We'll start by looking at the preparation that is needed in order to get the best results when creating the hair. From there, we'll look at the actual hair creation using the Hair Farm plug-in. We will learn how to generate the hair mesh and then convert it into actual hairs using Hair Farm modifiers. By the end of this tutorial we will have looked at how to create different hair effects using different hair objects as well as adding materials and lighting for our hair.

Throughout these lessons we will discover ways of troubleshooting problem topology and learn how to reproduce a 3D model from a perspective reference illustration. By the end of this tutorial you will have learned efficient modeling workflows in 3ds Max.

This specific high-level course was designed to evolve your workflows, and give you some ideas to keep in mind as you go through the process of building the robot portion of your transforming robot. The objectives for this fast-pace course include looking at several issues to be dealt with when creating the transforming robot. We'll look at ways to use ZBrush and TopoGun in our workflow to build the fitted pieces and panels of the robot. In addition to modeling techniques, we'll talk about UV layout concepts, creating a proxy, and working cooperatively with other artists, including those working in other applications. It is recommended that you have some experience using Maya, ZBrush, and TopoGun, as we cover a lot of information in a shorter span of time. We won't be going through the modeling of the robot step-by-step, so if you’re a new artist, the Beginner's Guides and Introduction courses are perfect places to start getting up to speed. From there you can check out any of the intermediate step-by-step project based courses and they will give you the tools you need to complete the model.

Throughout the tutorial, we will learn the essential tools and techniques needed to create a stylized female. We'll discuss some tips for creating exaggerated proportions and features all the while following good design principles. Stylized characters as a whole can have their own sets of challenges but in this course you'll learn the essential techniques on how to overcome these types of challenges.

Throughout these lessons we will focus on creating an exterior visualization. We will go through several different stages including modeling and preparing vegitation models like grass and trees so we can use them in our scene as proxy. We also go through lighting, texturing and post-production when you will learn couple of techniques about how to make our renders looks better and more appealing.

Through these lessons we will learn the whole process of making interior visualizations. We will start by modeling the walls before modeling the floor with Floor Generator, a free plugin. We'll then model the rest of the furniture. After modeling we are going to create lighting in our scene for the final render. We'll finish our project by looking at how to make small adjustments in Photoshop to make our colors look better.

We'll start off by creating a base mesh for our geometry and using NURMS to smooth out our result and then jump right into creating the details we want in our high poly version model. After that, we'll discover how polygonal modeling can be extremely helpful to give us the exact detail and topology we need for any modeling project we encounter.

Throughout these lessons we will learn how to quickly create block out shapes such as our creature's wings, horns, cloth and other ornate pieces. We will look at brushes that are used in a typical art pipeline as well as how to create custom brushes. Using 3ds Max, we'll learn how to create chains that conform to the character's body using splines. We will also take all the SubTool pieces in ZBrush to rig and pose our character in Transpose Master.

Throughout these lessons we will look at the basic parameters needed when constructing environments inside Vue. We will also look at building an efficient pipeline between 3ds Max and Vue. By the end of this tutorial, we will have gone over integrating seamless integration between multiple pieces of software in order to achieve our final image.

In this training you will learn from several Digital-Tutors instructors, each of whom will be guiding you through a portion of the entire production pipeline used to create our final motion graphics piece. We will begin by exploring many of the powerful modeling tools found in 3ds Max, and utilizing these tools to build our 3D motion graphics elements. From there, we will look at a number of animation tools and features that will allow us to quickly add movement and life to our 3ds Max elements. From there, we will learn how to incorporate dynamic elements such as flowing cloth, smoke, and sparks into our scene. Finally, we will learn how to render out our elements from 3ds Max, and utilize After Effects for final compositing and sweetening of our motion graphics spot.

Each video in this collection of tutorials is a self-contained lesson centering on one of 3ds Max's object space modifiers. This means that these tutorials can be viewed in any order you wish, allowing you to jump straight to the content that is most beneficial to you. Over the course of these lessons we will discuss all of the parameters and options found in 3ds Max's object space modifiers.

Each video in this collection of tutorials is a self-contained lesson centering on one of 3ds Max's world space modifiers. This means that these tutorials can be viewed in any order you wish, allowing you to jump straight to the content that is most beneficial to you. Over the course of these lessons we will discuss all of the parameters and options found in 3ds Max's world space modifiers.

