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3D Illustration Techniques

Studio Liddell takes us through the processes involved in creating an illustration using a variety of drawing, painting and 3D packages. The company produced this PlayStation image using Illustrator, form·Z, 3D Studio MAX and Photoshop - it was designed for a series of children's books. The tools and techniques involved in completing this kind of project will be of interest to any digital artist, and essential to those who are less experienced...

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Part 1: Reference material Commencing any project can be a daunting task, but as Studio Liddell shows us, preparation is the key. Here we take a look at the early stages...

Part 2: Modelling in form·Z After the preparation was finished, modelling could begin in form·Z. But first the completed line work had to be imported from Illustrator...

Part 3: Exporting and importing Studio Liddell guides us through the techniques involved in exporting your model...

Part 4: Working in 3D StudioMAX After everything was modelled and exported, Studio Liddell worked in 3D Studio MAX to both smooth misshaped edges and add materials...

Part 5: Retouching the renders After everything was rendered, the two separate images had to be combined. Studio Liddell utilised Photoshop's Layer Masks to achieve the required transparent effect...

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Part 1: Reference material

When starting any project, the first stage is always preparation: gathering all the reference material that you'll need to produce the

illustration.

To help in the production of the 3D model, a set of elevations were needed. The PlayStation was photographed and traced over in

Illustrator.

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After the traced line work is complete, Studio Liddell completely removed the background image that was no longer required. This

also prevented any problems occurring when the line work was imported into form·Z.

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Part 2: Modelling in form·Z

Now, the line work needs to be imported from Illustrator. You can do this by selecting the top view, then going to Import and

selecting Illustrator. This will bring up the Import Option box - in the number of points field enter a figure between 12-14.

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Creating objects with rounded corners can be done within form·Z. You start by extruding the original spline A. Then the required

vertical segments are carefully rounded using the Round and Segment tools. A box slightly larger than the extruded shape is created next (B). With line intersection, Studio Liddell clicked the two shapes and deleted one of the splines (C).

Spline (A) was then extruded to a distance slightly larger than required (B). Next, you double-click on the Round tool and check

Plain Rounding. Select the face, Option-click on the Round tool and select the top face (C). Now type in the amount of rounding required.

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The imported line work can be used as a guide to position elements. The small circuit board was created this way, producing different

files for the components, which were pasted into the scene and then moved into position.

The main parts of the model are created using a mixture of extrusions, evolving from the imported Illustrator line work.

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There are times when more complex shapes are required - with the PlayStation it was the cables. To create these, the Spline Cubic

BŽzier was used, working in top, side and front view to create the middle and ends of the cable.

The spline is in three pieces that now need joining together. Using the Point Snap, move one end of a spline to another spline. The

Point Snap matches the two points together.

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When creating a model that's going to be exported into another program, it is a good idea to do a test render. This will show any

problems which may cause the mesh to export incorrectly.

Getting the various parts of your model organised is important if you are exporting into another 3D program. In this example, Studio

Liddell placed individual or similar objects on its own layer - when exported into 3D Studio MAX 3.1 a layer in form·Z will become an object in 3D Studio MAX.

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Part 3: Exporting and importing

With the model now complete it is ready to be exported as a DXF. The DXF file format works well, produces good results, and is

supported by the majority of 3D modelling programs.

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When exporting files that contain a large amount of detail, large DXF files are generated. These files take a long time to import.

Here, Polytrans were used to convert the DXF file into 3DS format.

With the DXF converted to 3DS, importing into 3D Studio MAX is quicker. When importing, choose 'Merge Objects With Current

Scene', as this leaves other elements in the scene untouched.

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Part 4: Working in 3D Studio MAX

With the model now imported into 3D Studio MAX, there are some occasions where edges or faces can become a bit misshaped. To

remove these minor problems with the mesh, you just apply a smooth modifier with Auto-Smooth checked.

Creating a material in 3D Studio MAX is very straightforward, with various options available for controlling the colour, glossiness,

highlight strength and other parameters.

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With imported meshes there are sometimes faces in the mesh that have inverted normals - this creates holes in the mesh. One way to

solve this is to turn on the two-sided option in the material's rollout. This doesn't change the inverted normals, but gives the impression that the object is solid.

With imported meshes there are sometimes faces in the mesh that have inverted normals - this creates holes in the mesh. One way to

solve this is to turn on the two-sided option in the material's rollout. This doesn't change the inverted normals, but gives the impression that the object is solid.

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To create a texture using an image map, you just click on the square next to the diffuse and select bitmap from the material/map

browser. Next, locate the image you intend to use.

After applying the new texture map to your object, a UVW map modifier needs to be applied to object. The UVW modifier enables

you to scale, position or rotate the texture.

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3D Studio MAX has five different types of lights. When starting a new scene a target spotlight is an excellent starting point, using the

RGB/HSW to set the colour and Multiplier to alter the brightness of the light.

With complex scenes containing many lights, adjusting the parameters of different lights can become a time-consuming

process. The Light Lister shows all the lights in the scene - using this, they can all be easily adjusted.

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Rendering a sample of the scene when textures and lights are set up enables you to see how it is progressing. This also means that

you can refine the scene until you are totally happy with it.

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Part 5: Retouching the renders

Now the scene is complete and the final renders produced, it all needs placing together. The internal render shows all of the

intricate detail. The CD is subsequently ghosted away to maximise the amount of detail shown.

The external render was simply retouched adding highlights, enhancing the image to bring more realism into the scene.

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With the internal and external images brought together in Photoshop, we can now use layer masks to remove parts from the

external image. The advantage of using these is that none of the image is erased and it can be undone if required.