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"description":"Welcome, and congratulations! You’ve just bought a ticket to the world of Autodesk ® 3ds Max Design ® . Hang on and get ready for the ride of a lifetime! With 3ds Max Design, you can create 3D places and characters, objects and subjects of any type. You can arrange them in settings and environments to build the scenes for your movie or game or visualization. You can animate the characters, set them in motion, make them speak, sing and dance, or kick and fight. And then you can shoot movies of the whole virtual thing.",
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{"title":"Where to Find the Tutorials",
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"description":"DESIGN The Tutorials link on the Help menu takes you to the HTML tutorials. These are located on the Web at http://www.autodesk.com/3dsmaxdesign-tutorials-2012-enu.",
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"description":"DESIGN To access the scenes and other resource files you need to complete the 3ds Max Design tutorials, go to http://www.autodesk.com/3dsmaxdesign-tutorials-scene-files-2012.",
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{"title":"Getting Started: Modeling a Revolving Door",
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{"title":"Setting Up Units and Snaps",
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"description":"Before you start to build your revolving door, you will set the display unit scale to feet and inches. You\'ll also make some changes to the snap options before you create the geometry.",
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"description":"Using the Cylinder object, you will create a central pole that will act as the hub for the revolving door. First you will create a new layer for the revolving door.",
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"description":"You\'ll add some materials to help visualize your revolving door. You\'ll add a shiny black finish for the struts and a green glass material for the glazing in the door and the enclosures. You\'ll also edit the material that already exists on the revolving door, so it matches your own green glass.",
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"description":"To make the revolving door spin, first you\'ll link the four doors to the hub. Then, using the time slider, you\'ll animate the rotation of the hub to spin the doors.",
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"description":"The revolving door seems lonely, spinning by itself in the viewport. You can use the Merge command to put this revolving door into context, by merging in a scene of an entranceway.",
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{"title":"Creating the Metallic Shell",
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"description":"In this lesson, you will create another reference object and apply additional polygon editing techniques that will cloak the building in a metallic shell.",
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"description":"In this tutorial, you will learn how to use two Boolean operators, Subtraction and Union, to create a model of a sky scraper.",
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"description":"In this lesson, you will create the basic geometry of the model, then create an array of objects that you will use in a Boolean subtraction operation to create a set of floors in the building midsection.",
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"description":"Now that all the array objects have been created, you can use them in Boolean operations to define the tower contours.",
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{"title":"Defining the Atrium and Entrance",
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"description":"In this lesson, you will use the subtraction Boolean operation to add an open atrium in front of the entrance to the building.",
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{"title":"Adding Cylindrical Elements",
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"description":"In this lesson, you will create two cylindrical objects, shape them using polygon edits, then use a union Boolean operation to add them to the Tower object.",
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{"title":"Shaping the Roof",
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"description":"In this lesson, you will use polygon editing techniques to create and add detail to a sloped roof.",
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{"title":"Assigning Materials to the Building",
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"description":"In this final lesson, you will assign a material identification number to each polygon in the model. You can then use these ID numbers to assign materials to specific parts of the model.",
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{"title":"Modeling Cabinets Using the Ribbon",
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"description":"The lessons in this tutorial show how to use the tools available on the ribbon to create a set of kitchen cabinets.",
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{"title":"Using Basic Polygon Editing to Create a Base Cabinet",
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"description":"The kitchen cabinets you will create in this tutorial are based on the dimensions provided in the next diagram. In North America, the standard for kitchen cabinet height and width is inches, in increments of three. This diagram therefore uses feet and inches rather than metric units of measure.",
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{"title":"Using Basic Polygon Editing to Create an Upper Cabinet",
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"description":"Now you will use many of the techniques from the previous lesson to create an upper cabinet.",
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{"title":"Using Extrusions and Bevel Profiling to Create Cabinet Doors",
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"description":"If your cabinet doors require flat, uniform surfaces, you can create them using the polygon modeling techniques covered so far in this tutorial. However, if you need to add more detail, you can use extrusions and bevel profiling as this lesson shows.",
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{"title":"Creating Cabinets of Various Sizes",
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"description":"In this lesson, you will use a combination of cloning and vertex editing techniques to quickly create more cabinets of various heights and widths.",
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{"title":"Using Symmetry To Create a Corner Cabinet",
