Mirrors and headlights/tailights have so little nodes that imo they do not affect how much it’s custom.
ight --- Post updated --- also maybe do this once the 900 series has more of the things needed then do this
oh nice, the progress is already looking good --- Post updated --- ngl i wanna just ram this into an 800 series once the car gets released cuz why not, also i wanna test my tuning capabilities on the 900 series.
It's progressing fast. Nice. For now, the design of the handles caught my attention: the opening seems to be a little strange, giving the impression that it is impossible to run your fingers through the top. I don't know if this drawing is definitive.
I don't mean to be rude, but the taillights look quite empty and busy to me. Since the late 2010s, the hallmark of luxury lighting design has been the use of diffused LEDs with either piano black surrounds or the use of crystalline detailing inside the reflectors, with the whole unit wrapped with a deep burgundy or ruby lens. The overall shape of the lights is generally quite simple, and the inner detailing is kept to simple repeating shapes with generally large DRL strips, keeping the overall design calm and composed. This isn't to say that they aren't detailed, as the level of attention to detail is actually quite high, down to the subtle pattern in the reflectors of the BMW 7-series, the crystalline detailing in the lights of the Mercedes S-class, the subtle diffusion of the LED strips of the Lexus LS-500, the subtle geometry of the Audi A8, and the more geometric crystalline detailing in the taillights of the Genesis G90. This level of detail at such a micro scale that it avoids conflicting with the overall line flow of the car, while providing depth that evokes feelings of luxury and opulence. Despite their differences, all of these designs share two major things in common: Consistency, and simplicity. On the BMW 7 Series, the taillights are composed of only three main shapes, all of which are largely horizontal and rectangular, with curved edges and a flick upwards at either side of the main L shaped lights, at an angle which parallels the lines created in the Bumper as it climbs the rear quarter panels. Simple, yet due to the subtle changes in diffusion, color, depth, and use of multiple patterns and surfaces of different roughness, the taillights still maintain a deep sense of depth and complexity, without feeling busy. The same story is told in the LS500, with the same simple angled L shape being its defining motif; an angled L with its inner corner curved, and the shorter side thicker than the longer. This shape is used in the shape of the light itself both the back and side of the unit, as well as within the diffused LEDs, which themselves use a gradient of color, due to their diffusion, to provide depth to an otherwise simple design, which leads the design to feeling cohesive and calming, without being emotionless. The Mercedes S-Class follows the same formula, with a simple shape that aligns with the major bodylines of the car, filled with three main LED lights that skew upwards as they reach the sides of the bodywork, lifting the eye up towards the greenhouse, and paralleling the shape of the taillight unit itself, and continuing the shoulder line as it merges into the trunk and rear bumper. Despite being an overall simple shape, the taillights maintain a sense of elegancy and depth via their use of crystalline detailing within the LED units, and variations in shape to match the housing, such as the inward angle on the outer edge of the top LED light, to match the inward angle of the housing, as well as the use of smaller detailing in between the lights. For a much more complex design, the Audi A8 Still avoids looking busy and disjointed from the rest of the design, as the geometric shapes in the lights parallel one another, and match the language found along the rest of the car, from the rear diffuser to the headlights. The slanted Y-shaped diffused LEDs actually contain the same shape and design language as the larger C shaped diffused corner LEDs, specifically the slanted L shaped portion, which is utilized near identically in both locations, providing a sense of connection to the design. In the upper half of the design, the horizontal bar shaped diffused LEDs span exactly the width of the Y-shaped elements below them, as does the upper portion of the C-shaped element. Despite this relatively simple design, the subtle variances in diffusion, as well as detailing in the reflectors surrounding the main LED elements keeps the overall design feeling deep and complex, while the overall simplicity matches the rest of the angular design language, keeping a sense of cohesion. Finally, my personal favorite design, the Genesis G90, is probably the best example of instilling a sense of depth and luxury through the attention of detail applied to an otherwise simple shape. The design only contains three major elements, all of which are simple rectangles that curve upwards as they reach the quarter panels, rising to meet the C pillars, as they share the same angle, with soft inner bevels in the upper elements. Despite this, the use of geometric crystalline detailing in the red LEDs causes the light to refract throughout the housing in an organized yet intricate pattern, providing an amazing sense of depth and elegance, similar to antique jewelry. In order to avoid overexposing the effect, the amber indicator elements utilize the same crystalline detailing within the housings, but with subtle diffusion to tone down the effect in order to differentiate itself from the red elements below and above them. Burgundy lenses allow the light to fade nicely from one color to the next, and keep dead space interesting with the use of simple reflective surfaces that bounce the remaining light throughout the housing. This design flows beautifully with the long, elegant lines of the bodywork, while rewarding you for taking a closer look. Overall, what I would recommend for the ETK 900's taillights is to follow the principles used when designing the headlights: Three simple, broad, L shaped diffused LEDs, and subtle chrome stripping to accent the LEDs. Remove the busy diagonal rectangles, and replace them with three or five simple, broad shapes that cover the majority of the space, and thin the heckblende to avoid it dominating the rear's design. Fill the main red LED surround, including the heckblende, with some sort of detailing akin to the crystalline one found in the Genesis and Mercedes, or more intense diffusion such as on the Lexus, to give it more detail and depth, though avoid overusing the effect as that would busy up the design The remaining space can be filled with smaller reflective elements to bounce the remaining light around the housing, and the entire unit can be covered in a burgundy lens to unify the design. This design would much better match the broad, bold lines found all across the rest of the bodywork, and allow the taillights to complete the line flow found in the shoulder line and rear bumper, instead of defying it, leading to a more cohesive and calming experience.
An I4 in ETK's top-of-the-line car? The design looks really good. For some reason it reminds me of newer Lincolns. The only weird areas I see are the turn signal texture on the mirror and the foglight texture on the base bumper.
