There are only 35 different Texture maps in this scene. Some textures I created solely in PhotoShop and Painter as well. After scanning some pieces of junk and mucking with them in Photoshop (and making them tilable where needed), I created Texture, Bump, Specular, and Diffusion maps based on the metals. Texturing of the more rusty objects consisted of texture hunting in a field that was home to some construction equipment. Once tessellated, there were a little over 1 million polygons in this scene. Then I’d tag the various cross sections, do a “center to ver¬ tices,” and scale and rotate the section appropriately. Most parts that weren’t skinned were extrusions along splines. I used them for two main reasons: first, for the more organic feel, and second, because it’s easier to place textures and have them follow the surface accurately.
#Softimage 3d download Patch#
The Modeling of almost everything was out of NURBS and patch surfaces. Well, actually, they all are, but who’s counting? This illustration start¬ ed with this lovely sketch from my sketch¬ book. Fortunately, none of those things are contradictory. I wanted it to feel organic, yet staged, simple and fun, yet sophisticated and techy. Inside the Front Cover The Idea for Dodo Redux was to create a scene starring a robotic-type bird sitting in a tree that looked natural, yet mechanical. The definitive guide to demystifying one of the world's most sophisticated visual effects software \
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