ay
e ach s pok e at a 72 de gre e s angl e
from e ach oth e r. So pre s s tab to e xit
e dit m ode and e nte r obje ct m ode .
Pre s s “Sh ift + D ” and pre s s e nte r. It
se e m s l ik e noth ing h appe ne d but
s om e th ing did, it cre ate d a cl one .
Now tak e your h and off th e m ous e
and pre s s “R”, to rotate , and us ing
your num be r pad pre s s 7, 2 and h it
e nte r. If you notice d th e cl one is
Go back to th e s e cond l aye r, w h e re
now vis ibl e to you and is l aid out 72
you h ave th e prim itive s for th e
de gre e s from th e firs t one . Re pe at
s pok e s . Se l
e ct th e bottom four
th is s te p th re e m ore tim e s s o th at
cube s on e ach s pok e and de l e te th e
you h ave five s pok e s . Se e Fig 14.
face s . M ove th e ce nte r of th e
s pok e s from th e firs t l
aye r to th e
Le ts go back to th e firs t l aye r and
s e cond, w h e re your s pok e s re s ide .
s tart cre ating th e ce nte r of th e rim .
Se e Fig 17.
Cre ate a cyl inde r and s cal e it dow n
Se l
e ct th e ve rte x in th e ce nte r both
s o th at it l
ook s l
ik e Fig 15.
from th e top of th e cyl inde r and th e

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3D W ork s h op - M ode l
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Th is ne xt part is a bit te dious but
jus t as fun. Se l e ct both th e cyl
inde r
(Rim Ce nte r) and th e s pok e s and
pre s s and “CTRL + J” to m e rge both
obje cts toge th e r. Now be gin to
m e rge e ach ve rte x on th e s pok e s
w ith th e corre s ponding ve rte x on
th e cyl inde r s o th at th e re s ulting
im age l ook s l
ik e Fig 18.
Now th at w e h ave th e s h ape of th e
s pok e s , w e h ave to cre ate th e h oles
w h e re th e bol ts go. Cre ate anoth e r
cyl inde r and s cal e it dow n s o th at it
look s l ik e a l ong rod w ith th e
th ick ne s s of th e h ol e s w e w ant to
cre ate . Pl ace it ne ar th e top s pok e
and ce nte r it on th e y-axis and s o it
trave rs e s th e s pok e s ce nte r. Pl ace
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Car R im
your 3D -Curs or at th e ce nte r of th e
s cre e n (x=0, y=0, z=0) and ch ange
th e pivot point to 3D curs or. Pre s s
tab to e xit e dit m ode and s e l e ct th e
rod w e jus t cre ate d and dupl icate it
by pre s s ing “CTRL + D ” and pre s s
e nte r. Pre s s “R” and e nte r 72 on
your num be r k e ypad. Th is s h oul d obje ct to th e firs t l aye r. M ove th e
h ave m ove d th e cl one rod to th e
e xact l ocation as th e firs t but on th e
s e cond s pok e . D o th is th re e m ore
tim e untilyou h ave 5 rods . (Note :
re m e m be r to ch ange th e pivot point
back to its norm als tate or you w il l m e rge e ach ve rte x on th e s pok e s
ge t frus trate d l
ate r.) Se e Fig 19 .
Ne xt Pre s s “W ”, w h ich brings up th e
Bool e an Tool s M e nu, and s e l e ct
“diffe re nce ” from th e m e nu. Th is
w il
l cre ate an obje ct th at is
com pos e d of al lth e m e s h e s th at do
not inte rs e ct. Pre s s “G” to grab your
ne w ly cre ate d obje ct and m ove it off
15
to th e s ide . Se l
e ct th e pre vious tw o
obje cts th at you h ad and de l e te
th e m , and ce nte r your ne w s pok e s
w ith h ole s.
W e are al m os t com pl
e te , s o h ang in
th e re . M ove th e ne w l y cre ate d
s pok e s tow ard th e top of th e rim .
Now th at th e y are in pl ace s e le ct
both th e rim bas e and th e s pok e s
and pre s s “CTRL + J” to join th e to
m e s h e s into one obje ct. Be gin to
w ith th e corre s ponding ve rte x on
th e rim bas e ne ar th e bottom of th e
lip. Se e Fig 20.
Al lth at is l
e ft is to add de tails o I
add a s ubs urface m odifie r and us e
“SH IFT + E” to m ak e ce rtain e dge s
around th e l ip of th e rim and th e
e dge s of th e s pok e s are s h arpe r.
Se e Fig 21.
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3D W ork s h op - M ode l
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Te xture , Pos ition and Re nde r to your

h e arts conte nt !!! Enjoy !!!

Pabl o is 25 ye ars old from Pue rto Rico

curre ntlyl iving in M iam i, FL. H e w ork s
as a s oftw are e ngine e r and doe s part
gado

tim e 3D w ork for cus tom e rs us ing

o
Pab l

Ble nde r and Ligh tw ave .

De l

w w w .pde l
gado.com
pabl ode lgado@ be l ls outh .ne t

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3D W ork s h op - M ode l
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500*19 0), W e calcul ate th e h e igh t of As th e Bl

e nde r de fault Circl e 's
th e im age (a part of th e tire tre ad) radius is 1.414 (s q uare root of 2),
to 205*19 0/500 = 77.9 m m s ize it by 0.707 (1/1.414) to h ave a
radius of 1.0. Th e n, s ize it by
As th e diam e te r of th e tire is 0.526/2 = 0.263 (tire radius in
526.65m m , its pe rim e te r is m e te rs ) and m ove allve rtice s up by
3.14159 265 *526.65 = 1654.52. 0.263 (th e radius ).
Le ve l
: Inte rm e diate
So, on our tire tre ad, w e can put N It’s O K th at th e bottom e dge is not
Introduction tim e s th e s k e tch im age w ith N = on Z =0. W e ’lls e e w h y, l
ate r.
In th is tutorialI w illtak e you th rough 1654.52/77.9 = 21.239 .
th e s te ps to m ode lth e tire s l
ik e th e D upl icate th is bottom e dge ;
one I h ad e arl ie r m ade for an Al fa Be caus e th e im age can be til e d, w e s e parate th e dupl icate d ve rtice s to
Rom e o GT m ode l . ne e d to round off th e fractional h ave anoth e r obje ct. Extrude it
num be r (21.239 ) to a w h ol e num be r. al ong th e Y-axis by 0.205 (th e w idth
W h aty ou w il
lne e d So w e cal cul ate out th at th e tire of our tire ). You now h ave a Pl ane
A s k e tch of th e tire , l ik e th is one tre ad s k e tch w e h ave w illfit 21 and a Circl e lik e th e s e :
(PIRELLI P6000). For th e dim e ns ions tim e s around th e tire .
of th e tire , l
e t’s us e a 205×60r16.
Cre ate a 21-e dge circl e and e xtrude
it to h ave one face fitting w e l love r
th e s k e tch . Ne xt, w e ’l
l m ode l jus t
one e l e m e nt (1/21 of th e ful ltire ).
and th e n m ul tiply it 21 tim e s , m e rge
it, and voil a!

O ve rvie w
W e w illbul d th e dim e ns ions of th e
tire from th e im age w e h ave s o l e ts
cal culate th at:
Th e w idth of th e im age = 205m m .
Th e e xte rnaldiam e te r of th e tire
16inch + 2 *60m m =
16*25.41+ 2*60 = 526.56m m
From th e im age s ize (in pixe l s:
S te p1. S ce ne s e tup
O pe n Bl e nde r. Eras e al
le l
e m e nts of
th e de faul t s ce ne .
In th e Righ t vie w (NUM PAD 3), add a
Circl e m e s h of 21 ve rtice s . Rotate it
to h ave one of th e bottom e dge s
pe rfe ctl
y h orizontal (tip: al ign top,
oppos ite ve rte x w ith th e Z -axis .

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3D W ork s h op - M ode l
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You can ch e ck th at your w ork is O K cut) and th e Y-axis (axialcut). So, dow nw ard to ge t th e adde d ve rtice s
by dis pl aying e dge s l e ngth : you you can s ubdivide th e Pl ane one above it (s o th e y’re s til
lvis ibl
e ).
s h ould h ave 0.205*0.078 for th e tim e . But be fore you do, care ful
ly
pl ane . O ne m ore s te p and you’re re ad th e fol
low ing. Now you can continue w ith
done : dupl icate th e Pl ane , ch ange m ode l ing. Re m ove 3/4 of th e pl ane
one to dis pl ay onl y as W ire W h e n s pl itting your e dge al ong th e as s aid above , and cut th e pl ane
(D raw type in O bje ct pane l , F7) and Y-axis , no probl e m . But w h e n according to e ach de tailvis ibl e on
th e n, s e l
e ct th e oth e r one . Sw itch to s pl itting al ong th e X-axis , re m e m be r th e th re ad. You s h ould ge t
UV Face Se l e ct m ode , go to th e you’re not w ork ing on a Pl ane but a s om e th ing l ik e th e im age be low .
UV/Im age Editor and l oad th e s k e tch s e ction of a cyl inde r.
im age . Re turn to 3D vie w and
O bje ct m ode . Activate th e Te xture d Th at’s w h y th e bottom e dge of th e
draw type (Al t+ Z KEY), you ge t th e circle is not at Z =0. Le t’s
fol low ing: e xpe rim e nt to ge t a cl ue . If you've
alre ady s ubdivide d th e pl ane , pl e as e
undo it. Th e n cut th e face (CTRL+
RKEY) at pe rce ntage 1.00. D on’t
se l
e ct/de s e l
e ct anyth ing to k e e p th e
ne w ve rtice s s e l
e cte d.

Th e n, rotate care ful

ly th e s e ve rtice s
around th e Y-axis (RKEY th e n YKEY)
to ge t th e m at X=0 (as s e e n from
Th e s k e tch is dis pl aye d corre ctl
y, th e Top or Righ t vie w ) And in th e
w ith out any dis tortion: th e fe w m ath Righ t vie w (NUM PAD 3), you can
cal culations w e did be fore s tarting now ch e ck th at th e s e ve rtice s are
Bl e nde r w e re not us e l
e ss. al m os t at Z =0.

S te p2. M ode l
ing in parts
Se le ct th e Pl ane th at w e s e t to
dis pl ay as W ire . W e ’l lw ork on it to
m ode la s ub-part of th e tire th re ad.
Firs t, us e s ym m e try to s ave yours e l
f As you can s e e , cuts in th e pl ane
s om e w ork . Th e s k e tch w e h ave can
be s pl it along both th e X-axis (radial
Re m e m be r th is m ove : w h e n cutting
al ong th e X-axis , do not m ove e dge
ve rtice s along th e X-axis , but rotate
th e m around th e Y-axis , to m ove
th e m around a pe rfe ct circl e.
Jus t a l
ittl
e note : you h ave to m ove are m appe d on th re ad de tails , but
th e Plane , te xture d w ith th e s k e tch , not on th e curve d de tail
s.

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3D W ork s h op - M ode l
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To s ol
ve it, jus t rotate th e m around e dge s in dark are as , to m ate rial ize (re m e m be r, w e w il
l duplicate th is
th e Y-axis . Th is tim e round de tail
s th e h ol
low s of th e tre ad. You s h ould part 2*2*21 = 84 tim e s !!!).
are corre ct. obtain th is :

As you can s e e in th e Righ t vie w ,

th e tire e l
e m e nt is not a Pl
ane but
w arpe d around a circl e.

It’s im portant to k e e p th e e dge s Th e ve rte x count goe s from 144 to

Th is is w h y it’s s o im portant to
rotate ve rtice s around th e Y-axis
ins te ad of trans l
ating th e m along
th e X-axis . Now , w e w ill cut th e
circl ing th e dark are as ! W e w il ls e e 78 and, th e face count goe s from 53
wh y l ate r. Now it’s tim e to optim ize to 22.
our m e s h a bit. W e h ave to re m ove
al lunne e de d ve rtice s and e dge s in S te p3. A dding s om e th ick ne s s .
w h ite zone s and on borde rs . D oing
th is w illal low us to s ave a l ot of Tim e to m ode lth e h ol l
ow s ! From th e
pol ys on th e com pl e te d tire pre vious s te p, s e l
e ct al
lve rtice s

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3D W ork s h op - M ode l
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S te p4. Com pl
e ting th e tire tire 's ce nte r, in th e m iddl e pl ane of
it) D upl icate th e h al f tire , don’t
SpinD up th e e l e m e nt you patie ntl y m ove it, but rotate it 180 de gre e s in
m ode l e d (1 turn, 360?of cours e , 42 th e Top vie w (around th e 3D
s te ps : be caus e we ne e d 21 Curs or). Rotate around th e Y-axis to
el e m e nts and th e m e s h w e h ave is al ign th e m iddl e ve rtice s to th e
onl y a h al f). O nce SpinD up is done , one s of th e oth e r h al f tire . M e rge ,
you m ay obs e rve your borde r and you’re done !
ve rtice s are not pe rfe ctly
dupl icate d. So, s e l e ct al l ve rtice s ,
and Re m ove D oubl e s (s e t th re s h ol
d
to 0.001).

I advis e you to us e th is m e s h w ith

AutoSm ooth on, to h ave s ol id th re ad
de tail
s as w e l
la s m ooth s ide . H e re
are s om e Yafray re nde rs w ith a rim
(black tire m ate rial courte s y of
Sonix's Car M ate rialLibrary).

Th om as Baron is a s oftw are e ngine e r

for th e ae ronauticalindus try in
Th om as
Baron

You now ne e d to m irror th e tire . France . Afte r dis cove ring Bl e nde r in
Se l
e ct th e row of ve rtice s at th e 19 9 9 h e h as be e n a s e rious am ate ur
m iddle of th e tire , and m ove th e 3D us e r for tw o ye ars . A car e nth us ias t
Curs or to s e l
e ction (to h ave it at th e w h o al so lik e s to w ork on plane s .