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"description":"In this lesson, you will use the Symmetry modifier to create a corner cabinet.",
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{"title":"Using Photos to Model Façades",
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"description":"In this tutorial, you will model two house fronts, based on photos of buildings in the plaza of Monpazier, a 13th-century bastide (fortified town) in Dordogne. The illlustration shows these houses, along with two others (in the actual plaza, the houses occupy different positions).",
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{"title":"Creating the First House",
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"description":"The first house, which we will call Facade1, is based on a single photograph, adjusted in the way described in . In this lesson, you take several steps to set up the scene and the modifier stack, so that modeling will go more easily when you add detail to the façade.",
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{"title":"Begin Adding Detail to the Façade: Modeling the Windows",
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"description":"Now that you have set up the stack and the color of selected polygons, you are ready to turn the plane of the façade into a three-dimensional model.",
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{"title":"Detailing the Doorways",
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"description":"Modeling the lintel is a bit more complicated than modeling the windows. On the other hand, the doorways themselves are a simple extrusion as the windows are.",
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{"title":"Completing the Façade: Detailing the Roof",
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"description":"The last step in modeling Facade1 is to add the roof.",
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{"title":"Correcting the Texture",
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"description":"To correct the texture on selected faces, you add additional mapping information for those faces. There are a number of ways to do this, but the Unwrap UVW modifier is the most versatile and interactive way: This lesson shows how to use Unwrap UVW.",
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{"title":"Modeling the Second House",
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"description":"The second house front has a peaked roofline and an arched entry. We will concentrate on modeling these, as you already know how to model windows.",
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{"title":"Add Detail to the Arch",
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"description":"The arch is the distinctive feature of Facade4. It calls for more complex modeling than the doorways of the previous façade.",
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{"title":"Add Detail to the Cornice",
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"description":"The cornice, with its peak, is slightly different from the roof for Facade1.",
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{"title":"Texturing the Arch",
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"description":"As for Facade1, you use Unwrap UVW to texture the entryway faces of Facade4. Because of the arrangement of these faces, you use different Unwrap UVW techniques.",
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{"title":"Learning to Use Containers",
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"description":"In this tutorial, you will learn how to:",
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{"title":"Getting Started",
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"description":"Set up the scene:On the Quick Access toolbar, click (Open File), navigate to the \\scenes\\modeling\\container folder, and open container_start.max.If a dialog asks whether you want to use the scene’s G",
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{"title":"Assembling Containers",
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"description":"As mentioned, the Container feature is intended primarily for use by teams working together on projects. In this last exercise, you’ll simulate a team of three: one person creating content, another one using a subset of that content to assemble a dinner-table scene, and a third using a different subset to put together a conference-room scene at an office or convention. You’ll do so using the remaining rule: Only Add New Objects.",
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{"title":"Animation Tutorials",
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{"title":"Animating with Auto Key: Bouncing Balls",
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"description":"Skill level: Beginner",
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{"title":"Bouncing a Ball",
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"description":"To create a bouncing ball, first you use Auto Key to block out the motion, and then use the Curve Editor and other tools to make the motion more realistic. (This is a very typical workflow for animators.)",
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{"title":"Use Auto Key to Block Out the Bounce",
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"description":"Auto Key provides an easy way to block initial animation.",
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{"title":"Use the Curve Editor to Improve the Motion",
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"description":"The Curve Editor is part of the Track View feature, which is a general-purpose tool for managing and adjusting animation.",
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{"title":"Repeat the Bounce",
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"description":"Typically, a bouncing ball does not bounce once. The Curve Editor gives you the means of repeating the initial bounce.",
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{"title":"Add Rotation",
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"description":"The bounce is beginning to look good, but as it bounces forward the basketball remains perfectly level, and that is not realistic.",
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{"title":"Add Squash and Stretch",
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"description":"Squash and Stretch enhances the effect of animation.",
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{"title":"Different Types of Balls: Mass, Elasticity, and Friction",
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"description":"Not all balls are equal. Mass and elasticity affect how high the ball will bounce, and how far it will travel. So does the friction of the surface on which the ball lands. This lesson compares the bouncing of a bocce ball, a tennis ball, and a golf ball.",
