Teyon, your sculpting work is remarkable.  The sign of a great artist is someone who is never truly satisfied with their results, and I can tell no matter how great everyone else thinks your work is, you are always finding the flaws and wanting to improve.  My last professor noticed that about me too, so I can relate (not to say i'm a great artist, although I'd love to be someday).  This is my second year attending a local University in my area that, fortunately enough, has been offering some really excellent, professional courses in 3D modeling.  Utilizing this resource last year is what afforded me the opportunity to get 3dsmax, and learn it.  Before that, I had been modeling here and there in Wings3D, but the University was instructing 3dsmax, so I felt that was my window to expand my resume.

Anyway, I noticed in the early part of your last video that you attached elements to your figure automatically, like the ears, that were already modeled.  How does that work in Zbrush?  Are things like ears considered primitives, like we have geometric primitives in most traditional poly modeling applications?  Sculptris only offers the clay sphere, and a flat plane as primitives.  Interesting stuff there.  How good are the retopology tools in Zbrush, because according to the cirriculum outline I have, we will be working with retopology in 3dsmax, using it's own tools for that purpose.  I'm aware Zbrush has them,  I'm just wondering why we wouldn't be using/learning them.  Then again, this class is focused more on the 3dsmax software I think, because the instructor is Autodesk certified in Max, and I had him in my class last year as well, so that would explain it.

I might be hitting you up in a month or so for some Zbrush tips. haha. ;)

Thanks, yes I'm always trying to improve and always learning. Figure once I stop learning I may as well go ahead and die. 

You're super fortunate to be taking a class in school! I had to teach myself all this stuff and only now, years later, am I taking the odd on line course at ZBrush Workshops. While a lot of what's shown there are things I knew, there is always something I learn be it a new way of thinking, seeing or doing. So by all means, study your craft and ask lots of questions!

As for adding objects like the ear...there's a number of ways to do that in ZBrush. The easiest (now anyway) is the Insert Multi-Mesh brushes. These are user defined brushes that have a collection of parts you've made and saved as a brush to be recalled on the fly. ZBrush comes with a bunch - heads, bodies, ears, nose, mouth, etc. - so you'll have a easy place to start. All you do is pick the brush, hit the letter M and choose the mesh you want to add to your scene. Pretty painless.

For blending it in the way I did, you'll want to be using Dynamesh, which is the closest thing you'll get to working with clay in a digital medium these days. LOVE IT.  LOVE IT.

ZBrush has several retopology features. The fastest being the new ZRemesher. It works pretty well but can cause spiraling topology if left to its own devices, so I suggest using guide curves if you want clean circular loops. If that's not a concern, then have at it.  There are other more manual methods but I personally prefer Topogun's toolset for manual retopology. I have Max and the toolset there is good - comparable to Topogun in a lot of ways - but I just like Topogun more and that's what I use for work despite having access to Max, Modo and Silo which all have great retopology tools. Personal choice.

I only retopology in ZBrush to get a sculpt with subdivision leves from a dynamesh model (dynamesh doesn't use traditional subdivision). In that case, I'd run ZRemesher and then contine on my merry way, sculpting while going up and down subD levels. Once complete, I'd retopo in Topogun, UV in UVLayout and rig in Poser (I work for Smith Micro so all my models end up in Poser).

Teyon, that's some really fascinating info on Zbrush.  The thing that really intimidates me about it is the unconventional UI, and the unconventional tool system.  I know people often criticize Max for it's congested UI layout, but I always found it to be one of the easiest to grasp.

I've heard of Topogun, of course, but haven't tried it yet.  I have literally spent every free moment I could over the past year or so learning the ins and outs of 3dsmax, both in classes, and in my spare time.  I've probably put in well over 200 hours of my own personal time just experimenting with the modifiers alone, and learning to master its parametric modeling techniques.  Probably another 200 to 400 hours fooling with all the tools in the Graphite Modeling ribbon, and playing with the Loft and Spline tools.  It seems the depth of the software is endless.  No matter how much I "think" I know, or what technique I feel I have mastered in Max, I find someone somewhere that reveals yet ANOTHER method to do something.  There's probably 10 different ways you could model a simple vase in Max, for instance.