Planning, reference materials, and imagination will be addressed, so that students are led to optionally create their own version of the tutorial, equipped with the methods they learn in the video. Included is creating a 3D set to scale, how to make models appear large and dramatic, and maximizing the use of 3 simple tools -- extrude, inset and bevel in polygonal modeling. We will create textures for variation in tones of buildings. Cloning of buildings and attention to staging will be discussed and demonstrated, to maximize the use of a limited number of models to achieve a sense of scale, without sacrificing variety. The fly-through will include creating and animating a camera as it travels with a vehicle flying through the model city. Textures will be from the 3ds Max libraries. A procedural map will be used to create a futuristic sky around the scene. We also cover mental ray rendering and the daylight system for sophisticated shadows, ambient lighting and reflections for glass.

We'll start the course off by learning how to navigate through the 3ds Max interface, and navigating in its viewports. We'll then begin exploring many critical aspects of 3ds Max, such as creating and manipulating primitive objects, understanding the various sub object modes of 3ds Max geometry, animating objects in 3ds Max, working with lights and shadows, adding materials and textures to our scenes, rendering out animated sequences, and many other concepts that will provide you with a solid foundational understanding of 3ds Max and it's capabilities.

This training series looks at the modeling and rigging considerations of a cartoon shark in 3ds Max. We look at creating a basic FK skeleton for our shark model and the skinning consideration we need to think about to create some great deformations. We then expand upon our basic FK rig by using Max's built-in modifiers to create an automated swim cycle, finally finishing the tutorial with a quick look at a controller system and corrective shapes.

In this tutorial we'll be discussing some the introductory methods for modeling in 3ds Max 2012 and you should begin to develop techniques that will complement your own style of modeling. Through out these lessons, we will learn a variety of different modeling methods, such as spline modeling that will allow you to model irregular objects with ease. Then we'll learn how to use primitive geometry to build some of the more complex objects of our concept bike. We'll also be introduced to several of the common tools used for modeling in 3ds Max. Finally, we'll learn how to create some basic materials for our bike to create some really stunning 3d renders. By the end of this tutorial, you should have a solid grasp of the different modeling techniques and begin coming up with a modeling style that works best for you.

This tutorial is aimed to show you a variety of techniques utilized to create a finished piece starting from a painting. We will go through several different stages including modeling, lighting and texturing where we will learn various methods which will help us to reach our goal. So by the end of the tutorial, hopefully, you will learn how to avoid turbosmooth, how to give variety in your texturing, how to quickly unwrap objects in UV Layout and etc.

These videos will delve in such modeling techniques as spline modeling, polygonal modeling, and sub divisional surfaces. Through these techniques we are going to create a highly detailed steam locomotive model. We will also be exploring some of the graphite modeling tools and their functionality while modeling. All the while keeping an emphasis on the importance of scene management in a production environment.

We will be looking at the process in 3ds Max, working with shapes and modifiers. We will also be looking at materials, rigging process, and using Pflow for effects. Later, near the end of our demonstration, we will go over rendering passes, painting and compositing effects in Photoshop.

Creating appealing characters is a lot of fun when using powerful sculpting applications like Zbrush or Mudbox in conjunction with 3ds Max. We are able to create models with a very high level of detail in our sculpting applications. But getting those characters into a lower resolution state suitable for rigging and animation can be a little more challenging. In this tutorial, we will go through the process of using 3ds Max and Zbrush to convert a high resolution, sculpted and painted character into a low resolution game-type mesh that can be rigged and animated. We will start by using Decimation Master to reduce the resolution of our model drastically while retaining much of the visual detail. Once we are in 3ds Max, we will build low resolution geometry around these detailed meshes so we can capture the important shapes of the character. We will create uv layouts for the low resolution pieces and finally extract the color and sculpted detail from our high res pieces onto the new mesh. In the end we will have taken a model of 20 million polygons down to approximately 8000 triangles. Once you are done, you will be able to use the workflow to transfer and convert your own high resolution characters into a more useable state.