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{"title":"Using a Helper to Control Changes in Direction",
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"description":"Bouncing a ball on an uneven surface can cause changes of direction. In this lesson, you use a point helper to control those changes, making the animation easy to edit.",
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{"title":"Animating with Set Key",
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"description":"It differs from Auto Key mode, where every transform and each change to an object’s animatable parameters will result in animation. In Set Key mode, you have to take an action (clicking the Set Keys button) in order to set a key. Nothing happens automatically.",
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{"title":"Working with the Walkthrough Assistant",
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"description":"DESIGNInstead of manually manipulating the camera, you can make animating much easier by using the Walkthrough Assistant. The Walkthrough Assistant allows you to “fly” your camera to explore your virtual designs. Although the tool\'s name implies interior usage, the Walkthrough Assistant is actually suitable for both interior and exterior scenes.",
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{"title":"Camera Setup with the Walkthrough Assistant",
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"description":"In this lesson, you\'ll use the Walkthrough Assistant to animate a camera, simulating a walk or run along the Great Wall of China. The scene contains a camera path ready for constraining the camera, but you will first need to create a sufficient number of frames to hold your animation.",
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{"title":"Animating Camera Rotation",
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"description":"Now that the camera is constrained to the path, you\'ll animate the camera rotation so that it is aimed in a more natural position at points of interest in the scene.",
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{"title":"Rendering Your Walkthrough Animation",
"href":"./files/GUID-677660AD-AEF2-4B99-BDCC-936C43730F66.htm",
"description":"There are some specific techniques to learn for rendering your animation into a movie file. You can render directly to a movie format such as AVI, or you can render a sequence of still image files to file formats such as TGA and then use the RAM Player to save them into a movie. The latter method is the recommended choice. It requires doing a few more steps than rendering directly to a movie format, but it gives you more control over the file size and quality of the output. In addition, if you have frames that have artifacts or other errors, you can repair or remove them.",
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{"title":"Materials and Mapping Tutorials",
"href":"./files/GUID-B26EFD30-0A9B-4B22-897F-CB259AFBA592.htm",
"description":"INTRO PARAGRAPHS FOR BOTH PRODUCTS (EXCEPT THE ILLUSTRATION)Materials are like paint. With materials, you make apples red and oranges orange. You put the shine in chrome and the polish on glass. By applying maps, you can add images, patterns, and even surface texture to objects. Materials are what make your scenes look real.",
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{"title":"Introduction to Materials and Mapping",
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"description":"In this tutorial, you learn how to:",
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{"title":"Creating Simple Materials",
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"description":"For many surfaces, you can obtain good results by choosing a simple but appropriate material and changing just a few settings. In this lesson, you will use this approach to add surface detail to a railing, the walls of a house, and the water for a swimming pool and for the sea itself.",
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{"title":"Using a Multi/Sub-Object Material for the Doors and Windows",
"href":"./files/GUID-9E228E3C-DA54-4D98-981C-95AA450FA175.htm",
"description":"The villa includes doors and windows. These objects use multiple material IDs to enable you to apply different materials to different surfaces of the object. (Some other architectural objects, and even some primitives, use the same method.)",
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{"title":"Add Materials to the Deck: Texture Mapping and Bump Mapping",
"href":"./files/GUID-E7B5EDD2-9B12-4C02-84FA-FDD66E39B069.htm",
"description":"Bitmaps are a simple but versatile way to add visual detail to scenes. When a bitmap is used to provide an object’s color, it is also known as a texture map. In this lesson and the ones that follow, you create realistic effects by applying bitmaps to various parts of the scene: the deck, the terrain, the vase, the bottom of the swimming pool, and the arbor trellis on the upper porch of the house. Different kinds of geometry require different techniques of mapping, as these lessons will show.",
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{"title":"Create a Material for the Bottom of the Swimming Pool: Using Box Projection",
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"description":"The floor and sides of the swimming pool are also made of ceramic tiles, but in this case the tiles are small, and might better be described as terrazzo or mosaic.",
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{"title":"Create a Material for the Terrain: Cropping a Texture",
"href":"./files/GUID-7BD98DCB-3B18-4935-8E6A-08B3079ED8CC.htm",
"description":"The terrain is an oblong of undeveloped land behind the terrace. The house rests partly on the terrace, and partly on the terrain.",
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{"title":"Create a Material for the Vase: Using Cylindrical Projection",
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"description":"For the outdoor vase, you will use a stone material and a slightly different mapping.",
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{"title":"Create a Material for the Trellis: Using MapScaler",
"href":"./files/GUID-A93079A5-EE30-4F99-AAD9-720EC318C2F4.htm",
"description":"The next object to texture is the arbor trellis on the balcony of the house. Its geometry is complicated, and requires a new mapping technique.",
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{"title":"Add Materials to the Chairs: Propagating Materials to Instanced Objects",
"href":"./files/GUID-910FBC99-6DA0-43EC-B6ED-4FF78F428D0A.htm",