As I said, I may contact you again regarding Zbrush once these classes begin, if you don't mind, as I may need to "pick your brain" about some things.  I'm determined to graduate this class in the top 3.

Hi, I am currently working on what I call "The Aerolounge" - aboard a huge airship/airliner, this is the ballroom and dining room. The ribs with holes in them were the biggest challenge since each one has a unique shape dictated by the bow of the Aerocruiser (already created).

All mesh modelling and UVs done in Blender, transferred to DAZ via OBJ format.

Anyhoo, the Aerolounge is mostly made but once again, I have a good model (or two) that could be made into content for sale here but I lack the time and currently the knowledge of how to rig for Poser.  . . .so, anyone want to mke some pocket money and collaborate with me to get things up on the site?

Not sure this will work, first time posting image here in the forum:

Quote - Hi, I am currently working on what I call "The Aerolounge" - aboard a huge airship/airliner, this is the ballroom and dining room. The ribs with holes in them were the biggest challenge since each one has a unique shape dictated by the bow of the Aerocruiser (already created).

All mesh modelling and UVs done in Blender, transferred to DAZ via OBJ format.

Anyhoo, the Aerolounge is mostly made but once again, I have a good model (or two) that could be made into content for sale here but I lack the time and currently the knowledge of how to rig for Poser.  . . .so, anyone want to mke some pocket money and collaborate with me to get things up on the site?

Not sure this will work, first time posting image here in the forum:

The image isn't showing up in the thread for some reason, but I did find it by following the image link in the HTML.  Not everyone will know how to do that though, so you may want to try this post again.

From what I see, it's looking good so far.  I know what you mean about the "ribs".  I recently created a Cappellini S-style wicker chair, with the wicker fully modeled, and the curves were a challenge at first, because each one was it's own unique size, plus interwoven with other geometry to create the wicker surface.  Once I got the workflow sorted, it was easy sailing.  There's a WIP thread of it's build in this forum somewhere.

There should be a nudity flag on the image above. I forgot and now I can't flag it.

Quote - Model for the Bad King Monster Brush contest. I'm modeling the head from scratch and then trying to blend it into artwork by Danny Williams (aka PointPusher), Tihomir Dimitrov, Trevor Crandall, and Dominic Qwek. Should be a fun piece once completed.

Great sculpting.  I see you got stingy on the details when it came to his package, and I can't blame you there.

Our team is currently working on a new home for a real estate dev company in Argentina.  My job is to do all the modelling for the kitchen area, for the previz walkthrough.  Normally we'd have a ND agreement, and I wouldn't be able to post anything until well after the project had been presented and approved (sometimes not ever).  However, this time there's no such stipulation about public WIP's, so here's what I have so far, as a blueprint wireframe render.

Teyon, fantastic character.  The details and expression you captured in it are amazing.  Great work.  I have to wonder though, is this a rigged figure, or did you sculpt it in that pose?  If it's designed that way, I assume it's for a still render only, and there would be no way to ever rig the creature for animation?

SinnerSaint, cool render effect there.  I'm assuming that's done in Cinema4D, since I know you mentioned that was the software your studio uses before?

Quote - Thanks, it's for a still, so it's not rigged. I'm sculpting assymetrically in Zbrush. I could go back to before it was posed and recreate the figure I guess. Some of the details would be different but it's possible in theory.  Or I could just make something better, lol.  Here's a Poser render of the ZRemesher version without displacement. I am still working on the model's detailing and textures but I wanted to see if it would even render well. Often what looks good in preview may not look so great when lit. Went for a more moody, silhouette feel here. Rendered in Poser Pro 2014.

