Save the created image in JPG format with maximum quality, close Photoshop and return to 3DS MAX.
Apply the Standard material with the previously created landscape workpiece with the selected V-Ray visualizer. In the MAPS scroll (texture cards) in the displace slot, add the created card (Fig. 1.10).

Fig. 1.10. Map assignment in displacement slot

Note
Materials in the editor of materials are displayed in separate cells in the form of empty black circles. We specifically set this type of display by selecting for previewing the materials not V-ray, but the standard 3DS MAX visualizer. This will significantly reduce the load on the video card. In addition, configure the V-Ray material, focusing on its display in the cell editor cell, you can only approximately - it is better to do this on test renders directly in the scene.

Apply the DISP Approx modifier to the object with the default settings. If now visualize the scene, it will be seen that the height card transformed the plane and the hills appeared on it, but the grid itself did not change. This is exactly the basis of the work of the DISP Approx modifier (offset approximation). But we need a real grid that can be edited and where the elements of architecture can be placed. Apply the Displace modifier to object instead of DISP Approx (offset approximation). It is intended just for this purpose (Fig. 1.11).

Fig. 1.11. Application of the DISPLACE modifier (offset)

For the STRENGTH parameter (extrusion force) from the Parameters Scroll (Options) of the DISPLACE modifier (offset), set the value corresponding to the highest possible mark according to your drawing. By pressing the Bitmap button (Raster Map) of the modifier, download the created height card.
In this way of making the landscape, it is impossible to construct an accurate geodesic map on an isolated, much has to be done on the eye or adjusting the position of individual heights along the parametric lecalable objects (Fig. 1.12).

Fig. 1.12. Adjustment of the height of the grid according to objects

Now you can go to a more detailed study of the landscape. We have no recess - reservoir.
Open the designated material in the materials editor and remove the displace from the displace slot (offset) the height map texture. This can be done, moved free slot with the designation None (no) on the displacement slot. In the Diffuse slot (master material), add a map with an image of an isolated. Now the drawing image appeared on top of the object (Fig. 1.13).

Fig. 1.13. Projecting Card Isolates on the Object

Convert the object again into the editable grid.
To make the drawing displayed in the viewing window with maximum quality, you must configure some parameters graphic Driver. Run the Customize → Preferences menu command, go to the ViewPorts tab, click the Configure Drive button, set the values \u200b\u200baccording to fig. 1.14 and restart 3DS MAX. The drawing will appear on the screen with maximum quality, which will be determined by the quality of directly the drawing itself.

Fig. 1.14. Setting up graphic drivers

Note
Looking ahead, I note that in order to obtain a high-quality card of extrusion, the size of the picture (permission) must be quite large. Map, for example, 512 x 512 pixels will give a noisy end result, especially in places of sharp transitions. And even a card with good resolution Requires a small blur effect (Blur) to get a better effect (which we and we have done when they painted the map heights in Photoshop).

Let us turn to the editing of the grid. As can be seen, the deepening area is pretty small quantity Polygons - to simulate the necessary detail on them will not be possible. It is necessary to increase the grid step, but not on the entire object, but locally - only on the desired area. Select the polygons framing the area of \u200b\u200bthe "reservoir" (Fig. 1.15).

Fig. 1.15. Selection of polygons in places of increased detail

Activate the TSSELLATE (mosaic) tool from a set of polygonal modeling tools and scatter a selected area into smaller fragments. Single application tool increases the density of the grid twice. Too zealous here is not worth it: the resources of the computer are not border.
Well, now I will give a little, while using the Paint Deformation Scroll (it is in the bottom of the Scrolls of Parameters). There are two buttons: Push / Pull (Pulling / pulling) and Relax (relaxation) - that is, using a virtual brush, you can squeeze and smoothing the necessary parts of the grid, introducing positive or negative values \u200b\u200bin the Push / Pull Value field (Pulling / pulling degree ). By applying the tool once, you deform the grid on the value specified in this field by applying again - repeat the effect with the same multiple.
Set the brush diameter in the Brush size field (brush size), the degree of impact in the Brush Strenght field (Push Pressure Push) and by pressing the Push / Pull button (Pulling / pulling) with a negative value in the Push / Pull Value field (Pulling / pulling degree) , start to press the contour of the reservoir. Alternatively, using extrusion and relaxation, you can get quite a good result (Fig. 1.16). With a certain modeling skill, the tool gives limitless possibilities for easy manipulation of the form of the object.

Fig. 1.16. Formation of the region of the water branch

As can be seen, the principle is simple. With a sufficient grid density, it is possible to obtain a rather high detail of the landscape (Fig. 1.17). The advantage of this method is that you yourself differentiate the number of polygons of the created model, sealing it only in the places you need. The main thing is to take a creative process.

Fig. 1.17. Finished model of landscape

Let's now try another way of making a landscape grid. When there are several options for solving the problem, it is always easier to choose the most optimal.
Run 3DS MAX and create the same plane object as we did when creating a landscape in the first way, with the same parameters. Add to the Diffuse slot (main material of the material) raster height map and apply the material to the object. The line tool (line) (from the splines group shapes section shapes (shapes)) circle the circuits of the insolig - we get a spark copy of the drawing.
Now we build a landscape using the Cross Section tool (intersecting sections). Highlight splines and move them along the axis Y. According to the specified altitudes, adjusting their position by parametric objects. As such objects, in particular, can be used, for example, a primitive Box (parallelepiped) with an adjustable height (Fig. 1.18).

Fig. 1.18. Fitting isolated on objects

The principle of operation of the CROSS SECTION modifier (intersecting) is based on the fact that it automatically connects splines combined into one form by the ATTACH command (attachment), optional segments. As a result, a new form is obtained, which can be turned into a surface by applying the Surface modifier (surface). At the same time, it is necessary to take into account important rules:
All forms must contain the same number of vertices;
Their first vertices must be oriented in the same vector.
Let's try to do it.
Combine all the splines in one form by the Attach command from the Geometry scroll (Geometry) - necessarily in the same manner, in which the surface will be created, that is, from the lowest spline to the topmost. Then go to the level of editable vertices, activating the VERTEX (vertex) in the sub-section tree, and select the SHOW VERTEX NUMBERS check box (show vertex numbering). As can be seen from fig. 1.19, all splines have a different number of vertices and order of construction (clockwise and counterclockwise).

