3D format: Sketchup 2016. Download: RAR File - 567,96 MB. Hello everybody, I hope you are all well:-) 'Villa Bali' is My Architectural Concepts i Have Done Few Months Ago. In This File Included Sketchup 2018 File of 3D model and the Lumion 10 File whit Lumion 10 Render Settings. 3D Design Studio Comprehensive package of plugins and add-ons for SketchUp to provide the tools you need for creation of 3D scenes, SketchUp Renderings, reporting and client presentations. Keywords: Render Plus has combined all of their SketchUp plugin and add-ons into a single package - the 3D Design Studio.

• Sketchup 2018 – Create 3d Design Concepts Pdf
• Sketchup Floor Plan To 3d

Comprehensive package of plugins and add-ons for SketchUp to provide the tools youneed for creation of 3D scenes, SketchUp Renderings, reporting and client presentations.
Keywords:

Render Plus has combined all of their SketchUp plugin and add-ons into a single package - the 3D Design Studio.

Get everything you need to enhance your creation, presentation and reporting of 3D layouts - all in a single package.

The 3D Design Studio includes:

• RpTools - tools for placement and editing of components and other objects into your 3D model.
• IRender nXt - Photorealistic Renderings using our rendering engine
• RpReports - Attributes and Custom Reports on items placed in your 3D model.
• RPS 3D PDF - Interactive 3D PDFs for viewing your model on your website and PDF files.
• Non-Photorealistic Rendering - Sketchy, Soft, Shadows, and more

If you are creating 3D models - Buildings, Landscapes, 3D structures, Products for sale, etc., - then the3D Design Studio has the tools you need to work productively and to present your designs to your clients.

Getting Started

Sketchup 2018 – Create 3d Design Concepts Pdf

• Download the latest version, and free trial, of 3D Design Studio here: Downloads

Testimonials

..why didn't I see this before?

..why didn't I see this before? Sigh... Just bought the new Vray, which is giving me endless trouble. Because I can t(yet?) render with that, I downloaded the iRender demo. It's excellent! Beautiful results, absolutely on a par with Vray; far more intuitive interface; and some nice environment options too. It renders a big model that makes Vray crash without a glitch, and pretty fast at that. So much for impulse buying. I'm seriously considering getting this anyway. Congratulation to you and your team Al!

Martin PH (on SketchUcation Forum)

3D Tools

For placement and editing of components and other objects into your 3D model.

For more details, see RpTools and Component Wizards

(If you would like these tools without purchasing the full 3D Design Studio, check out RpTools)

• - Place Material - Place materials on surfaces.
• - Material Styles - save and reload all material settings.
• - Select and Place Component - Select SketchUp components from an Explorer like list.
• - Move Wizard - move a component (or any selected entities) along an axis.
• - Copy Wizard - copy a component (or any selected entities) along an axis.
• - Mirror Wizard - mirror a component (or any selected entities) along an axis.
• - Rotate Wizard - rotate a component (or any selected entities) around an axis.
• - Stretch Wizard - stretch a component (or any selected entities) along an axis.
• - Aim component - align a component's axis to point at something else in the model.
• - Alpha Channel - Adds an image with transparent areas.
• - Proxy Components - Create low poly components to speed up your SketchUp model.
• - Shapes - Wizards to create standard 3D objects.

For more details, see RpTools.

Photorealistic SketchUp Renderings

3D Design studio uses our IRender nXt rendering engine.

For more details, see Photorealistic Renderings.

(If you would like Photorealistic Rendering without purchasing the full 3D Design Studio, check out IRender nXt or ArielVision)

Quick and Easy to use Whether designing for work or fun, IRender nXt'sseamless integration into SketchUp makes it quick andeasy to create photo-realistic SketchUp Renderings that showyour designs at their best.

Image by Gary Giacci

Time-Saving Features IRender nXt optimizes your design-time by saving your settings together with the 3D model and allowing post-render processing. Update your design and recreate your SketchUp Rendering, without starting over again.

Image by Mark Bauer

Great Results With IRender nXt you can create great results. Save time with an efficient workflow that makes changes easy. Create stunning images that wow your client and help you win business.

Image by Nick Norman

For more details, see Photorealistic Renderings.