That's a decent SSS shader, it seems.  I like the  deep backscatter in that render.

Here's some wires and a preview render of the latest freebie I just released.  I did some tight chamfering on the edges to help with detail and provide highlights in renders, and had fun making the pouf cushion.  Still, I managed to quad everything up, and kept the poly count below 30k for both objects (table and barstool).  There's a few minor issues with the placement of the UV seams, but hopefully no one will care.

Fun models to create. Modeling time all total was only about an hour, but the UV unwrapping and texture painting took a solid 2 hours, with the cushion taking up 90% of that effort.

Here's a production preview render of the cushion from the top view:

Quote - Thanks, it's for a still, so it's not rigged. I'm sculpting assymetrically in Zbrush. I could go back to before it was posed and recreate the figure I guess. Some of the details would be different but it's possible in theory.  Or I could just make something better, lol.  Here's a Poser render of the ZRemesher version without displacement. I am still working on the model's detailing and textures but I wanted to see if it would even render well. Often what looks good in preview may not look so great when lit. Went for a more moody, silhouette feel here. Rendered in Poser Pro 2014.

That subsurface efect looks great on the ears, but some of the other parts need a map to controle how deep the scatter is, because his fingers look like they have no bones since the scatter depth is about the same as the ears, which should consist of cartilege. The redness outside the shadowed areas is nice.

Luxxeon, I downloaded your table and chair to check out the mesh close up.  Not bad.  The texturing looks good to me, except that the cushion has some repeating patterns that don't quite line up correct between some of the seams, if that's what you mean, but you would need a very specific camera angle to notice that.  Overall, the modelling looks good, except the top of that chair could use a few more edges to smooth out the curved parts a bit more.  It's only noticable in very close shots, but there's some low rez edges there that trigger my OCD.

Quote - Luxxeon, I downloaded your table and chair to check out the mesh close up.  Not bad.  The texturing looks good to me, except that the cushion has some repeating patterns that don't quite line up correct between some of the seams, if that's what you mean, but you would need a very specific camera angle to notice that.  Overall, the modelling looks good, except the top of that chair could use a few more edges to smooth out the curved parts a bit more.  It's only noticable in very close shots, but there's some low rez edges there that trigger my OCD.

That's a fair critique.  Yes, that's the "problem" I mentioned about the cushion earlier, and one of the many drawbacks to using an "auto-unwrap" feature.  For the unwrapping, I employed 3DCoat again, as with my last freebie, for some of the sub-elements.  It's spoiled me a bit, as the results are very good usually, and fast.  However, the way the UV's are packed, and the seams it creates, can lead to problems when using patterned textures like this.  99% of the cushion seams are fine, but there's a few spots that keep it from being perfect, and I'll work that out next time, by unwrapping manually.

As for the lower-res edges: just subdivide the model in your application of choice before rendering.  My goal has been to provide models that are efficient, detailed, and well crafted.  However, I've found that most people who download them prefer if the mesh contains a reasonable polycount.  In this case, I feel that the model is as good as can be without offering a densly tessellated mesh.  Most 3D applications today have some form of Catmull SubD implimentation, and this model is perfectly suited for adding another iteration IF you choose to.

The barstool comes in at exactly 20,346 quads.  Should be perfect for medium to distant shots, and quite acceptable for close shots.  However, for really close up shots, I might suggest a single iteration of SubD at rendertime, which would balloon the resolution of that object to 81,384 polygons;  OK for rendering, but not so great for distribution.

Luxxeon, to your credit, I did attempt to terminate some edges on your models in C4D, just to see where I could free up some polys in order to add some more edges to the top, and I must admit I wasn't able to do very much without altering the profile, so you did a fantastic job at keeping all the polygons meaningful, and the objects have very good topology.  I was able to attach some edges to the top, without Hypernurbs smoothing the object, but in order to keep the polycount right around where you had it, I was still forced to remove edges elsewhere, and was then left with some less than perfect curves in other places. Somehow ended up with a few Ngons too.  Kudos to you for intelligent edge placement.  On the other hand, I will say that I was able to save over 200 polys just by removing some of the bevelled edges, which I felt wasn't helping much, especially on the seat, where no one would see that detail.