Fig. 1.19. Numbering and number of vertices in shape

It is necessary to correct this position. Add missing vertices and change the order of them to build the Reverse command, highlighting the desired shape and turning on the level of the spline editing (spline). After a manual editing, the number of vertices in each form is 12 and their first vertices are aligned relative to each other (Fig. 1.20). Knowing in advance about the need for these conditions, it is more convenient to create forms immediately with a single number of vertices, copying and modifying one source spline.

Fig. 1.20. Form after the correction of the number and position of the vertices

In the process of work revealed new problem. Invested inwards will not allow segments created by the Cross Section tool (intersecting sections), without intersection. Cleister in this (Fig. 1.21).

Fig. 1.21. Incorrect result of using the CROSS SECTION modifier (intersecting)

Of course, it is possible to solve this problem with long-term manual refinement and the creation of again manually cross sections with the Create Line tool (create a line). But our main task is to reduce the time spent on building a minimum. Therefore, we use the methods of the previously described method and some parts of the relief form directly on the created grid of the polygons. We remove the splines forming a depression and a small mountain. After that, the result is already more similar to the desired (Fig. 1.22).

Fig. 1.22. Correct result of the application of the CROSS SECTION modifier (intersecting)

We have left the unlocked upper part of the form - the highest point of the mountain. Let's fix the error and add one vertex to the model. Deactivate the CROSS SECTION modifier (intersecting sections), on the Create panel at the selected Line tool in the Keyboard Entry (keyboard key), set the coordinates of the future vertex and click the Add Point button. Move the resulting vertex to the center of the elevation form (Fig. 1.23).

Fig. 1.23. Adding a vertex to the form

Attach the created vertex to the form by the ATTACH command and again activate the Cross Section modifier (intersecting section). Now the form is ready to construct the surface. Apply the Surface modifier (surface) and look at the result (Fig. 1.24).

Fig. 1.24. Application of the Surface modifier (surface)

Not too impressive. There are no minor details of the relief, and the relief itself is far from perfect. It happened because too small amounts of splines participated in the creation of the form - only 5, and the number of vertices on the splines is also small. But the form has acquired smoothness characteristic for this type of modeling. But the grid turned out quite dense throughout the surface. This can be seen by converting the form obtained into editable polygons (Fig. 1.25).

Fig. 1.25. Object converted to editable landfill

For not too complicated landscape surfaces, this method is able to give a completely acceptable result.
Further, the previously described polygonal modeling tools can be brought to the form to the necessary detail (Fig. 1.26).

Fig. 1.26. Forming details on the object

The main advantage of this method of constructing is that the form is created really As an isolated and, in principle, quite accurately reproduces the main array of the landscape. Of course, for this there are specialized programs that build an isolated surface. But when exporting such models in 3DS MAX, it is often very difficult to solve problems with twisted normal or too dense and non-optimized mesh. And as practice shows, the visualizer has such drawings come after twentieth copy, glued on the knee, and get accurate data to use such programs, is most often possible. Therefore, it is necessary to simulate the surface with some accommodation of the error, on the eye.
In general, with a good skill, the easiest way is to create a landscape directly immediately to the tools of the Paint Deformation scroll (transforming), correcting the resulting result using the insoligs exhibited by altitudes. After all, in the end, our main task is to make the landscape not mathematically correct, and the most recognizable, pursuing the main goal - the beautiful flow of architectural intent.
Now let's try another way of building the landscape, this time is attached not to the isolated, but to the heights of the road. As a rule, any architectural project begins with the road, however, like any real construction. And the plan shows the height of the roadway. Oddly enough, but by building first the roadbed along the specified numeric values, you can completely build the surrounding landscape. Let's try to understand the essence of what is happening on a simple scene. For example, we have such a simple road that goes on the rise (Fig. 1.27).

Fig. 1.27. Road plan with heights

Build a spline modeling method according to this drawing a travel fabric model. For convenience, you can apply the same method of projection of the raster card, which is used when building a landscape on an isolated.

DVD
The raster card can be taken on the disk attached to the book - the line of the road plan with altitudes.tif along the path Examples \\ scene \\ Chapter 1.

You will get such a scene (Fig. 1.28).

Fig. 1.28. Scene expensive

Now, highlighting groups of vertices, corresponding to one or another height mark, lift them along the axis Z. In the Top view window (top view) on the desired height. To do this, it is better to use the exact keyboard input of numeric values \u200b\u200bby right-clicking on the SELECT AND MOVE (Select and Move) toolbar (Fig. 1.29).

Fig. 1.29. Move the selected peaks by keyboard input

In the same way, selecting other groups of vertices consistently, enter digital values \u200b\u200bcorresponding to the height map. As a result, you should get this scene (Fig. 1.30).

Fig. 1.30. Spline form after moving control vertices

It remains to create the landscape itself. Run Tools → Grid and Snaps → Grid and Snap Settings → Mesh and Bindings Settings → Settings) and install binding to vertices (Fig. 1.31).

Fig. 1.31. Installing bindings to tops

Activate the three-dimensional binding of the key S and the LINE tool (line) Connect all parts of the road web along the external perimeter, tied to the vertices of the road and trying not to miss a single vertex (Fig. 1.32).

Fig. 1.32. Building spline forms using bindings

All these operations can be performed, without leaving the Top projection windows (top view), which is quite convenient when working with a large number of digital values \u200b\u200band, if necessary, constantly check with drawings. No need to try to connect parts of the road canvase with one continuous line. You can do in small areas, which then closure in a single form. Special attention should be paid to the closure of the spline shape and missed when creating a vertex. Otherwise, holes may occur in places of pairing with the road surface or the impossibility of creating a visible surface at an open-form.
Apply the CAP Holes modifier with the TRIGULATE CAP flag set (close triangular). Then convert the form to editable polygons and, highlighting each polygon alternately, scatter it on the TSSELLATE grid (mosaic). The result is not always perfect, but in our case quite suitable. You can manually add additional edges and improve the result. It turns out the form, as shown in Fig. 1.33.

