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Pixar Releases RenderMan for Maya 4.0 and RenderMan Studio 3.0

admin — Wed, 06 Apr 2011 07:04:53 +0000

What’s New?

RenderMan for Maya 4.0

RenderMan® for Maya® 4.0 is the latest version of Pixar’s advanced rendering plug-in for Maya, featuring Pixar’s award-winning RenderMan renderer. Highlights in version 4.0 include a series of significant performance enhancements, which should be immediately apparent on many scenes.

NEW FEATURES

Maya Fluids – Maya Fluid are now supported with full support for motion blur and the ability to produce depth maps, for Deep Shadows, etc.
RenderMan Controls - A new, consolidated user interface provides intuitive, one-window access to the RfM’s basic settings and operations.
Co-Shader Support - RFM now supports tightly bound light/co-shader combiniations.

ENHANCEMENTS

Upgrade to 15.2 - RFM includes a significant upgrade to the core rendering technology, providing substantial out-of-box performance enhancements.
Unlimited Threading – Renderings now can take advantage of unlimited threads per seat.
Enhanced Threading - Significant gains when using multiple processors
Accelerated Ray Tracing – Substantial performance optimizations
Render Layers - The pass mechanisms for both implicit and explicit passes has been improved for Maya Render Layer’s.

JOB DISTRIBUTION

1. Pixar’s Tractor – RFM provides no-hassle job distribution with Tractor, Pixar’s new and improved work dispatching system … Tractor is available as a separate purchase for RFM.

NEW COMPATIBILITY

1. 64 bit Vista Support on OSX
2. Maya 2011 Support

What’s New?

RenderMan Studio

RenderMan Studio 3.0 is the latest version of Pixar’s advanced suite of tools for shading and lighting TDs. Highlights in version 3.0 include a series of significant performance enhancements, which should be immediately apparent on many scenes.

NEW FEATURES

Relighting - GUI for interactive, final render-quality relighting of your Maya scene. (RFM Pro Only, RenderMan Pro Server Required.)
Maya Fluids – Maya Fluid are now supported with full support for motion blur and the ability to produce depth maps, for Deep Shadows, etc.
RenderMan Controls - A new, consolidated user interface provides intuitive, one-window access to the RfM’s basic settings and operations.
Co-Shader Support - RFM now supports tightly bound light/co-shader combiniations.
Slim Scripting – MTOR-style Slim scripting is now supported from RFM, via slimcmd and slimmsg.
TCL - RFM now supports Slim-side Tcl expressions (e.g. mattr, etc.)

ENHANCEMENTS

Render Layers - The pass mechanisms for both implicit and explicit passes has been improved for Maya Render Layer’s.
The RIB Inspector – A new RIB inspector provides quick access to your render data.
Better Intergration with Slim – RFM’s integration with Slim has been improved:
1. Slim sessions now “travel” with Maya scene files.
2. Bind Slim shaders to Maya nodes without the use of Maya ShadingGroup Nodes.
3. Hierarchical binding via the Maya DAG is now supported. A new binding strength attribute allows you to override lower-level bindings at higher DAG levels.
4. Slim can now initiate preview renders in Maya.
5. Slim networks can now generally imply extra rendering passes.
6. Full support for Slim-side Ensemble Adaptors.

SLIM 9.0

Factory Templates – Complete upgrades to out-of-box templates, providing production-ready shading while leveraging the new capabilities of RSL 2.0.
1. Improved physical accuracy
2. Optimized performance
3. New Slim nodes of all types, including Broadcast co-shaders, PTex utilities, volume nodes, and more.
Materials Library – A library of complex appearances is provided.
Tight Slim/RFM Integration – Offering new levels of interactivity with Maya. Tight integration means:
1. Direct attachments from Slim
2. A new Smart Palette based on Maya selections
  Slim networks can now imply extra rendering passes..
3. Full support for Slim-side conditional Adaptors
PSets - PSets are a new UI tool for simplifying the process of introducing many minor variations in shaders.
Co-Shaders – Complex shading tasks can be much more controllable and efficient with co-shaders.