I also thought it was good, Lux. A couple of awkward polys at the top and the cushion UVs aside, another fine product. I see them being used in renders, which must be pleasing.

Quote - I also thought it was good, Lux. A couple of awkward polys at the top and the cushion UVs aside, another fine product. I see them being used in renders, which must be pleasing.

Thanks very much.  Yes, there's at least one guy over on DA who I know uses them quite a bit, and I've run into a render here and there where someone has used a chair or two, so it's a great feeling that people are finding a use for them.

Here's my latest work.  This one was originally a model I made for someone at ScriptSpot.com, which is a maxscript resource website.  He had a script for 3dsmax that allowed the user to create incredible compound lofting and lathing, all in one easy-to-use tool.  I liked his script so much, I modeled a fairly complex lamp with it in less than 5 minutes, which I called the Nail Lamp, and made a render of it for him to use in his advertisements of the script, or however he'd like, as a promotional image.

Long story short, I decided to revise the lamp by making it a screw shape instead, and improving upon some of the details, then offer it out there for anyone to use in their renders as a freebie model.  Here's some wireframe shots, and production renders of the model I just finished today:

The model was done in 3dsmax 2012 (of course), and is 100% quads.  I UV mapped it half by hand with the tools in 3dsmax, and half with 3DCoat.  I'm happy with how the shade came out, and included the lightbulb as a bonus object.  I did the basic lofting and lathing for all the parts with his script, but the revisions (the switch on the socketshell, the shade harp, and the finial decoration) were all done with standard polygonal modeling techniques.

I just uploaded this completed model, with all the textures, etc. to my account here, so it should be available to download soon.  It's also up right now on Turbosquid and ShareCG.com, if anyone is interested in looking at the topology up close.  I've provided it as .obj, so it doesn't matter what modeling app you use.

Dear Group,

I would like to recommend to you a new site I am working on, Leopoly.com where you can CREATE 3D CHARACTERS for free. My aim is to establish an online, 3D sculpting app for easy 3D printing and for fun. The site allows users to co-create each others designs. You can even paint objects online, which is also a worlds first... I would be more than happy if you would visit the site and give feedback about it. www.leopoly.com

I've just created this alien in 1 hour. You can also further shape or paint it if you feel like. Just click on the picture at: http://leopoly.com/view/?id=5888&object=grey-1

All the best,

Newest model in progress... a high detail Dream Catcher.  Basically an exercise in spline modeling and compound lofting in 3dsmax, this model will demand at least 90% spline modeling techniques, and quite a bit of mathematical modeling (as you could see from the phyllotaxis spiral of the inner webbing).  Of course, the end result will be polygonal, but i'm finding out this would really be a challenging model to do any other way.

Any thoughts so far?  Anyone ever try modeling one of these?  I'm thinking I'll do the feathers as FULL geometry too, using splines.  I have a handy maxscript that can make very convincing feathers without the use of opacity mapping, or texturing of any kind really.  I've been wanting to try that out for a while now, and this is probably a good candidate to do it.

Quote - Newest model in progress... a high detail Dream Catcher.  Basically an exercise in spline modeling and compound lofting in 3dsmax, this model will demand at least 90% spline modeling techniques, and quite a bit of mathematical modeling (as you could see from the phyllotaxis spiral of the inner webbing).  Of course, the end result will be polygonal, but i'm finding out this would really be a challenging model to do any other way.

Any thoughts so far?  Anyone ever try modeling one of these?  I'm thinking I'll do the feathers as FULL geometry too, using splines.  I have a handy maxscript that can make very convincing feathers without the use of opacity mapping, or texturing of any kind really.  I've been wanting to try that out for a while now, and this is probably a good candidate to do it.