Fig. 1.33. Construction of the surface shape on the highlighted sploon

Apply the EXTRUDE modifier for the road to the road linen. As a result, it turns out the landscape, as shown in Fig. 1.34.

Fig. 1.34. Ready form of landscape

The required grid density, as well as its smoothness and other nuances, you can create and edit the tools of polygonal modeling already known to you. A rather complicated landscape shown in Fig. 1.35, created precisely this method in accurately according to the general plan.

Fig. 1.35. Landscape built by road heights

The necessary details like retaining walls, pedestrian bridges and pools it is better to create separate objects. Here is the details and let's talk in the next chapter.

Chapter 2.
Building landscape details

Expensive

The main details of the landscape among others can be expensed. Any architectural creations are built on special sites and enveloped a thick network of transport communications. Let's consider one of the ways to create roads, but in two kinds of it. This is projected form on the landscape object.

DVD
Next, we will consider the scenes that you can find on the drive attached to the book - these are the landscape for the road. Max, the landscape for the road-1.max and the finished landscape with the road. Max from the Examples directories \\ scenes \\ Chapter 2.

Open the scene landscape for the road. Max. This is a small model of rough terrain (Fig. 2.1).

Fig. 2.1. Road project landscape

Make an active Top view window (top view) and draw a spire form of the future roadbed. Scroll to the level of the splines and double the Outline (circuit) command from the Geometry scroll (geometry) (Fig. 2.2).

Fig. 2.2. Creating a spline form of a roadbed

Place the shape above the surface of the landscape and select the Compound Objects section on the species list of objects (Composite Objects). This is a set of tools that allow you to obtain a three-dimensional form when there are several objects with each other, for example, when cutting (Probooleans (improved boolean objects)), reproduction of objects over the surface (Scatter (distribution)) or projection to the surface of another object (Shape Merge )). We use the last operation. Select the landscape object and activate the Shape Merge tool (Form Merge). Press the PICK SHAPE button and indicate on the spline shape of the road (Fig. 2.3).

Fig. 2.3. Projection of the Form of the Road Little

As you can see, the form of the road was precisely promoted on the landscape and united with him.
We use it. Convert the resulting landscape shape into editable polygons. And immediately go to the level of polygons. The form of the road cannon has already been highlighted. The road never repeats the small details of the relief, the builders always try to make it the most straight, crashing into an elevation or embanking mound. Let us also not depart from traditions either. Make an active Top window (top view) and without removing the selection, press the View Align button from the set of polygonal modeling tools. As you can see (Fig. 2.4), the road itself was leveled in a straight line, somewhere hanged into the landscape, and in some places, embreasing the mound.

Fig. 2.4. Straightening the roadway

Of course, do not do without manual finalization of the result, but the main work is made literally in a few clicks of the mouse button. If necessary, the canvas road is adjusted manually by polygonal modeling.
By the way, we have a source spline of the road. Let's find use. Highlight it and go to the level of the Spline Editable. Double the OUTLINE (circuit) tool and apply the Extrude modifier. It turns out a border. Align it with the landscape and adjust (Fig. 2.5).

Fig. 2.5. Creating a border

If the landscape is not very crossed and there is no need to build a mound, and in general, if the road model needs to be created by a separate object independent of the landscape model, you can use the Glue tool. This tool is not included in the 3DS MAX set, and is an optional plug-in module.

DVD
You can download the Glue module from the disk attached to the book. It is located in the Programs Plug-Ins folder.

Open the scene from the scene landscape for the road-1.max. The scene consists of a slightly hilly landscape and a small transport junction (Fig. 2.6).

Fig. 2.6. Scene ready to project

Highlight the spline form indicating the road, and go to the Utilites tab of the command panel. Click the More button and select the GLUE string in the list appeared in the list (Fig. 2.7). (Installation of the connected module is described in detail in the documentation running with it.) Press the OK button.

Fig. 2.7. Selecting the Glue tool

In the GLUE scroll, click the Pick button and select Landscape Model. His name should appear in the Base Object (Basic Object) field. Activate the Glue Selected tool (link dedicated) - the sprinkie is located on the landscape (Fig. 2.8).

Fig. 2.8. Projecting spline on the object

Apply the Extrude modifier to the spline form so that the form is slightly raised over the landscape. According to the technology described above, use the remaining spline form to create a border. As a result, you should get a scene (Fig. 2.9), similar to the stage ready landscape with an expensive. Tax on disk. Now the landscape, the road and border are independent objects, which will further facilitate their possible modification, as well as texturing.

Fig. 2.9. Finished model of expensive

Council
Sometimes it is better to apply the Extrude modifier to the spline road, but to convert it to the polygons and squeeze at the polygons level. The surface of the grid is obtained smoother.

If you need to add other elements of road construction to the model, for example, retaining walls, you can use the elements existing in the scene, instead of building them again. Let's try to do it.
Create a copy of the spline border and delete unnecessary areas at the segment level. Apply to the remaining sections the Outline tool (contour) - just as you came in the manufacture of a border. Convert the resulting object in the polygon and the Extrude tool (extrusion) lift to the desired height. Modify manually to the desired appearance (Fig. 2.10).

Fig. 2.10. Creating retaining walls

More often use already created and fitted forms to copy and create new elements - it will save the project creation time. Squeeze the maximum of what you already have.
Mist Van der Roe somehow said: "God is in detail." With regard to the basics of minimalism, this is a refusal of all extra. In the case of landscape modeling - exactly the opposite. It is a sufficient number of details that will make a picture "alive" and attractive for the customer. But the abundance of parts entails an already purely technical problem due to limited computer resources. Under excessive passion, the details can be encountered with a situation where the deadlines are pressed, the project is burning - and the power of the computer has already been exhausted. It is necessary to return to the project already with refinement and optimization, and this is a painstaking and time of extra work. It is better to immediately learn how to build the scene optimally by the number of polygons and resolution of the textures used, and saved resources to leave for better visualization.
How can this be done?
Take for the example such a common item like a baluster. Build enough simple shape, remotely reminiscent of the baluster, the most common method - method of rotating the spline by the Lathe modifier (rotation) with default parameters. Press the keyboard key 7 - information on the number of polygons and vertices of the created model will be displayed. In our case, it is 2944 polygon (Fig. 2.11).