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nicalm ark e ting, note s s om e of th e

de s ign s olutions s e l e cte d by th is D uring th is tutorial , I w il
le xplain th e
ye ar's e igh t-m e m be r jury - an e x- w h ole proce s s I h ave fol low e d for
pe rt pane lof re now ne d de s igne rs , de s igning a car. It w il lnot be a de -
trans portation indus try e ducators taile d, s te p by s te p m e th od s ince it
and s afe ty e xpe rts - addre s s e d be - cove rs m any fie l ds be yond Bl e nde r
ing "doore d." or e ve n your ow n PC. Th is is an ove r-
vie w of th e w h ol e proce s s , w ith oc-
"Th e xV conce pt from M arin M yftiu cas ional focus on particular
of Al bania fe ature s a l ock ing s ys te m te ch niq ue s . W e w il l s tart w ith th e
th at pre ve nts a door from be ing conce pt s k e tch e s and e nd up w ith a
ope ne d for a fe w s e conds afte r th e 1:6 foam s cal e m ode l .
ve h icl
e is turne d off w h e n an obje ct
approach e s w ith in th e door's s pan". Conce pt: Firs t of al
lit tak e s a l
ot
Th is tutorialcove rs h ow M arin M yf- of th ink ing -> s k e tch ing -> re th ink -
tiu m ode le d/cre ate d h is e ntry. ing -> re -s k e tch ing. Car m ode l ing is
th e m os t frus trating th ing I h ave
Car de s ign te ch niq ue ; s e e n in 3D m ode l ing up to now and
Conce ptto s cal e m ode l
. you’ve got to h ave crys tal cl e ar
Introduction G e tting s tarte d. ide as (or al m os t) of th e ins and
"Sh aring th e Road," is th e th e m e for outs , s ol id and
th e 2007 M ich e lin Ch alle nge voids , bum ps
D e s ign™ (M CD ) (w w w .m ich e l inch al- and de pre s s ions
le nge de s ign.com ), a ye ar-l ong trans - of th at s urface
portation de s ign e ve nt th at be fore you s tart
cul m inate s at th e North Am e rican In- off; m os t fre -
te rnationalAuto Sh ow (January 13- q ue ntl y, big m is -
21, 2007) at Cobo Ce nte r in dow n- tak e s found
tow n D e troit. Th is ye ar's e ntrants - during 3D m ode l -
ove r 260 of th e m from around th e ing w il l re q uire
w orl d - addre s s e d cars and oth e r you to re do m os t
ligh t ve h icle s , s e m i truck s and pas - of th e w ork , th at
s e nge r bus e s as w e l las road us e rs m ay be w h ol e
on tw o w h e e l s and tw o fe e t. w e e k s . So firs t of
al l, do a l ot of
Bob M iron, M ich e l
in's dire ctor ofte ch - s k e tch e s and dif-

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3D W ork s h op - M ak ing O fScal
e M ode l
fe re nt vie w s to cl
arify as m any de -
tail s as pos s ibl
e.
Bl
ue prints
As you m igh t h ave s e e n in car m ode l
ing tutorial s , it al w ays tak e s bl
prints of th at particul ar car and th e
s am e is ne e de d for your ow n
conce pt. For s om e pre cis e bl
prints you can us e fre e w are ve ctor
s oftw are lik e Ink s cape (lik e I did). Ink -
s cape al so h e l pe d m e go one s te p
ah e ad of m y s k e tch e s , m ak ing a
col ore d il lus tration. W h e n w ork ing
on th e bl ue prints , I w ould advis e to
k e e p an e xis ting car bl ue print on th e
back ground to k e e p th e proportions
in ch e ck .
Bl
e nde ring
Wel l
, as s um ing th at w e h ave done
allth e above corre ctl y, it’s tim e to
w arm up th e Bl e nde r e ngine s . I am
on a 64bit AM D m ach ine and 64 bit
w w w .bl
e nde rart.org
s ys te m s o th e x64 / SSE3 optim ize d
buil d give s a l ot of adde d re nde ring
pow e r (+ 75% ) com pare d to th e
s tandard. I w il lnot cove r h e re , in de -
tail, th e w h ole m ode ling as it is a tu-
- torialapart but, a fe w conce pts are
ue - al m os t vital w h e n turning your
conce pt into a 3D :
ue - - Part Subdivis ion. Al w ays s ub-
divide your m ode lbody into dis -
tinct parts (doors , s ide s ,
cow ling, m irrors e tc). Atte m pt-
ing to s e parate s om e parts afte r
h aving done s om e m ode l ing, by
cutting or oth e r m e th ods , w il l
cos t you a lot of tim e and e fforts
to corre ct/adjus t th e m .
- Grid Re s ol ution. Th e s am e is to
be s aid w h e n you m ode lth e pol y-
gons . Th e te ch niq ue I h ave us e d
is pre tty s traigh tforw ard; Ex-
trude a point fol l
ow ing dis tinct
22
curve s on th e back ground bl ue -
print. Ne igh boring curve s s h oul d
h ave approxim ate l y th e s am e
num be r of ve rtice s to form as
m any re gul ar, four ve rte x face s
as pos s ible . You h ave to s e t in
m ind th e e xact pos itioning of
th e m ain curve s s ince any l ate r
cut or l oop cut m ay s e rious l y
dam age th e s urface .
- Corre ct Ligh ting. Us ual l
y I us e
a traditional 3-l igh ts s ch e m e
and pl ay w ith th e m to ge t good
ligh ting and s ince m os t ofte n
tim e is a conce rn s o I don’t in-
clude radios ity or occl us ion in
te s t re nde rings .
Afte r al
lth e w ork , th e finalre nde r-
ings look e d s om e th ing l
ik e th is :
S cal
e m ode l
W h e n finis h e d w ith th e re nde rings
Is s ue 8 - January 2007
3D W ork s h op - M ak ing O fScal
e M ode l 23

and ph oto e diting, it w as th e tim e to te m pl ate s of s om e give n body s e c-

s tart th ink ing about th e s cal e m od- tions . I s ubdivide d th e w h ole l
e ngth
el . W h ile I w as not an e xpe rt w ith of th e xV in 12 s e ctions and cut th e
Bl e nde r, a s cale m ode l w as car body afte r th os e s e ctions . Afte r
s om e th ing in w h ich I h ad ze ro e xpe ri- re nde ring e ach s e ction cutout, s cal -
e nce and al lI h ad at m y dis pos al ing th e m in th e GIM P and th e n print-
w e re s im pl e tool s lik e a s aw , s h ap- ing, w e onl y h ave to s tick e ach
s e ction on a cardboard pie ce and
care ful ly cut th e h ol
low part.

Afte r th is ope ration, th e only th ing

to do re m ains m ark ing th e s e ctions
on th e w ork ing board according to
th e dis tance s of th e s e ctions w e
h ave in Bl e nde r, s o w e can pl ace
th e righ t s e ction at th e righ t dis -
tance to ch e ck th e w ork progre s s .

And th is is th e final output. Th is

m ode lw il lbe dis pl aye d by M ich e l in
ing gauze s , s cis s ors , rule rs , a s im pl e on th e North Am e rican Inte rnational
cal ipe r and fe w oth e r th ings . Auto Sh ow , in e arl y January
Th e firs t th ing I did w as to print al l 2007. As you coul d s e e m os t
th e th re e m ain vie w s of th e m ode lin of th e proce s s , Bl e nde r
1:6 s cal e (th e m ode l ’s re als cal e ). pl aye d a crucialrol e not onl y
Th e s e im age s on th e w al l s e rve d in m ode l ing and re nde ring
th rough out th e m ode l ing proce s s as but al s o in putting toge th e r a
a 1:1 re fe re nce for m os t of th e di- corre ct s cal e m ode land th e
m e ns ions ; you ope n th e cal ipe r ac- re s ul
t w as pre tty s atis factory.
cording to th e part you w ant to
m e as ure and th e n com pare it w ith
th e re al dim e ns ion on th e m ode l ,
pre tty s traigh tforw ard.

Anoth e r trick in w h ich Ble nde r

h el
pe d m e , w as pre paring cardboard

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3D W ork s h op - M ak ing O fScal
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M arin M yftiu is from Tirana, Al bania. H e is curre ntl

y
s tudying Arch ite cture and w ork ing part tim e as a
M yftiu
M arin

graph ics de s igne r. H e is w ork ing in arch ite cture ,

product de s ign, inte rior de s ign proje cts and m ore
im portantl y s e e k ing a care e r in car de s ign.
w w w .fre e w e bs .com /m ul tid

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3D W ork s h op - M ak ing O f'Cutting Th e W ave s' 25

As w ith m os t proje cts , th is one al so

s tarte d w ith th e m ode l ing ph as e . I
s canne d m y draw ings and l oade d
th e m onto tw o pl ane s in Bl e nde r
w ith UV m apping, giving a top and
s ide vie w , as bl
ue prints .

I us ual l y m ode l w ith s ubdivide d

m e s h e s , as th e m e s h tool s in
Bl e nde r are th e m os t advance d.
H ow e ve r, to aid in m ode l ing, I firs t
M ak ing of'Cutting th e W ave s ' Th is ye ar I w ante d s om e th ing fre s h dre w th e outl ine of th e car w ith 3D
and ne w . So I ditch e d th e ol d wh eel- Be zie r curve s , adjus te d to fit th e top
As a re gul ar Ble nde r us e r, I h ave al - bas e d car conce pt and de cide d on a and s ide bl ue prints (Figure 2). Th e n
w ays w aite d for th e annualBl e nde r h ydrofoil -type ve h icl e w ith a je t e n- cam e s om e adjus tm e nts in 3D to
F1 ch al l
e nge . Unfortunate l y for m y gine . Th is com bine d fl igh t and w a- m ak e th e m nice and s m ooth , giving
2005 e ntry I h ad l ittle tim e and te r, as I re al ly w ante d s om e th ing th e ve h icl e th e prope r ae rodynam ic
coul dn't com pl e te it. Bas ical l
y, th e bas e d around th e th e m e of "w ate r" outl ine s .
car w as done but I h ad no tim e for a th is ye ar. I s tarte d s k e tch ing and de -
back ground s ce ne . Stil l
, a fifth pl ace cide d on th e fol low ing de s ign (Fig- Us ing th e curve s as outl ine guide s , I
m otivate d m e to try h arde r ne xt ure 1): m e s h m ode le d th e car body. Th e n:
ye ar, s o for 2006 I de cide d to m ak e Subs urf once , Al t-C conve rt to
th e be s t im age I coul d, w ith as m e s h , and continue d m ode l ing. Fig-
m uch de tailas pos s ibl e , incl uding a ure 3 is m ore or l e s s th e finalm od-
back ground. el, w ith front gril le , w inds h ie l
d, roof
air intak e s and front l am ps adde d.
To m ak e it m ore inte re s ting, th e re is
M ode l
ing th e car

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3D W ork s h op - M ak ing O f'Cutting Th e
an inde ntation, dividing th e fus e l age
into tw o diffe re ntl y col oure d parts ,
pure l
y for ae s th e tic re as ons .
Th e D rive r
Th ough I am not m uch of a ch arac-
te r m ode l e r, e s pe cial
ly not w ith re al
is tic h um ans , I jus t h ad to add a
ch aracte r to th e s ce ne to m ak e it
com e al ive . Figure 4 s h ow s m y
drive r, al ong w ith th e ins ide s of th e
cock pit. H is body is m y m ode l , but I
h ave to adm it h is h e ad is a M ak e H u-
m an h e ad s titch e d to th e body. H e 's
ful ly pos e -abl e , e xce pt for finge rs .
Fol l
ow ing m y m otto of "de tail , de -
tail , de tail ", I adde d h e l m e t, gl
as s e s ,
4 point s e at be l ts w ith th e re le as e
button m ode l e d, th ough you can't
s e e it in th e finalre nde r.
W ate r
Th e w ate r I us e d com e s from an e arl i-
e r picture of m ine (Ve nice M orning),
as I lik e d it s o m uch :) Its re al
ly noth -
ing too com pl icate d, th e w ave s are
w w w .bl
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W ave s'
done w ith th re e Cl ouds te xture s ,
w ith diffe re nt Input Size X,Y,Z para-
m e te rs as bum p m aps , giving 3 l ay-
-
e rs of w ave s : s m al l, m e dium and
large . Th e m ate rialits e l f is a s im pl e
gre e nis h bl ue re fle cting and re fract-
ing m ate rial . Figure 5 is m y firs t W IP
pos te d to s om e 3D graph ics forum s
on th e ne t (El ys iun/Ble nde rartis ts ).
Th is is good practice , as th e com -
m e nts I re ce ive d re all
y h el pe d m e de -
ve lop th e picture furth e r. M os t
pe opl e s aid it l ook e d l ik e a s m al l
s cale m ode land not a ful ls ize race
26
ve h icl
e, lik e a toy in a bath tub. I de -
cide d to ge t rid of th e "bath tub"and
go for th e ope n s e a!
Ligh ting
For l igh ting, I us e d an H D R m ap ge n-
e rate d w ith Te rrage n, as Te rrage n
can m ak e s om e ve ry nice s k y
re nde rs . To find th e pe rfe ct m ood
for m y im age , I trie d various s e tups
for th e H D R m aps untilI found th e
ce ntralone as s h ow n in th e fol low -
ing picture , a ve ry nice , pink is h -ye l-
low is h m orning s k y. It w as
undoubte dl y th e 'O ne ' pe rfe ct for a
m orning te s t run on th e ope n-s e a
track ! Be s ide s th e gl obalGI l igh ting,
as w ith m any of m y im age s a s un
lam p is al s o us e d to add s om e
s tronge r s h adow s , th ough th e s e do
not s h ow up w e l lon th e w ate r. For
re alis m , th e s un l am p is al igne d
w ith th e s un in th e Te rrage n H D R
m ap.
Fl
uid W ave s
O ne im portant part of th e picture is
h ow th e s e a re acts to th e h ydrofoil .
Th e ve h icle is in cons tant m otion,
"cutting th e w ave s ". In th is cap-
ture d m om e nt it is tak ing a s h arp
le ft turn, w h ile th e w ate r w ave s fol -
low th e originalpath of m otion. To
cre ate th e prope r s w e l l
ing and de -
pre s s ing of th e w ate r s urface , I us e d
th e nice Bl e nde r fe ature of fl uid s im -
Is s ue 8 - January 2007
3D W ork s h op - M ak ing O f'Cutting Th e
ul ation. It took at l e as t 20 or m ore
trie s to ge t th e prope r w ave s to
form . Th e s e tup th at final l
y w ork e d
w as a cube s h ape d bl ock of w ate r at
th e bottom of th e s im ul ation do-
m ain, and a l arge bal lof w ate r is
'th row n' w ith a give n s tarting ve l o-
city (v0) s ide w ays into th e w ate r, in
th e dire ction th at th e ve h icl
e w as go-
ing. Th is cre ate d a ve ry nice w ave e f-
fe ct.
Ne xt s te p w as inte grating th e
bounde d fl uid dom ain into th e big
dis k of w ate r th at w as th e s e a. Afte r
s om e uns ucce s s fultrie s w ith oth e r
tool s , th e buil t in s cript: M e s h -> Ap-
pl y D e form ations conve rte d m y
bak e d fl uid-s im into an e ditabl
m e s h . Th is w as s titch e d to th e l arge
round s e a m e s h . TIP: to m ak e it
se e m l ik e it e xte nds fore ve r (til lth e
h orizon), th e outs ide of th is dis k is
about 1000 Bl e nde r units aw ay. Th is
is not e nough , you can s til lcl e arl
s e e th at th e 'w orl d' e nds abruptl
So th e oute r ve rtice s w e re m ove d
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W ave s' 27
up a bit, m ak ing th e dis k curve up- w ire s and e ve ryth ing fol
low ing its
w ard a bit, and it th e re fore s e e m s to m ove m e nt.
e xte nd to th e h orizon.
Figure 9 is a cl os e up of th e ve h icl e 's
Extras back , w ith s e ve ral inte re s ting de -
tails . Th e re is th e je t e ngine e xh aus t
w h ich prope rl y 'w arps ' th e air - th e
W ith th e m ain obje cts done , tim e for
re fractive inde x of h ot air is h igh e r
th e e xtras ! I m ode l e d tw o dol ph ins
th an of col d air - , and h as jus t a
and painte d th e m w ith ve rte x paint.
h int of bl ue w h e re it l e ave s th e car.
You can s pot th e m in th e w ate r in
A com m on m is tak e th at I s e e in
th e finalim age . I'm not e xactl y s ure
m any picture s is e xce s s ive us e of
a race track w oul d be al l
ow e d w h e re
th ick bl ack or fire col oure d fum e s ,
e dol ph ins l
ive d but I jus t h ad to k e e p
us ual l
y particl e s ys te m s , for je t e n-
th e m in th e finalim age . Th e race
gine e xh aus ts . Th is is unre al is tic, e n-
track its e l f is bounde d w ith buoys
gine s don't burn air, if you s e e fire
and s om e dire ction boards (Fig. 7).
and/or s m ok e - not to be confus e d
Th e re 's als o a cam e ra on a pl atform
w ith conde ns ation trail s - com ing
(Fig. 8), th e s am e m an m ode lfrom
from an e xh aus t, th e re is s e rious
y be fore . It w as fun to m ode lh is m ov-
troubl e in th e e ngine (re m inds m e
y. abl e pe de s tal , w h ich is prope rl y
of: M onty Pyth on, H ow to Irritate
rigge d w ith an arm ature , w ith th e
Is s ue 8 - January 2007
3D W ork s h op - M ak ing O f'Cutting Th e W ave s' 28

in Core lPh otoPaint to th e back parts

of th e im age . Th is w as a s im pl
e w ay
to s e parate th e car from th e
fore ground. I al s o appl ie d s om e
Gaus s ian bl ur and de s aturation to
th e back ground.