This really interests me, Luxxeon. I could reproduce Phyllotaxis patterns using MoGraph in C4D, and we've done examples of it in Xfrog.  We also modelled a test using Rhino with Grasshopper, but my math needs tweeking.  I've been wanting to do this for an architectural presentation, where the ceiling of the structure would introduce a phyllotaxis system in a dome-shaped responsive framework..

**SinnerSaint, **I probably could have used a mathematical plugin for Max to get this, but i thought that might be overkill.  I did the webbing "by hand", using S-shaped splines, rotated and instanced every 15 degrees, then mirrored and welded together to form the phyllotaxis pattern.  While it's not as precise as formula-generated geometry, neither would be the real-world counterpart, which are often made by hand.   I just started adding some beads, which is done by simply instancing a cylindrical primitive every 15 degrees along a circle shape.

I'll probably repeat this everywhere the splines intersect.  Poly count is going to be high on this one, but I'm optimizing wherever I can, without sacrificing detail.

looking good. how do you get around the intersection, or will the beads hide all?

Quote - looking good. how do you get around the intersection, or will the beads hide all?

Thanks!  Currently, there's intersecting geometry where the splines cross, and I'm covering some of that up with beads.  I'll then go back and simply delete the hidden geometry under each bead manually.  The other option is just to move the splines above or below each other so they never intersect at all, but that's not really how these things work in real life, so I don't think I'll do it here.

Quote - looking good. how do you get around the intersection, or will the beads hide all?

Mark, you really got me thinking about this now.  The spline geometry intersections are going to be problematic to delete, just because of their nature, and how many intersections I'm dealing with in this.  I hate intersecting geo, but it may be unavoidable in this model, unless... unless I could find a way to re-mesh the interior edges of a circularized plane, or cylinder cap, into a phyllotaxis pattern.  If there's a way to do that, then I could use that as a basis for creating a phyllotaxis lattice, which would NOT intersect.

I won't spend that much time on it, but I'm definitely going to explore that possibility.

BINGO!!  Oh my god, I feel soooo stupid.  I got the fibonacci phyllotaxis pattern by remeshing a tube primitive fairly easily in one go!  All that you need to do is chamfer the vertices, and then weld the nearest neighbor!  OMG, it's so simple.  As you could see in this test, I remeshed a simple quad cylinder using this basic technique, and what do we end up with on the cap??  A perfect phyllotaxis pattern!

So now all I need to do is isolate those cap polygons, inset them slightly, and delete the inside faces.  I'll be left with a quad lattice in the shape of the phyllotaxis I need.  NO overlapping edges, no self-intersecting geometry!

 Thanks, airflamesred, for causing me to re-think this approach!  It will certainly result in a much cleaner, better mesh!  It was soooo simple, I could puke that I didn't think of it earlier.

Ugh.  Ok, now I'm absolutely feeling like a dumbass.  This pattern is even easier to achieve in 3dsmax than the technique I just discovered.  Looking at the results of the vertex chamfering I did above, I realized that the remeshing option for this was in front of me the entire time.

3dsmax has a complete tool pallette for remeshing any geometry topology.  One of the options is to change edge direction, which on a quadrangular disk surface, would result in a phyllotaxis re-arrangement of vertices.  So, all I needed to do was click one button.  Blah!!

LMAO!  I guess this isn't an exercise in spline modelling anymore, huh?  I see where you're going with this now, and that's a really elegant and simple solution.  Very interesting stuff.

Quote - LMAO!  I guess this isn't an exercise in spline modelling anymore, huh?  I see where you're going with this now, and that's a really elegant and simple solution.  Very interesting stuff.