Fig. 2.11. Number of polygons created forms

And it is only one simple form. And when these forms hundreds? Well, if a small part is located in the short terms and is available for detailed consideration. And if on average or far?
Let's make an independent copy of the object by the Clone operation (cloning) and set the parameters of the LATHE modifier (rotation) of only 4 segments (Fig. 2.12).

Who would not like to be a top class designer? Perhaps, many would agree to visit such an amplua. But is everything so simple, as it seems at first glance? Is it really enough to get photoshop lessons, master them, and become a professional? Not. Everything is much more complicated. Like any other profession, the role of the designer requires experience, prettiness, talent and performance. And some free lessons Photoshop will not greatly save the situation. In this case, a more systematic approach is needed. For example, few people know about the differences of various versions of photoshop. So, for example, Photoshop CS3 lessons differ from the material prepared for later versions of the software. It is worth highlighting the video lessons Photoshop, which are still more informative than text versions. Perhaps a rather understandable situation develops, if you have a speech about the video of the 3D lessons. On the one hand, it is quite difficult to submit a text course on such a complex three-dimensional chart. On the other, the 3D lessons are the most diverse, including in text variations. This can also be brought into an example of Photoshop lessons in Russian, which are available in excess. Well, the last aspect is Corel's lessons.

Considering the lessons of Photoshop, in hand come across fairly interesting offers. So, let's say, furrowing spaces of the Internet, quite often bump into suggestions about paid courses in a particular place. Should I buy for it? Our answer is no. For a beginner, there will be enough free Photoshop lessons, having mastered that you can think about something more serious. It is worth noting that PHOTOSHOP CS4 lessons that have become the most popular in a short period of time. And it is the video lessons Photoshop, thanks to which a number of moments and subtleties become understandable. Although this statement does not always work, because not all video lessons are actually good. Especially if we are talking about Photoshop lessons in Russian, which in any case are less than English. As for the graphics, 3D lessons come to the rescue. Another important aspect in the study of these very lessons is the format. After all, it is the video tutorials 3Ds allow you to better figure out in one way or another. We will not forget the lessons of Corel, which are becoming more accessible from day to day. Thus, and gained popularity with the collaborative materials called lessons.

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This is a lesson for creating a landscape in 3DS MAX. I will show how to create a desert landscape, but on this method you can create absolutely any landscape in 3D MAX.

I am going to use standard 3D-MAX teams to create a beautiful realistic soil even without using any plug-ins and raster images.

Final landscape render in 3D MAX.

Create a plane of 500 x 500 widths and lengths with 50 length segments and widths.

Open the Material Editor and click on the square near the Diffuse slot, select the SMOKE procedural card and set the values \u200b\u200bas shown in the figure below.

From the list of modifiers, apply the Displace modifier and set its strength to 180, then press the NONE button map Men, We put a tick next to the MTL Editor option and select Diffuse Color Map.

Now you can see how the plan looks together with the displace modifier.

If you have a powerful computer to add more segments. Let's see how it looks after an increase of up to 200 segments.

Now create new Material And click on the square near the Diffuse slot and select the type of mixing. In the MIX material, set the color R: 40 G: 15 B: 0, and the second color R: 255 g: 200 b: 100 and apply to the plane in the projection window.

Now click on the None button, the Mix Amount command and select the type FallOFF MAP. Set the Falloff direction on the Z-axis, add point and make it as shown in the image.

That's what after that you should succeed.

Drag the diffuse card in the Bump slot.

In the COLOR -1 slot, add noise map and set the values \u200b\u200bas shown in the image.

Similarly, the COLOR -2 slot, select the noise map and set its value in accordance with the image shown below, and also set the Bump value to 60.

press the F9 key to see the result.

Current page: 1 (In total, 9 pages) [Available excerpt for reading: 7 pages]

Andrei Schishanov
Landscape design and exterior in 3DS MAX

Introduction

The time of time, people needed housing and engaged in their construction. At first, natural formations like caves or forest dawn were used. Then the man began to build himself. The simplest chalashes and dugouts gradually turned into increasingly comfortable and thoughtful buildings, sometimes in several floors. From a certain period, it was already impossible to build "on the eyes" - the time of preliminary design came. Perhaps first the plan of the future building was cheat on the wall or a wand on the sand, then a stylus on a papyrus. Then the time of paper and Kulmanov came. With the rapid growth of computer technology, new opportunities appeared, which raised the work of designers and architects on a qualitatively new stage. Specialized programs for architects and used to be actively in demand and popular, but now, when high technologies have come to the masses, these programs are experiencing a second birth and a real boom. Software products like ArchiCAD or Chief Architect is very comfortable tool For architects, but it is practically useless for the end consumer-customer. The customer wants to see how his home or plot will look like, not in the lines of drawings or plans, but "as in the photo." Photos of what is not yet in life. And here the "cameras of the future" - the three-dimensional presentation programs come to the fore. There are many of them. I will not list them and compare. I will only note that to solve these tasks, 3DS MAX is suitable for solving: having a CAD-rampant base, that is, almost all means for accurately constructing an architectural model, the program is primarily focused on creating a beautiful presentation picture, including the ability to build whole villages and urban areas among forests and parks, often animated for a stronger advertising impact on a potential buyer. This does not mean that, solving the tasks of architectural and landscape modeling, you can do only to this program. On the contrary. To implement the entire depth of the plan, several different programs will be required, and often with a dozen plug-in modules. Here will be quite relevant to the expression "each one": for the drawing to use, for example, AutoCAD, for architectural design - ArchiCAD, for presentation and animation - 3DS MAX, to create vegetation - Onyx Tree, for video editing - Adobe Premiere Pro or Fusion, and so Further. The architectural presentation is one of the most difficult tasks in both the level of knowledge required and in demands for graphics packages and computer facilities. But today's realities of the computer graphics market and its development forecasts allow you to say with confidence that a great future for a computer architectural presentation.