Trivia: w h y doe s th e s ide s ay "Falcon

Racing"?If you l ook at m y bl ue print
s k e tch at th e be ginning, th e car
look s l ik e th e ope n be ak of s om e
bird of pre y. H e nce "fal con" and th e
logo as w e l l
.

And th e finalim age : Pl ace d fourth .

Pe opl e : "Th e re is no caus e for al arm . Not bad, but coul d h ave be e n
Th e w ings are not on fire ." :)), s o I'd be tte r. But th e re 's al w ays a ne xt
advis e agains t it. Th e s e e -th rough tim e ! :) Se e you at th e race s !
e xh aus t h e re w as actual ly a pre tty
com pl e x m ate rial , w ith a num be r of
proce duralte xture s and col orbands
us e d. Th e s m al lw ate r drops are th e
re s ul t of a s e parate fl uid-s im , th at
w as conve rte d to m e s h w ith th e
afore m e ntione d s cript, and jus t th e
s m al l drops k e pt. Th e re are al so
brigh t s pots on th e h ul lof th e 'car',
th e s e are m e ant to be w ate r drops re al l
y h ave anyth ing l e ft to do. I
th at h ave s tuck to th e fus e l age at adde d th e is l and w ith th e l igh th ous e
th e back (th e air re s is tance w oul d in th e back ground, w ith s om e pal m
bl ow th e drops off th e front). tre e s , th e de tail s of w h ich w e re
unfortunate l y l os t w ith th e m otion
bl ur. Righ t: m otion bl ur! Bas ical l
y I
Finaltouch -ups re nde re d a de pth m ap (ie z-buffe r)
of th e im age , and us ing th at as a
W h e n th e date of th e com pe tition m as k , appl ie d pos t-pro m otion bl ur
w as e xte nde d 1 m onth , I didn't

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3D W ork s h op - Te xture d M e talSh
Le ve l
: Inte rm e diate to A dvance d
UV- unw rapping - m ate rial
ne s ting - dis pl
ace m e ntm ap-
ping - dis pl ace m e ntm ixing
Th is tutorialw il le xpl ain h ow diffe r-
e nt type s of m e tals urface s , found in
Indus trialD e s ign and M e talArt, can
be re buil t in Bl e nde r. It w illcove r
brus h e d and h am m e re d m e talte x-
ture s incl uding m ode l ing, UV-unw rap-
ping, and te xturing approach e s and
te ch niq ue s .
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ade rs For IndustrialD e sign 29
h igh ligh t re fl
e ction is s tre tch e d. An
M os t of th e s ce ne s are je w e l
ry re - anis otropic re fl e ction is com pos e d
late d be caus e th is is m y m ain fie l d out of m any fine paral le lre fle ction
at th e m om e nt. H ow e ve r, line s , de pe nding on th e groove s ize .
e ve ryth ing e xplaine d can e as ily be
trans fe rre d to any oth e r type of ob- It is im portant to k now th at cl os e ob-
je ct as w e l l- as th e l as t ch apte r je cts appe ar m ore cl e ar in th e re fl
e c-
s h ow s . tion and far obje cts appe ar m ore
diffus e d. Th e las t point is e s pe cial ly
w h at is curre ntl y difficul t to re cre ate
Le t's tal k about a brus h e d m e tal w ith th e Bl e nde r m ate rials ys te m . It
s h ade r firs t. is not onl y a q ue s tion of s tre tch ing a
M any firs t s e m e s te r s tude nts m arve l re fle ction along one axis pe rpe ndicu-
about th e ir firs t cas te d s il ve r ring lar to m icro-fine groove s , but furth e r-
afte r th e y've s tarte d to cl e an up m ore to m ak e th at re fl e ction h ave
th e ir firs t cas ting w ith s and pape r. th e corre ct bl urrine s s according to
Th e y l ove to m ove th e ring around th e dis tance be tw e e n th e re fl e cte d
and e njoy w atch ing th e ch ange of and th e re fle cting s urface .
th os e s tre tch e d h igh ligh ts . But w h at
are th os e anis otropic re fl e ctions ?M i- To cre ate th is vis uale ffe ct w e ne e d
to cre ate a bum p m ap w h ich can
cro fine groove s ins ide a pol is h e d
m e tals urface re fl e ct th e incom ing provide us w ith th e ne e de d am ount
ligh t at diffe re nt angl e s aw ay - pe r- of fine groove s . Be caus e w e w ork in
pe ndicul ar to th e groove s dire ction. 72 D PI and not th e re alw orl d, w e
onl y h ave a l im ite d am ount of vis ual
Th os e vis ual e l e m e nts , m os t com - inform ation (pixe l s ) to cre ate th is e f-
m onl y k now n as l ine ar and circul ar fe ct. Th e s ol ution to th is te ch nical
brus h patte rns , are cal le d anis otrop- probl e m is to cre ate a bl e nd of diffe r-
ic s pe cular re fle ctions , or s h ort anis o- e nt m ate rial s w h ich al lh ave s ligh tly
tropic h igh l igh ts . H ow e ve r, th os e diffe re nt bum p val ue s . By ove rl ay-
groove s al s o s pre ad th e re fl e ction ing and m ixing th e m toge th e r w e
val ue in th e s am e m anne r. Th is is can cre ate th at fine s urface w e
k now n as anis otropic re fl e ction. It is ne e d. Each m ate rialw e are going to
not jus t a diffus e d, radialbl urre d re - cre ate h as a s m al l re fle ctive
fle ction, be caus e th e anis otropic re - raytrace val ue toge th e r w ith a de -
fle ction is s tre tch e d as th e s pe cul ar s ire d Fre s ne l s e tting. In addition,
Is s ue 8 - January 2007
3D W ork s h op - Te xture d M e talSh
e ach m ate rialis util
izing th e UVm ap-
ping m ode for any us e d bum p m ap.
Th e firs t m ate rialcontains th e m ain
anis otropic s pe cul ar re fle ction util
iz-
ing th e ne w Tange nt V function for
s pe cular h igh l igh ts . Th is functions
as th e m ain bas e m ate rial . It al
so
contains a l ow s e tting for raytrace d
re fl
e ctions . It is ve ry h e l
pfulto give
your m ate rial s uniq ue nam e s to
h elp you m anage th e m .
In te rm s of te xture you can e ith e r
us e an im age m ap you cre ate ins ide
Ph otos h op (or oth e r im age e diting
s oftw are ) util izing m otion-bl urre d
nois e , or you can us e a proce dural
function. Th e be ne fit of a proce dural
te xture is th at it is re s olution inde -
pe nde nt. I pre fe r to us e voronoi.
Th is te xture can produce nice point
patte rns s im ilar to nois e . Us ing th e
th e Int function you can de cide if
you w ant to us e onl y dots or m ore a
ce ll-l
ik e s tructure by pl aying w ith
th e Brigh tne s s and Contras t val ue .
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In addition, you coul d e xpe rim e nt
w ith th e Col 1 option. W ith th e inte rn-
alte xture s cal e value you can con-
trolth e s ize of th e points w h ich w il l
late r be s tre tch e d.
You can now de cide if you w ant to
s tre tch th e te xture com pl e te l
y along
one axis by turning off one axis in-
s ide th e M ap Input tap, or you can
us e th e X-Z s ize val ue s to s cale th e
patte rn dow n al ong one axis and
s tre tch it al
ong th e oth e r axis .
Th is w il
lproduce th e s am e vis ualre s -
ult you w oul d ge t w ith Ph otos h op
30
anyw ay. Th e m ate rialis conne cte d
to one col or input ch anne lof a col or
m ixe r node w h ich bl e nds into th e
col or ch anne l of th e output node .
Th e ne xt s te p is to cre ate a s e cond
m ate rialth at contains a diffus e d un-
s tre tch e d s pe cul ar re fl e ction. Th is
h el ps to buil d a m ul tiface te d ove ral l
s pe cul ar re fle ction w h ich is typical
for brus h e d m e tals urface s .
Th is m ate rial w e dupl icate w ith
e ach copy h aving a s l igh tly diffe re nt
bum p s e tting, th e n m ix th e m toge th -
e r w ith col or m ixe rs . Th e e nd-re s ul t
of th is m ate rialne tw ork ne e ds to be
conne cte d to th e s e cond col or ch an-
ne linput to w h ich th e firs t m ate rial
is conne cte d. Th e am ount of s e cond
m ate rial s w ill de fine th e s m ooth -
ne s s of th e brus h e d m e tall ook and
al s o th e s m ooth ne s s of th e anis o-
tropicalre fl e ction.
A s ch e m atic vie w w oul
d l
ook l
ik e in
th e Im age be low :
Brus h e d m e tal s h ade r tre e : bas e
Is s ue 8 - January 2007
3D W ork s h op - Te xture d M e talSh
s h ade r w ith anis otropic s pe cular
s e cond s h ade r w ith s h arp s pe cul
ar
and am ount of s e condary s h ade s
w ith diffe re nt bum p s e ttings
Brus h e d m e tals urface s s om e tim e s
h ave th e probl e m of catch ing dirt be -
caus e of th e fine groove s . To pre -
ve nt th is you can s e alth e s urface
w ith a l acq ue r. Th is w il
lre s ul
t in a
ve ry s trong and s h arp s pe cul ar h igh -
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1. Al w ays try to unw rap th e
m e s h from th e s ide , or top vie w ,
but not from any pe rs pe ctive
vie w to pre ve nt any dis tortion of
th e UV te xture you w il lappl y. If
your obje ct or face s are not
al igne d to any axis , try to l ook
pe rpe ndicul ar onto th e face s
you unw rap.
2. To pre ve nt dis tortions , al w ays
try to s cal e face s ins ide th e UV
e ditor to th e s am e dim e ns ion
th e y al s o h ave ins ide your 3d
m ode l . Th is is ve ry im portant to
k e e p in m ind w h e n you fol low
th e ne xt s te ps .
3. You s h oul d h ide th e UV s e am
by e ith e r putting additionalge o-
m e try ove r it or by rotating it
aw ay from th e cam e ra.
4. Us e s e am s to controlw h e re
ligh t and a m ore s oft l ook ing anis o- th e m e s h unfol ds to h ave be tte r
tropic s pe cul ar h igh l
igh t. To ge t th is controlabout w h e re you w il ls e e
re s ul
t you ne e d to l ow e r th e val
ue of th e h igh l igh t bre ak .
th e anis otropic h igh l igh t and in- 5. Rotating a m e s h in th e UV e d-
cre as e th e val ue of onl y one re gul ar itor w il l control orie ntation of
s pe cular h igh ligh t. s pe cul ar re fl e ctions . Th ink about
UV in onl y one dire ction. 'UV'
coul d be upw ards /dow nw ards ,
Anis otropic h igh l igh ts are ofte n and a 9 0 de gre e rotate d ve r-
found on m e talobje cts w h ich re pre s - s ion, l e ts s ay 'VU', coul d go l e ft
e nt ge om e trical prim itive s l ik e a and righ t.
tube , a ball, a s h e e t or a box. Be fore 6. To cre ate s m ooth and e ve n-
w e continue , I w oul d lik e to pre s e nt flow ing anis otropic h igh l igh ts on
fe w im portant tips : curve d obje cts , you w il lne e d to
Is s ue 8 - January 2007
3D W ork s h op - Te xture d M e talSh
h ave a ve ry s m ooth s urface us -
ing e ith e r s m ooth e d s ubdivi-
s ions or th e s ubs urface m odifie r.
O th e rw is e you w il l s om e tim e s
s e e s h arp corne rs in th e h igh -
ligh t.
Pl ane : Unw rap > Proje ct from
vie w : Th is is th e e as ie s t obje ct
to unw rap. Jus t m ak e s ure you
look pe rpe ndicul ar onto th e
plane .
Cyl inde r: Unw rap > Cyl inde r
from vie w : To te xture a cl os e d
cyl inde r, I found it e as ie r to cre -
ate a tube and unw rap it firs t.
Afte r th at s te p you s h oul d cre -
ate a ne w l oop cut ve ry cl os e to
th e e dge of th e e nd you w ant
to cl os e . Be caus e you un-
w rappe d th e tube , th e ch ange
in th e m e s h w il lal re ady be up-
date d in th e UV unw rappe r's
m e s h . Se l e ct th e top l oop of th e
tube and s cal e it dow n to cl os e
th e tube by cre ating a cap. D o
not m e rge th e points . Th is w ay
you can cre ate a cyl inde r w h e re
th e s ide s h ave a l ine ar h igh ligh t
patte rn and th e cap s h ow s a cir-
cul ar h igh l igh t patte rn, s im il ar
to w h at w e k now from a CD .
Box: Unw rap > Unw rap w ith
s e am s m ark e d be fore : A box is
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a pre tty s im pl e s h ape to un- of th e ve rtice s you de l e te d firs t
w rap. You onl y h ave four s ide s to re tain th e s ph e re curvature
and tw o caps . H ow e ve r in con- at th e pol e s . As w ith th e cyl in-
tras t to a cyl inde r, th e box can de r, do not m e rge th e ve rtice s
onl y provide you w ith l ine ar h igh - ring to clos e th e s ph e re .
ligh t patte rns . Th is al s o m e ans
th at th e cap w il ls h ow a l ine ar M ixe d s h ape s : D e pe nding on
dire ction w h ich fl ow s from one your obje ct you w il lh ave to util -
ne igh bor face th rough th e cap ize diffe re nt unw rapping m e th -
face to th e oth e r ne igh bor face . ods to ge t good re s ul ts . In m y
Th e oth e r tw o face s w il lprovide te s t obje ct I w ant to unw rap a
you w ith an anis otropic s pe cu- cyl indrical obje ct w h ich con-
lar h igh l igh ts w h ich w il lnot cre - tains an e xtrude d e l e m e nt.
ate a joint w ith th e s pe cul ar
h igh ligh t of at l e as t one cap
face . If you tak e a s m al ls te e l
cube and try to brus h e ach s ide S te p 1: Buil
ding bas ic body :
Be caus e you ne e d to h ave a ve ry
w ith s and pape r you w il ls e e
th at you can onl y conne ct 4 s m ooth s urface to re ce ive s m ooth
anis otropic h igh l
igh ts , I pre fe r to cre -
s ide s lik e a face l oop. Th e oth e r
tw o face s w il lnot be abl e to be ate cyl indricalobje cts out of cube s
utilizing th e s ubs urface m odifie r to
inte grate d.
cre ate th e roundne s s . Starting w ith
a box, I re m ove th e pol e caps and in-
Sph e re : Unw rap > Sph e re clude tw o l oop cuts . (Im age 1)
from vie w : A s ph e re is ve ry
e as y to unw rap as w e l l
. Jus t go
to th e s ide vie w and unw rap it.
You w il l notice th at th e pol es
s h ow s om e dark e r artifacts . To
fix th at, re m ove th e tw o top
pol e points to furth e r ope n th e
s ph e re . Se l
e ct a loop ring, e x-
trude , and s cal e th e s e le ction
dow n to cl os e one pol e . You
s h oul d m ove th e ne w l y cre ate d
loop ring to th e s am e pos ition
Is s ue 8 - January 2007
3D W ork s h op - Te xture d M e talSh
I go into s ide -vie w and unw rap th e
box as a cyl inde r from vie w .
Ne xt I re -s ize th e face s in th e UVe dit-
or s o th at th e y w il lbe s im il ar to th e
face s ize of th e 3d m e s h . (Im age 2)
W e can now te s t out th e firs t re s ult.
Turn on s ubs urf w ith a re nde r val ue
of 5, and cre ate a m ate rialw h ich
h as th e Tange nt V option, found in-
s ide th e s h ade rs pane l
, turne d on.
Se t th e obje cts ' face s to s m ooth ,
and do a re nde r pre vie w . You w il l w e w ills e e th at th e s cal
s e e a nice and s m ooth anis otropic
h igh l
igh t. (Im age 3)
M aybe pl ay a bit w ith th e s ubs urf
re nde r val ue s e ttings . Incre as ing
and de cre as ing th e val ue toge th e r
w ith q uick re nde r pre vie w s w il l
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q uick l
y s h ow you h ow m uch th e
s m ooth ne s s ofth e s urface h as an im -
pact onto th e s m ooth ne s s of th e
flow of th e h igh l
igh t.
S te p 2: Enh ancing ge om e try
and unw rapping:
Le t's s e l
e ct one face and e xtrude it
and re vie w th e re s ul t ins ide th e UV
e ditor. As you can s e e , th e ne w ly cre -
ate d face s do ove rl ap and a q uick
pre vie w re nde ring s h ow s a bad re s -
ult. (Im age 4)
W e ne e d to s e l
e ct th e ne w l y cre ate d face s in th e face s e l e ction m ode
and unw rap th e m w ith "U > Un-
w rap". Going back into th e UV e ditor
e propor-
tions are total ly off and w e ne e d to
m anual ly corre ct th at. (im age 5)
Se le ct al
lface s of your obje cts in
th e Face s e l
e ction m ode , go into th e
UV e ditor and s cal e dow n th e ne w ly
adde d face s s o th at th e y w il
l
Is s ue 8 - January 2007
3D W ork s h op - Te xture d M e talSh ade rs For IndustrialD e sign 34

