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  • Hypershade

    The Hypershade is the central working area of Maya rendering, where you can build shading networks by creating, editing, and connecting rendering nodes, such as textures, materials, lights, rendering utilities, and special effects.

    The Hypershade is divided the following panels by default:

  • Browser: This panel lists your materials, textures and lights, sorted by tabs.
  • Material Viewer: This panel renders your shader or soloed material.
  • You can customize the layout of the Hypershade by undocking and rearranging the panels. In addition, you can add panels such as the viewport or the Render View to your layout by selecting from the Hypershade Window menu.

  • Create tab: Click a node in the Create tab to create and add nodes to your shader graph.

    Alternatively, you can also click Tab and enter the type of your node, or drag and drop a node from the Create tab to the work area.

  • Work area: This panel allows you to create your shader network as you would in the Node Editor, using a node editing interface.
  • Property Editor: View your shading node attributes in a Lookdev template view that is optimized for lookdev workflows.
  • Bins: Organize and track shading nodes in your scenes by separating them into sorting bins.
  • Displacement Map

Displacement mapping is an alternative computer graphics technique in contrast to bump mappingnormal mapping, and parallax mapping, using a (procedural-) texture- or height map to cause an effect where the actual geometric position of points over the textured surface are displaced, often along the local surface normal, according to the value the texture function evaluates to at each point on the surface. It gives surfaces a great sense of depth and detail, permitting in particular self-occlusion, self-shadowing and silhouettes; on the other hand, it is the most costly of this class of techniques owing to the large amount of additional geomet

  • Bump Map

Bump mapping is a technique in computer graphics to make a rendered surface look more realistic by simulating small displacements of the surface. However, unlike displacement mapping, the surface geometry is not modified. Instead only the surface normal is modified as if the surface had been displaced. The modified surface normal is then used for lighting calculations (using, for example, the Phong reflection model) giving the appearance of detail instead of a smooth surface.

Bump mapping is much faster and consumes less resources for the same level of detail compared to displacement mapping because the geometry remains unchanged.

There are also extensions which modify other surface features in addition to increasing the sense of depth.[clarification neededParallax mapping is one such extension.

The primary limitation with bump mapping is that it perturbs only the surface normals without changing the underlying surface itself.[4] Silhouettes and shadows therefore remain unaffected, which is especially noticeable for larger simulated displacements. This limitation can be overcome by techniques including displacement mapping where bumps are applied to the surface or using an isosurface.

  • Height Map

    In computer graphics, a heightmap or heightfield is a raster image used to store values, such as surface elevation data, for display in 3D computer graphics. A heightmap can be used in bump mapping to calculate where this 3D data would create shadow in a material, in displacement mapping to displace the actual geometric position of points over the textured surface, or for terrain where the heightmap is converted into a 3D mesh.

    A heightmap contains one channel interpreted as a distance of displacement or “height” from the “floor” of a surface and sometimes visualized as luma of a grayscale image, with black representing minimum height and white representing maximum height. When the map is rendered, the designer can specify the amount of displacement for each unit of the height channel, which corresponds to the “contrast” of the image. Heightmaps can be stored by themselves in existing grayscale image formats, with or without specialized metadata, or in specialized file formats such as Daylon LevellerGenesisIV and Terragen documents.

    One may also exploit the use of individual color channels to increase detail. For example, a standard RGB 8-bit image can only show 256 values of grey and hence only 256 heights. By using colors, a greater number of heights can be stored (for an 24-bit image, 2563 = 16,777,216 heights can be represented (2564 = 4,294,967,296 if the alpha channel is also used)). This technique is especially useful where height varies slightly over a large area. Using only grey values, because the heights must be mapped to only 256 values, the rendered terrain appears flat, with "steps" in certain places.

  • Normal Map

    A normal map is an image that stores a direction at each pixel. These directions are called normals.

    The red, green, and blue channels of the image are used to control the direction of each pixel's normal.

    A normal map is commonly used to fake high-resolution details on a low-resolution model. Each pixel of the map stores the surface slope of the original high-res mesh at that point. This creates the illusion of more surface detail or better curvature. However, the silhouette of the model doesn't change.

    There are two basic methods to create normal maps. These methods can also be used together

  • Ambient Occlusion Map

In computer graphics, ambient occlusion is a shading and rendering technique used to calculate how exposed each point in a scene is to ambient lighting. For example, the interior of a tube is typically more occluded (and hence darker) than the exposed outer surfaces, and the deeper you go inside the tube, the more occluded (and darker) the lighting becomes. Ambient occlusion can be seen as an accessibility value that is calculated for each surface point.[1] In scenes with open sky this is done by estimating the amount of visible sky for each point, while in indoor environments only objects within a certain radius are taken into account and the walls are assumed to be the origin of the ambient light. The result is a diffuse, non-directional shading effect that casts no clear shadows but that darkens enclosed and sheltered areas and can affect the rendered image's overall tone. It is often used as a post-processing effect.


1. Introduction


2. References vs Inspiration

3. Hard Surface vs Organic

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4. Props

5. UV Layout

6. Texturing


7. Shading

8. Environment Modeling Part 1

9. Environment Modeling Part 2


10. Lighting


11. Presentation 


12.  Expermentation

14. Project Management


13. Rendering