In this tutorial we are going to help you get a good understanding of how to work in 3ds Max. You will be able to learn from several of the instructors here at Digital Tutors as we go through many of the major parts of the software. We are going to cover a wide range of topics in this course. We will start out exploring the user interface and finding our way around 3ds Max. Then we will start to create our own custom model, a pod racer, using a number of powerful modeling tools. We will paint and texture our model, and then take it through the process of rigging and animation. We will finish up by adding dynamic effects to the scene and rendering out a nice result. Once you are finished, you will have exposure to a wide range of disciplines in 3ds Max and be able to start working on your own projects and building on the knowledge you have gained.

We'll begin this course by talking about breaking down our modeling projects into smaller pieces. We'll cover methods for staying aware of as much information as possible about our geometry while we work. We'll cover specific techniques for adding circular resolution to square objects and go over setting up Viewport Backgrounds. This course is meant for students that have some modeling experience and are familiar with the tools but would like a few tips for creating a smoother workflow and getting better results.

When focusing on animation, having a character to work with is important. In a previous course, we covered the process of building a basic bipedal character that we could use to practice our animation. The character can work well as we attempt to show action and emotion through only the movement of the body. While this is great practice for getting the most out of our character's body movements, at some point we'll probably want to start creating facial expressions and even make our character speak. We can do this by adding geometry to define the mouth of our character.

When rigging and animating in 3ds Max, it's always nice to have an appealing character to work with. If you don't have a lot of experience modeling, however, it can be difficult to create a character you'll be happy spending much time animating. There are free characters and rigs out there, but many have been used over and over, and it would be nice to be able to create something you can call your own. In these lessons we'll cover the building of a simple character, with emotive eyes and eyebrows, that you can then rig and animate. We'll look at methods for building the head, body, arms, and legs and connecting them all together. We'll talk about building the topology with an eye towards rigging and animation- building it to deform well. The goal at the end of these lessons is not to give you a new prebuilt model to use, but to teach you to use the techniques shown to create your own custom character, ready to rig and animate.

When building props, especially lower resolution models meant for real-time applications, it's a good idea to balance the detail you want to achieve with optimal resolution. Much of the detail you will want to add can be achieved with textures. In this course, we will use a variety of modeling tools to build a piece of artillery. We will model sufficient detail in specific areas to create a good silhouette and we'll look at ways to speed up our workflow by duplicating existing geometry. Upon completion, you'll have a low resolution gun that you can then finish with some UV and texture work. You'll also be able to apply the same techniques to building your own low resolution props.

While 3ds Max is great at creating models very quickly and efficiently, Mudbox excels at interactively sculpting complex detail. By using these two packages in conjunction, we can leverage their respective strengths to quickly create a cohesive digital asset. After building our base geometry of our sample project, a bladed weapon, and adding UVs in 3ds Max, we'll take the geometry into Mudbox to begin sculpting. We'll add a variety of detail, as well as using Channel painting to create textures for the color and specularity of the models. We'll also output normal maps and ambient occlusion maps. Finally, we'll put everything back together in 3ds Max. Upon completion, you be able to create your own weapons or props using these two powerful programs.

In this course we'll go through the process of building a detailed 3d battle axe, complete with normal maps and textures, using both 3ds Max and ZBrush. Throughout the training, we'll illustrate some of the ways you can use these packages together. We'll start by creating the base axe geometry from scratch in 3ds Max. We'll then completely sculpt and paint the axe in ZBrush using a variety of techniques. To finish up, we'll generate maps for the color and sculpted detail and reapply those in 3ds Max. In the end, you'll have a better understanding of the workflow of building and sculpting high resolution props and set pieces with 3ds Max and ZBrush and creating usable assets from them.

When building props and set pieces, even those of the more simplified variety, it's sometimes difficult to know where to start. It's also a challenge to create models that have a consistent visual style, not only within themselves, but with the characters and other props that inhabit that environment. In this course we will use the modeling tools in Max to build a cartoony super-computer. We'll explore modeling tools like connect edges, bevel, and extrude as well as spline-based tools that will allow us to build some of the different pieces of the model. In addition, we'll learn to use modifiers to achieve a cartoony, stylized look. Upon completion, you'll be able to start building up your own stylized props and set pieces to enhance the 3d worlds you create.