RENDERER ENHANCEMENTS

Upgrade to 15.2 - RFM includes a significant upgrade to the core rendering technology, providing substantial out-of-box performance enhancements.
Unlimited Threading – Renderings now can take advantage of unlimited threads per seat.
Disney’s PTex - RFM now supports PTex files, including both reading, writing, and baking, facilitating new workflows for painting and texturing models, with higher quality results.
Enhanced Threading - Significant gains when using multiple processors
Accelerated Ray Tracing – Substantial performance optimizations

JOB DISTRIBUTION

1. Pixar’s Tractor – RFM provides no-hassle job distribution with Tractor, Pixar’s new and improved work dispatching system … one Tractor license is included with every seat of RenderMan Studio.

Press Releases

EMERYVILLE, CA – (July 27th, 2010) Pixar Animation Studios today disclosed full details of the upcoming versions of its RenderMan Studio and RenderMan for Maya products at SIGGRAPH 2010.

Targeted for release in the fall of 2010, RenderMan for Maya 4.0 is Pixar’s RenderMan® plug-in for Autodesk’s Maya®, optimized to provide fast and easy access to the photorealistic rendering technology used to create the stunning visual effects in the majority of today’s feature films. This latest version provides accelerated performance via the addition of unlimited threading and significant acceleration and memory efficiencies from core optimizations to the internal renderer. Additionally RenderMan for Maya 4.0 brings support for Maya Fluids, Maya 2011 compatibility, and the addition of a new unified interface for RenderMan Controls.

Also targeted for release in the fall of 2010, RenderMan Studio 3.0 includes all of the above new features and adds enhanced Slim integration, a new production-quality shader library, a relighting GUI built on PRMan’s re-rendering API, enhanced co-shader support, PSets, Ptex compatibility, and more. In addition, RenderMan Studio now includes Tractor 1.0, Pixar’s recently released distributed render management solution built on an innovative new architecture designed to manage both small and large multi-core render farms.

Pixar’s SIGGRAPH 2010 booth (#628) features demonstrations of both the new RenderMan Studio 3.0 and RenderMan for Maya 4.0, together with customer case studies and workflow demonstrations from complimentary products that closely integrate with RenderMan in today’s production pipelines. The annual RenderMan Users Group is being held at 6.30 pm at the JW Marriott, Los Angeles at L. A. Live, 900 West Olympic Boulevard, CA 90015. More information is available for those both using and considering RenderMan at the Pixar booth.

SIGGRAPH 2010 highlights the latest versions of RenderMan Studio, RenderMan for Maya, together with RenderMan Pro Server, as the core technologies used in today’s cinematic rendering pipelines, all built on a shared technology base providing entry points and upgrade paths suitable for every level of user.

Availability
RenderMan for Maya 4.0 is compatible with Mac OS 10.5 and 10.6, Windows 7, Windows Vista 32-bit and 64-bit, and Windows Vista 64-bit HPC Server. In addition to the above, RenderMan Studio 3.0 is compatible with Linux 32-bit and 64-bit. New purchasers of the current versions of both products are entitled to a free upgrade when these versions release.

Tractor 1.0 is included in RenderMan Studio and is also available as a standalone product. Each additional Tractor license is able to execute one task on a remote client for only $99. Until December 31, 2012, existing Alfred, Alfserver, RenderMan Pro Server, and RenderMan Studio customers on active maintenance are entitled to freely replace their Alfred and Alfserver licenses with an equivalent number of Tractor licenses on a one to one basis at any time. Tractor 1.0 is compatible with Mac OS X and Linux 32-bit and 64-bit, but can deploy tasks to Windows 7, Windows Vista 32-bit and 64-bit, and Windows Vista 64-bit HPC Server also.

Pixar’s annual maintenance program benefits customers with access to ongoing support and free upgrades. For more information please visit www.pixar.com or contact rendermansales@pixar.com.

About Pixar
Pixar Animation Studios, a wholly owned subsidiary of The Walt Disney Company, is an Academy Award®-winning film studio with world-renowned technical, creative and production capabilities in the art of computer animation. Creator of some of the most successful and beloved animated films of all time, including Toy Story, Finding Nemo, The Incredibles, Cars, Ratatouille, WALL•E, Up and most recently, Toy Story 3. The Northern California studio has won 24 Academy Awards® and its eleven films have grossed more than $5.5 billion at the worldwide box office to date. The next film release from Disney•Pixar is Cars 2 (June 24, 2011).

source: pixar.com

Top 20 Making Of Cars 3D Tutorials

admin — Sun, 17 Oct 2010 13:20:40 +0000

In this article I would like to show you what kind of methods I used to create my latest picture ’Hotrod’. Although in Hungary (my home) those cars aren’t too popular, I really like the style of cars from the 30’s, so I decided to make my own hotrod. The car isn’t an exact type, I just wanted to catch the most characteristic shapes of this era.

