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e nde rart
CH AR ACTE R M O D E LING !!
blende r learning m ade e asy
M ode l
ing a Butte rfl
y
Rapid Prototyping in
Ble nde r
Bl
e nde r2Pov
Ch aracte r De sign 2d
sk e tch to 3d
M ak e H um an
CONTENTS Issue 4 M ay 2006
EDITOR/DESIGNER
GauravNaw ani gaurav@ blende rart.org
Ne w s Fl
as h - Pg5
M ANAGING EDITOR
Sandra Gil
be rt sandra@ blende rart.org
3 d W o rk s h o p
Ch aracte r m ode ling at Pl um ife ros - Pg8
W EBSITE M ode ling a natural istic Butte rfly - Pg12
Nam Ph am nam @ blende rart.org
Rapid Prototyping w ith Bl e nde r - Pg23
PROOFER Re nde ring w ith Bl e nd2Pov - Pg27
K e nron Dil
lon
Ch aracte r De sign 2d sk e tch to 3d - Pg34
W RITERS
Ch ristian Guck e lsbe rge r
M anue lPe re z In s i d e rVi e w
Claudio Andaur
José M auricio Rodas R. M ak e H um an - Pg40
Claas Eick e K uh ne n Spl it/Fram e re nde ring on - Pg47
Rogério Pe rdiz
M anue lBastioni Re sPow e r Supe r/Farm
Ale ssandro Progl io
Antonio Di Ce cca Giovanni
Lanz a M artin R e vie w s
Ed Cick a 3d Cre ature w ork sh op - Pg52
COPYRIGH T© 3d Ph otore al
ism tool k it - Pg53
‘Ble nde rart M agaz ine ’, ‘ble nde rart’and
ble nde rart logo are copyrigh t Gaurav
Naw ani.‘Ask Bl e ntuu’and ‘bl e ntuu logo’ G al
le ria - Pg54
are copyrigh t Sandra Gil be rt.
Al lproducts and com pany nam e s fe ature d Cre dits - Pg9 1
in th e publ ication are trade m ark or
re giste re d trade m ark of th e ir re spe ctive
ow ne rs. D is cl
aim e r - Pg9 2
w w w .bl
e nde rart.org 2
EDITORIAL Issue 4 M ay 2006
Ch aracte r m ode l ing h as got to be one of Ach ie ving a good m ode lth at pose s w e l l
m y favorite th ings to do in Bl e nde r. and conve ys a se nse of l ife and
Th e re is noth ing l ik e starting w ith a pe rsonal ity can be an e lusive goal .
blank scre e n and e nding up w ith l iving, Ligh ting and te xturing ofte n pl ay a big
m oving ch aracte rs.Now grante d, not al l role in h e l
ping bring a ch aracte r to life ,
m y ch aracte rs turn out as good as I as w e l
las a good unde rstanding of h ow
w oul dl ik e , but th at just k e e ps m e a ch aracte r sh ould m ove and th e tim ing
trying.And th e re are so m any th ings to invol ve d for be l
ie vable m ove m e nt.
Sandra Gilbe rt try.
M anaging Editor In th is issue , w e w il lbe look ing at a
One of th e be st th ings about ch aracte r coupl e of ch aracte rs for you to m ode l
m ode l ing is th at a ch aracte r can be and pl ay w ith , as w e llas a ve ry
anyth ing.Th e m ost com m on one s are inform ative articl e on h ow to tak e your
anim al s, alie ns, robots and h um anoids, m ode lfrom th e com pute r scre e n to a
but th ose k inds of ch aracte rs are but a re al- w orld ph ysical3D statue !
sm al lse le ction of w h at is possibl e .W ith (W oul dn’t I just l ove to h ave one of
al ittle w ork and im agination, you can th ose m ach ine s at m y h ouse . J)
turn any e ve ryday obje ct into a Additional ly, M al e fico Andaue r give s us
ch aracte r.As soon as it starts m oving a be h ind- th e - sce ne s l
ook at som e of th e
and sh ow ing pe rsonal ity, it be com e s a de cisions m ade for th e Pl um ife ros
ch aracte r.Te l e vision com m e rcial s are Ch aracte rs.