orie ntation. (Im age 7) In cas e in th e UV e ditor th e tw o

Se le ct a face ne xt to th at face and e dge s do not ove rl ap th e face s w il
l
h ave diffe re nt UV orie ntations and
pos itioning and th e h igh l igh t w il
l
now fl ow th rough both conne cte d
face s . (Im age 9 )

re pre s e nt th e actualdim e ns ions of

th e 3D m e s h . (Im age 6)
It is ve ry im portant to k e e p th e face
you w il ls e e th at s om e tim e s th e col -
or ch ange de pe nds on th e orie nta-
tion. H ow e ve r, in cas e th e l ow e r
e dge of one face is re d and th e top
e dge of th e face be l ow is gre e n in
th e Face s e le ction m ode - and in th e
UV e ditor it is th e s am e , you w il lbe
fine , th e y ove rl ap and s h are th e
s am e coordinate s in 2D s pace . (Im -
age 8)

I als o rotate d th e face to s h ow h ow

th at w illaffe ct th e orie ntation of th e
orie ntations intact. Go into th e face h igh l
igh t and any te xture s us ing th e
se l
e ction m ode and s e l
e ct on face . uv coordinate s .

You w il ls e e tw o ye l low , one gre e n, Appl y a s cale d dow n voronoi te xture

and one re d e dge . Th os e re d and and s tre tch it al ong one axis w h ile
gre e n e dge s pre s e nt th e UV de s e l
e cting th e axis ins ide M ap

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3D W ork s h op - Te xture d M e talSh ade rs For IndustrialD e sign 35

Input w h ich is pe rpe ndicul ar to your ove r th e ge om e try. (Im age 11) e r us e th e CTRL k e y and re l e as e th e
anis otropic s pe cular h igh l
igh t dire c- m ous e button w h e n th e s cal e val ue
tion. M ap th e te xture to th e Norm al re ach e s 0 for x,y, and z. (Im age 13)
ch anne l, se le ct th e UV m apping
m ode , do a q uick re nde r pre vie w
and e njoy th e nice e ffe ct. (Im age
10)

Th e draw back is th at th e l as t s te p
dis torts th e proportionaldim e ns ions
of th e ne w l y incl ude d face s ins ide Th e las t s te p is to incl ude anoth e r
th e UVe ditor, th us dis torting th e te x- e dge loop cut cl os e to th e ol
de r top
ture a l ittl
e bit. In oth e r w ords , as e dge to cre ate a nice l y rounde d
you can s e e , th e top s ide s of th e e x- e dge for th e pol e cap. (Im age 14)
trude d face s h ow s s tre tch e d l ine s
As you can s e e th e h igh l igh t fl
ow s w h il
e th e s ide s re m aining h ave a
nice l
y ove r th e ge om e try. fine r grain.

S te p 3: Fixing te xture fl
ow : S te p 4: Finis h ing up:
H ow e ve r th e proce dural te xture Le t us cl os e th e top cap. Sim il ar to
s e e m s to h ave s om e bad s e am s . th e cylinde r unw rapping, jus t add an
Th is is be caus e w e did not w e l d th e e dge l oop cut ve ry cl os e to th e top
ne w l y adde d face s ins ide th e UVe dit- e dge of th e cube . Se l e ct th e top
or to th e face s of th e cube . W e h ave e dge and s cal e it dow n until th e (Final
e Re nde ring: brus h e d m e tal
)
to do th is now . Se l e ct th e face s of e dge s h it e ach oth e r. (Im age 12) To
th e ne w e xtrude d parts and m ove m ak e th e m pe rfe ctl
y touch e ach oth -
th e m into th e h ole of th e unw rappe d
cube . Us ing s nap to pixe l s w illh e l
p
w ith m oving th e face s . Stre tch th e m
s o th at th e y fillout th at h ol e and
th e n s e l
e ctive l
y wel d th e ove rl ap-
ping face points toge th e r. D o a te s t
re nde ring and you w il ls e e th at th e
proce dural te xture pe rfe ctl y fl ow s

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3D W ork s h op - Te xture d M e talSh
Com m e nts
Th is ove rvie w s h oul d s h ow you h ow
to approach th e te xturing and m ode l -
ing as w e l l. Try not to m ak e your ob-
je ct too com pl e x. Als o, k e e p in m ind
th at w ith a ve ry good te xture you
m igh t not ne e d to s h ow al lge om e t-
rical de s igns . D raw ing q uad bas e d
w ire fram e s of your obje cts be fore
m ode l ing th e m w il lh e lp you to l ay-
out th e de s ign and m igh t s ave you a
lot of tim e at th e e nd. Starting ove r
from th e be ginning is al w ays a
h as s l
e - e s pe cially w h e n you re al ize
th at w ith a bit m ore pl aning you
w oul d h ave al re ady be e n done .
Th rough th e ove rlaying of th e
s e cond m ate rial s w e al s o re ce ive
s om e nice l y gl ow ing s pe cul ar re fl
e c-
tions s pe cifical l
y al ong e dge s as
s e e n at th e top e dge of th e cyl inde r.
Expe rim e nt w ith th e approach e s I
s h ow e d you. For e xam pl e , th e UV e d-
itor is q uite coolto pl ay w ith in cas e
you w ant to cre ate s om e funny anis o-
tropic h igh l igh t dis tortions . Le t face s
ove rl ap or rotate oth e r face s and
th e n w e lding th e m rotate d again in-
to th e m ain m e s h . Th e re s ul ts m igh t
not be ve ry re al is tic or us e fulfor re p-
re s e nting a re al obje ct. H ow e ve r
th e y m igh t be ve ry us e ful for
s om e th ing e xpe rim e ntalor oth e r ap-
pl ications in w h ich you can s e e th is
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w ork ing. (Im age 15)
al ong th e body w il lproduce a nice
and round body w h il e th e e dge s are
2. H am m e re d m e tals h ade r s h arp. I pre fe r to h ave a fl at pl an-
is h e d e nd w h ich I rollinto a loop. Be -
caus e th os e e nds are pl anis h e d,
To cre ate a forge d brace l e t I tape r th e re is h ardl y any te xture le ft.
th e e nds w ith a rol ling pre s s and
pl anis h th e m round. (D e finition of To m ode lth is I ne e d to trans form
pl anis h : to s m ooth th e s urface irre gu- th e octagon s h ape into a re ctangu-
laritie s in a s h e e t m e talpart w ith re - lar s h ape and m ove th e ce nte r
pe ate d h am m e r blow s ) Th is points to th e s ide s in orde r to m ode l
produce s nice l y tape re d round cone th e s h arpe r e dge s . In th e fol
low ing
s h ape d e nds w h ich can be te xture d. s te ps I jus t ge ntly s cal e dow n th e
For th at I us e m ainl y a bal ls h ape d th ick ne s s of th e m ode land buil d a
h am m e r. Th rough te xturing I con- loop. (Im age 17)
ve rt th e round cros s s e ction into th e
s h ape of an octagon.
Th is s h ape h as to be re cre ate d
th rough m ode l ing. I s tart at th e ce n-
te r of th e brace l e t and cre ate an oc-
tagon. By e xtruding and e ve nl y
s caling dow n e ach ne w e xtrus ion I
can q uick l y buil d th e m ain part of
th e brace l e t. (Im age 16)
Turning on s ubs urf, s e tting al lface s
to s m ooth , and cre as ing th e e dge s
Is s ue 8 - January 2007
3D W ork s h op - Te xture d M e talSh
Be caus e of th e pre s s ure appl ie d dur-
ing be nding, th e e dge s of th e m e tal
its e l
f w il
lrol lup a l ittl
e bit. In th is
cas e it m igh t m ak e m ore s e ns e to
le ave th e ce nte r points w h e re th e y
are and s cal ing dow n al lth os e ce n-
te r points w h ich de fine th e loop. (Im -
age 18)
W e can us e th e e dge cre as e option
to s e l
e ctive ly s h arpe n th e e dge s of
th e brace l e ts . Th e e dge s al ong th e
loop h ave a h igh val ue to produce
s h arp e dge s , w h il
e th e e dge s clos e r
to th e ce nte r of th e brace l e t h ave a
low e r value to produce a nice trans -
ition be tw e e n th e l oop e dge s and
th e bas e e dge s . (Im age 19 )
Be fore w e ge t de e pe r into de s igning
th e s h ade r I w ould l ik e to pre s e nt
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s om e bas ic inform ation w h ich is im -
portant to k now to gain ful lcontrol
ove r your s h ade r cre ation.
D is pl ace m e nt > h ow to controlth e
dis pl ace m e nt :
Eve ry dis pl ace m e nt m ap s h oul d util-
ize a gray s cal e . Us e th e 'No RGB' op-
tion ins ide th e 'M ap To' pane lto turn
col or bands into gray s cal e inform a-
tion. Bl ack and w h ite are th e tw o dif-
fe re nt e nds of any dis pl ace m e nt
m ove m e nt. Th e val ue ofth e dis pl ace -
m e nt w il l control th e dis tance
be tw e e n th e s e tw o e nds . D e pe nding
on if you s e t th e dis pl ace m e nt
37
dire ction (ie . w ork ing outs ide to-
w ards th e ins ide of th e ge om e try),
w h ite w il
le ith e r m ove pol
ygons out-
s ide or ins ide . Bl ack w oul
d h ave th e
oppos ite e ffe ct. Ne utralgray w illnot
m ove any ge om e try.
So it is advis abl e th at you do not
w ork w ith w h ite to bl ack trans itions .
O nl y us e Black to ne utralgray trans -
itions ins ide th e col or band and s e -
le cting th e No RGB option. Th is w ay
you can e as il y controlth e dis pl ace -
m e nt dire ction w ith th e 'D is p' but-
ton ins ide th e 'M ap To' tap.
Ste ncil> h ow to controlth e bl e nd-
ing of dis pl ace m e nt m aps :
To m ix tw o diffe re nt te xture s toge th -
e r you h ave to pos ition a m as k ing
te xture be tw e e n th e m w h ich h as
th e 'No RGB' and 'Ste ncil ' options in-
s ide th e 'M ap To' pane l s e l e cte d.
Th e 'No RGB' w il lgive you be tte r
control ove r th e bl e nding be caus e
th e bl e nding is bas e d on gray val -
ue s . Th e 'No RGB' option al s o e n-
abl e s you to us e th e col or band
function. W h ite m e ans it w il l be
100% trans pare nt and bl ack m e ans
it w illbe opaq ue . Gray val ue s w il l
re pre s e nt th e trans itional val ue s
be tw e e n w h ite and bl ack , in oth e r
w ords - be tw e e n trans pare nt and
opaq ue .
Is s ue 8 - January 2007
3D W ork s h op - Te xture d M e talSh
As m e ntione d, w e h ave a trans ition
from a te xture d octagon s h ape d
body into an unte xture d re ctangul ar
body. Cre ating a m ate rial l ik e th is
w oul d be e as y. You w oul d onl y ne e d
to appl y a ce l lte xture as a dis pl ace -
m e nt m ap for th e m ain body, a
s e cond te xture m ap w ith a m uch
low e r dis pl ace m e nt val ue , and a
bl e nding te xture to bl e nd th os e tw o
dis pl ace m e nt te xture s toge th e r
w h e re th e m ode lch ange s its cros s
s e ction s h ape .
To m y k now l e dge it is not ye t pos -
s ible to m ix diffe re nt ch anne l s of m a-
te rials toge th e r utilizing th e
dis pl ace m e nt inform ation. Curre ntl y ting F1. (Im age 20)
onl y th e col or output is s upporte d.
Fixing th is l im itation w il lal low th e
cre ation of a l aye re d s h ade r w ith dif-
fe re nt dis pl ace m e nt s e ttings util iz-
ing th e node s ys te m .
A s ch e m atic vie w w oul d l ook l ik e
th is : H am m e re d m e tals h ade r tre e :
m ixing
- ch anne lone : 1. dis pl ace m e nt
te xture (s trong value voronoi)
- ch anne ltw o : s te ncilte xture
(h and-painte d uv m ap)
- ch anne l th re e : 2. dis pl
ace -
m e nt te xture (s oft val
ue voron-
oi)
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Th is m e ans th at w e w illh ave to cre -
ate a h andm ade dis pl ace m e nt m ap
w h ich provide s s trong and s oft dis -
pl ace m e nt val ue s w h e re w e ne e d
th e m . Th is is not ve ry difficul t and
can produce ve ry convincing re s ul ts .
W ith h and painte d m aps you al so
h ave m ore controlove r th e e nd re s -
ul t. H ow e ve r th e y are al s o m ore
tim e cons um ing to cre ate .
Unw rapping and e xporting th e UV
Face Layout
Allw e h ave to do is to unw rap our
brace le t and corre ct th e face layout
ins ide th e UV e ditor. Start th e UV
Face l ayout s cript and s ave it by h it-
38
You can m ode lone -h al f of th e brace -
le t, and afte r te xturing s titch a du-
pl icate to th e oth e r e nd. Th e UV
coordinate s w il l be trans fe rre d to
th e duplication.
Pre paring th e te xture bak ing
To bak e a dis pl ace m e nt te xture w e
ne e d to appl y a te xture to th e Col or
ch anne lins ide th e 'M ap To' tap. As
w e did e arl ie r, I re com m e nd th e
voronoi te xture . Ins ide th e M ap In-
put tap I incre as e th e s cal e for x,y,
and z to cre ate s m al le nough face s .
Be caus e I unw rappe d th e brace l et
firs t th e proce dural te xture w il l
nice ly fl ow al ong th e cyl indrical
body.
Sw itch to th e UV e ditor and s tart th e
Te xture Bak e r s cript. Th e bigge r th e
file s ize , th e s h arpe r th e e nd-re s ul
t
w illbe . Be caus e w e w ork w ith pixe l s
and not a proce dural m ap, you
s h ould m ak e s ure th at your dis pl ace -
m e nt m ap w il l s uppl y you w ith
e nough pixe linform ation to pre ve nt
a bl ock y l ook .
Com pos ing th e D is pl
ace m e nt M ap
in Ph otos h op
Load both im age s , th e bak e d te x-
ture and th e UV face l ayout file into
Ph otos h op and com pos e th e m to-
ge th e r in one fil
e . Appl y a l aye r
m as k to th e bak e d te xture im age
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3D W ork s h op - Te xture d M e talSh ade rs For IndustrialD e sign 39