For this scene my initial idea was to model a realistic car, but I wanted to make an old one, such as you see in the exhibitions. I started searching for references and blueprints on Google, to find one that was interesting to model, and after a long search I chose the Aston Martin Ulster.

Whenever I go to model a car, as well as references, to me it is essential to have blueprints to make an accurate model. I was fortunate to be able to get one, because there are not many blueprints of this 1930s car.

I decided to work on the Ford Fastback because I love the classic look of the car, and that is what I wanted to achieve – a feeling of class and style. I had a rough idea in my mind of the final image, the colours, and a studio render with maybe some different camera angles. But it was really the process of creating the car and trying out different things that led to the final result that I am talking about today.

I hope you will like this making of, and perhaps you’ll find something interesting in it for yourself.

The project, Alfa Romeo C8 Spyder, started as a personal challenge in order to improve my modelling techniques and final renders. The modelling of cars has always attracted and fascinated me, and this is what I specialise in. I have created some car models and the treatment of each finished model is better than the previous one.

I choose this model for this personal project because, from the very first time I saw it in a car magazine, my attention was simply drawn to its form. It decided it was time to bring it into the world of 3D!

As with any project of this nature, the key to a realistic model is proper research and a decent set of blueprints. Having sourced the blueprints, I soon discovered that (as usual) there were certain discrepancies between the different angles represented on the blueprints. However, this was unavoidable as the angles were sourced from different locations and traced from different perspectives and photos.

Seeing as the side elevation had the most detail and was of a decent size, I decided to use this view as gospel and tweak the remaining ones accordingly. In doing so I ended up with a set of blueprints that lined up in all the important places and that I hoped would produce a final model with the correct amount of headlights and so fourth.

Introduction – I’ve made this car by the requests of an advertising agency here in Rio de Janeiro. They need it completed in less than 3 days… It should be a generic formula1, ‘because our client doesn’t sponsor any… I asked for more time, but the agency was in a hurry (as always…)

So I decided to do it by myself…the color scheme of the car is a tribute to my soccer team Flamengo who is the winner of the Brazilian soccer championship of 2009. The car took me one week to be finished! And here is the small project overview…

I’ve looked in the Internet for the official documents of formula1 in order to have the right dimensions to model my own car.

Hi, my name is houmam munir and I was born in Baghdad, Iraq. I am 18 years old, I’m still studying and where I had most of my experience with technical drawing. For the experience in the industry I decided to enroll for 3d courses where I can learn the tools of the trade and modeling concepts.

(Please read): Before you begin the tutorial you should know that the tutorial will only work perfectly if you model the same car. This will save you a lot of frustration as you progress through each section. In order for you to better grasp the tutorial, I highly recommend that you do model the same car. This will better prepare you for when you start working on your own models and/or other blueprints. In case you decide to work on a different blueprint this tutorial will help you with the fundamentals. In addition, you will learn a fast, clean and production friendly way to model a car.

I started modeling this car for another scene a while ago and it was supposed to be just a low-poly half-finished model. However we had an assignment from university to make a realistic car so I decided just to finish this one and make it really good. The whole process took about 18-20 days from start to finish. There weren’t any blueprints available for this model at that time (I’m not sure if there are now) so I mostly used references and blueprints from a similar model.

Hi everyone, I’m Soroosh Ghaffarian, a 3D artist. In this tutorial, I’m going to share my knowledge on how I modeled and rendered the Mercedes Benz CLS550.

First of all, as far as the modeling of cars and vehicles are concerned, it’s really important to gather a variety of references and the right blueprints. It’s not a difficult process but it shouldn’t be rushed. I found blueprints which were pretty accurate, so there was no need to squeeze or skew them in order to make the views align better. I ended up gathering more than 100 references to model my car and below are some of the photos that I used.

Hello everybody, my name is Luis E. Nieves. I am a digital artist currently working as Technical Director at Lightstream Animation Studios and based in northern California. In this Making Of I would like to share my workflow and also some tips with you. This project was done using Autodesk Maya, mental ray and Adobe After Effects.

Ever wanted to know how the artists create those amazing cars for AAA video game titles? Well here’s your chance to find out. In this incredible CGTuts+ exclusive tutorial series, you will follow professional CG artist and teacher Laurens Corijn as he creates a high quality, next-gen, normal mapped Hot Rod for realtime use.

