For my answer to the first question, these activities helped me understand the basics with primitives, parameters, and transformations using 3D max through first showing how to do it using the tutorials. I then I did it myself, using the skills that were outlined. Some of there skills were creating the basic primitives like spheres, blocks, planes, cones, and cylinders. I used these in the multiple different scenarios to create the object specified for the project in question. One of these was creating a cylinder with six side segments to create the main body of a pencil, then creating several more cylinders with smooth sides to create the eraser at the end of the pencil and the metal housing for the eraser. To answer the second question, one tool I used was the sphere creation feature to create spheres to the correct dimensions and ratios required in the snowman project, which the main body and it's eyes, buttons, and main body were all created using spheres of varying sizes. Thirdly, the ways that this information can be applied in the future with more complex projects could be with the the creation of the very basic model needed for the creation of the more sophisticated final product, with the basic primitives forming the outline of the project needed, which could be a video game prop/component. To answer the fourth question, some challenges that I had to deal with concerning the creation of the items required in the projects were the primitives not being the size needed or the primitive in question being out of line with the other primitives. Lastly, my initial thoughts from working with these primitives is that they aren't all that simple to use, and they can still be complicated for someone to make into the desired product, even though they are the most basic parts of 3D modeling, not getting into the more complex parts of modeling.
In this set of projects, I used the modifiers ProBoolean, Grouping, and Splines. These tools greatly improved how I could model the projects, and it also made the projects marginally easier to complete and solidify. The Boolean tools helped make more complex models through merging objects together, removing specific portions of the target object, and adding on many things. Secondly, the grouping option allows the object in question to essentially be turned into one object, which was useful in several situations. Lastly, the splines function allowed me to draw a line/shape, then manipulate it to the dimensions that would be unable to be accomplished using basic primitives. If these were available in my blocking out project, I most likely could have made my project look a lot more refined and have much better quality and detail than I was able to accomplish just with basic primitives. There were also challenges with using these tools, like with the proboolean modifier being a bit difficult to use properly in the beginning and the way that splines had to be used also being confusing.
In creating the Rebel Alliance Y-Wing (Star Wars, Episodes IV-VI), I used basic primitives, splines, both Boolean and Proboolean, Loft, and the Edit Poly function.
Concerning basic primitives, I first started with two boxes to make the main fuselage of the Y-Wing. My approach from the beginning of the quarter is much different. Instead of trying to use a bunch of basic primitives to try and create the desired shape, I first made two boxes, then edited them instead of trying to make multiple primitives in order to create the project. I now know the importance of starting with the basic primitives first, since these allow for the general shape to happen before the complicated stuff is applied, so I have the thought path to go on before the intricate detailing comes into play. The way that it's helped create better models is through establishing the base idea, then adding the details that add up to the finished product.
For splines, I used the spline function to create the ion turret, laser cannons, and main engine sections to create these through the use of lines. After drawing the lines to the length I wanted using the top viewport, I then used the spline menu again to draw several circles and then used these circles to apply it to the lines using the loft function. I personally thing that the spline function is a hard rival to beat, because paired with other functions like loft and Boolean in compound objects, any of the shapes drawn in the spline menu can be turned into shapes that can be used in the project, with curving lines allowing a cylinder to be curved without the several steps necessary to use the bend modifier, and without having the cylinder need segments needed to bend.
Surface modeling was a trickier thing for me to use, just because each type of Subobject has a vastly different effect on the project in question. The most helpful tool for me has been the bevel or the inset tool in the side selector part of the Subobjects, being able to inset the parts of the project to make it so that there can be another side inside the existing side, with the side being the same proportions as the original side but on a smaller side. The bevel has been helpful due to the way that I can draw it out then either expand or contract the extended bit to make better variations in the shapes, like I did on the middle section of the Y-Wing's fuselage to create better detail, not just the blank boringness of the basic primitive box. It has improved the details of my projects by a lot, giving the projects much more depth and making them look at least somewhat what I see in video games (Star Wars Battlefront II(EA version) and War Thunder).