"description":"Many architectural models include instanced objects, such as furniture or lighting fixtures. This lesson demonstrates a Material Editor option that improves ease of use when you texture instanced objects.",
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{"title":"Composite Mapping",
"href":"./files/GUID-8CEEAE32-4CE2-406A-9DC0-24D1E91AD69B.htm",
"description":"The end result is determined by the level of transparency defined for each layer. Transparency can be global (applied to the entire surface of the layer), derived from the layer’s alpha channel, or based on a mask. To fine-tune the image, the pixels of each layer can also be blended with one another in a number of different ways.",
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{"title":"Creating a Composite Map with Alpha Values",
"href":"./files/GUID-B7FB4366-7766-4A70-A2B0-5F6942E8E665.htm",
"description":"You will create the base layer of the composite map by choosing a bitmap of a steel shutter, then assigning its diffuse, or color, values to an Arch & Design material. You will then add two more image layers, using alpha values to define how each are superimposed over the base layer.",
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{"title":"Blending Layers",
"href":"./files/GUID-66F7EC0E-259C-4003-89DA-4CCEBA91707E.htm",
"description":"In the previous lesson, you added layers to the Composite map while in Normal mode. In this mode, no blending between layers takes place: Visibility is determined solely by each layer’s alpha channel.",
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{"title":"Spline Mapping",
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"description":"You will start with the same pawnshop model featured in the Composite Map tutorial, and use a spline to map a brick-like material onto the building’s arched entrance.",
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{"title":"Prepare the Scene",
"href":"./files/GUID-7E1CC84F-4113-45ED-B24D-AA5CA029613E.htm",
"description":"In this lesson, you choose a brick material to map to the building arch, and specify the Unwrap UVW modifier as the mapping method. Then you create a spline object and use it as a guide to the mapping process.",
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{"title":"Fine-Tune the Mapping",
"href":"./files/GUID-ED918E85-4F71-4350-9C54-2EE684CDF382.htm",
"description":"With the introduction of the spline as a guide, now the brick material can properly follow the contours of the arch object. However, in the present state of mapping, the bricks are too large and they are mapped vertically up the arch columns instead of horizontally across them. In this lesson, you use the Edit UVWs dialog to adjust the mapping visually so that the bricks map properly.",
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{"title":"Using the Multi/Sub-Map",
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"description":"In this tutorial, you will assign an assembly of stadium seats a common material, then use a variety of Multi/Sub-Maps to assign each seat its own set of stains and discolorations.",
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{"title":"Create the Multi/Sub-Map Material",
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"description":"In this lesson, your objective is to divide the seating in the stadium scene into four distinct groups, and use multi/sub-mapping to assign each group its own color, with red representing the most expensive seats and green the cheapest.",
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{"title":"Composite Sub-Maps Onto Objects",
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"description":"The seats you mapped in the previous lesson appear too uniform: They lack individual signs of wear and tear. Now you will introduce another level of randomness to the seat material by adding sub-maps that contain blemishes and other discolorations.",
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{"title":"Mapping Characters with Unwrap UVW",
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"description":"This tutorial shows some ways to use Unwrap UVW to control mapping, using the clothing of character models. It starts with a simple example of mapping a pattern onto a skirt, then shows how to create \"clusters\" you can use with a complex texture.",
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{"title":"Mapping a Skirt",
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"description":"In this lesson, you use Unwrap UVW to apply a print pattern to a skirt. It is a simple exercise to acquaint you with the Unwrap UVW modifier and the use of its Freeform transform tool.",
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{"title":"Creating Clusters for a Character Skin",
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"description":"In this lesson, you use the Peel feature, new to Autodesk 3ds Max Design 2012, to set up the clusters for the clothing of a character skin, in preparation for applying a texture.",
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{"title":"Set Up the Seams",
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"description":"As the introduction mentions, you need to set up seams only within the named Polygon selections that have been set up already. There will be one seam at the bottom of each arm, and two for the torso legs cluster: one at the back of the jacket, and another at the inseam of the pants. The two torso legs seams meet at the crotch of the pants.",
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{"title":"Peel the Geometry",
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"description":"With the seams added to the model, you can use the named selection sets to break the model into clusters and lay the clusters out as evenly spaced peels.",
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{"title":"Exporting Light Meter Data and Rendering Light Meter Data",
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"description":"In this lesson, you will learn how to export your Light Meter readings so that others can view them either in an Excel spreadsheet, or as a rendered image overlayed with Light Meter data.",
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"description":"DESIGNThe lighting tutorials showed you ways in which to render your scene. The tutorials in this section cover additional aspects of rendering: Rendering an animation, how to use Depth-of-Field, and rendering large numbers of low-poly objects and proxies to reduce scene calculation time.",
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{"title":"Creating a Shadow Study",
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"description":"In this tutorial, you will learn how to:",
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{"title":"Using the Depth-of-Field Camera Effect",