Attributes and Custom Reports

on items placed in your 3D model.

for more details, see Attributes and Reports.

(If you would like Attributes and Reports without purchasing the full 3D Design Studio, check out SpaceDesign)

What is it?

Attributes and Reports, Calculations and Information extracted from your SketchUp model.

Who should use it?

3D Component Makers, Ruby Developers and SketchUp Model Makers.

Powerful customization of attributes, calculations, reports, etc.

How to use it?

Include Attributes in your Components and Groups for reporting.

• report on Dynamic Component attributes.
• Add your own attributes and report on them.
• Combine and count components with similar attributes.
• Extend cost and other fields (multiply by quantity).
• Total extended cost and other fields.

For more details, see Attributes and Custom Reports.

Interactive 3D PDFs

For viewing your model on your website and PDF files.

Take your SketchUp models and turn them into interactive 3D PDF files which you can then post on a web page, or send to clients and which can be read with Adobe Acrobat Reader.

Export 3D geometry, with colors and textures, into an Interactive 3D frame in the Adobe PDF file. Add titles, notes and comments to the PDF document easily using the 3D PDF Wizard.

• Post to web site or email to clients
• Clients can view your model, but cannot borrow or change it.
• Simple wizard to combine text and background images with your model

For more details, see Interactive 3D PDFs

(If you would like Interactive 3D PDFs without purchasing the full 3D Design Studio, check out RPS 3D PDF)

3D PDF viewed in Internet Explorer
The user can spin and rotate the model in real time.<br.

Non-Photorealistic Rendering

Non-PhotoRealistic Tools are used to help create Non-PhotoRealistic materials, renderings and other features for use in conceptual or formal renderings.

• - Soft Shadows and Sketchy Shadows

Similar to soft shadows, but applies a texture pattern to the model to be used to draw the shadows.

• - Sketchy Textures

Lets you create your own sketchy textures to be used with SketchUp or Sketchy Shadows.

• - Soft Edges

Saves an image of your model with colored, transparent or softer edges.

• - Crayon Colors

Special colors and styles to achieve a crayon look.

• - Save Model As Image

Saves special images - such as edges only or shadows only which you can combine in Photoshop or another paint program for special effects.

This also has a valuable feature which will make any image or pattern tileable or repeatable for use as a SketchUp material.

• See: Tileable Textures

For more details, see Non-PhotoRealistic Tools

Download and Purchase

Sketchup Floor Plan To 3d

The 3D Design Studio Single Download will be available soon.

For now, you should download the individual components here: Downloads

Download:

• IRender nXt
• RPS 3D PDF
• Space Design
• RpTools

Purchase the 3D Design Studio here: 3D Design Studio Purchase

Introduction

In this tutorial I’ll show you how I created my piece “Stoner,” based on the brilliant sketch by concept artist Varun Nair. I’ll go over the process used to create it, starting from modeling in ZBrush, through to texturing in Substance Painter, and finally rendering in Arnold.

Starting with the concept

Working with a stylized character concept, I find it’s sometimes easier to break the character down into just basic shapes by drawing over the concept using Photoshop. It helps identify major forms that need attention when translating it in 3D. If you can instantly see recognizable shapes from the concept in the 3D, it will ultimately sell the piece.

Reference

Because the concept was a simple line drawing it gave me a lot of freedom to play with how the character might look when doing the look dev. The character reminded me of a skater you’d see at a skate park, so from then on it was just a case of finding images that best captured the typical skater look i.e. blonde hair, oversized T-shirt, backwards ca, and so on.

Modeling in ZBrush

I start modeling using dynamesh as it’s the easiest way to rough out the shape. I use dynameshed primitives that roughly match the shape I want for big features (nose, ears). I dynamesh at low res (32-56) so I can make broad changes.

During sculpting, I’ll increase the resolution as needed, making sure that the mesh isn’t too dense and can be easily changed. It’s a standard workflow of “big to small shapes” when sculpting. I keep all the dynameshed pieces separate at this stage.

Once I’m happy, I merge all the pieces together, duplicate the mesh, and Zremesh the duplicate. I subdivide the Zremeshed then reproject the dynameshed onto the Zremeshed. I then soften the transitions between the original dynameshed primitives.