A big challenge when building hard surface models that have curves and contours is adding resolution without introducing unwanted changes in the shape. The Graphite Modeling Tool set has a number of tools we can use to solve this problem. In this course we will explore the use of these tools by building a football helmet. We'll be able to quickly create and modify hard surface geometry using tools like Set Flow and Flow Connect that will maintain the curvature of the mesh. Upon completion, you'll have a better understanding of some of the modeling tools in 3ds Max and how you can put those tools to use in creating well shaped geometry with clean topology for your own projects.

NURBS geometry provides several advantages over some of the other types of building methods available, but the process for creating NURBS geometry is somewhat different from building polygon or sub-d models. In this course we'll explore hard surface modeling by using a variety of NURBS and spline tools and techniques in 3ds Max to build a skateboard. We'll go over tools like fillets, making NURBS primitives, and using splines. Upon completion, you'll have a taste of the NURBS building process in 3ds Max and be able use these tools in your own projects.

In this course we'll cover the Treeform Modeling Tools in 3ds Max, part of the Graphite Modeling Tools set, and how you can use those tools to quickly shape your models and create custom topology. Some of the highlights of the course include using the Paint Deform tools to quickly sculpt your models, creating custom geometry that conforms to existing surfaces, and building geometry from the ground up using Step Build. Upon completion, you'll have a complete understanding of the Freeform tools and how you can put them to use. Using the Graphite Modeling Tools in 3ds Max is a highly recommended complement to this course and will help you get a better look at all of the available tools.

In this course we will cover the Graphite Modeling Tools in 3ds Max and how you can use them in your own projects. The Graphite Modeling Tools will provide you with a wide range of tools to make building models in 3ds Max much easier. Some of the course highlights include using Flow Connect and Set Flow to add resolution while maintaining an object's shape and using tools like paint connect, distance connect, and build corners to quickly create custom topology. Upon completion you'll have a good understanding of the Graphite Tools and how you can put them to use. In order to get a complete view of the Graphite Tools set, the Using the Freeform Modeling Tools course is a highly recommended complement.

Popular highlights include: Modeling from Blueprints; Hard Surface Modeling; Polygon Modeling Techniques; Spline-based Modeling Techniques; Understanding Metal-working Process; Motorcycle Parts Overview; Modeling Detail for Realism; Surface Tools; Creating Seam Detail; Creating Complex Shapes with Booleans; NURBS and Splines for Tubes and Wires; Creating Geometry from Existing Pieces; Adding Welds to Metal Pieces; Adding Bevels to Edges and Polygons; Modeling Different Types of Materials; Materials and Lighting; Texture Maps; Image-based Lighting; Reference Images; Tire Treads with Bump Maps; Setting up Hierarchies; Posing for Final Shots.

Popular highlights include: Working with Reference Art; Creating Animation-friendly Topology; Using Splines to Create Geometry; Attaching and Detaching Polygons; Adding Viewport Backgrounds; Exaggerating Proportions; Adding Detail Strategically; Bridging Polygonal Geometry; Creating Stylized Hair; Working with Multiple Pieces; Creating the Illusion of Detail; Cloning Geometry for Reuse; Building from Primitives; Using Extrude, Inset, and Bevel; Modifying Sub-objects; Working with Selections; Setting up Non-spherical Eyes; Previewing Smooth Geometry; Using the FFD Space Warp; Working in Symmetry; Adding Temporary Color to Objects; Simplifying Shapes; Troubleshooting Edge Flow; Sharpening Corners with Edges; Modeling Wrinkles into Clothing; Adding Seams to Cloth; Using FFD Modifiers; Creating Teeth; Capping Border Edges; Cloning Edges; Working with Groups; Adding Appeal.

Popular highlights include: AEC Walls; AEC Foliage; Parametric Doors; Parametric Windows; Parametric Stairs; Customizing Parametric Objects; Editing Parametric Objects; Creating Complex Shapes with Splines; Using Booleans on Geometry and Splines; Inserting Edge Loops with Connect; Drawing Geometry with Cut Tool; Cloning Geometry, Shapes, and Sub-objects; Adding Thickness with Shell Modifier; Lattice Modifier; Adding Surface Detail with Paint Deformation; Working with Primitives; Sweep Modifier; Sections with Sweep Modifier; Rendering Splines; Adding Resolution to Spline Segments; Editing Splines; Extracting Splines with Section; Converting Edge Selections to Splines; Using Extrude, Bevel, and Inset; Linking Objects Together; Noise Modifier; Attaching and Detaching Splines and Geometry; Modifier Stack; Instancing Geometry; Lathe Modifier; Adding Thickness to Splines with Modifiers; Working with Groups.