Nope, no need for splines for the webbing at all now.  Here's the result of using that re-meshing technique on a tube cap.  I simply selected all the new polygons, inset slightly, deleted the inset faces, then thickened the resulting lattice.  Now I have the phyllotaxis pattern in the form of a single, continuous manifold; all quads.  I added support loops to the "joints", just in case I want to turbosmooth the result.

If I want to, I could smooth it up a little with one iteration of subD, and it's still a lighter, cleaner geometry than before, with NO self-intersecting edges or vertices.  Can't believe I didn't think of this technique before.

once again, i get the blame!!

Quote - once again, i get the blame!!

Haha.  It's a good thing though.  If I hadn't come to that realization, I would have modeled this thing all wrong, and had tons of self-intersecting geo, which makes my skin crawl.  So I'm definitley blaming you for helping me get a better model! ;)

Anyway, the model is coming along now.  I'm about to add the feathers, and finish it up with some more beads and decorations in the webbing.  Poly count is up there.  I'm nearly at 70k before I even attempt the feathers.  My plan on doing the feathers as detailed geometry still stands, but if it pushes the poly count to unreasonable limits, then I'll back off and go the same route everyone else does when it comes to feathers, which is model a feather with simple edge modeling, and use opacity maps and texturing for the details.  Will see which way to go shortly.  Here's what I have so far...

It's still 100% quads, but I'll probably have to do some edge termination to cut the poly weight at the end.  I plan on offering it as a freebie.  If I wasn't doing that, I wouldn't care about poly count, and I'd go nuts with insane details. ;)

Fantastic thread very interesting and inspiring, you guys do some very nice work!

Here's how I decided to attack the "feathers" in the Dream Catcher model.  This is a screencap from inside Max.  Basically, it's a little different, and more high poly than the other feather techniques I've seen out there.  99% of the time, it's just an image of a feather on a single-sided plane, with opacity map.  While that's a good alternative, it can result in problems when trying to render in some render engines, and limits the materials you could use, like translucency and SSS, which react with lights in the scene.

I've created each 'barb" as splines, then poly meshed those, and added a texture. The Rachis (or stem) is also just a polygon spline.  I think this more detailed approach to feathers will allow them to render quite well in some of the more physically accurate render engines, and allow the user to apply some deeper material options, like translucency or SSS, which can look really cool when backlit.  The downside, obviously, is that each feather contains 2400 polygons. (sigh)  I know, that's a lot for a feather.  However, in this model, the feathers play a major visual role, and I think the added detail and rendering flexability will be worth it.  I'll try to cut polycount on some other areas of the model, to help the overall weight of the object in the end.

Any thoughts?

EricofSD, nice work so far!

Just an update on the "feathers" for the dream catcher I've been working on.  Managed to tweak the process a bit, and ended with a model I think looks better than before, and has a LOT less polygons to boot.  Here's a screencap:

This version is only 814 polygons.  MUCH better than before, and somehow I think this version looks better than the one that had 2400 polys.  Go figure.

DreamCatcher: almost complete.  This will be my last WIP of it in this thread.  Sorry fro flooding.  Just going to fancy it up a bit more with some additional feathers, beads, and adornments.  Only 52k polys so far, so I made room for some extra stuff.  I thought I'd be at around 90k by this point, but I was able to save some geo weight on the feathers after all.

Luxxeon, I didn't like the original feather.  Thought it looked dangerous.  But the new verison looks a lot better, and actually compliments the model very well.  That's going to be an awesome model.

EricofSD, are the surfaces of the car subdivided?  How many polys so far?

Sinner, yes, they are subdivided.  I used the xsi smoothing tool to round out the front end.  The hood is just a subdivision of the original low poly build.  So far 93K tris.  The offensive stuff is the front grill.  I hope the Digital Tutors guy talks about optimizing.  His final is 163K and from what I an see, I'll blow by that very fast.

Teyon, that character is spectacular.  His mid-section is freaky.  Not sure I fancy that helmet; it looks photoshopped in there or something, although I know that's not the case.  I like the tattered wings on him, but I think they could stand to be a little bigger.

