Blender 3D Welds Tutorial

It only took 8 easy steps, on the 8th I was blown away!
(Must conform to marketing standards by adding a nondescript click bait title.)

STEP: 1 Create a single weld bead. Make sure it is tile-able

Step 2: Add an array to this weld bead.

Step 3: Add a curve and make the weld bead follow the curve using the modifier “Curve”

Step 4: Make the curve fit the desired object. For this I use a combination of the “shrinkwrap” modifier and “snap to faces”. When doing this, it prevents vertices from being place in random space. When the vertices are too far from the object, it will cause glitchiness with the “Shrinkwrap” modifier.

Step 5: Mess with the curve settings, depending on the curve, some options work better than the others. Definitely play with the Twisting option on every curve.

Step 6: Adjust the array duplication amount to fit the curve.

Step 7: Add a displacement modifier using a cloud generated image. This will give the weld a bit of human variation. The more displacement, the more accurate it is to my real life welds Play with the cloud and displacement settings to get something good. It is sensitive, but once you get it, it is amazing!

Also thank you Rombout for bringing up the displacement idea!

Step 8: Run around the place telling every person in a 100 foot radius that you made something beautiful.

Please let me know if you have any questions!

Realistic Grunge/Texturing Tutorial

Here is the technique that I use to get most of my textures completed. It has been refined over a period of 8 years. Enjoy!

Usually I make sure I have the model completely finished before I start anything.

Then I UV unwrap the object. For this I did NOT put similar UV islands over each other to save space, instead everything has its own pixels for maximum variation.

After that I bake the ambient occlusion so I can get a good idea where to put the dirt/scratches. This is way more helpful then saving the UV coordinates as an image.

Then I start on the super fun part, texturing!

For texturing, this is really the ONLY spot you can give an object a story. When coming upwith the texture keep these things in mind:

Where has it been?
How was it used?
How well was it taken care of?
How long has it been used?

For the wheels:
Where has it been?
Through a bit of mud,rocks, now traveling over super soft dust.

How was it used?
To pull a heavy vehicle over hard objects at race pace.

How well was it taken care of?
It’s been beat up but constantly serviced (this explains the dark dirt/grease and scratches on the bolts)

How long has it been used?
For a while, this is a low budget off road rig

Of course while you are texturing you can keep adding to this list.

Also get a ton of references. The more you get, the more realistic it will be .

When I am doing the scratches, I have two different work flows I use on the same texture.

I made a Photoshop scratch brush that is pretty thick with a bit of scattering and a lot of size variation. (I will attach a picture of the settings later, I am on a different computer at the moment). With that, I trace around all the edges that would get scratched constantly. It will look really even at this point.

I temporarily removed the ambient occlusion layer for all the images so you can see the texturing details better.

So make a mask, then increase the scratch brush size and variation. Paint over it like a 5year old who just had 10 candy bars. This will remove the solid scratch lines. This is where I control the scratch amount. The less Iwant, the more I paint over it on the mask. Also be sure to remove any scratches where it logically would not be.

The Result:

The mask:

This will give you the big scuffs, but we still need the little long scratches.

For this, have less variation, decrease the bush size and make a new layer. Then draw on that like a hyper 5 year old again (Now you see why I like doing this stuff).

Once again, add size and variation then pain on the mask to make the scratches look morerandom.

Both scratch variations together:

Now for the dust!

For that, think of where the dirt would stick, keep in mind when the vehicle is in motion, the wind resistance will blow off a lot of the dust. Because of this, one should gather many references of similar dusty objects.

You can get away with the same scratch brush that was used before. Just lesson the variation by 3a lot, turn the opacity down so everything looks softer and more like dust.

Of course mask off the areas where dirt should not be, then start painting.

