For the interior material, I gave the sp normal map material to the brush on the table where the ship was docked and then adjusted the shape of the brush to a screw so that it could be painted to simulate a three-dimensional modelling (but actually a mapping) effect, and so on for the grooves and bumps in the metal plane. Create more smiling but more realistic details such as scratches with a bumpy feel.
So I created these yellow cautionary details on the main objects of the scene, especially the two things that the young boy is not allowed to touch in the episode – the dock of the airship, and the exit door.
Referring to the design in many sci-fi works, I found a point that adds very interesting detail to the metal sci-fi scene: the yellow cordon. Or other similar decorations with bright colours and specific symbolism. The yellow colour distinguishes the different objects in a metal scene very well and suits the mood of the whole scene.
This week we had another unexpected treat in our search for a reference, the display of the airship.
We wanted to make something similar to the hovering transparent display in Iron Man that could be moved and changed in size. Next week we will be exploring how to do this.
The ship passed through the tunnel to the outside world, so next week I will also create materials for this tunnel, which is modelled on the open source website.
Columns (sides replaced with darker colours) Columns and beams differentiated by colour, grey and white (similar to the launch pad), with a colour, a little colour.
The launch pad, the cross is replaced with a yellow colour scheme.
Tunneling, UV and mapping (self-luminous) 2. after all the stuff in the room is done, integrate the resources and put them in maya to package, (simply a light), area light or parallel light