Amazing work in this thread!

Dream Catcher model:

100% quads, finished at about 64k polys.  Most of that weight is in the centerpiece detail, which you could see in the render above.  Extremely high detailed latticework in that part alone.  Some of the polygons I needed to inset for that piece were so small, I couldn't inset more than .001 inch, or the edges would overlap each other.

Now that's a pretty impressive model, Luxxeon.  I didnt think your feathers were going to look as good as some others i've seen, but they turned out very good in your renders here.  Excellent actually.

Got a quick technical question though.  How the hell did you create that middle piece?  I'm not sure what to call it, but I'm referring to that white circular geometry in the center of the object.  I can see you must have deleted some polygons and thickened the cage, but how did you get the edges into that pattern to begin with?  Is it a plugin or some feature only available in 3dsmax or something?  I've seen this type of tessellation before, like in some weird Topmod models, but never understood how to achieve it in Cinema.

Quote - Now that's a pretty impressive model, Luxxeon.  I didnt think your feathers were going to look as good as some others i've seen, but they turned out very good in your renders here.  Excellent actually.

Got a quick technical question though.  How the hell did you create that middle piece?  I'm not sure what to call it, but I'm referring to that white circular geometry in the center of the object.  I can see you must have deleted some polygons and thickened the cage, but how did you get the edges into that pattern to begin with?  Is it a plugin or some feature only available in 3dsmax or something?  I've seen this type of tessellation before, like in some weird Topmod models, but never understood how to achieve it in Cinema.

Thanks.  It's available for download in Freestuff.

To answer your question, the pattern on that part of the object was done simply by combining two different subdivison algorithms, and then some basic poly operations, which aren't exclusive to Max at all. I added an iteration or two of Doo-Sabin subD to a circularized plane, originally comprised of something like 16 triangulated segments, which produced that pattern in the form of subdivided edges. Then I just selected all the new surface polygons (which contained both quads and ngons from the doo-sabin operation), did a tiny bit of inset/bevel, and then removed all the interior faces, which left me with only the lattice mesh you see there, in the form of all quad polygons. Then, I just added some depth with a shell modifier.

I should mention that Doo Sabin isn't a native subdivision option in 3dsmax. Max natively only supports the Catmull-Clark, Loop, and NURMS subD set of algorithms as it's standard subD schemes. In order to use Doo-Sabin's algorythm to subdivide geometry in Max, I employed the use of a Maxscript plugin called "Subdivison Reversion", which has a Doo-Sabin option.

Here is mr happy.  A non human character i am model.

Been working off and on with this project.  It was brought up in the 3dsmax forum.  Someone wanted to use a render from a website of a fancy office environment, but couldn't get in touch with the owner fo the render.  He wanted a room, obviously, that looked just like the room in the render, or at least very similar, but didn't want to use that actual image, without permission.  So I offered to recreate the room for him myself,  which would resemble the reference as close as possible, without being "exact".  Actually, he wanted the room "flipped" opposite of what it was in the reference.  Meaning, the bookshelves on the right instead of the left, etc.  I modeled it all from the ground up, over the course of the last 3 weeks.  I'll most likely break down this scene and use some elements as freebies for the community later on.

Here's the original thread where the discussion, and subsequent project, took place:

http://www.renderosity.com/mod/forumpro/showthread.php?thread_id=2871675

Here's my WIP on it so far.  It's still grainy, because this is only 20 passes in the Octane render engine, as a lighting test.  The final production image will be done later this evening.  The OP is happy with it, and I'm proud to have completed it within a reasonable timeframe, from scratch, based on just one selective reference render.  I was doing a lot of other work in between working on this scene, so had I taken it on as a paid or exclusive project, I feel I could have had it finished in 7-10 days,  rather than 3 weeks, but I'm still proud of the progress.  All textures compliments of CGTextures.com, free texture resource.