Retopology in Maya

ZBrush’s “Zremesher” does a good job but the topology can be hit and miss on a face depending on how complex it is, so I like to Retopo in Maya.

I take the Zremeshed and decimate it, usually at 7-10%. I export to Maya and use the “Quad Draw” tool to manually retopo on top of the “Live” mesh, making sure that I get a low poly version with clean loops and edge flow. Once finished, I take the retopo’d version back into ZBrush, subdivide a few times, and then reproject the details from the original Zremeshed onto the new clean mesh. Now I have clean topology with no pinching or artifacts to continue refining the sculpt.

Adding the rest of the clothes

With the sculpting finished on the body and head, I move on to adding the other cloths. I add the baseball cap which started as a simple sphere with the bottom deleted, and use the “Move” brush to give it the correct shape matching the sketch.

For other details on the cap like the logo, I masked out the area using an alpha I made in Photoshop, and extracted it at “0.” I then decimated the extracted logo and retopo’d it in Maya. I took it back into ZBrush and gave it the necessary thickness using “Panel Loops.’

I created the T-shirt in Marvelous Designer and exported it to Maya where I again retopo’d it and gave it thickness in ZBrush.

UV’s & Posing in ZBrush

Once all the pieces are made, I exported all the SubTools at subdivision level 1 and imported everything into Maya and begin making the UVs.

I use the “3D Cut & Sew” tool in Maya to cut each model before unfolding everything. I also make sure everything has the same Texel density. I used UDIMs for this project so each object fit on multiple tiles for maximum resolution when I come to render in case I decide to do any close up shots.

I export the new UVd meshes into ZBrush and copy the UVd to the non-UVd SubTools. I then start posing the character. I wanted to stay as close to the concept as I could so I made sure I used ZBrush’s “Spotlight” to check if the 3D matched the 2D. Even though the 2D is from one angle, it’s important that the 3D matches that angle but also looks good from all angles.

Texturing in Substance Painter

Now the fun can start in Substance Painter! I knew I wanted stylized textures but also with elements of realism to show age, dirt, grim, and so on.

I went through different ideas for the T-shirt. I initially painted the T-shirt in a “tie-dye” style similar to the reference images, but ended up scrapping that design as I felt it was too distracting.

Spend time painting good value Specular maps as they’ll be the ones that’ll really make a difference when the model is under lights and seen from a distance. For most of my texturing process, it’s a standard workflow – a mix of fill layers with masks, procedurals, and a lot of hand painting. Experimenting with color is important to producing eye-catching work, so just have fun with it!

Clothes texturing

Painted Spec maps

Making the hair using Xgen

For the hair I used Xgen. I start by exporting a decimated version of my sculpted hair from ZBrush to use as a proxy guide. I then took a low-poly version of the mesh and separated it into scalps for Xgen to 'grow' the hair from. I then create a collection and description for each part of the hair from these scalps.

After everything’s set up correctly, I begin placing guides, making sure they follow the silhouette of the sculpted hair. From there I begin adding clumps to the guides going from bigger clumps to smaller clumps, adding noise and cut modifiers and stray hair expressions to the modifier stack. I use the same workflow for the eyebrows and facial hair.

Lighting in Maya

Lighting plays an important part in really giving character to the model. I experimented with lots of different light setups by doing quick 50% size render iterations to test what would work and what wouldn’t.

I tested a lot of HDRI light scenarios, some making the character looking more “sly and suspicious” than I intended, so I ended up going for a three-point-light system with the key light directly above, as this made the character look lazy which suited him. Like texturing, this part is all about experimenting as light really makes a difference so have fun with it.

Rendering in Arnold

I decided to use Arnold for Maya to render. You can get good test results with the settings in the default render setup but for final beauty renders you need to crank up the settings to eliminate noise and fireflies at the expensive of render time. If you’ve got a good CPU then the added time shouldn’t be too much of a bother.

I wanted to limit the amount of post-processing I’d have to do so I added Depth of Field using Maya’s camera as it’s more accurate and looks better than rendering a Zdepth pass and having to comp it in Nuke after, for example.

Top tip - Depth of Field tip

I use a cube primitive to measure distance from the camera where the character should be more in focus – in this case his face was in focus and there was a soft blur around him. Subtlety is key with this effect, too much and a character can look like a miniature!

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