For whom the book is intended

The purpose of this book is to help novice users who are familiar with the 3DS MAX interface and have the initial modeling skills, learn how to build architectural and landscape objects with simple tools and techniques, create vegetation and land whole arrays, to texture and light it, and ultimately Make it all ride in an animated presentation video. The publication does not describe the 3DS MAX interface and modeling tools: it is assumed that the reader is already familiar with them. The material is set forth in the form of very simple examples, which make it possible to understand the essence of the main processes, and is specifically deprived of the description of the time-consuming solutions that need to be developed independently on specialized literature to increase skill. The main task of the book is to tell the novice user about the basic principles of solutions to tasks arising from landscape modeling, and to teach them creatively in the future to create high-quality exterior images.

The book describes the method of using a connected V-Ray 1.5 SP2 visualizer, work with large arrays of models and textures, computer resource optimization for the greatest performance, and also provides information on how to work with sound accompanies and visual special effects.

Beginner visualizers of landscape architecture and architects who want to show their creation in all its glory, I hope, will find in this book useful information for yourself, which will reduce the time from the project plan before its incarnation to a minimum.

A DVD is attached to the book, which will help more fully perceive the material considered in it. The disk contains the scene described in the book of exercises, the 3DS MAX 2009 DESIGN version, a selection different textures and models for exterior, plug-in modules, scripts, etc. Please note that to open all scene files you need a connected V-Ray 1.5 SP2 visualizer (which, by the way, also has a DVD).

Note

In the course of the presentation, I will give links to a disk where you can find a particular file, plugin or script. DVD has a shell program with sections by which all content and distributed. However, I will give links not to these sections, but on "physical" folders that are displayed when you open the DVD file manager (for example, a banal conductor or Total Commander). The navigation by the sections of the shell is described in the shell itself (section Description of the disk).

Hardware Requirements

3DS MAX is a program that, as a rule, has always differed not too highly experienced computer resources compared to the opportunities offered by it. But for the visualization of the exterior, this rule is no longer valid. It is impossible to build a scene consisting of millions, and often billions of polygons with hundreds of trees and a thousand parts, on a weak computer. Therefore, the computer must comply with solved tasks.

What should pay attention to first?

On the rAM. Huge volumes of textures and proxy models require the maximum amount of quality random access memory. 4 GB of memory can be considered a necessary minimum, 8 GB is very and very desirable. Actually, preferably even more, but so far manufacturers cannot provide us with such a luxury, so you have to count only on this volume, the scene is optimally building and spending resources. You do not need to save on the memory: it must be high-quality, better in the "whale" set, in which the manufacturer's firm picked up two planks for the identity of the parameters.

Next important element - cPU. Now in the range and at an affordable price are offered quad-core processors from Intel and AMD. The choice of a specific model and the manufacturer depends on your financial capabilities and preferences. I just note that the miscalculation of complex three-dimensional scenes on such a processor will significantly reduce the time of the ending end of rendering. Often, the practiced (and often stipulated by the manufacturer) acceleration of the processor (increasing its performance) also makes it possible to reduce the time of the ending end of the rendering sometimes up to 25-30%, and even more. This is especially true when creating animation presentations. But in this case before It is necessary to apply additional high-quality cooling as a processor (for example, coolers from the well-known Zalman company) and the housing.

Video card also takes not the last place in the list of requirements. After all, you will have to handle and display a giant number of polygons. Professional video cards are quite expensive for an ordinary user, so most often the choice stops on top gaming analogs. From the currently available, you can safely recommend ATI Radeon HD 4850 and GF 9800 GTX or GTX 295 video cards, preferably with 1 GB of video memory on board - this will allow you to interactively display more textures in the scene. Although, to be honest, the game video card is still very for other tasks, and its power actively used in games is often inactive in professional applications. Therefore, if possible, it is better to carry out an experiment: compare in real work in 3DS MAX on the downloaded scene the top expensive model and an affordable solution from the middle range. Perhaps the difference manifested will cover the tools spent (if you are also not a lover of computer games at your leisure).

All other components: motherboard, power supply, cooling system, etc. - must be calculated for stable, continuous operation for a long time - sometimes weeks and even months.

Especially carefully should be taken to power supply. Usually an inexperienced user buys a ready-made body with a built-in power supply, forgetting that such hulls are usually equipped with cheap and low-power blocks. And already one video card of the last generation not only requires a separate power plug, but also consumes up to 250 W electric power - as much as literally five or six years ago consumed the entire computer. Therefore, in no case cannot be saved on the power supply. It is worth contacting solutions from such famous brands like Chieftec, Zalman, Thermaltake, Cooler Master. For a powerful computer, the power supply is very desirable at least 750 W with a guaranteed current of a 12-volt tire of at least 18-20 A.

It is also very careful about cooling system. A large number of Flowing parts of the computer (processor, video card, items motherboard), being located in a small cheap body with a lot of poorly laid loops, can deliver you a lot of trouble by unstable work, and often the way out of order. Therefore, it is highly desirable to purchase a large case intended for servers. Such enclosures produce many firms, but we received the greatest distribution of Chieftec and Thermaltake. Convenient location of items, thoughtful maintenance access and good running ventilation will allow you to last your computer for a long life, pleaseing you with stable work in any climatic zone.

And finally monitor. As you have to work with huge scale and the number of details with scenes, it is better to stop your choice on the screens of a large format. Approximately 21 "or more. Especially this is true for nonlinear video editing programs like Adobe Premiere. But it should be remembered that TFT monitors by virtue of their technical characteristics consume a significant part of the video card resources, in contrast to the electrical monitors - sometimes up to 15-20%. Therefore, it is necessary to find a reasonable balance between the power of the video card and the diagonal size of the monitor. When the monitor is selected, it should be carefully taken to the pixel size (than it is smaller, the more clear and less grainy will be an image), as well as to the type of matrix. For serious work with graphics better Choose a matrix s-IPS type. Another monitor parameter is the response time of the matrix. However, it is critical to view video films or for dynamic computer games. To work in 3DS MAX, the response time has a secondary value. Therefore, it is better to reverse to a slower, but high-quality screen with proper transmission of colors and their shades. The monitor is desirable to choose in the store, among several samples on, to choose the best illumination on uniformity and absence of broken pixels: Even the most expensive models from the famous manufacturers, these readings differ from each specific apparatus. Of the most common models in our market, the highest quality (alleviated) decisions are presented by NEC, Apple and Eizo.