For the grease:
The grease will be near mechanical devices or surfaces. So around the edge of the hub cap I added grease (which turns into dark dust). I then added some dark dust around the bead lock bolts. (In this case it is anti-seize, but will still end up as darker dust)

The Scratches, dust, and grease are separated into their own black and white masks for cycles.There I can tune the material for each. Example: Change the color of the dust, make it more opaque or translucent, change the glossiness etc…

Dream Of Generations

Wire1 Wire2 Wire3


Featured on Vsauce

“CG Society” editor’s pick award

Team Choice award in the Humster 3D competition

Featured on the Blender Artist forums

The idea came from my dad’s amazing stories about racing.

This car is not legendary to anyone other than my family and I. Everyone who catches a glimpse of the 240Z thinks it ‘s a wreck. It is covered in rust, the interior is gone, the back end is smashed. Heck, there were even a squirrel living inside of it for a couple of years. The reason it is legendary to me is because of the story behind it. The story is about my family’s pursuit and difficulties of getting into racing. My dad, Uncle and Grandma all worked at “Laguna Seca”, a race track in California. It inspired them to build a race car. Conveniently, my dad’s girlfriend’s sister had a 240Z and spun the car in the driveway from too much throttle. She smashed every corner of the car. This caused the car to devaluate enough for my dad and uncle to buy it for $200. They did many hours of research on race prepping. My dad added a full exhaust system, blueprinted the engine, duel Mallory ignition and triple side draft Weber carburetors to it. I heard it sounded amazing! They would stare at it each day dreaming about the 240Z flying around the track. There was a problem with money though. Things became more expensive, my family had to work longer hours. This caused the 240Z to be pushed into a corner and covered up. It stayed that way until it was driven to Arizona where it now sits. The economy was getting better, my family wound up in the housing business. We finally had enough money to start again, so we worked on it a little bit. But like before, money issues hit us again, this time it was worse. The housing market crashed, my family went broke. My dad sold almost everything except the 240Z. I am glad he kept it. We still watch the sun set behind the car giving it a glowing effect. It is my turn now to rebuild this thing. I have the same dream my family had, I see myself flying around “Laguna Seca”.

Evil Boss Energy Brace


Fear through design:

The client wanted something intimidating and powerful. We decided on this design. Here I emphasized fear and power through the color red. This color was chosen because of the associations with many of the cruel rulers in history. I also made the object cold and sharp to emphasizes the tension and anger within the object. This combined with the skull like logo creates a fear in the player when it is presented.

Inner Emotion Extractor

Emotion through a small screen.

This was created for the phone application “Radial Blitz”. If the monitor ball is happy, it will not be an issue to the player. When the player shoots it, it will become angry and destroy him or her.The goal of this object was to show the emotion of this object from a far distance on a small screen. This was achieved through color coordination. When angry, it will turn red, thus making its emotional status very visible. Then when it is happy it will be green, as shown.

3D Low Poly Video Game Nuke Box Target

Toxic Box of DOOM

The toxicity of nuclear waste

The game needed an object that had to be shot before it came too close. The client and I decided to make something with nuclear waste. because it will hurt the player if he or she waits too long before shooting it. I created the object to be visible from far away, so I wanted an easy to see shape and color. This lead to the box like concepts. I choose to have a heavy reinforced look because it hints to how dangerous the contents are.

3D Low Poly Video Game Combo Target

Futuristic Hover Disk

The combo target

This object was made for the phone application “Radial Blitz”. I wanted the design to look a bit weak and easy to take down because in the game, many “hover disks” will come flying towards the player. The player will  get a combo bonus if all of them are shot in a short amount of time. I made the color scheme easily recognizable from a far distance and visually appealing at a close distance.

Architectural Visualization

Render 1

This was created for a client with accuracy as the HIGHEST priority. For this project I had to turn elevations and a floor plan into a realistic and detailed 3D model to fully recreate the architect’s vision. This model was then passed onto the company “Aaron Smithey Architectural Imaging” for the materials and rendering.

Energy Transporter

Created in Blender 3D

Rendered in Cycles

Everything made from scratch


This concept came right out of my mind. I used no references. This was made to practice creativity and my mesh topology techniques.