ful lof such am using ch aracte rs. So sit back , grab a cup of coffe e and
re ad al labout it
As m uch fun as ch aracte r m ode ling can
be , it can al
so be frustrating at tim e s. - sandra@ blende rart.org
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e nde rart.org 3
Iz z y k now s... Issue 4 M ay 2006
w w w .bl
e nde rart.org 4
NEW S FLASH Issue 4 M ay 2006
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e nde rart.org 5
New s Flash Issue 4 M ay 2006
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e nde rart.org 6
New s Flash Issue 4 M ay 2006
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3d W ORKSH OP Issue 4 M ay 2006
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3d W ORKSH OP Issue 4 M ay 2006
Th is spe e ds up th e proce ss.W e m ode l w ith th is in m ind m ade it e asy to m e aning ch aracte rs m ade out of
onl y one h al f using a “ M irror M odifie r” im agine .W h e n be ak s are too l ong, w e diffe re nt m e sh obje cts w ork ing
to ge t th e w h ole picture as m ost pe opl e ch ange topol ogy and k e e p th e usual toge th e r, but ne ve r joine d.Th is
do.W h e n th e m ode lis finish e d, th e se loops ne ar th e h e ad. approach h as th e fol l
ow ing advantage s:
m odifie rs are “ bak e d” and non- De ntalparts of non- bird ch aracte rs are
sym m e tricalde tail s are adde d. m ode le d as se parate obje cts and th e n * W e can h ave m ore th an 16 m ate rials pe r
ch aracte r.
* W e can re use som e parts (w e igh tpainting
and sh ape k e ys include d) for oth e r ch aracte rs.
* From an inte rface point- of- vie w , w e can ge t
diffe re ntdraw m ode s for diffe re ntparts ofa
ch aracte r, spe e ding up th e anim ation
proce ss w ith outsacrificing de tail.
* M osttools w ork be tte r w ith less ve rtice s or
m e sh se ctors, lik e m irroring.
* It's m ore suitable for te am w ork .
* W e can ch ange parts ofth e ch aracte r for
diffe re ntsce ne s e asily (e ve r trie d to join tw o
m e sh e s w ith sh ape k e ys?).e g: dre ss ch ange s
Im g4
FinalW ords
I w ish w e h ad m ore spare tim e to
w rite a m ore de taile d articl e but, our
production sch e dul e is ve ry tigh t.:(
h ttp://w w w .pl
um ife ros.com /
de taile d, but not too de tail e d be cause of a side pe rspe ctive as w e l las a
M ode l
ing a natural
istic th e long anim ation re nde ring tim e s.You pe rspe ctive of th e h al
f- front h e ad.
butte rfl
y w illne e d to trade off th e de tailof your
by m ode lfor yourse l f, w atch ing it's final Le t's s tart. Th e abdom e n.
Ch ristian Guck e lsbe rge r de stination. As you sh oul
d do w ith al
m ost e ve ry
Le ve l
: Inte rm e diate Pre parations
I de cide d to m ode la natural istic
Introdu ction butte rfl y.Be cause I h ad not re al ly h ad
Be cause of th e re l ative l y h igh any cl ue about th is sort of anim alat al l
,I
com pl e xity of th e m ode l ing proce ss, I succe ssful ly re nte d a sh ow case and a
de cide d to w rite th is tutorialfor th e book about butte rfl ie s from sch ool .
inte rm e diate bl e nde r artists.Th e re w il l Trust m e , th e book did a good job afte r
be passage s, w h e re you ne e d to continue all, th e butte rflie s in th e sh ow case w e re
w ork ing on yourse l f on th e m ode luntil too sm al lto use th e m as a m ode l ing
th e ne xt im portant ste p is be ing re fe re nce .So be fore starting, you sh oul d
e xpl aine d.At al l, th is is not a ste p- by- h ave a re fe re nce , tak e a look into th e
ste p instruction guide ;it is an atte m pt to library or th e Inte rne t.(Fig.1 and 2)
sh ow you h ow to cre ate organic m ode l s sh ow th e re fe re nce s th at I use d.Th e re is Fig2
base d on a butte rfl y w ith h igh ligh ts on
th e m ost im portant parts of th e anim al . organic m ode l , first m ak e a
Do not forge t th at a m ode l ing proce ss is sim pl e construction out of
a proce ss of continuous de tail ing and prim itive s and re fine it l ate r.I
re fining. did not use a re fe re nce picture
in th e back ground, but you can
W h at is th e m ode lbe ing m ade for? do so if you lik e .
