The most difficult in this kind of project is to keep the motivation, it is very hard to work on the same project for 5-6 months in a row, and I often gave up during the previous project. The texturing still takes most of the time and is the most complex part, this is where you bring your project to life, it requires the most concentration and technique. I suddenly have a real idea of my working speed, and it is very important to know. The high poly of my next project was made in about thirty hours (exterior and interior included). It is important to do this because it allows you to know what your real working speed is and if someone wants to buy your model, it will give you a better idea of the price you can set. I'm currently doing another car and I'm calculating my working time using an application called Clockify. This project lasted 7 months, I didn't work on it every day and sometimes I didn't even touch it for 1-2 weeks. I already model with my desired number of vertices, this avoids making too many modifications later. This allows you to have a completely sound base and to model the most complex shapes quite easily. The first thing is to create an outline of all the shapes of the car. This workflow is taken from one of my favorite artists in terms of car modeling: Karol Miklas, I invite you to see his article on 80 Level. That's why I'm going to share with you my new workflow, much more appropriate for car modeling and much more efficient.
I then subdivided it and used DynaMesh the problem with this process is that you lose a lot of quality when baking because DynaMesh restricts you to a certain number of polygons. What I did for this project is I started doing all the low poly in Polygon and sent it all into ZBrush. Whether you are already working at a studio, or a student developing a portfolio, this title will help demystify what is often considered a key technical challenge for any production modeler to master detailed hard surfaces with clean topology.To be honest with you, I'm currently working on a new car, and my workflow is completely different from my FJ60. This workshop is not just for vehicle modeling, but offers you tips and tricks that can help increase your speed and quality while approaching any hard surface modeling project in Maya. While demonstrating a concentration on clean topology and modeling techniques used in production, James methodically walks through his workflow to help better your confidence in modeling. With a well planned approach, he starts modeling a block-out that lays the foundation for all that is to come. James begins by covering the importance of collecting reference images that will inspire and guide the design and modeling. In this workshop, James Schauf shares his workflow for modeling a Mad Max inspired hot rod.
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