Popular highlights include: Viewport Background Images; Establishing Automotive Line Flow; Creating Multiple Fitted Panels; Redrawing Topology; Adding Resolution to Tighten Edges; Adding Edge Loops with Connect Tool; Edge Loop and Ring Selections; Converting Sub-object Selections; Adding Geometry with Bridge; Cloning Geometry and Shapes; Attaching and Detaching Geometry; Building Geometry with Splines; Building Geometry with NURBS Curves; Mirroring Geometry; Symmetry Modifier; Converting Parametric Geometry; Previewing Smooth Geometry; Creating Detail with Extrude Tool; Importing Adobe Illustrator Curves; Creating and Adding Realistic Materials; Adding Bump Maps to Materials; Creating UV Layouts; Creating Geometry with Primitives; Changing Geometry Creation Parameters; Welding Vertices; Creating Splines and Patches; Edit/Delete Message Reply With Quote.

Popular highlights include: NURBS Workflow; Polygon Workflow; Splines and Patches Workflow; Scene Organization with Layers; Smoothing Methods; Working with Sub-objects; Sub-object Selection Methods; Adding Viewport Background Images; Scale Deformation; Cloning Geometry and Shapes; Mirroring Geometry; Sweep Modifier; Shell Modifier; Symmetry Modifier; Surface Modifier; FFD Modifiers; Lathe Modifier; Modifier Stack; Moving Pivot Points; Transforming Geometry and Shapes; Modifying Creation Parameters; Creating Booleans; Attaching and Detaching Objects; Welding Vertices; Rendering and Viewing Curves; HSDS Modifier for Subdivision Surfaces.

Topics covered in this tutorial: Learning how to use the taper tool; Scaling one end of an object more than the other end; Creating curve transitions. Gain a complete understanding of 3ds Max check out the 3ds Max Bundle, a project-driven training resource for artists learning the essential workflows, time-saving techniques, and fundamental tools in 3ds Max.

Topics covered in this tutorial: Wrapping geometry and shapes; Using splines to create text ; Conforming or morphing text to an object; Adding several divisions. For more information on 3ds Max check out the 3ds Max Modeling Bundle, a complete guide to learning production-based techniques to polygon, NURBS, and spline-based modeling.

Topics covered in this tutorial: Adding roughness to our model; Building terrain with ripples and waves; Creating base geometry ; Using the TurboSmooth Modifier; Understanding the parameters of the Noise modifier. Learn more about 3ds Max check out Automotive Modeling in 3ds Max, a comprehensive guide to learning automotive modeling for use in film, games, and design.

Topics covered in this tutorial: Drawing out 2D shapes; Dropping splines into our scene; Moving and scaling splines; Using Booleans' Union, Subtraction, and Intersection features. To learn more about 3ds Max check out Introduction to Animation in 3ds Max, an in-depth guide to learning the animation tools available in 3ds Max.

Topics covered in this tutorial: Modeling geometry with splines and patches; Creating and duplicating splines; Using the CrossSection modifier; Adding a Surface modifier; Creating our own topology; Converting to polygons. For a complete overview of 3ds Max check out Introduction to Modeling in 3ds Max, an in-depth guide to learning a fundamental workflow to polygon, NURBS, and spline-based modeling in 3ds Max.

Topics covered in this tutorial: Manipulating things as a whole ; Learning how to group and ungroup; Duplicating a group; Changing groups with the Attach, Detach, and Explode features. For more information on 3ds Max check out Introduction to Rigging in 3ds Max, a comprehensive resource to establishing a solid rigging foundation.

Topics covered in this tutorial: Mastering how to select objects and shapes; Adding and subtracting from our selection; Using the selection filter; Selecting overlapping geometry. Learn more about 3ds Max check out Automotive Modeling in 3ds Max, a comprehensive guide to learning automotive modeling for use in film, games, and design.