I de cide d to m ak e a film for a portfol io
pre se ntation, in w h ich th e butte rfl y Use Vie w >>Back ground
pl ays th e role of a guide .In th at case , Im age >>Im age to add an im age
th e re w il
lbe m any cl ose - up and to your back ground.
anim ation sh ots.Since th e sh ots w il lbe
close , I m ade th e butte rfl y re l
ative l
y Fig1
Fine .Le t's do th e th ing from th e back on re fine th e back - e nd of th e inse ct.
Fig4
and start w ith th e abdom e n.I use d a Now it is tim e to de fine th e diffe re nt
cube from th e side pe rspe ctive [Num 3] sh e llse gm e nts th e first tim e .Se le ct th e
and e xtrude d it 4 tim e s.Th e n, I inse rte d m iddl e of th e 3 row s w h ich indicate a
tw o ve rte x row s by e nte ring [K ] in e dit sh e lldivision and scal e it a bit sm al ler
m ode [TAB], using a l oop cut.As an [s] (Fig.6).You sh oul d re pe at th is w ith
alte rnative , you can al so use norm alcuts e ve ry row , th e n continue w ith th e ne xt
[K ] or m ulticuts [K ] or subdivide it tw ice ste p.
or se ve raltim e s, but w ith th e l
ast
m e th od, you w illprobabl y h ave to de al You can al so alre ady use Subsurfs Fig6
w ith unw ante d ve rtice row s at th e e nd. (Editing>>M odifie rs>>Subsurf>>Le ve l s)
(Fig.3) sh ow s h ow th e e xtrude d cube to se e h ow th e m ode ll ook s sm ooth e d.
look s afte r aligning it on th e sim pl e (Fig.5) Pay atte ntion to th e h igh l igh te d
sh ape of th e butte rfl y abdom e n. ve rte x row in (Fig.5).Late r, it sh oul d
be com e th e borde r be tw e e n th e uppe r-
Fig3 body (inse ct sh e l l) and th e low e r body.
As you can se e in (Fig.5) too, I al so
alre ady adde d 2 cuts to e ve ry ve rtical
one to indicate th e l ate r borde rs Ok ay, now w e w il lcontinue de fining th e
be tw e e n th e sh e l
lse gm e nts, as w e llas to diffe re nt se gm e nts of th e abdom e n.To
de fine th e uppe r sh e l l
, use th e face -
se le ct m ode and se l e ct allface s th at are
low e r th an th e borde r l ine be tw e e n th e
Now you w il lne e d to continue sh e lland th e l ow e r- body (Fig.7).
e xtruding th e m e sh righ t to th e th orax
part (Fig.4).Afte r al igning th e prim itive
m e sh to th e butte rfl y sh ape from th e
side pe rspe ctive , you w il lalso h ave to do
th e sam e from th e top one [Num 7].Try
Fig5
to m ak e th e m ode lsm ooth and round.
borde r line anym ore .Use th e scal e - tool h e ad sm ooth e r, m ak ing it l ook lik e a
[S+ M M B] again and just scal e th e low e r low - de taile d h al
f- sph e re from th e side
part h oriz ontal ly th is tim e , untile ach pe rspe ctive .Use th e m ove - tool s [G] to
ve rtice appe ars unde r its ne igh bor ach ie ve th is by e asily m oving th e
again.You can al so use th e m ove - tool ve rtice s w h ich w e al re ady got due to our
[G] for th is, but it de finite l
y w il lne e d form e r cuts (Fig.10).(Fig.11) sh ow s an
Fig7
m ore tim e be cause you w il lne e d to im age of th e m ode lw e got so far w ith
m ove e ve ry pair of ve rtice s on th e ir Subsurface turne d on (l e ve l2).