This is the first part of a personal project, I love modeling and habits in order not to lose, and trying new things and move forward and improve that already use, usually propose new challenges to me. The attraction I feel for the old cars is that they can see as the beginning of an idea that has been evolving to this day and that in those first steps do not have the technology in use today.

Whenever you see highly realistic images of CG cars, you may think that it is an incredibly difficult process to arrive at such a high quality result…this is not actually the case. In this tutorial, Sumeet Gupta will show you how easy it can be to create a photorealistic car render using 3DS Max and Vray, as long as you know the right steps.

Hello everyone. In this tutorial I’m going to explain the process of creating a Trans Am. Before I start let me give you a brief review of this tutorial:

Section 1 – Modeling the Car
Section 2 – Car Paint, Lighting and Rendering

Hello guys, my name is Bonar Siregar (Egar). I was born in Jakarta, Indonesia in 07 October 1985. Im still new to this field (3d) about a year(+) experience. Im quite surprised at receiving an email, a request from 3dtotal asking me to make a making of about my Nissan 350Z Nemesis. So, I’m truly glad and honored to write about it, even though this project was made at the end of 2004 (at that time I was still learning 3D for about 5-6 months.)

Bugatti Veyron – One of the fastest and popular speedcar…. This 3D Model was created in 2 Days completely. I used 3DS Max for this. I had seen some of the wallpapers of this car and was so inspired that the same night i began to work on this model.

For the modeling process of this scene I used 3ds Max, I used polygonal modeling and some nurbs curves for basic curvy objects for interior mainly which were converted later into polygons. The more details you can add to your model the best it will look in the final image. The process begins with a basic references planes setup.

I’m 23 years old and I have been into 3d since 2002, fascinated by my interest in 3d video games which was booming at that time. For the first few years I was just trying it out not to seriously and like most beginners in 3d I focused my time in learning modeling, maybe for to long, before I realized that texturing, lighting, and rendering skills was also important/ more important in creating good 3d scenes. Recently I got a job doing minor / light 3d work. Luckily the job gave me an opportunity to advance my 3d knowledge because I had free access to the web threw the office computer.

This is not exactly a step by step tutorial about polygon car modelling; it’s more of an overview of the process I use and some tips that might help anyone having trouble modelling a car.

10 best 3d tutorials

admin — Thu, 26 Aug 2010 15:28:20 +0000

Creating Next-Gen Environment Textures using Total Textures

Introduction:

Hello, my name is Daniel Vijoi and I have been working in the gaming industry for 7 years. My current job is Lead Texture Artist at AMC Studio, a Romanian game development company based in Bucharest. During this time I have worked on many projects, like Test Drive Unlimited (Atari), Mercenaries 2, Saboteur (Pandemic Studios/EA), Pure (Blackrock Studios/DISNEY), Rise of Nations & Rise of Legends (Big Huge Games/THQ), and other exciting titles yet to be announced.

I decided to write this tutorial as I noticed a certain lack of interest for game-related environmental texturing in the 3D community. This tutorial is targeted at medium level users and will present the process of texturing a photorealistic building that has already been modelled. I will focus on the texturing process in particular, even though the modelling and UVs are also important for the final look of the building.

Creating a Next-Gen Video Game Hot Rod: the Complete Workflow

In this first part of the series, Laurens takes you through the first planning and design steps, such as gathering inspiration, collecting reference, and fleshing out the idea, and then demonstrates how to get started with the first rough blockout of the model.

Making of Tree Room

Hi everyone! In this making of I’ll try to show you the process of making the “Tree Room” image. First of all I started to look for some references on Japanese rooms and trees because that was the style I wanted to reproduce. In this stage I also look for light and texture references.

Making of Annie

Hi, my name is Florian Falcucci and I am CG Graphist in Paris since 1 year. For this character, the idea was to create a character in a cartoon style with a good charisma. A woman who does not let itself be. And I love the period of the aero postal, with Amelia Eckhart. The objective was creating an illustration with a single character, and discovering other methods for a best workflow. I suppose parts of my workflow are not very classical but it is my procedure.

