Fresnel falloff is used to sharpen the reflections on glancing angles Step 03: The monster I kept the palette simple, limiting the colors and sticking to muted tones, popping to brighter colors here and there.Ī node setup in Blender for blue car paint. I could also swap out different HDR images and lighting setups and see them update in real time. I rendered live in Blender's viewport using Cycles to check my car paint shaders and chrome, etc., trying out different schemes dynamically which was really great. I put teeth on the bumper to reflect the teeth in his mouth Step 02: Car materials

The rest of the car was modeled piece by piece in Blender.Ī wireframe of the car. I pretty much distorted it into shape with a lattice in Blender, then threw the whole thing away and used the body as a basis for retopology. I had a very low-detailed (heavily triangulated) BMW Isetta model lying around from years ago which I wanted to re-model in Quads in Blender. I don't know why I decided on a big monster in a little car. It was the perfect reason to open it up and come to grips with all the updated workflows I had not been paying attention to. Though I work digitally every day, I hadn't used ZBrush for a long time. Several of my friends had purchased 3D printers and said they would gladly print a character for me if I'd like. Glenn Melenhorst shares his workflow for the adorable Monster Car

Car design in blender