laye r. Cre ate an opaq ue to 80% trans - M ap Input tap s e l e ct UV go to th e

pare nt gradie nt, and fade th e top 'M ap To' tap and de s e l e ct Coland s e -
part of th e bak e d te xture aw ay s tart- le ct D is p. Se t th e Nor val ue to 0 and
ing at w h e re th e UV face l ayout m ap s e t th e D is p val ue to s om e th ing lik e
s h ow s you w h e re th e l oops of th e 0.045. D e pe nding on th e gray s cal e
brace l e t s tart s oon. H ide alloth e r l
ay- of your dis pl ace m e nt m ap you
e rs and e xport th is im age as a h igh m igh t ne e d to incre as e or de cre as e
re s jpg fil e. th e D is p val ue to ach ie ve re al is tic
val ue s .
Cre ating a dirt m ap
H am m e re d s il ve r s urface s te nd to Se condl y w e w il lcre ate a ch anne l
ge t dirty in de e pe r groove s be caus e for th e re fl e ction and dirt m ap. Add
of tarnis h ing. Th e h igh e r h il ls are of- a s e cond ch anne land al s o s e t th e
te n jus t pol is h e d th rough w e aring m apping m ode to UV. In addition to
th e brace l e t. Th os e dirty are as al so th e Coloption, s e l e ct th e RayM ir op-
h ave a l ow e r re fl e ction val ue th an tion. Se l e cting th e l as t one w il l
th e h igh and pol is h e d are as . Save m ak e us e of th e val ue s of th e re fle c-
th e ne w l y cre ate d com pos ition as a Im g 21 tion m ap to de fine w h ich are a of th e
ne w ph otos h op fil e and cal l it brace l e t w illbe re fl e ctive and w h ich
s om e th ing l ik e re fl e ction_dirt_m ap. Sw itch to th e M ate rialw indow (F5) w ill not. Gray val ue s w il l be th e
Appl y a l e ve l l aye r e ffe ct and in- and cre ate a m ate rialand turn Ray trans ition be tw e e n re fl e ctive and
cre as e th e contras t be tw e e n w h ite M irror on. H ow e ve r le ave th e Ray not re fl e ctive . Le aving th e Colop-
and bl ack . You can al so l ow e r th e M ir val ue untouch e d. Se l e ct Bl inn tion s e le cte d w il ls h ow th e dirt val -
val ue output by m oving th e s l ide at for th e s pe cul
ar h igh l
igh ts and cre - ue s w h e re th e s urface h as no
th e bl ack s ide a bit aw ay tow ards ate a s h arp re fl
e ction. Firs t w e w il l re fl
e ction val ue . Nice h ow both w ork
m ore a dark gray. Th is w il lk e e p cre ate a ch anne lfor th e dis pl ace - toge th e r th ough one im age m ap.
s trong w h ite e dge s w h il e brigh te n- m e nt m ap. Go to th e Te xture tap (Im age 22)
ing up th e dark e r are as . D irt is ne v- and cre ate a one ch anne l . Ins ide th e
er uniform so appl y a
m onoch rom atic nois e fil te r to th e
bak e d te xture l aye r. H ide al loth e r
laye rs and e xport th is im age as a
h igh re s jpg fil e . (Im age 21)

Cre ating th e h am m e re d s il
ve r m ate ri-
alin Bl e nde r
Im g 22

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Sw itch to th e Te xture w indow (F6)
and cre ate an Im age te xture . Load
th e bak e d dis pl ace m e nt m ap jpg
file . De se le ct Inte rpol ation and s e t
th e Filte r value to 0.1 to pre ve nt addi-
tionals m ooth ing of your m ap. Cre -
ate an additionalIm age te xture and
load th e re fl e ction dirt m ap jpg fil
W h ile you're at it, de s e l e ct inte rpol
tion and s e t th e Fil te r val ue to 0.1 To
m ak e w ork ing w ith te xture s e as ie r
you s h oul d se l e ct th e auto nam ing
function, or give e ach te xture a
uniq ue nam e . (Im age 23)
And w e are done . You can h it re nde r
to pre vie w you re s ul ts . Ch e ck out
th e s h adow s . Th e y s h ow th e dis -
pl ace d s urface of th e brace le t.
Com m e nt
H and cre ate d obje cts ofte n s h ow a
le ve lof im pe rfe ction or irre gularity
in s urface and s h ape . As you can
s e e th e finalm ode lof th e brace l et
s h ow s s om e of th os e de form ations .
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paint a bit into th e dis pl ace m e nt
m ap to fl atte n out norm al ly dis -
pl ace d are as . Th rough th e proce s s
of be nding th e brace l e t, I al
s o plan-
is h e d out s om e are as of th e te x-
ture d s urface . Us ing a h and painte d
dis pl ace m e nt m ap give s you th e
e. abil ity to q uick l y s h ow th os e irre gu-
a- laritie s . W ith a pure proce duralm ap,
you w oul d not be abl e to do th at s o
e as il y.
D is pl
ace m e nt M odifie r
Th e ne xt ve rs ion of Bl e nde r w il l
h ave an inte ractive dis pl ace m e nt
pre vie w . Th is dis pl ace m e nt m odifie r
w ille nabl e you to s e e th e dis pl ace d
ge om e try in re al tim e . Th e s ubdivi-
s ion m odifie r le ve lw illaffe ct th e pre -
cis ion of th e pre vie w . Th e h igh e r th e
le ve l
, th e fine r th e de tail , but it w il l
be s l ow e r. Th is is gre at for s m al ler
Im g 23
obje cts but not ve ry fas t to pre vie w
For e xam pl e , e ach l oop is diffe re nt. I m any at th e s am e tim e . H ow e ve r,
m ove d and re m ove d s om e ge o- you te nd to onl y w ork on one obje ct
m e try. I did th e s e s te ps afte r I at a tim e anyw ay.
m e rge d both h al f s h ape s of th e
brace l e t toge th e r. Th is w ay, I s ave d Proce duralte xture s or im age m aps
th e tim e to cre ate tw o cus tom s ide s are s upporte d. Be caus e Bl e nde r
firs t w h ich al s o w ould h ave re q uire d als o com e s w ith a buil t in paint m od-
m e to cre ate cus tom m ade im age ule you can cre ate your dis pl ace -
m aps as w e l l. m e nt im age m ap in Ph otos h op,
appl y it in Bl e nde r to th e dis place -
You s h oul
d onl y do th is afte r your m e nt M odifie r and pre vie w th e re s -
are bas icall
y done w ith your m ode l ult. In cas e you ne e d a l ittl
e
and te xturing it. Furth e rm ore , I did m odification you can l oad th e im age
Is s ue 8 - January 2007
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in th e UV/Im age e ditor and paint
ch ange s .
Sw itch ing be tw e e n O bje ct and Edit
m ode w il lforce Bl e nde r to re cal cu-
late th e dis pl ace d ge om e try and to
s h ow th e ch ange s to th e im age
th rough th e 3D m e s h . W ith th e pos -
s ibly ve ry h igh am ount of pol ygons ,
it m ak e s s e ns e th at Bl e nde r doe s
not re fre s h any ch ange autom atic-
al ly. Fortunate l y, h is m odifie r com e s
w ith a ve ry h andy fe ature - It can
bak e th e dis pl ace d ge om e try. Th is
m e ans th at you can turn your pre -
vie w into a s ol id ne w m e s h and con-
tinue m ode l ing w ith it. Th is e nabl es
th e artis t to us e th e dis pl ace m e nt
function, not onl y as a re nde r tim e e f-
fe ct, but al s o as a s ol id m ode l ing
tool . W ith th is tool , m atch ing oth e r
obje cts to dis pl ace d ge om e trie s is fi-
nal ly not a nigh tm are !
W arning
Th e re is one dow n-s ide . Your s ce ne
file can q uick l y e xpl ode in fil e s ize .
W h ile my l ow pol ygon brace l et
s ce ne is around 1 M B a back e d dis -
pl ace m e nt ge om e try w il ladd an addi-
tional242 M B! Th is m e ans th at th is
function is gre at w h e n you appl y it
to a s m al l se l e ction of obje cts
w ith out th e h igh e s t s ubdivis ion l
e ve l
val ue .
3 Structure d and dark e ne d h it 'Ne w ' and th e n 'As s ign' ins ide
s il
ve r s urface s found w ith th e Link And M ate rialtap. Ins ide th e
cas te d rings m ode l ing w indow pre s s W and cl ick
Se le ct Sw ap to s e l e ct th e oth e r
Ve ry com m on for cas te d s il ve r je w - face s w h ich w ill be dis pl ace d. H it
el ry w h ich s h ow a h igh l e ve lof de -
tail s is th at it is difficul t to k e e p
th e m cl e an. Th is caus e s a dark e ning
of th e s e are as w h ich are h ard to
re ach w ith a s ul fur bas e d ch e m ical .
Th rough w e aring th e ring al l h igh
points of th e ring s urface are going
to be pol is h e d.
So w h at w e w oul d ne e d is a m ate rial
w h ich provide s a s m ooth pol is h e d
and re fl e ctive s urface for th e m ain
body and a m ate rialfor th e de cor-
ate d are a w h ich s h ow s a dis pl ace d
s urface , h aving a re fl e ction val ue for
th e h igh points and a col ore d and
non-re fl e ctive val ue to th e l ow Ne w and As s ign as w e l
l. (Im age 24)
points of th e dis pl ace m e nt m ap. In
re ality th os e tw o diffe re nt m ate rial s You now cre ate th e tw o ne w m ate ri-
do not bl e nd into e ach oth e r. Th is als , th e n as s ign th os e m ate rial s to
m e ans th at w e do not ne e d to cre - tw o s pe cific are as of th e ring. M os t
ate any bl e nding be tw e e n th e m in ring de s igns can be m ode l e d as a
Bl e nde r. To appl y th os e tw o diffe re nt low pol ygon cage w ith q uad face s
m ate rial s to th e ring w e can s im pl y th at w e
cre ate tw o diffe re nt m ate rial in- w ill be
de xe s and appl y th e m ins ide th e s m ooth
Edit m ode to diffe re nt face s e l e c- util izing
tions of th e ring ge om e try. th e s ub-
s urf
Se l
e ct allof th e face s w h ich re pre s - m odifie r.
e nt th e m ain body of th e ring and Th rough

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3D W ork s h op - Te xture d M e talSh
adding l oop cuts w e can pick out l
out are as w h ich w il lre ce ive diffe re nt
te xture s . W ith s om e pus h
pul ling you can q uick l y cre ate s om e
nice l ook ing and com fortabl
w e ar ring de s igns . (Im age 25)
Tim e to cre ate th e m ate rial
s ch e m atic vie w w oul
dlook l
ik e th is :
Structure d m e tals h ade r tre e :
- M ain m e s h face s : bas e m ate ri-
alw ith s il
ve r s e ttings
- D e tailm e s h face s : s tructure d
m ate rial w ith additional s il
s e ttings
- ch anne lone : dis pl
ace m e ntte x-
ture
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ay- - ch anne ltw o : inve rte d dis pl
ace -
m e nt te xture
and
- ch anne lth re e : color te xture
e to for dark e ne d s il
ve r
s. A
W e al re ady cre ate d th e m ate rialin-
de x for th e ring. Sw itch to th e M ate ri-
al w indow (F5) s e l e ct th e firs t
m ate rialw h ich re pre s e nts th e m ajor-
ity of th e uns tructure d ring ins ide
th e Link s and Pipe l ine tap. Re nam e
th at m ate rialto s om e th ing m e aning-
ful , l ik e "M ain body". Se t th e O bje ct
s cal e it dow n a l ittle bit and activate
col or to bl ack . To re buil d a pe rfe ctl
y
th e Col orband option unde r th e Col -
pol is h e d s il
ve r s urface , turn on Ray
ors tap. W h at w e w ant is a bum p
M irror, s e t th e RayM ir val ue to 1.00
m ap w h ich onl y h as fe w s cratch e s
and cre ate a s h arp s pe cul ar h igh -
h e re and th e re . For th at s e t th e
ligh t w ith th e Bl inn s h ade r.
bl ack col or Alph a val ue to 1.00 and
turn cyan into pure w h ite . W e s til l
Eve n pe rfe ctl y pol is h e d s urface s of-
h ave th at ce l ls tructure grain typical
te n s tillh ave s om e fine groove s and
for voronoi. M ove th e bl ack col or
s cratch e s . Th rough buffing you
tw o th irds to th e righ t s ide and th e
s m ooth out th e s h arp e dge s of
w h ite col or to th e ful lle ft s ide . Know
th os e s cratch e s and th os e produce
w e h ave a nice bl ack s urface w ith
a m ore e ve n re fl e ction w h ich give s
s om e dots onl y. It m igh t m ak e s e ns e
you th e im pre s s ion of a s cratch fre e
to re nam e th at te xture s om e th ing
s urface . An e as y s te p to cre ate th at
lik e "Voronoi Scratch ". Se e Im age 27.
e ffe ct is to q uick l
y unw rap th e face s
of th e m ain body. Appl y tw o l oop
ve r Sw itch back to th e M ate rialW indow
e dge s e am s al ong w h ich Bl e nde r
(F5) and appl y th e ne w l y cre ate te x-
w illcut th e ring apart. (Im age 26)
ture ins ide th e 'M ap To' tap onl y to
th e Nor ch anne land give it a ve ry
Sw itch to th e Te xture w indow (F6)
low Nor val ue . Ins ide th e 'M ap Input'
and cre ate voronoi te xture . You can
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Afte r you m ade your de cis ion it is

tap, s e t th e w ork ing axis for your
m ode l to a h igh val ue . Th is w il l
s q ue e ze th e bum p m ap to produce
a brus h e d l ook . In m y cas e I s e l
e c-
te d th e Y axis and us e d a s ize Y
val ue of 40. (Im age 28)
tim e to cre ate a bl e nding m as k . Se -
le ct cl ick into an e m pty ch anne lin-
s ide th e Te xture tap and s e l e ct th e
Im g 27
s am e M us grave te xture from th e
Add Ne w m e nu. Cl ick th e 2 ne xt to
th e de s ire d patte rn s ize . Sw itch to th e s m al lcar icon to turn th at in-
th e Col ors tap and turn on Col orb- s tance of th e te xture into a s ingl e
and. W e onl y w ant th e dis place m e nt us e r. Go into th e Col orband and
go into one dire ction. m ove th e bl ack and m e dium gray
sl ide r a bit to th e le ft. Add anoth e r
It s h oul
d e ith e r ris e aw ay from th e col or pos ition and s e t th at one to

Im g 28

ring s urface or it s h oul d s ink into it. w h ite and m ove th is one a tiny bit
Now it is tim e to cre ate th e dis pl ace - For th at w e ne e d to s e t th e col orb- aw ay from th e righ t s ide . You jus t
m e nt m ate rial . Ins ide th e Link s and and to a gradation be tw e e n bl ack or cre ate d a m as k w h ich h as s l igh tly
Pipe line s tap, s e l
e ct th e s e cond m a- w h ite to ne utralgray. You can m ove s m al l
e r h ol
e s th an th e dis pl
ace m e nt
te rial. Re nam e it to s om e th ing l ik e th e bl ack s lide r aw ay from one s ide m ap th rough w h ich th e ne xt te xture
"dis pl ace d". Turn on Ray M irror in- clos e r to th e gray point to de fine w illbe vis ible th rough . (Im age 30)
s ide th e M irror Trans pare ncy tap but h ow s oft th e trans ition be tw e e n un-
le ave th e RayM ir val ue at 0. W e w il l touch e d and dis pl ace d ge om e try Th e l
as t te xture w il
lbe a dirt m ap.
cre ate a te xture w h ich w il l de fine w illbe . (Im age 29 ) Se le ct w h at
th e re fl
e ction val ue s . You h ave to de - e ve r proce d-
cide w h ich proce duralte xture pl ug uraland im -
in you w ant to us e for th e dis pl ace - age te xture
m e nt. In m y cas e I s e l e cte d a M us - you w ant to
grave . Pl ay w ith th e Nois e Size val ue us e . I us e d
ins ide th e M us grave tap to cre ate a s trongl
y
Im g 29