And the last, small size, but not by the value of the element - mouse. The recent high-precision laser mouses that have appeared as it is not better suited for the accuracy of work in the three-dimensional graphics environment. With an increase in the diagonal of the monitor, the sensitivity of the mouse in 1200 dpi will not be absolutely unnecessary. It is very important that the mouse is perfectly approached by your hand on ergonomics, because it will have to work with a lot of small details, and the deckless (sometimes unnoticed) movement can lead to unpleasant incident. Are not a reasonable solution for our tasks wireless mice. Their accuracy and sensitivity are sufficient to work in text editors And for Internet surfing, but with high-precision work in a complex scene, they will give more trouble than pleasure. Desirable also mat For the mouse. Although the rugs were intended for mice with a ball inside, and with the advent of laser and optical, almost emerged, a monophonic uniform surface of the reflection, in contrast to the inhomogeneous coating of the table, only add stability to your movements.

If the work implies large volumes and short time, it makes sense to think about the acquisition of the second computer. Its purpose is to visualize the finished parts of the scene while you continue to work on another computer. There is a lot of time: there is no need to sit back, waiting for the end of the calculations that are quite long. The video card on this computer can be completely simple - solely to display the processes occurring. Well, it is advisable to equip it with the second, you can inexpensive, monitor. Although all modern monitors and support the connection of two or more computers and it is enough to simply press the corresponding button to change the processes, yet the presence of an independent, separate monitor for the second computer will make the work more comfortable.

Architectural organizations or small creative teams can acquire an additional powerful shared serverWhere employees are sent to visualize ready-made scenes.

To rationally use working hours and reduce the time limits of the project, it is also necessary to organize a job well. This is an important factor for productive work.

Organization of workspace

While working on a complex architectural project or landscape modeling, it will have to deal with a large amount of information - models, textures, proxy objects and scene files themselves. Moreover, during the work, this volume will multiply with an incredible speed and the likelihood is to get confused and lose the precious work time in search of the desired texture or model that "put somewhere". To avoid a similar situation, it is recommended to assign on a separate disk, for example D:, a special project catalog.

Attention!

It is undesirable to store similar information on the disk with:, which is intended for the operating system and the programs used. In addition, when reinstalling the operating system, sometimes you have to resort to a radical tool - disk formatting. At the same time, it is possible to format only the section C: Without a danger, losing the necessary data and libraries located in the D: section.

Create one common directory for storing materials and textures. For example, it will be called materials and models. This directory creates additional folders, broken by category (Fig. 0.1).

Fig. 0.1. Create working folders

For example, in the Materials folder, all raster cards are collected in operation until they are processed under specific tasks. 3DS MAX All texture used downloads directly into RAM. For example, the texture of 2 MB will spend 2 MB of RAM. When building the same architectural scenes, they will most often be seen from a fairly long distance, and there is no need, say, to texturing the roof of the building in the third plan to apply a large texture. It is logical to "press" it in Photoshop or SmartSaver to a small volume. And this prepared for use, the texture is already stored in another folder - processed textures.

Approximately the same principle should be related to modeling. There is no need to model the building or elements of architectural forms in the total scene of the entire project. It is better to do this in individual sessions of work and in new scenes, and then, as they are readily added to the general draft team Merge (attach), and in the background there are models with much less detail. And for these "horrible" models of architectural elements and vegetation, create separate folders. Thus, the computer resources will be distributed to several sessions and will allow working as comfortably as possible.

Also distribute in their folders and other components of the scene. Then nothing gets lost, and the work will not be burdened by unnecessary search for the necessary elements. Everything will be at hand in its place.

If you use another computer or you have a corporate network, the identical folder directory makes sense to create on other computers or servers. Then, when visualizing the project, the scene will read files from the folders of the same name without the appearance of the missing texture warning window. At the same time, the project catalog is also intensified and the work has been preserved. If one of the computers for technical reasons will fail, the backup of files on another computer will help to avoid unpleasant consequences.

Chapter 1
Preparation for building a landscape

Any architecture, whether it is a building or a small architectural form, is built on Earth, that is, on the landscape. Depending on the terrain, it can be a flat, hilly or mountain landscape, with elevations and water bodies, rocky protrusions and coastal trash. The task when building such a landscape is to choose the correct method of modeling in order to maximize the resources and to differentiate the entire volume of the landscape with the necessary detail. There are quite a lot of ways to simulate the landscape, including the use of special software like Prosite or programs like him. But our task is to build everything in 3DS MAX, especially since there are quite a lot of tools and methods for this purpose. Let's look at some of them, and then choose the most suitable for our tasks.

To begin with, consider a small hypothetical area of \u200b\u200bthe area, presented in the form of an isolated insion with a height map (Fig. 1.1).

Fig. 1.1. Drawing of terrain in isolated

I will make a reservation at once: we will not build an accurate geodetic area of \u200b\u200bthe area, in our range tasks it does not enter. Our task is to make a terrain recognizable. After all, we make the architectural presentation of buildings, by and large - a beautiful picture for a potential client. And small inaccuracies in the landscape are quite admissible. Therefore, the level of detail must be moderate so that the generated grid is not too tank according to computer resources. They will be needed in the future.

Create a landscape model in one of the ways - squeezing the grid using the DISPLACE MESH modifier. To do this, we will need a raster map of heights - we will do it in pHOTOSHOP program. The principle of operation of this card is simple: the black color corresponds to the zero level of height, white - the maximum level of lifting, the gradient from black to white - the transition between heights. But we need to be attached to the real dimensions specified in the drawing. Therefore, for starters, let's create a new scene in 3DS MAX and exhibit the scale of our project in it. Depending on the project, it can be millimeters, and centimeters, and meters. In this case, exhibit a scale in centimeters.

Run the Customize menu command → Units Setup (Settings → Install Units). In the Sistem Unit Setup window, select Sortimeters (Fig. 1.2). This scale will save and export the scene. In the Display Unit Scale area, the Units Setup (installation of units) also set up centimeters. In centimeters all digital values \u200b\u200bof objects in the scene will be displayed.

Fig. 1.2. Installation of units of measure

The next stage is to build itself the grid itself, from which the landscape will be squeezed. It is necessary to comply with the proportionality of the generated grid with the drawing available at our disposal. In this case, this is an image of 768 x 1024 pixels. So, the grid must be created in the same proportions.