How to Animate the Inception Totem with Cinema 4D and Dynamics

In this tutorial, I show you how to animate, light and texture the totem top scene from Inception. I show you how to use the Lathe Nurbs, Dynamics and noise in your textures to build and texture the scene. Then I show you how to light the scene with the HDRI Light Kit Pro. Stay tuned for part 2 of this tutorial where we head into After Effects and do the texturing and compositing.

Part 1

Part 2 Making of Angel

Concept – I didn’t create this model with the purpose of making a real time character; I wanted to represent a modeling and concept exercise. That’s why, the low-poly phases of this model are missing from the working process.

The idea of this project was based on a portrait I’ve made in ZBrush, and this portrait inspired me to create a whole character. I didn’t have a specific idea of how this character will look like, I just wanted to attach him an interesting body and a pair of wings.

An Introduction to Texturing, Lighting and Rendering Architectural Exteriors

In the field of Architectural Visualization, realism must always be the 1st goal that we strive to accomplish. In this 3 day tutorial series, you will gain a solid introduction to valuable lighting and texture mapping techniques that can be used to achieve realistic architectural renderings.

Part 1

Part 2

Part 3 How to use Volumetric Lighting in Cinema 4D

In this short tutorial, I show you how to use Volumetric Lighting in Cinema 4D. You can use Volumetric Lights for glows, Shine effects and also for dramatic backlighting.

Making of a Formula 1

I’ve looked in the Internet for the official documents of formula1 in order to have the right dimensions to model my own car.

Procedural Modeling with MEL Scripts in Maya

This tutorial introduces the exciting possibilities for modeling using Maya’s MEL scripting language. In this first part, we will learn the basics of MEL commands, and create two procedural model scripts that could be useful in your own workflows.

Part 1

Part 2

Making of Batman Desertstorm

admin — Thu, 01 Apr 2010 09:07:59 +0000

Hello everyone, here I will explain the few steps that were involved in the making of Batman Desertstorm for the Comicon Challenge ‘09.

First I made the base mesh for all the parts separately. I usually make the head, torso and hands as one basemesh, but sculpting hard surface means subdivision levels go really high, so I decided to divide and sculpt all the parts separate, which is really helpful for focusing on details and also keeps some RAM of the system free.

I imported all the base mesh to ZBrush and one by one started sculpting on them. I went for the head first and making this a warm-up excercise, when I was all set, I started adding details and made sure this is going to be the most iconic part of the model. I wantedthe head to be more like the one from darknight. I also do a bit of coloring to the model to remove the flat look of the high-poly model.

Making of Garage

admin — Sat, 27 Mar 2010 09:04:54 +0000

Introduction

Hi all! It’s a pleasure for me to give you an overall view of this project! This image started last summer… Due to vacation I decided to take a model from our short in development and use it to study lighting and shading with a cartoony look. I wanted to create an ambient with an alien look… The principal character is from another world (the one with the big foot outdoor) and Iwanted to communicate that with little details here and there. As usual I asked Giovanni Lo Re (a really good friend I used to work within Italy) to make a little sketch of the scene and to design the objects.

Making Of German Soldier Bust

admin — Fri, 26 Mar 2010 09:43:21 +0000

Introduction

Hello my name is Rafael, I’m from Brazil and I’m here to show soon on this personal project that German Soldier Bust developed. The idea of creating a bust of a soldier, came the need to not have seen anything of this digital character so controversial. I maturing the idea of seeking references and finally ended up setting the project staff. I like a lot of issues related to war, I decided to create a little history to have a successful outcome. The image you’d like to pass this work is only one small decorative elements adorning the table of a veteran and survivor of World War II. In no time the intention is to boast Nazism. So let’s start creating!

Inspiration

The coolest part of the project, develop a functional and cool idea for this research is very important. We have to look for artists, stories, books, movies, everything you can bring a direct relationship with you wanted to develop. I sought in such films (Saving Private Ryan, Medal of honor, call of duty, The Secret Life of Hitler Adolp) and many others. I researched everything that related to the spectators of the time as furniture, colors, structure, clothing and so on.

Making of Worker Robot

admin — Fri, 26 Mar 2010 09:38:40 +0000

Software Used:

3ds Max, VRay & Photoshop

Introduction:

The first time I watched Brazil by Terry Gilliam, I was so excited that I wanted to life in that town. I was affected by the technology that people were using, the difference in computers, transport, weapons, architecture and even dress styles. This technology, despite its gravity, made me laugh sometimes and I enjoyed all of the components which I’d never experienced in other movies. For me this style and level of technology was so lovable and amazing that I watched it several times.