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al so e nabl e
th e col orb-
and. (Im age
33)

Im g 30 Se l e ct th e Im g 32
th ird ch anne l
s cal e d dow n voronoi te xture and s e t
w ith th e dirt m ap. D oubl e cl ick Ray-
th e col ors ins ide th e colorband to
M ir. Th is w ills e t th e RayM ir function
bl ack and dark gray to produce a
to w ork on th at part of th e te xture
ve ry fine and h ardl y notice able
w e did cut aw ay th rough th e m as k -
grain l ook . (Im age 31)
ing m ap ins ide th e s e cond ch anne l .
Go back to th e M ate rialw indow (F5) Im g 33
Th is w ay th e th ird ch anne lw il ls h ow
I s tre s s again to m ak e us e of nam -
th e dirt m ap w h e re w e m as k ing m ap
ing e ach te xture to m ak e m anaging
did not k e y
out and as
wel l s h ow
th e re fl e c-
tion. Furth e r-
Im g 34
m ore doe s
Im g 31 th e te xture
we cre ate d
your ch anne l s m uch e as ie r. Se l e ct
al s o provide us w ith al lne e de d Ray-
th e firs t ch anne lw ith th e dis pl ace -
M ir val ue . (Im age 34)
m e nt m ap. I s e t th e D is p option to
m ove face s aw ay from th e ring in-
H aving al l th os e ch anne ls s e t up Im g 35
s ide th e M ap To tap. Se l e ct th e 'No
ch e ck out th e Pre vie w tap. Look s
RGB' button, s e t th e Nor val ue to
gre at doe s n't it?(Im age 35) Com m e nt
0.00, and s e l e ct a ve ry l igh t value
for th e D is p. I us e 0.02 for e xam pl e. W h e n you w ork w ith pe rfe ct re fl e ct-
Ins ide th e Editing (F9 ) w indow s e le ct ive s urface s it m igh t m ak e s e ns e to
(Im age 32)
th e Subs urf option and give th e give th e diffe re nt m ate rial s diffe re nt
re nde r option a val ue of around 4 to bas e col ors . Th is w ay you can s e e
Se le ct th e s e cond ch anne lw ith th e
6. Th e h igh e r th e m ore pre cis e your w h e re you appl ie d w h ich m ate rialto
m as k ing m ap. D e s e le ct Col ins ide
dis place m e nt w il lbe during re nde r w h ich face s ins ide th e 3D w indow s .
th e 'M ap To' tap and cl ick 'Ste ncil
'
tim e .. (Finale Re nde ring: Structure d I find th at ve ry conve nie nt to w ork
and 'No RGB'. Turning both on w il l
Ring) w ith . Th e h igh e r th e s ubs urf val ue ,
m ak e w h ite trans pare nt and w il l

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th e m ore pre cis e th e re al

tim e pre - on th e m ain obje ct. W e can re pro-
vie w . duce th is e ffe ct w ith th e com pos itor.
Th e re are tw o w ays you coul d do it.
W h e n you w ork w ith re fl e ctions you Th e ol d w ay us e s th e w e l lk now n Z -
al w ays ne e d to tak e th e e nviron- de pth bl ur trick . In Bl e nde r you
m e nt you put th e ring into al s o into w oul d us e a pixe lbas e d m atrix cre -
cons ide ration. Your raytrace d re fl e c- ate d th rough th e z-de pth inform a-
tions h ave to re fl e ct s om e th ing. tion to bl ur th e re nde r output. Th e
Quite ofte n, raytrace d obje cts do probl e m you w oul d e ncounte r is th at
not w ork out for be ginne rs be caus e pixe ls ofth e e dge s ofth e obje ct in fo-
th e y only cre ate d th e s h ade r for th e cus w il lbe m ixe d toge th e r w ith th e
obje ct, but did not continue to th ink ne igh bor pixe l s , w h ich be long to th e
about w h at th os e re fl e ctions w il l back ground.
s h ow . Putting th e ring into th e righ t
s e tting w il
lofte n dras tical l
y im prove A re alD oF e ffe ct w oul d not us e a Z -
th e q uality of th os e re fle ctions . de pth bas e d im age , but w oul d obje ct is s h arp. Th is w oul d look
re nde r pixe l s de pe nding on th e dis - ph ys icall
y w rong. In m os t cas e s you
Soft irre gul aritie s ins ide re fl e ctions tance to th e cam e ra in re l ation to w illonl y s e e a s m allam ount of th e
cre ate d th rough a s e cond ve ry th e l e ns s e ttings . Th e finalbrace l et fore ground w ith obje ct s tudio ph oto-
bl urre d bum p m ap w il l ofte n in- re nde ring s h ow s th at probl e m . Th e graph y. Th is m e ans th at you can
cre as e th e re al is m of re fle ctions . top e dge s of th e m e tals urface are als o ignore bl urring th e fore ground.
Th e re are h ardl y any pe rfe ctl y fl at bl urre d as w e l l. H ow e ve r a w ay to
s urface s in re al ity. Raytracing te nds pre ve nt th at is to divide th e obje cts Th e "Final e _Unw rapping" bl e nd fil e
to produce th os e pe rfe ct vis ual s . As onto diffe re nt l aye rs and bl ur onl y contains al l th e re q uire d s e tups .
an artis t you h ave th e tas k to bring th e l aye r w ith th e back ground ob- Ke e p in m ind th at w h e n you s pre ad
nature 's irre gul aritie s back . Th os e je cts . W ith us ing an Al ph a O ve r obje cts al ong re nde r l aye rs , you
fine de tails are ofte n th e k e y to pro- node ins ide th e com pos itor you can al s o h ave to m ak e s ure th at al lyour
ducing re al is tic re s ults . th an m ix th e bl urre d back ground to- ligh ts al s o are active in th os e l aye rs
ge th e r w ith th e obje ct in focus . at th e s am e tim e . Ins ide th e O bje ct
Com pos itor bas e d de pth of w indow (F7) can s e l e ct th e diffe re nt
laye rs ins ide th e D raw tap.
fie l
d re nde ring You jus t h ave to be ve ry care fulw ith For m ore inform ation about h ow to
not bl urring al s o parts of th e back - s e tup th e re nde r l aye rs go to: h t-
Sm al l obje ct s tudio ph otograph y tp://w w w .bl e nde r.org/cm s /Re nde r-
ground on w h ich th e cam e ra focus
m ak e s h igh us e of th e de pth of fie l
d _pipe l ine .747.0.h tm l Look al s o into
s its on. O th e rw is e you m igh t s e e a
e ffe ct to diffus e dis tracting back - th e oth e r tw o je w e lry ble nd file s and
bl urre d s urrounding w h il e th e focus
ground e l e m e nts and to put focus

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3D W ork s h op - Te xture d M e talSh ade rs For IndustrialD e sign 46

you w il
lfind s im il
ar bl
ur probl
e m s. function to q uick l y ge t a rough ide a e ve rybody k now s from re alcam e r-
of th e finale ffe ct. D e pe nding on th e as . A val ue of 128 w ill se t
am ount of s am pl e s , th e pre vie w w il l e ve ryth ing s h arp w h il
e 64 w il l
Z - D e pth s am pl
e bas e d bl
urring be s m ooth e r or m ore grainy. For a fi-
nals h ot you onl y ne e d to de s e l e ct
Re ce nt ch ange s in Bl e nde r brough t pre vie w and th e com pos itor de l ive rs
to us by Al fre do de Gre e f brough t us th e finalre s ul
t s h ortl y afte r th at.
th e ne w D e focus node for th e com -
pos itor. From w ork ing w ith it, I got Utilizing th e M ap Val ue node toge th -
th e im pre s s ion th at it s e e m s to be a e r w ith a Color Ram p node you can
cros s -ove r of th e traditionalZ -de pth cus tom ize th e z-de pth im age to
bas e d bl urring. It is not pure l y pixe l m ak e it fit your ne e ds . Th e M ap
m atrix bas e d, but rath e r us e s Val ue node s e ts th e focalpoint w h il
e
s am pl es l ik e w ith a true D oF e ffe ct.
Th e Z -buffe r inform ation s e e m s to
w ork as a h e l pe r in aiding D e focus
to k now w h e re to s am pl e . Th is w il
l
re s ult in a s am pl e m as k w h ich w il l
onl y bl ur are as out of focus w ith out doubl e th e am ount of bl ur according
bl e e ding into s h arp e dge s of obje cts to Al fre do. Th is is for controll
ing bl ur-
in focus . Th is is a e norm ous advant- ing. D e pe nding on your s ce ne you
age ove r th e ol d fak e D oF trick be - m igh t h ave to go dow n to val ue s
caus e th e re are not artifacts and lik e and fStop of 4 to s e e th e bl ur e f-
th us al s o no cl e anup afte rw ards . fe ct. To controlth e focalpoint th e
You can e ith e r us e a traditional cam e ra h as a ne w option w h ich is
fStop l ik e approach for bl urring or cal l
e d D oFD is t . You ne e d to turn on
you coul d us e a Z -de pth bas e d im - s h ow Lim its for th e cam e ra to s e e
age . If you go w ith th e Z -de pth im - th e Col or Ram p node w il ladjus t th e th e focalpoint. It is pre s e nte d to th e
age you can e ith e r us e th e Z s ize of th e de pth of fie l d. And of us e r as a ye l low cros s . Incre as ing
inform ation Bl e nde r provide s you, or cours e th e nice Vie w e r node give s th e D oFD is t w il l m ove th e cros s
e ve n s uppl y th e D e focus node w ith us a dire ct fe e dback on h ow th e actu- aw ay from th e cam e ra.
any oth e r inform ation of your ch oice . al ly z-de pth m ap l ook s l
ik e . And w ith
O ne gre at advantage ove r th e ol d Z- th e Z s cale val ue you h ave control Th is is a ve ry com fortabl e and pre -
de pth bl ur trick is th at it's re as on- about th e s tre ngth of bl uring. cis e w ay on h ow to controlth e focal
abl y fas t. Be caus e it is a pos t produc- point and al s o k now ing w h e re it
tion e ffe ct, you can us e th e pre vie w Th e fStop option is s im il
ar to w h at re ally is in contras t to th e ol d fak e

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3D W ork s h op - Te xture d M e talSh
trick . But s om e tim e s , de pe nding on
h ow you s e t up your s ce ne and from
w h e re you point your cam e ra, not
e ve ryth ing s e e m s to be in focus .
Th e D e focus node com e s w ith tw o
tool s w h ich can be us e d to cl e an up
artifacts but. Th os e are th e M axbl
and BTh re s h ol d. H ow e ve r th os e
tool s you can al s o us e to m ak e th e fo-
w w w .bl
e nde rart.org
ade rs For IndustrialD e sign 47
cus w ide /l
onge r w h il
e re m aining th e
am ount of blur as w e l l
.
Tak e a l ook at th e Car_Inte rior.bl e nd
fil
e . Th e re you w ills e e th at th e righ t
part of th e ge ar s tick is out of focus .
Incre as ing th e BTh re s h ol
d w il
lm ove
th e e dge s of th e focalpoint m ore
apart.
But as you can s e e th e re is al so a
blur artifact on th e pane l . Th e out of
focus are a s tarts too fas t and th e re
and back ground are nice l y bl urre d.
Be caus e D e focus is a pos t produc-
tion e ffe ct you can al s o jus t adjus t
th e cam e ra D oFD is t val ue afte r re n-
de ring, and th e com pos itor can re -
cal cul ate th e D oF e ffe ct again
ur w ith out re -re nde ring th e com pl e te
s ce ne .
For m ore inform ation l ook h e re : h t-
tp://ble nde r.org/cm s /Com pos ite __D e -
focus .836.0.h tm l
Car inte rior s tudy
Th is im age s h ow s th e type s of ge o-
is no trans ition be tw e e n in focus m e trie s you m igh t com e in contact
and out of focus . You can fix th is w ith . Cylinde rs , pane l s , and oth e r
w ith us ing th e M axblur option. Th is bas ic s h ape s . Luck y us , th os e e l
e-
w ills m ooth out th e e dge . m e nts are e as y to unw rap. Tak e a
look at th e s ce ne fil e s and h ow th e
As you can s e e th e com pl e te ge ar individualobje cts are unw rappe d to
s tick is in focus and th e fore ground ge t an ide a about h ow you s h oul d
Is s ue 8 - January 2007
3D W ork s h op - Te xture d M e talSh ade rs For IndustrialD e sign 48

ce s s ful
. Be aw are of th e re l ation
be tw e e n te xture and obje ct s ize . As
you can s e e , th e te xture look s m uch
m ore rough on th e pane lth an th e
ge ar s tick . Expl ore th e s ce ne s and
you w il ls e e h ow s im ple th e actual
approach e s are .
th e w ood. Th e com bination of diffe r-
e nt s pe cul ar h igh l
igh ts adds addi-
tionalre adabil ity for th e vie w e r to
unde rs tand th e ge om e try and al so
th e m ate rialprope rtie s .

Look ing at th e ge ar s tick in th e UV-

pl an ah e ad you m ode l s for te xtur-
ing. It can be a ve ry big pain w h e n
you re al ize h ow difficult you m ade
th e obje ct to unw rap.
Th e k e y to m e tal s urface s are
s m ooth and fl ow ing h igh l
igh ts and
th us do you ne e d continuous s ur-
face s as w e l l. Try not to m ak e ob-
je cts out of one m e s h . It is h e l pfulto
s tudy th e cons truction and as -
s e m bl y of products be fore you try to
m ode lth e m . You w il lfind out th at
m any e l e m e nts are m ade out of
sh e ll
s . Tw o s h e ll
s can produce on con-
taine r.
Th e ge ar s tick pane lis m ade out of
one s h e l
l. I w ould rath e r try to m od-
e lalle l e m e nts s e parate . Th is w ay
th e UV-unw rapping and te xturing
w illbe m uch e as ie r and m ore s uc-
e ditor you can s e e h ow w h e re I de -
cide d to appl y th e s e am al ong w h ich
Bl e nde r cut th e m e s h apart. It is be -
h ind th e s tick and th us cannot be
s e e n in th e re nde ring. I us e d th e un-
w rap function. Look ing at th e pane l
s h ow s you h ow th e dow nw ards e xtru-
s ion to m ak e pl ace for th e ge ar s tick
to s l ide in is inte grate d. In th is cas e
no com pl e x w ork w as ne e de d. Th e
pane lw as unw rappe d us ing th e un-
w rap option. Look ing at th e air ve nts
s h ow s you th at not e ve ryth ing
ne e ds to be pe rfe ctl y unw rappe d
s ince you w il l not zoom in far
e nough to s e e th e im pe rfe ction.
Th e y w e re unw rappe d w ith th e un-
w rap function us ing a s e am . Th e Car
Inte rior 2 bl e nd fil e incl ude s th e
s am e s ce ne jus t w ith m odifie d
s h ade rs to s h ow h ow s e al e d s ur-
face s coul d be re nde re d. Th is is a
q uick s e tup e xplaining a pos s ibl e ap-
proach . Tak e a l ook at h ow fine th e
brus h e d l ook coul d be and h ow it
w ork s toge th e r w ith th e rich ne s s of

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O f cours e , h aving th e re fe re nce im -

age s re ady h e l ps to s ol ve any
doubts th at I m ay h ave during m od-
eling.

