Designing the Bedroom

At the start of the project, I decided that my bedroom would use a mixture of antique furniture and modern belongings.

Firstly, I looked into and created mood-boards of types of furniture and aesthetics I wanted to use. AntiqueFurnitureGoneHome


I created several perspective drawings to test out ideas and get a final clear view of the type of room I wanted.


I also looked into each piece of furniture and decided which aspects I wanted it to have which involved: size, shapes, carvings, etc.

To figure out which colours I wanted to use, I made several coloured thumbnails.



Full bedroom Evaluation




For this project, I set out to 3D model a bedroom to high standard. I believe I achieved this.

The website,, provided a great starting point for me to find images of every kind of antique furniture, each item having photographs from several angles, a description of its features and properties and dimensions. From this I could clearly reference my furniture models exactly but also combine different aspects to create my own designs based on what I wanted.

My influence for using antique rather than modern furniture came from my love of games set in past time periods.

Overall, I would say I completed my fmp by the deadline although I didn’t manage to apply VR to my assignment as the plug-ins weren’t available to me. However, by the deadline, I had a fully modelled, textured and lit room with rendered snapshots. An aspect of the project which I thought would cause me not to be able to complete my project was the texturing. Originally, I had planned to apply Maya’s procedurally generated wood textures to Arnold’s surface materials. After several failed attempts I had realised that the wood procedural texture was not compatible with Arnold. My options were to either install a third-party rendering plug-in, Mental Ray, specifically for rendering the wood texture or to stick with my original plan of using the Arnold shader and texturing using UV maps. A lot of research had to go into UV mapping as I originally was completely unaware of this technique. However, after familiarising myself with the feature, I was able to download several royalty free wood grain textures and apply them to my models; using images of real wood, I was able to attain a much more realistic texture than if I had used the procedurally generated texture. I believe my timeplan gave me a realistic working pattern to stick to as, although the first few weeks of being unfamiliar with the software caused me to fall behind schedule, I was able to work more efficiently than planned after I had practised with the software and researched it. I finished my modelling on schedule which gave me quite a large amount of time to deal with, what I believed was, the hardest part of my FMP- texturing. Despite wasting time on several failed attempts, I still had plenty of time to complete my textures after developing the correct technique.

One change I made from my original planned sketches is reducing the amount of models in the room. I believe I had to do this to make the completion of my project my feasible; considering the amount of objects I had originally planned to create and the complexity of modelling and texturing them, I decided to omit them. Some of these items included a PC with accessories, a cork-board filled with postcards and prints, a coat-rack with coats and a rucksack. After initially struggling with using the nCloth feature to make simple fabric models such as the duvet and curtains, I realised that the complexity of creating clothing would take too much time when my focus of the project was on the furniture and interior design of the room.

Another big change was in the designs of the furniture. I had done my perspective drawings before I deconstructed each piece of furniture individually so when I looked closer at each piece, I realised there was a lot of different features I wanted to include. This included the mirror drawer which had a very simple design in my drawing; after looking into more examples, I realised I wanted something more impressive so I decided to instead incorporate a hinged mirror on curved stands. Alternatively, some pieces were simplified such as the bed-frame which initially had a very intricate shape which would then make texturing harder. My floor-plan, however, I stuck to completely as the wall and each piece’s dimensions were planned carefully to fit together.

The development of my ideas included: floor-plans with rearrangements; room sketches with variations in furniture design and layout; and coloured thumbnails. My experimentation with colour allowed me to decide what tone I wanted my room to display. The darker coloured wood and fabrics set a dramatic, grimmer tone; medium colours set a more neutral, mature tone and lighter colours set a slightly childish tone. I decided to use a mixture of dark and medium coloured woods and materials for a mature and more visually interesting aesthetic.

To create my FMP I primarily used Maya. I also used Illustrator and Paint Tool Sai to create my digital floor-plans and coloured thumbnails and Premiere Pro to put together playblasts showcasing my models and room’s final design. At the start of the project, I had a very basic knowledge of Maya and had to refer to a lot of tutorials to begin to understand modelling the shapes I needed. After learning more about the software, I found that it was very effective for the creation of my FMP. I could use Maya for modelling, texturing, rendering and animation which made my workflow very efficient as I didn’t need to export objects to many different programs to do each task.

I have presented my final work as several images of renders and a video of my models and finished bedroom.

Overall, I think my models turned out well. My models look how I planned them to in my drawings and my textures look quite realistic when rendered. However, I could have learned more about lighting in Maya to make my source of light (light-bulb) look more realistic in my renders. Another improvement could have been to have higher quality renders but I did not have enough time to create high quality renders for the amount of images I needed.


For my curtains, I used a rectangular plane as my cloth by choosing the option nCloth. By assigning the top row of vertices on my cloth to a polygon cube using Point to Surface, I could move the vertices by moving the cube. By reducing the scale of the cube, the vertices move closer to each other, making the folds in the fabric. To simulate the fabric coming together, I used Maya’s animating features. Firstly, I keyed my objects in their starting position, the cube at full scale; then at around 100 frames, I reduced the scale of the cube and keyed the change. By playing this back, I could watch the fabric bunch together and stop it to choose at which point it looked the best.


For texturing, I started off with a fabric bump map by attaching a bump map file to the geometry in the aiStandardShader. Then I could add the fabric’s pattern. I chose a seamless floral texture which would fit together well when I tiled the texture. By editing the 2DTextures node, I could make the texture tiled which increased the resolution and decreased the size of the pattern.

For the rail I created a simple grey metal texture.



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