Take the Plane object from Standart Primitives (Standard Primitives). Set 768 cm in length and 1024 cm by the width of the object (Length fields (Length) and Width (width) in the PARAMETRES scroll). The number of segments in length (Length SEGS field) set 30 units, in width (Width SEGS field) - 40 units (Fig. 1.3). It is not necessary to extraditely very much: the desired grid density will be added as necessary in places of accumulation of small parts. You will need to split the grid for smaller segments for further "manual" adjustment of the created object. Convert the resulting object to the editable polygon by right-clicking on the right mouse button and running the context to → Convert to Editable Poly menu command and running the context to editable polygon (convert to editable to edit).

Fig. 1.3. Creating a blank landscape

The next step is the manufacture of the extrusion card in Photoshop. You will have to run on the computer at once two programs - 3ds Max and Photoshop - to interactively observe the result and make the necessary corrections.

Create new document (Fig. 1.4) the size of 768 x 1024 pixels; From the Color Mode options, select GRAYScale: the image being created is necessary in the shades of black and white, we don't need a color at all, and this will make the card less demanding to the computer resources.

Fig. 1.4. Creating a blank of a map of heights

Now download the image of the drawing and put it with the second layer so that you can draw, focusing on the contours of the insulance.

Drawing file - Map of heights.jpg - is on the disk in the ExampleSEnchal directories 1.

Open the drawing file and the keyboard command Ctrl + A highlight the entire object (Fig. 1.5). This operation can be made and using the SELECT → ALL menu command.

Fig. 1.5. Selecting image drawing

Copy the selected image to the EDIT → Copy command clipboard (edit → Copy) or Ctrl + C keyboard combination. Close without saving an unnecessary more document and go to the image of a blank map of heights. The Edit → Paste team (edit → Paste) impose an image from the clipboard to a clean white sheet on which we will draw. Open the Layers palette and reduce the layer transparency to 25% (Fig. 1.6).

Fig. 1.6. Reducing the transparency of the layer

Make an active layer background. On this layer, we will draw a height map, if necessary, reducing the transparency of the upper layer with the height contours to correct the pattern. Let's proceed.

How do you remember, pure black color is a zero height mark. White - maximum height. Select the Lasso (Lasso) tool (or any other tool convenient for you) and circle the outer contour of the height curve. Do not try to do it very accurately: you still have to use blur and manual refinement with a brush. Close the selection and fill the resulting area with light gray color (RGB 190: 190: 190) (Fig. 1.7).

Fig. 1.7. Pouring the first highlighted circuit

Note

We specifically draw a negative to make it easier to control the contours of the drawing. Invert (swap white places with black) Then not work.

Gradually, highlight the contours of heights from the edge to the center and pour them all the darker shades of gray. Remember that the outlines of the same height should be filled with the same color saturation (Fig. 1.8).

Fig. 1.8. Pouring contours

Note

You can pour out contours immediately in the figure of the first layer, without creating the selection area. Drawn lines and will serve these contours. But it will be necessary to pour more accurate movements: if you make a mistake and wallet in one color two different positions of heights, you will have to do a new operation. In any case, two ways make it possible to choose.

So, will continue. As you can see, the contours with a negative height (deepening with marks -0.5, -1, -2) remained intact - we can not make the color whiter white. And complicating drawing, assigning a zero mark is not a purely white color, but the gradient does not want: then, drawing a complex relief, you can get confused. It is easier to do this on the finished grid at the level of editing polygons directly in 3DS MAX.

Now that the drawing of the height card is almost ready, we remove the layer with contours: it is no longer needed - and the Blur Filter in Gaussia is applicable to the main layer (from the Blur filter group (blur) with a small value - approximately 20 pixels. It remains only to change the Values \u200b\u200bof the Black and White Menu Menu: Adjustments → Invert Menu (Image → Correction → Invert) (Fig. 1.9).

Fig. 1.9. Invert image

If you wish, you can refine the image details by other tools, brushes and blur. But it should be remembered that it is only a rough blank of heights and better bring items to mind, already directly editing the grid of the polygons.

Save the created image in JPG format with maximum quality, close Photoshop and return to 3DS MAX.

Apply the Standard material with the previously created landscape workpiece with the selected V-Ray visualizer. In the MAPS scroll (texture cards) in the displace slot, add the created card (Fig. 1.10).

Fig. 1.10. Map assignment in displacement slot

Note

Materials in the editor of materials are displayed in separate cells in the form of empty black circles. We specifically set this type of display by selecting for previewing the materials not V-ray, but the standard 3DS MAX visualizer. This will significantly reduce the load on the video card. In addition, configure the V-Ray material, focusing on its display in the cell editor cell, you can only approximately - it is better to do this on test renders directly in the scene.

Apply the DISP Approx modifier to the object with the default settings. If now visualize the scene, it will be seen that the height card transformed the plane and the hills appeared on it, but the grid itself did not change. This is exactly the basis of the work of the DISP Approx modifier (offset approximation). But we need a real grid that can be edited and where the elements of architecture can be placed. Apply the Displace modifier to object instead of DISP Approx (offset approximation). It is intended just for this purpose (Fig. 1.11).

Fig. 1.11. Application of the DISPLACE modifier (offset)

For the STRENGTH parameter (extrusion force) from the Parameters Scroll (Options) of the DISPLACE modifier (offset), set the value corresponding to the highest possible mark according to your drawing. By pressing the Bitmap button (Raster Map) of the modifier, download the created height card.

In this way of making the landscape, it is impossible to construct an accurate geodesic map on an isolated, much has to be done on the eye or adjusting the position of individual heights along the parametric lecalable objects (Fig. 1.12).

Fig. 1.12. Adjustment of the height of the grid according to objects

Now you can go to a more detailed study of the landscape. We have no recess - reservoir.

Open the designated material in the materials editor and remove the displace from the displace slot (offset) the height map texture. This can be done, moved free slot with the designation None (no) on the displacement slot. In the Diffuse slot (master material), add a map with an image of an isolated. Now the drawing image appeared on top of the object (Fig. 1.13).

Fig. 1.13. Projecting Card Isolates on the Object

Convert the object again into the editable grid.