Bl
ue prints
Ne e dl e s s to s ay, bl ue prints are th e
ve ry bas is of accuracy th at you
w ant from your m ode l . Th e m ore ac-
curate th e y are , th e gre ate r th e pos -
s ibility of you be ing abl e to m ak e a
ne ar-to-accurate m ode l . I s aid ne ar-
to-accurate , be caus e Bl e nde r doe s
not offe r m e as ure m e nt in re all ife
units , e ve n if you conve rt th e m to
Bl e nde r units s om e h ow th e re w il lal -
w ays be a pos s ibil ity of am biguitie s
in cal cul ations . H ow e ve r, if you are
cl os e , th e y w il
lbe h ardl y notice abl e.

D ata Col
le ction W h ile m any us e rs pre fe r to h ave th e
Le ve l
: Inte rm e diate It h as be e n e m ph as ize d ofte n, in bl ue prints s e tup in a typicalbox-l ik e
m any car m ode l ing tutorial s , th e fas h ion. I find th e m bl ock ing m y
Introduction ne e d to gath e r or re s e arch various w ay w h il e I m ode l . So its m os tl y a
Unl ik e m y pre vious tutorialon m ode l - data, including ph otograph s of cars pe rs onal pre fe re nce . Ch oos e
ing th e Toyota Ce l ica car, th is articl e and its various parts . Th is provide s w h ate ve r fe e l s m os t com fortabl e to
is not a s te p-by-s te p m ode l ing tutori- th e m ode l
e r w ith re ady re fe re nce s you. W e h ave cove re d s e tting up
alfor a be ginne r. W h at I h ave trie d during m ode ling. bl ue prints in a box-s tyl e in one of
to tack l e in th is articl e is s om e us e - our e arl ie r is s ue s , you can cons ul t it
ful approach e s tow ards m ode l ing Long be fore I s tart m ode l ing, I try to if you l ik e to us e bl ue prints th at
th e car body in Bl e nde r. Al th ough it re m e m be r th e s h ape and uniq ue fe a- w ay. I fe e lcom fortabl e w ith us ing
look s and fe e l s lik e a w al k -th rough , I ture s of th e car body w h il e going Bl e nde r's abil ity to s h ow im age s in
h ave trie d to tack l e s om e com m on th rough th e re fe re nce s and, if pos - th e vie w ports . For th e viabl e s cope
probl e m s w h ile m ode l ing a car in s ibl
e , th e actualcar. Th is h e l ps m e of th is articl e , I am as s um ing you
Bl e nde r w h ich I h ope w il lbe us e ful to cons cious l y ide ntify th e pos s ibl e k now h ow to do th at al re ady.
to oth e r car m ode l e rs . probl e m s in th e m e s h w h ile I m ode l. Th e re are various s h ape and s ize s of

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3D W ork s h op - Car Body M ode l
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bl ue prints avail able on th e w e b s o, in th e im age e ditor. W h ile w e are in

th e firs t s te p is to e dit th e m in an 2d th e im age e ditor, w e can do th e re -
im age e ditor l ik e GIM P or your pre - q uire d trans form ations of diffe re nt
fe rre d appl ication. W e are us ing th e parts of th e bl ue print s o th at th e y
bl ue prints of th e Nis s an350z th at can be re pre s e nte d in th e corre ct
can be found on th e s ite w w w .th e - vie w port in Ble nde r.
bl ue prints .com .
I al w ays ch oos e to h ave th e top
Th e re is ofte n a fe w probl e m s th at vie w of th e bl ue print in th e ve rtical
m os t bl e nde rh e ads h ave to de al pos ition as it com pl im e nts both front
w ith and th os e are : and back vie w s nice l y in th e vie w -
- D iffe re nt proportions in diffe r- ports . So, if your top vie w is h orizont-
e nt vie w s . alyou m igh t w ant to m ak e it ve rtical
- Non-al ignm e nt of bl
ue prints in by rotating it.
diffe re nt vie w s .
Now cre ate a ne w l aye r on top and
Proportion probl e m s occur as m os t draw a s ingl e -pixe lline in th e m iddle
us e rs jus t cut th e bl ue prints w ith out of th e docum e nt. Tak ing th is as re fe r-
tak ing into cons ide ration th at e nce , you can m ove th e top, front
Ble nde r's vie w port s om e h ow dis - and back bl ue print vie w s in th e ve r-
torts th e proportions de pe nding ticalm iddl e . Now , again draw tw o re f-
upon th e re s olution. e re nce l ine s , one above th e car and
th e oth e r at th e bottom of th e tire s .
S te p 1 - Fixing th e bl
ue printpro- Th is w illgive you th e re fe re nce for
portions probl em fixing th e pos ition of th e s ide , front
M ak e a s ingl e s q uare docum e nt in and back vie w s . If you did th is s te p
your im age e ditor w ith th e m axim - nice l y, you s h oul d h ave th e four dif-
um w idth be ing th at of th e bl ue - fe re nt re fe re nce s s e tup lik e th e im -
print. W e ch oos e a s q uare as w e age s be l ow .
are giving Bl e nde r im age s (vie w s ) of
th e s am e s ize , th us m ak ing s ure S te p 2 - A l
ignm e nt probl
e m in
th at allare dis pl aye d in th e Bl e nde r vie w ports
vie w ports w ith th e s am e proportions . If you h ave fol l
ow e d th e l as t part
prope rl
y, you w il l h ave a good
Firs t, copy al l top, s ide and oth e r ch ance to s e t th is up corre ctly. Now ,
blue print vie w s into s e parate l
aye rs allyou h ave to do is s pl it Ble nde r's

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3D W ork s h op - Car Body M ode l
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w indow s into four s e ctions and in-

cl ude th e re s pe ctive im age (vie w s ) in
th e vie w port l ik e th e Fig 1. (Th e
s cre e ns h ot h as be e n tak e n in
Bl e nde r2.4 RC1).

You can e nabl e th e vie w port nam e

from th e Pre fe re nce s m e nu in th e
'Vie w & Control s ' tab (Vie w Nam e ).
So you can s e e w h ich vie w proje c-
tion you are in. Notice th e O ffs e t nu-
m e ricalbuttons , th e s e are th e k e ys
for you to al ign your im age . H e re , te m pts to cre ate a s h ape in bl ock s
th e re fe re nce line s w e place d on th e w ith incre as ing am ounts of de tail ,
bl ue print im age in th e l as t s te p w il
l w h il
e th e latte r atte m pts to do it dir-
th e s ide vie w . Se e Fig 2 for e xam pl
e.
h elp you to ge t a good al ignm e nt. e ctly, but in parts .

Now jus t to m ak e s ure your al ign- S te p 1 - Pl

ane m ode l
ing
M ode l
ing a Car's Body I h ave no e xpe rie nce w ith box-m od-
m e nt is w ork ing, al lyou h ave to do
is ins e rt a cube prim itive and s tart e x- el ing s o I w il
lgo about e xpl aining a
Th e re are tw o approach e s tow ards
truding it in th e top vie w . If th e e xtru- fe w approach e s w h ich coul d s ave
pol ygon m ode l ing a car in Bl e nde r.
s ion is outw ards , th e n it s h oul d be you tim e and e ffort w h il e m ode l
ing
O ne is 'Box-m ode ling' and anoth e r is
outw ard in th e front as w e l las th e a car's body us ing 'Pl ane -m ode l
ing'.
'Plane -m ode l
ing'. Th e y are com -
back vie w and tow ards th e us e r or Th e be s t w ay to w ork is to w ork
ple te l
y oppos ite in nature . O ne at-

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3D W ork s h op - Car Body
w ith parts l ik e th e front fe nde r or
th e bonne t, s e e il l
us tration 3 for
m ore .
W e can s tart im m e diate ly by adding
a pl ane in th e s ide vie w . Be fore do-
ing th at, pos ition th e 3D Curs or as
s e e n in Fig 2.
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M ode l
ing: A n A pproach
Pos ition it ove r th e front fe nde r and
re duce its s ize s o th at it can cove r
th e contours of th e fe nde r jus t
above th e tire as in Fig 4.
S te p 2 - Cons tructing ge om e try
You s h oul d e nabl e Subs urf w ith a
Le ve lof 2, if your graph ics card can
h andl e it. O ne th ing you ne e d to
k e e p in m ind w h il e you are m ode l
ing w ith bl ue prints is th at you w il
h ave to m ode l and re ch e ck th e
m e s h in th re e vie w s . Th re e be caus e
once you are m ode l ing, for e xam pl e
th e front part, th e back vie w w il lnot
be us e fulfor any re fe re nce s . If you
are not doing it ofte n e nough you
w il lbe ruining th e ge om e try of th e
m e s h . So, m odifying th e n ch e ck ing
th e ge om e try in th e oth e r vie w s , as
52
s oon as you m ak e s om e m ajor
ch ange s in th e m e s h , w il
lal low you
to k e e p your m e s h in a cl
e an s tate .
Fol low ing th is , now go to th e top
vie w and m ove th e top ve rtice s
back a l ittle and e xtrude a s e t of an-
oth e r ve rtice s tow ards th e bonne t of
th e car to cove r th e m e s h as s e e n in
th e Fig 5a. Now , m ove th e ve rtice s
as s e e n in Fig 5b, fol low ing th e con-
tours of th e front fe nde r.
TIP: W h il e m ode l ing a car body w ith
SubSurf appl ie d, it is advis abl e to ini-
tial l
y us e onl y ve ry fe w e xtrus ions
to ch al k out th e bas ic outl ine of th e
s h ape or contour of th e part. For e x-
am pl e , in Fig 5a, w e h ave us e d onl y
th re e e xtrus ions to m ak e th e s ide of
th e fe nde r m e s h . W e w il lne e d m ore
cuts in it to cre ate m ore de tailbut,
th at can com e l ate r. Th is m e th od
-
l
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3D W ork s h op - Car Body M ode l
ing: A n A pproach 53

w il
lallow you to h ave gre ate r con-
trolove r th e m e s h 's com pl
e xity.

Fol low ing th is m e th od, w e w illnow

im m e diate l
y s w itch to th e s ide vie w
again and adjus t th e contour or
s h ape as can be s e e n in Fig 6. Th e
re s ul
ts can be s e e n in Fig 7 and Fig
8.

S te p 3 - D e tail
ing W h e n us ing Subs urf, you w il lne e d
Al w ays add m ore ve rtice s or e xtru- approxim ate l y th re e s im il
ar e dge s ,
s ions in w h ich you can s e e th e m a- clos e toge th e r, to bring out s h arp
jor portion of th e part. For e xam pl e, be nds . In Fig 10, you can s e e th at
w e can s e e th at th e s ide vie w s h ow s th e fe nde r rim l ook s pre tty s h arp as
a m ajor portion of th e fe nde r. Sw itch in th e re all ife im age s of th e car. To
to it and add m ore e xtrus ions to cov- ach ie ve th e s h arp bl e nding, it w il l
e r oth e r portions in th is vie w . And fol- h elp if you k e e p your m e s h in a
low ing Ste p 2, corre ct th e ge om e try cle an s tate by onl y al l
ow ing it to
in th e top and front vie w s . An initial
and corre cte d ve rs ion can be s e e n
in Figs 9 and 10 re s pe ctive l y.

3a) Be nds or contour l ine s

Th e s h ape s of a car ofte n h ave poin-
te d s urface guide s or be nds l ik e
ne ar th e fe nde r rim and a s ligh t e l
e v-
ation ne ar to th e bonne t in th is car
(Nis s an350z). Th e s e uniq ue be nds
can be s e e n in th e Fig 10 as h igh -
ligh te d orange e dge l ine s .

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3D W ork s h op - Car Body
h ave q uad face s ne ar th e pl ace
w h e re th e be nd or s h arp contour w il
l To be tte r unde rs tand, s tudy Fig 13
be pl ace d.
Pl acing a be nd in th e m e s h is as
e as y as us ing th e Loop Cut toolat
th e re q uire d pl
ace . Ch e ck Fig 11 for
th e re s ul
ts .
3b ) Cl e an e dge s
Al lth e body parts of a re alcar are
be nt inw ards to cre ate a cl e an e dge
look . W e , too, h ave to re pl icate th is
in our m e s h e s to ge t q ual
ity m ode l s.
H e re , allof th e oute rm os t e dge s are
se le cte d and e xtrude d once . Now
th e m ove m e nt of th e e xtrus ion
s h oul d be dow nw ards for th e parts
th at are at th e top and, it s h oul d be
inw ards for th e parts th at are at th e
s ide and, again, inw ards for th e
w w w .bl
e nde rart.org
M ode l
ing: A n A pproach 54
parts th at are at th e front and back . roundne s s . For e xam pl e , righ t now
in th e Fig 13 you can s e e th e ve ry
care ful
ly. You w il
lne e d to s e le ct and front part corne r is round in appe ar-
m ove th e e xtrude d parts s e parate ly. ance . Again, util izing th e k now l e dge
th at w ith Subs urf, w e can m ak e it
appe ar s h arp by incl uding e dge
loops ne ar th at corne r. To ge t a be t-
te r ide a, w e h ave s w itch e d to th e
top vie w in th e Fig 14. H e re , you can
s e e th e front corne r be fore , and
afte r, introducing an e dge l oop in
Fig 14a and 14b re s pe ctive l y.
Notice th at once you add tw o e dge
loops ve ry ne ar to e ach oth e r (in a
m e s h w ith a l arge dis tance and dif-
fe re nce of angl e be tw e e n tw o e dge
loops ) you w il lge t a de form ation in
th e m e s h . In th e Fig 14b, th e s e cond
3c) Cl e an corne rs e dge l oop w il lcre ate a vis ibl e bul ge
A car's body al m os t al w ays h as on th e top s ide if you w il lvie w it
pre tty s h arp corne rs w ith ve ry l
ittl
e w ith pe rs pe ctive vie w . H e re , you
Is s ue 8 - January 2007
3D W ork s h op - Car Body M ode l
ing: A n A pproach 55

h ave to m anual l
y m ove one of th e al igne d on th e X-axis (re d). Th is w as
e dge l oops to ge t a s m ooth s urface . done by pre s s ing th e S-k e y(s cal e) +
If it's s afe , you can e ve n m e rge th e X-k e y(re s tricts to X-axis ) th e n, pre s s -
e dge l oops , for th e m os t part, to re - ing Num pad-Z e ro and cl os ing th e
duce th e e dge com pl e xity and re tain s caling.
th e m e s h 's s m ooth ne s s .

TIP: Snapping. It is a good ide a to

e nabl e s napping from th e Pre fe r-
e nce s m e nu. As car m ode l ing is all
about de tail ing, and w h e n you m ove
ve rtice s of e dge s in pe rs pe ctive
vie w , th e s napping coul d h el p you a
lot. For e xam pl e , w h il
e e xtruding, to
cre ate and be nd, it w il lgive you nice
k now n re s ul ts .