As for compound objects, I mainly used the modifiers Loft, ProBoolean, and Boolean in the Rebel Alliance Y-Wing. These have helped refine the model through being able to hollow out polys, create intersections, make holes and windows and also connect different objects together into one poly. The ways that these tools have made me get better models is through creating details that are small, but overall contribute to both saving time in modeling and also making the model look that much better. Some ways this was the case was with the Y-Wing, where I used the Lofting feature a great deal in order to make specific parts of the model, like the blaster cannons, engine housings, and the ion turret. I have used the ProBoolean modifier to both connect two things together on the Y-Wing, like the ion turret's smaller details, and also hollow things out to create better details, which is used with the blaster cannons to make them seem like actual blasters and to give it that little bit of depth that makes it so much better.
Overall, I would say that I have improved by a lot from where I started from the beginning of the quarter. I might have missed a good bit in the beginning, but I kept going and have turned in all of the assignments prior to this and can say that I have learned many things from doing all of them. Where I've made the most progress is in the blocking out phase and creating the model on which the product will be created. Easily the most challenging was the surface editing, but I have improved significantly from where I originally was, and now I can adeptly use this modifier and create the final products. I can definitely say that my confidence in 3D modeling has improved significantly, and I don't feel that I'm doing the multitude of modifiers wrong.
I completed this assignment from the instructions on the assignment, but also added my own style to it along with the style from the tutorial in canvas. I used the tool editable poly in the modifiers menu of 3Ds Max, and I created it out of a simple sphere. I learned from this how to properly use the modifier's ability to warp the simple poly into the image on the left, and I have applied that to other projects that I have done in both quarter one and quarter two.
10/18/24 SPACESHIP
I completed this piece entirely out of one box and used the editable poly modifier again to create the spaceship model. I am proud of making the unique shape of the spaceship itself, without having to use additional poly shapes
In this project, I learned how to apply different maps to rendered objects in 3D max. In the previous activity assigned, I learned how to apply multiple different materials to rendered objects. In this activity, I learned how to manipulate the qualities of the material maps and make it better than just a flat surface. On some of the appearances, they enhanced the qualities provided, making bricks stand out more or shiny objects have more shine. On others, they made them smoother and did not have any rough parts.
The differences between the multiple different materials are definitely profound. The base color material provides the general color that the map is. The Normal Map material provides the basic formation of the patterns and colors, giving the object the characteristics the map describes. The Displacement material makes the map appear more random and less symmetric, varying the appearance of the object affected by the map to make it more natural and normal. The roughness material makes the object more varied in the 3rd dimension, like the Displacement material but not only 2D. Overall, all of these materials contribute to the final appearance of the material, through the coloration, the style and way the color is spread, the variation in both the style and the looks of it, and the texture of the map on the object.
Some of the parameters that were manipulated in this activity were the bump map, metal-ness, and roughness parameters. These parameters made the object stand out more, have more shine to them, and have texture that made the object more real.
The way that the different textures were applied to the materials were through the node system, where the nodes of the textures would be drawn to the node ending of the material that was dragged from the table on the left side of the material tab (Opens in 3D max when hitting the 'M' key).
The effect of the bump map on the final render gives the material on the object some protrusion and better detailing, and the effects of the roughness gives the render much more detail than the material/map without the changes/edits of the values for both Bump Map and Roughness. This impacts the appearance though, as said above, making it more detailed and realistic instead of flat and boring.
There are two techniques that are used to assign the material values to the objects in question. One way is through selecting the object made in the menu, then dragging the node of the material onto the object that was selected, applying the map to the object. The other way is through selecting the object, then selecting the material and then hitting the tool that says 'apply material'. This then applies the selected material to the selected object, making the object be affected by the material that is selected.
In this project, I had to work with the multi/sub-object material in 3D max. My overall experience with this tool was somewhat smooth, and had few problems. Some of these problems were the materials not rendering in the correct places or the materials having the wrong qualities. I managed to fix these problems through making sure which identity the sides of the square were and manipulating the values of the materials to make them look the best. The way that I set up the material IDs was through arranging the physical materials in the materials menu and then connecting the nodes to the multi/sub-object module node that corresponded with the identity of the side of the cube that the material was being applied to.