To make the drawing displayed in the viewing window with maximum quality, you must configure some parameters of the graphics driver. Run the Customize → Preferences menu command, go to the ViewPorts tab, click the Configure Drive button, set the values \u200b\u200baccording to fig. 1.14 and restart 3DS MAX. The drawing will appear on the screen with maximum quality, which will be determined by the quality of directly the drawing itself.

Fig. 1.14. Setting up graphic drivers

Note

Looking ahead, I note that in order to obtain a high-quality card of extrusion, the size of the picture (permission) must be quite large. Map, for example, 512 x 512 pixels will give a noisy end result, especially in places of sharp transitions. And even a card with good resolution requires a small blur effect (Blur) to get a better effect (which we have been done when you painted a map of photoshop).

Let us turn to the editing of the grid. As can be seen, the deepening area is created by a rather small number of polygons - it will not be possible to simulate the necessary detail. It is necessary to increase the grid step, but not on the entire object, but locally - only on the desired area. Select the polygons framing the area of \u200b\u200bthe "reservoir" (Fig. 1.15).

Fig. 1.15. Selection of polygons in places of increased detail

Activate the TSSELLATE (mosaic) tool from a set of polygonal modeling tools and scatter a selected area into smaller fragments. Single application tool increases the density of the grid twice. Too zealous here is not worth it: the resources of the computer are not border.

Well, now I will give a little, while using the Paint Deformation Scroll (it is in the bottom of the Scrolls of Parameters). There are two buttons: Push / Pull (Pulling / pulling) and Relax (relaxation) - that is, using a virtual brush, you can squeeze and smoothing the necessary parts of the grid, introducing positive or negative values \u200b\u200bin the Push / Pull Value field (Pulling / pulling degree ). By applying the tool once, you deform the grid on the value specified in this field by applying again - repeat the effect with the same multiple.

Set the brush diameter in the Brush size field (brush size), the degree of impact in the Brush Strenght field (Push Pressure Push) and by pressing the Push / Pull button (Pulling / pulling) with a negative value in the Push / Pull Value field (Pulling / pulling degree) , start to press the contour of the reservoir. Alternatively, using extrusion and relaxation, you can get quite a good result (Fig. 1.16). With a certain modeling skill, the tool gives limitless possibilities for easy manipulation of the form of the object.

Preparation of land plot
I started the process of modeling the relief of the earthly landscape in 3DS MAX with a simple plane, applying a modifier to it Displacement (Bias). In a slot raster image I inserted this modifier Height map (Height card), which manually created in Photoshop.. You can see the image used by me below.

Brightness map of heights (click on the image to increase it)

To further adjust the shape of the surface of the Earth, I applied a modifier FFD. From the composition of 3DS MAX tools for a quick general modification. For more detailed deformation, I used a modifier Edit Poly. (Editable polygon), and then I used a brush for drawing parts.

In order to combine all this, at the end of all these small modifications in the modifier stack I added a modifier Relax (Relax).

Earth plane after all settings

Creating a trail from gravel

After the landscape of the landscape of the earth armsing me was created, I saved a copy of the stack of modifier modifiers to the collapse, just in case, as a backup of the 3DS MAX scene. Then I transformed it all in Editaple Poly. (Editable polygon). This was done so that I could disconnect the polygons, which make up the walkway with gravel. It also provided me with freedom of action in increasing the number of polygons, drawing small landscape details and a separate setting of other UVW cards. In addition, I got the opportunity, if necessary, apply the DISPLACEMENT modifier to small areas of the environment.

Creating steps

Now that the travelery is covered with gravel ready, I started creating steps. Steps were made of boxing with the chamfer, to which a modifier was applied Noise. (Noise) with various settingsand then multiplicated as Instance (instances). In addition, I added several areas that will play the role of a large pile of leaves. And again, the FFD modifier was applied to these areas.

Stepes area

General View of Gravel Track

Gravel track combined with land landscape

Creating stones

Create small stones in 3D MAX was quite easy. I started with simple spheres by applying noise modifier to them. Then I applied the FFD modifier (yes, again) to radically change the shared form by making them a view like stones. I made 12 copies of different sizes and with different settings Noise. When their species became as necessary, I created for each stone Vray. Proxy so that you can scatter them along the road. I also created several variants of diffuse cards, just to diversify them a little.

From the sphere

Using the Advanced Paint Script

The Advanced Painter script for 3D MAX was used for drawing / scattering on the surface of the Earth of various objects. I downloaded the objects in the list that I wanted to draw on Earth, chose the territory of the Earth as a drawing surface - and began to draw!

You can change the settings according to your requirements as the drawing process is moving. The Advanced Painter script is very powerful ... It has become an integral part of my daily work.

Drawing stones

Advanced Paint Script Settings

Stones Raskidany

Creating wood

For creating firewood, the internal system of physics simulation 3D MAX was used - Reactor. I have never used the reactor before, but everything turned out to be quite easy. At first I simulated parts of firewood. I created three forms, and then copied them several times.

Brevna

Then I created a plane and added to the scene Rigid Body Collection (Collection of solid bodies), and added this plane and firewood to her list. Installing the physical properties of objects was manufactured in the properties menu of the solid tel.

REACTOR settings for logs (left) and plane (right)

Setting up physics to simulate fire

The values \u200b\u200bof most settings were left by default, only with some changes. Col. Tolerance. (Error in collisions). Now run the window PREVIEW. (Preview). Now you can play the simulation of the physical process until the result is satisfied, or to reset and configure some parameters of physical properties to taste. When objects fell into Reactor as I like, I updated their position in 3D MAX. Then I manually corrected some brica as the last stroke.

Before and after the simulation by the HAVOC engine

Placing logs produced

Creating grass

The grass was created based on the lesson creating the Grass Vray. Here I will not dwell on its creation, only advise you to read this lesson to create grass.

After the samples of the sections with the grass were created, I repeated the same procedure as with gravel. I downloaded them to the Advanced Painter script and painted the surface of the Earth.

Grass after drawing

Creating leaves

Now that the whole grass is in its places, I created 4 different sheets. They were created from simple planes using modifiers Bend. (Fold) and Noise. (Noise) in various variations.

Various leaves

Then I painted a slightly smaller pile of leaves.