3d) Sm art parts

Th e h e ading m ay be a bit m is l e ad-
ing but, it's a gre at w ay to re duce re -
dundancy and al s o m ak e s ure th at
m os t of your m e s h e s in th e s ce ne
are ofabout th e s am e m e s h com pl e x-
ity. Care fully look ing at Fig 15 w il l fact th at w e h ave onl
h elp you unde rs tand w h at is m e ant
by "s m art parts ".
Actual ly, w h at w e are doing h e re is
s im pl e . O nce w e finis h one part of
th e car, w e can us e its corne r e dge
as th e s tarting point of anoth e r part.
H e re , w e jus t dupl icate d and s e par-
ate d th e e dge , w h ich w as adjace nt
to th e bonne t, and e xtrude d it to cre -
ate th e bonne t m e s h . You w il lnotice
th at in Fig 15c al lth e ve rtice s are
3e ) W ork ing w ith e dge outl ine s
Som e tim e s a part w il lbe a bit trick y
to do by jus t e xtruding. As w e can
s e e in th e Fig 16, th e bonne t m e s h
is curre ntl y not s m ooth due to th e
y done th e e x-
trus ion in top-vie w .
If w e s w itch to th e s ide vie w and ad-
jus t th e ve rtice s , to ge t th e re q uire d
el e vation, w e h ave to de alw ith l ots
of ve rtice s in th e m e s h , ce rtainl y not
an e as y s ituation. Ins te ad of th at,
w e se l e cte d th e m iddl e ve rtice s and
de l e te d th e m s o th at w e ge t an out-
line of th e l e ft e dge as can be s e e n
in Fig 17.
Now , if w e s w itch to s ide vie w w e
can e as ily pos ition th e ve rtice s as in
Fig 18;again w e can re pe at it in th e
front vie w as w e l l
, as in Fig 19 . So
now w e h ave our outl ine s e t cor-
re ctly. W e are onl y l e ft to e xtrude
th e e dge (in th e front vie w ) from th e
ce nte r of th e car tow ards th e fe nd-
e r. Pos itioning th e ir h e igh t in th e
front vie w and us ing onl y th e num -
be r of e xtrus ions as th e re w e re pre -
vious divis ions . Re m ove th e e xtra
ve rtice s as can be s e e n in Fig 20.

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3D W ork s h op - Car Body M ode l
ing: A n A pproach 56

Re m ove doubl
e ve rtice s (caus e d by to h ave th e pivot point of th e m e s h
e xtrus ion ove r th e ol
d ve rtice s ) by in th e ce nte r of th e car.
se l
e cting al
l ve rtice s and us ing
'Re m ove D oubl
e s ' from th e [W -k e y] Le t's us e th e bonne t m e s h again.
m e nu in Edit m ode . Al
s o, re m ove Go to th e top vie w and s e l
e ct th e
th os e ve rtice s th at are not ne e de d bonne t e dge as in Fig 22. Pos ition it
(s e e n as s e l
e cte d in Fig 20) to ge t corre ctl
y in th e m iddl
e by
re fe re ncing th e bl
ue print be l
ow .
Th e n, pre s s [Sh ift + S] and s e l
e ct
'Curs or to Se l
e ction' in th e popup.
Th is w il
l bring th e curs or to th e
m iddl
e of th e s e l
e ction. Al
s o, s ince
th is is th e m iddl
e of th e car too, th e
M irror m odifie r w il
lus e th is as th e

3f) M irroringSince al
m os t al
l cars
h ave a s ym m e tric s h ape , our w ork
is re duce d to onl
y m ode l
ing h al
f of it
th e n, m irroring th e oth e r h al
f.
M irroring is pre tty s traigh tforw ard. If
you as k Bl
e nde r to m irror a part, m irroring point. You w il
lal
s o ne e d to
Bl
e nde r w il
ltak e into cons ide ration pos ition th e m e sh pivot at th is
its pivot point and th e origin, from point. To do th at, ge t out of Edit
th e s m ooth and prope r curve d w h e n it w as firs t m ade , as th e point m ode and pre s s F9 , th e n cl
ick
s urface of th e bonne t in Fig21. for m irroring. So, you al
w ays ne e d 'Ce nte r Curs or' in th e M e s h Tab.

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3D W ork s h op - Car Body M ode l
ing: A n A pproach 57

car. Th e dis tance be tw e e n th e Bl

e nde rArt m agazine . Som e of th e
Now , appl
y th e M irror m odifie r and bonne t and fe nde r body w il
lbe in pos s ibl
e topics w h ich can be
pl
ay w ith th e axis s e tting to ge t th e th e range of 5-8m m . D oing th at w il
l cove re d are :
de s ire d m irrore d s urface . Th e M irror al
s o bring out th e car body in M ode l
ing a re al
is tic car l
am p.
m odifie r al
s o al
low s you to join th e re nde rings . M ode l
ing rim s and tire s .
Concl
us ion M ode l
ing th e Inte rior.
Wel
l, th at's al
lfor a fe w inte re s ting Re nde ring th e car.
approach e s in m ak ing th e car body.
I h ope th at it h as be e n h e l
pfulto
you. If you h ave s om e th ing to s h are
or fe e dback on th e s e fe w s te ps , you
are wel
com e to w rite to m e at
gaurav@ b l
e nde rart.org. Furth e r
additions to th is tutorial are al
so
pos s ibl
e in future is s ue s of th e
m e sh and its m irror into an s ingl
e
m e s h if you ne e d. Se e th e re s ul
t in
Fig23. Since you h ave al
re ady
pl
ace d th e curs or th e re , you can go
ah e ad and s e l
e ct th e front-fe nde r
m e s h and m ak e its pivot ce nte r at
th e curre nt curs or pos ition and add
a M irror m odifie r as w e l
l.
3g) Gaps to ge t natural l
ook ing
body parts , m ak e s ure you al
w ays
provide e nough gap be tw e e n th e
adjace nt parts of th e car body. You
can obs e rve th is in re all
ife on a re al

w w w .bl
e nde rart.org Is s ue 8 - January 2007
Unde r Re vie w - Bl
e nde r Basics
D ue to it's ope n and fre e l y-s h are d
nature , it's im pos s ibl e to te l l h ow
m any copie s of Bl e nde r 2.42a are cur-
re ntly ins tall
e d around th e w orl d, but
it's a ce rtainty th at it h as be com e
m ore w il dly popul ar th an anyone h ad
im agine d w h e n it w as ope n s ource d
four ye ars ago. Since th e n, h ow m any
tim e s h ave th e binarie s be e n dow n-
loade d? Be l ie ve it or not, no one
k now s for s ure , but age s ago (2004-
2005) tw e l ve m onth dow nl oad total
approach e d 2,000,000. W ith out a
doubt, m ore re ce nt figure s w oul
m ak e th os e l
ook k ind ofs ill
y.
But h ow m any of th os e ins tal lations
are trie d for a w e e k (or a day or an
h our) th e n abandone d?Lots of us l ik e
us ing onl ine tutorials , but th e re are
w w w .bl
e nde rart.org
58
jus t as m any w h o fe e lm ore com fort- pick and ch oos e th e ch apte rs th at
abl e w ith a ph ys icalbook on th e ir m os t im m e diate l y fillth e ir ne e ds .
de s k . And s o, w ith th e Bl e nde r Sum - Th e book contains a bit of m ate rial
m e r of D ocum e ntation unde r its be l t, from th e Sum m e r of D ocum e ntation,
th e Foundation de cide d to tack l e re w ork e d to be tte r s uit a printe d,
s om e th ing e ve n m ore am bitious : a m odul ar form at, and l ots of original
book th at w oul d be s uitable for 3D be - w ork by a gre at group of vol unte e rs .
ginne rs , us e rs com ing from oth e r 3D To s uit a varie ty of l e arning s tyl e s and
appl ications , and for m ore form ale du- th e diffe ring ne e ds of th e audie nce ,
cationals e ttings . O f cours e , m ore e x- e ach topic (l ik e Mate rial s , for in-
pe rie nce d us e rs can be ne fit from th e s tance ) is divide d into tw o s e ctions : a
book too. H ow m any of us h ave jus t tutorialpart and a tool s and practice s
flow n by th e s e at of our pants re gard- dis cus s ion. For pe opl e w h o pre fe r to
ing s om e as pe ct of our Bl e nde r w ork , jus t jum p righ t in, th e tutorials e ctions
be it m ate rial s, l
igh ting or s h ape k e y- provide im m e diate fe e dback and ac-
ing?Th is book can h e l p you fil lin th e com pl is h m e nt, w h ile ge tting th e m fa-
gaps . O f cours e , it al s o contains m il iar w ith th e tool s in a practical
ch apte rs on th e ne w s cul pt m ode l ing s e tting. Th os e of us (l ik e m ys e lf) w h o
tool s as w e llas a gre at ch apte r on us - lik e to ge t an ove rvie w be fore w ork -
ing th e Com pos itor. ing can re ad th e tool s and practice s
dis cus s ion, w h ich l ays out th e m os t
Bl e nde r Bas ics is a book th at anyone us e fulavail able options , as w e l las
inte re s te d in ge tting up to s pe e d w ith giving s om e h ints and s ugge s tions for
s om e as pe ctofBl e nde r, and 3D in ge n- a good w ork fl ow to fol low .
e ral , can pick up and us e , e ith e r cov-
e r to cove r, or a l a carte . It cons is ts of In addition to th e vol unte e r w rite rs ,
a fe w ch apte rs on th e abs ol ute ba- I'm doing a fair am ount of w riting
s ics : 3D conce pts , th e inte rface , and (about 35-40% of th e book ) as w e l las
s
obje ct m anipul ation. From th e re , re ad- s tyle -e diting th e w h ole th ing. W e
e rs can continue s traigh t th rough th e h ave a bunch of te ch nical e ditors
d
book if th e y ch oos e , l e arning m e s h line d up to m ak e s ure e ve ryth ing is
e diting, s cul pting, m ate rial s , rigging accurate from a Bl e nde r s tandpoint,
and ch aracte r anim ation, l igh ting, re n- and are w ork ing to s e cure a profe s -
de ring, com pos iting and m ore . O r, if s ionalproofre ade r to catch th e typos
th e y are us e rs inte grating Bl e nde r in- and gram m ar bugs th at m igh t(!) s l ip
to th e ir e xis ting 3D pipe l ine , th e y can by m e .
Is s ue 8 - January 2007
Unde r Re vie w - Bl
e nde r Basics 59

Bl e nde r Bas ics w il lbe avail abl e for

pre -s ale s oon, and Ton and I are s til l O Scar - Re l
e as e 0.2
w ork ing on th e finals ch e dul ing for
publ ication and dis tribution. Ne e dl e ss It is th e goalof th e O Scar Proje ct
to s ay, book s al e s are one of th e ch ie f to de ve l op a car according to
s ource s of funding for th e Bl e nde r O pe n Source principl e s . In our
Foundation, and it's nice th at s uch a opinion, a car is not a ve h icl e ful l
th ing can be a pos itive for e ve ryone : of h igh -te ch gadge ts . Ins te ad, w e
th e Foundation ge ts th e re ve nue it are l ook ing for a s im pl e and
ne e ds to k e e p doing its am azing functional conce pt to s pre ad
w ork , us e rs ge t a gre at re s ource and m obil ity. Form fol
low s function.
a w ay to dire ctl y contribute to
Bl e nde r's continue d de ve l opm e nt, Apart from th at, O Scar is not jus t
and th e Bl e nde r com m unity as a a car. It is about ne w w ays of
w h ol e ge ts to once again s h ow off its m obil ity and th e s pre ading of th e
unparal lele d s tre ngth w ith its gre at O pe n Source ide a in th e re al
contribution to th e conte nt of th e (ph ys ical) w orl
d.
book .
At:
I'm e xcite d about th is proje ct, be - h ttp://w w w .th e os carproje ct.org/
caus e I th ink th at Bl e nde r Bas ics is go- you w il lfind a gre at com m unity
ing to be a book of s upe rior q ual ity of de ve lope rs and drive rs w h o
and us e ful ne s s . I h ope th at you w il l, w ant to inve nt m obil ity ane w and
at le as t, cons ide r adding it to your pe r- toge th e r.
s onals h opping l is t.
Rol
and H e s s Th e proje ct s tarte d in 19 9 9 . In
D e c. 2005, it re ach e d re l
e as e 0.2.
In addition to be ing a Bl e nde r artis t, one of th e (m inor) ble nde r de vs , and Starting in 2006, e ve ryone is
th e cre ator of Bl e nde rPe ople , Roland H e s s (h ark ym an) e arne d h is e ditorial wel com e to participate .
k e e p as a w riting m ajor at th e Unive rs ity of Pe nns yl vania in Ph ilade lph ia,
e nduring th e brutalgroup w ork s h ops and one -on-one critiq ue s of Pe nn's
w riting program . H e w rite s far too m any w ords a ye ar at Th e H e s s Re port
(h e s s re port.h ark ym an.com ), Ste e lCity Cow boy
(s te e lcitycow boy.h ark ym an.com ), and th e Bl e nde rPe ople de ve lopm e nt
bl og (w w w .h ark ym an.com /bpbl og).

w w w .bl
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G al
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Ciprian Ce te ras (Cipix) Re naul

t Sce nic

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Ciprian Ce te ras (Cipix) Re naul

t Sce nic

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Je ffe rs on Al
ve s - F360 M ode na

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Sim on K indl
e r - D is cove ry

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Sim on K indl
e r - Vol
vo XC9 0

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Ris h ik e s h Park h e - M e rc 300SL

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Bruno O k ano - Ch e vrol

e t Cam aro (conce pt)

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W il
liam Nune s - ToonCar

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Z s ol
t Ste fan - 'Cutting Th e W ave s '

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A nnounce m e nt- Bl
e nde r W orl
d Cup #4 69

W h e re : w w w .ble nde rartis ts .org Prize s:

W h e n: Firs t s e cond and th ird pl
ace w inne rs
1s t June - Qual ifying e ntrie s ope ne d w il
le ach re ce ive an officiale tch e d
1s t Jul
y - Finalround ope ning ble nde r w orl d cup, as w e ll as th e
prize s donate d.
W h at:
Cal
lfor s pons ors !! Th e topic w illbe m ade up of 4 ins pira- Firs t
tions from be l ow , th e ins pirations w il l
Many of you w il lbe fam il iar w ith th e be re duce d to a s e t of 4 by th e Jul y
bl e nde r w orld cup, w h ich h as be e n th e 1s t, giving e ntrants th e ch ance to
h el d for th e pas t 3 ye ars . Las t ye ar th ink ofpos s ibil
itie s be fore th e finalan-
w e re ce ive d s pons ors h ip from Re - nouce m e nt.
s pow e r (w w w .re s pow e r.com ), a pow e r-
fulonl ine re nde rfarm s upporting th e *Era* *Location*
.bl e nd form at for inte rnaland yafray *State * *Infl ue nce *
re nde ring. Be ginning Ground
Evol ution Indus try Se cond
Th is ye ar h ow e ve r w e h ave not offi- H is torical Se a
cially re ce ive d any s pons ors h ip, and Grow th Re l igion
are h oping to m ak e it th e be s t ye ar to Re ce nt Era Sk y
date for prize s and participation. Com - Utopia Al ie ns
m e rcials upport is th e prim ary goal Now Space
for s pons ors h ip, as th e ble nde r founda- W ar Pol itics
tion can onl y h el p out s o m uch . D is tant Future City
D e s ruction Magic
So if you w ork for, or k now a com - End Nature
pany th at m ay be w il ling to donate , D is cove ry H e rois m Th ird
ple as e contact doug@ m ud-
puddl e .co.nz in orde r to h e l
p m ak e it H ow :
fantas tic for allin th e com m unity. As al w ays w e w il lh ave a q ual ifying
round, h ow e ve r th is ye ar th e round
w illal low anyone to s ubm it th e ir fa-
Ble nde r W orl d Cup - H ow it w il
lh ap- vourite e xis ting e ntry to q ual ify for
pe n th is ye ar th e finalround. For Exam pl e e nte ring
W e e k e nd Ch alle nge s w il
lbe a good
w ay ofq ual ifying

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A nnounce m e nt- Bl
e nde r W orl
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Bl
e nde r W orl
d Cup - Pre vious Ente rie s .

w w w .bl
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Upcom ing... 71

Th e m e : O ute r Space

•M ode ling Alie ns

•M ode ling Space s h ips
•O ute r Space s ce ne s and m ore . . .

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