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"description":"Depth of field is a technique used to focus on a fixed point in a scene, called a focal plane. The area of the focal plane remains in focus, while objects closer than the focal plane, and farther from it, are blurred. This is how real-world cameras work, and using Depth of Field can make it appear as if the rendering were a photograph.",
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{"title":"Reducing Complexity in Your Renderings",
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"description":"The tutorials in this section use trees as an example of objects with a high face count. They show you to ways to reduce that count: By turning trees into particles, a method you can use with either renderer; and by turning trees into mr Proxy objects, a method that applies to the mental ray renderer.",
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{"title":"Creating Billboard Tree Maps",
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"description":"In this lesson, you will choose a tree from the 3ds Max Design library of ready-made plant objects and edit its material to resemble an elm in spring. You will save this object as a .tif image, ready to be projected onto the billboards of your particle system.",
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{"title":"Creating a Particle System",
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"description":"Now that you have set up the images you want to manage using a particle system, it is time to create the particle system itself.",
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{"title":"Defining Tree Shadows",
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"description":"In this lesson, you will instruct the particle system to generate a second set of trees, with only its shadows visible. You will then orient the shadows so they continually face the light source in the scene. As a result, the shadows will appear to belong to the first set of visible trees.",
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{"title":"Introducing Variety",
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"description":"The trees in your scene are casting shadows properly, but while they vary in size, they are all identical in shape and color. To make a convincing forest, you need to add a few more tree varieties into the mix.",
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{"title":"Placing the Particle Trees",
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"description":"In this lesson you use polygon selection to define the area in which tree particles appear.",
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{"title":"mr Proxies",
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"description":"You will convert trees to mr Proxy format, then give each proxy a material you saved in a material library. Finally, you will use the Object Paint feature to instance the proxies multiple times and distribute them across the scene.",
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{"title":"Creating mr Proxy Objects",
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"description":"mr Proxies are useful when you want to fill a scene with instances of objects that have a high polygon count, such as 3D trees. Proxy objects save you time and free up memory because they do not need to be converted to mental ray format and their source objects do not need to be present during render time.",
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{"title":"Using Object Paint to Distribute the Trees",
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"description":"Now that you have your tree proxies properly defined, you need a way to instance them multiple times and distribute them across your terrain. You can do this by using the Object Paint feature, which is new to Autodesk 3ds Max Design 2012. Object Paint lets you paint objects onto other objects: In this lesson, you will paint proxy trees onto the terrain object, Plane01.",
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{"title":"Preparing the Scene in Revit",
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"description":"In this lesson, you link the beach house model to 3ds Max Design, adjust the daylight, and add more materials to the scene.",
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{"title":"Using Revit to Improve the Carport",
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{"title":"Scene Management and Nighttime Lighting",
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"description":"In this lesson, first you use Layers and the Scene Explorer to organize the objects created in Revit, then you illuminate the beach house with artificial light so you can create nighttime renderings.",
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{"title":"Creating a Walkthrough from an AutoCAD Drawing",
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"description":"In this tutorial, you use AutoCAD and 3ds Max Design to create a virtual visit to a room in a house. In it, you will learn production techniques used for creating a photorealistic animation sequence from a 2D house plan.",
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{"title":"Preparing and Exporting the DWG File",
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"description":"In this lesson, you prepare a 2D DWG file as the basis for the 3D house model.",
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{"title":"Importing the DWG File",
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"description":"You are now ready to import the AutoCAD file into 3ds Max Design and use it to create the general structure of the 3D room.",
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{"title":"Constructing the Walls",
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{"title":"Using the SAT Format to Share a Model with Autodesk Inventor",
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{"title":"Import the Model into 3ds Max Design",
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{"title":"Edit the Model in 3ds Max Design",
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{"title":"Use 3ds Max Design to Add a New Part",
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{"title":"Export the Model to SAT Format",
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{"title":"Import the Model back into Inventor, and Edit It Further",
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{"title":"Mudbox Interoperability with the Send To Feature",
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"description":"If you don\'t have Autodesk Mudbox 2012 installed, you can skip this lesson.",
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