Materials used:
1. Masonry - edited so that the roughness is now 0.46 and the bump map is 1.0
2. Varnished wood - edited so the glossiness is 0.646
3. Patterned copper - edited so the metalness is 1.0 and the roughness is 0.56
4. Rock - edited so the displacement is 1.0 and the bump map is 0.3
5. Roofing tiles - edited so the roughness is 0.5 and the base color is 1.0
6. Tiles - edited so there isn't any roughness or displacement, due to it needing to be a flat surface
7. Metal plates - edited so the metalness is 0.31
8. Leather - edited so the displacement is 0.7
9. Sports car red - edited so the metalness is 1.0 and the roughness is 0.4
10. Paint - edited so the base color is 0.75
11. Granite - edited so the base color is 0.81 and the roughness is 0.07
12. Paint #2 - edited so the base color is 0.7 and the roughness is 0.12
13. Frosted glass - edited so the base color is 0.61, the roughness is 0.39, and the transparency is 0.78
14. Rubber - edited so the roughness is 0.12 and the metalness is 0.6
15. Wallpaper - edited so the roughness is 0.12
16. Paint #3 - edited so the base color is 0.81, the glossiness is 0.89, and the roughness is 0.07
17. Foil - edited so the reflections is 0.85, the metalness is 0.15, and the roughness is 0.29
18. Brushed metal - edited so the roughness is 0.402
19. Polished copper - edited so the roughness is 0.24
20. Copper - edited so the metalness is 1.0
21. Wood - edited so the metalness and the base color are both 1.0
22. Advanced wood - edited so the roughness is 0.0
23. Shiny plastic - edited so the roughness is 0.13 and the metalness is 0.98
24. Plastic - edited so the roughness is 0.12
Next part
Because of this project, the main benefits of using the multi/sub-object material while on complex projects is applying specific different materials where they could best be used to make the model look more detailed and realistic. This could be done through dividing up the model like in the render below and giving the smaller sub-boxes of the surface of the box identities that matched up with the identities in the multi/sub-object materials function. This way of assigning materials made it much easier than dragging each specific node to the different polygons on the box itself and having to keep track of it because of that. But with the multi/sub-object function in the materials editor menu, each node is already with the identity of the polygon it is supposed to affect.
There were some challenges that I had to deal with as I was applying these materials. Some of these were the different values of the objects themselves, and also whether some had the properties to make the project more varied and interesting. I managed to deal with this sort of problem through experimenting with multiple values in the roughness, metal-ness, bump maps, and in the case of the class material transparency. Of course, all the different materials made it a bit difficult to see which node was connected to what, with some nodes that had no similarities connected to the same material. I managed to deal with this through keeping all the different modules of the material all on the same level as the physical material node that they were supposed to be connected to, therefore keeping it uncluttered and organized.
There were differences in combining the materials into a multi/sub-object material than using the individual materials that I had experience with. The way I would put it is making the material for the target in question, then applying that target material to a layer of the object in question, creating multiple different materials on the same object rendered. It definitely slowed down my work process a bit, with having to drag the correct nodes to the correct materials, then make sure that the nodes of the physical materials themselves were in the correct identity of the multi/sub-object material. However, when I do it correctly the product has more variation and interesting details than it did before.
This project expanded my abilities in 3D max, increasing my ability to work with materials through being able to apply them to certain parts of the object that is being worked on. I can see this being used extensively in future project that require greater effort due to their complexity, with some being making different parts of a machine or vehicle through putting a different material or texture on parts of an engine to make it more realistic and give it more depth.
1/14/25 Mini Mech
In this project, I used several polygons and cylinders along with the join tool in several places to create the mech as a whole, then converted the shapes into editable polys and messed with the angles until they had the right shape. I then positioned the different parts together, then used the turbosmooth modifier to create the smooth texture that is seen on the mech to the left. I feel as though this work is comparably better to other projects I have made, and I'm proud of having been able to properly put together multiple different parts of this project to create the overall effect.
11/15/24 Simple Game Asset
This project is the first time I've used physical materials, creating the box asset that is seen on the left. I followed the tutorial and made it so that the different sides of the box lined up with each other to create the overall effect of an actual asset for a game. I'm most proud of the fact that I managed to get the project together at all, since the problems that I was running into were really annoying and hindering progress on the project. I was able to finally figure out the problem I was running into on the project and assign the correct values to the project to line up with the multi/subobject material in the menu, finally creating the textured box that is seen.
12/13/24 Creating textures
This project was the first time creating textures using photoshop, and I followed the tutorial for the basics of how to make the texture then decided to do something different and try to fit the texture to a shorter box than the crate in the tutorial. I feel that this piece demonstrates that I can accurately follow instructions and requirements set, but I can also show some creativity and go off the script to get the finished product when the instructions don't line up with the product. I'm most proud of the fact that I was able to figure out a solution to the issue of the box's dimensions by working around the problem with the texture.