Since childhood I’ve been crazy about robots and I’ve always wanted to design one. This movie motivated me a lot and gave me some cool ideas.

Making of Classic Living Room

admin — Fri, 12 Feb 2010 11:54:56 +0000

This is my first Making Of; it was a personal challenge in which I wanted to learn everything possibly refers to interiors. I will try to briefly explain the process of creating my image “Classic Living Room “. I used 3dsmax for the main development of the image and V-Ray as renderer. Also use the Adobe Photoshop for creating the textures and giving the final touch in the end.

Inspiration and References

Like any challenge, it’s almost a basic good references because this depend on your source of inspiration or good development.

So start looking for more images of interior’s until I find which I like. I take my freedom when creating my image and I started my challenge calm but slowly, being constant, and if you give few hours every day then you can be make great achievements.

Create a Gorgeous Abstract Greeble Scene in Cinema 4D

admin — Mon, 08 Feb 2010 09:33:54 +0000

In this tutorial you will learn how to create a complex (around 600,000 polygons) abstract Greeble scene without getting into too much modeling. Loft NURBS, Sweep NURBS, Formula object, Structure tools, and Visible light will be used to create the scene, and Advanced Render will be applied to generate the final image. You will also learn some cool tricks on how to tweak the final rendered image, by modifying the visible light, and adding glare and depth of field in Photoshop.

Making of S-Force

admin — Fri, 29 Jan 2010 09:51:00 +0000

Software Used:

3ds Max, ZBrush, Photoshop and BodyPaint

Whenever I try to make a new character, I always try to give that character a particular personality which is different from all my other characters. For “S-Force”, I decided I wanted to make a female character that was not only sexy, but also kind of powerful.

This was the first time that I’d made the whole body of a character and while I searched the internet for references and information, there weren’t many tutorials talking about how to create body material. Because of that, in this article I’m going to focus on the process of making my character’s body sss material.

Okay, I think I’ve said too much, so now I’m going to share my workflow and my experiences with you.

Making of Distributor

admin — Thu, 28 Jan 2010 09:37:56 +0000

Software Used:

3ds Max, VRay and Photoshop

Concept:

The main idea of this image was to create an atmospheric environment with a sci-fi setting. So I settled on the idea of a dimly lit room with a massive old distributer, dilapidated walls and plenty of rusty pipes.

Create an Abstract Armored Sphere Scene in Cinema 4D

admin — Sat, 23 Jan 2010 09:00:27 +0000

In this tutorial you will learn how to create a complex abstract Armored Sphere scene in Cinema 4D. You will use structure tools (such as Extrude and Extrude Inner), HyperNURBS, and the Danel shader to create the scene, and then render it with Advanced Render, and finally add some depth of field in Photoshop.

Creating HighPoly Beretta in 3DS MAX

admin — Fri, 22 Jan 2010 09:40:00 +0000

In This tutorial I will show my way of creating high poly weapon in 3d max.

Making of the Hammerburst II

admin — Fri, 22 Jan 2010 09:25:24 +0000

Hello everyone! I will try to show you how I proceeded to get the Hammerburst II from “Gears of War 2″ done. So I will try to explain my modeling texturing rendering and final compositing work flow for it.

Ace Ventura

admin — Fri, 15 Jan 2010 09:48:32 +0000

introduction

First and foremost , I do not know how to emphasize my idol more than I already have. If it weren’t for Jim Carrey, I would not have been a CG artist.

Ace Ventura is my favourite character among all of the movies he has acted. To me he was at his best. That was when I started to love acting, animating and creating funny things, humorous and entertaining scenes for the people around us to react to.

Making Of 1964 Peugeot 404

admin — Mon, 04 Jan 2010 09:05:15 +0000

Software Used :

Softimage (XSI) and Photoshop

Introduction :

When modeling a car I generally try to find something different to build, something I haven’t seen before (in 3D). I enjoy modeling older cars because I find their shape more fascinating than modern cars. Sometimes I have an idea of the final image I want to achieve. Originally, I was going to try and get the Peugeot to look like the reference pictures I had sourced, but then I stumbled across a few rally cars and decided it would be fun to texture the Peugeot with decals, mud, rust, and so on.

I had the Peugeot almost complete in its standard form before deciding on the final image I wanted to create, which then involved further modeling and texturing. These additions definitely made the final result more visually appealing.