2/14/25 Rendering techniques
In this assignment, I experimented with the multiple different renderers in 3Ds max. These are Arnold, Scanline, and Quicksilver. In the image carousel to the left, it shows three different renders from each renderer on low, medium, and high quality, as well as a final product with a different scene from another project.
ARNOLD
For the Arnold renderer, there isn't much difference between the different qualities of renderers to the naked eye. They all have similar appearances concerning the renderings, but the settings that seemed to affect this the most was the specular and the diffuse, which seemed to affect the pixels of the render slightly. The rendering seemed to take longer when I bumped up these values for the medium and high quality renderings, as well as changing the parameters of the length/width of the renderings.
SCANLINE
For the Scanline renderer, it was a lot more basic looking than the Arnold renderer, with settings that seemed to contribute to this being the diffuse and the raytracing function of scanline renderer. The renderer's speed in producing the render was fast in all of the renderings, low, medium, and high quality. I assume that the reason that it was fast is because it was the way that the renderer was designed, to make a fast and easy version of a render.
QUICKSILVER
For the Quicksilver renderer, it seemed to have a mix of both Arnold and Scanline in it, with the renderer still producing renders decently quickly while still showing some shadows and quality that seems to be better than the Scanline renderers. The settings that seemed to have the most effect on this is the number of iterations and the size of the render's frames, with the speed of the rendering seeming to be unaffected by the different settings for the low, medium, and high quality parameters that each render required.
CONCLUSION
The renderer that showed the best results was the Arnold renderer, and the reason might be that it was designed to produce the final high-quality render for projects in question. Easiest renderer to use, however, was definitely the Quicksilver renderer, since it only requires the user to select the parameters and the number of iterations before rendering. The most difficult would be the Arnold renderer, since it has more specifications and requirements to set before the rendering can commence, and the rendering itself takes a long time as well. The reason behind the difficulty could be to make sure that the render is the best one possible. The differences in the renderers is that the Arnold renderer was less intense in the lights and shadows than either the Scanline renderer or the Quicksilver renderer, both of which had intense lighting and shadows. Scanline can be seen to have higher contrast than the others, though. In an actual project, I would prefer to use the Arnold renderer due to the higher quality and the better shadowplay and softer intensity of the lights. I would use it in the final render of the project in question, and would use the pre-render tool in 3Ds max to see how the different elements of the render are working together without actually making an entire render of the project right at that moment.
The items that I feel are works that I can feel pride in:
5/29/25, submitted - Rebel Alliance Y-wing bomber
I chose one of my items to be my project of the Rebel Alliance Y-wing spacecraft. My reason for this is that it was my first time using the edit poly function in 3Ds Max, including the vertexes, planes, chamfers, and the duplicates in 3Ds Max. The way I'm most proud of this piece is that I actually made it look something like a Y-wing, despite only knowing how to use basic primitives at the time that I made this project. Additionally, I included small details within this project like the ion turret and the astromech behind the cockpit of the Y-wing. I feel like this piece shows my artistic vision of looking for sci-fi answers to problems to make them more interesting than if someone gave it a basic modern solution that is comparingly mundane.
5/29/25, submitted - WW1 bunker scene
I've chosen the bunker scene for my second item to submit in this quarter check. I included the basis for this model in the image carousel on the left, to show the two images side by side. The reason that I feel proud of this piece is because of the fact that it was one of my first times working with lights and textures at the same time, and I also managed to figure out how to make some lights and dials in the scene 'glow' using some spotlights aimed at them. Some of the challenges I had to rectify in this piece was that the dials originally didn't take to the texture well, but I fixed this through using shrink-wrap then a cylindrical modifier to make sure the texture applied evenly to it.
5/29/25 - A7V Sturmpanzerwagen
For my last and final piece to reflect on the year, I've chosen my final project for this. I made the A7V out of inspiration from my favorite game, Battlefield 1. I faced challenges such as texture maps not sitting correctly, but I fixed these through reducing some values on the textures in question. Lastly, I am most proud of the fact that I managed to use all parts of my knowledge to make the A7V have themost accurate look that it possibly can.