Now w e use [E] to e xtrude th e l ow e r ow n.
part and inse rt one m ore row of face s Fig10
and th e scal e - tool[S] to scal e th e w h ol
e Th e Th orax + H e ad
low e r part just a bit sm al l
e r.Le t's m ove Proce e d e xtruding th e m e sh righ t to th e
th e w h ol e th ing [G+ M M B] ve rtical ly h e ad and al ign it to th e inse ct sh ape
untilboth l ine s (th e uppe r line of th e again.Do not forge t to al ign it al so from
se le cte d se gm e nt and th e sh e llborde r th e top pe rspe ctive ! :) For th e h e ad, w e
line ) ne arl y cove r e ach oth e r (Fig.8). can use a sim pl e box subdivide d by th e
line s w e alre ady got, so just e xtrude th e
th orax again a l ittl
e bit.Look on (Fig.9 )
to se e th e w h ol
e proce ss so far.You
Fig11
Fig9
Fig8
D e tail s of th e h e ad th e h e ad [V] as you can se e in (Fig.12).I 3]) to pre ve nt an unw ante d sh ifting of th e
As you can se e , th e butte rfl y on th e first did th e e xtrusion w ith one or tw o ve rtice s.In both l ast Fig., I al re ady be nt
re fe re nce picture h as got ante nnas on h is face s, th e n inse rte d som e m ore row s in it
th e ante nnas a bit to th e l e ft and righ t
h e ad.Th e re are diffe re nt, bre e d- spe cific and scal e d th e m a bit (se e n from th e front) by se l e cting som e of
ante nnas but w e w il ltry to im itate th e se ve rtical ly/h oriz ontal ly from th e top vie w
th e uppe r ve rtice s, turning Proportional
one s.Se l e ct tw o face s w h ich are l arge to m ak e th e ante nnas a bit sm ooth e r, not Edit Fal l
off on [O], se l e cting a give n fal loff
e nough to be com e th e ante nnas on th e th at cubic.Try to give th e se parts of th e m e th od (h e re I use d a com bination of
uppe r h e ad from th e top vie w and body th e ir spe cific l ook by e xtruding sm ooth and root fal loff) and m oving th e
e xtrude th e m by [E>>IndividualFace s] th e straigh t, e xtruding and siz ing, e xtruding w h ol e th ing w ith th e
w ay it is sh ow n in (Fig.12).If you ne e d to and siz ing again and th e n e xtruding m ove - tool[G].
se le ct tw o or m ore face s on e ach side of straigh t again...al so try to m ak e th e Probabl y you w ill
th e h e ad (e ach side sh oul d be e q ual, as individualse gm e nts diffe re nt from e ach ne e d to e xpe rim e nt a
m irrore d if you did e ve ryth ing righ t so oth e r to give th e m ode la random l ook . bit w ith th e righ t
far), you ne e d to e xtrude th e ante nnas fal loff m e th od to
se parate l y. As you can se e on th e re fe re nce im age , re ach satisfying
th e ante nnas be com e large r at th e top, so re sul ts.Try it on your
If you le t's do ow n.If th e re are al so
ne e d so, th e m as unw ante d ve rtice s,
do it sh ow n in e .g.from th e
w ith (Fig.13). ne igh bor ante nna
one , You sh ifte d w ith , try to
th e n sh oul d m ove th e oth e r
copy it al so ante nna far aw ay
and al w ays w ith Proportional
conne ct tak e a l ook Edit Fal loff off and
th e on th e sh ift th e m back l ate r
low e r oth e r (Fig.14 sh ow s th e
face s pe rspe ctiv w h ol e , finish e d
w ith e s (front ante nna of m y m ode l ).
th e [Num 1],
Fig12 face s of Fig13 side [Num Fig14
Fine .Le t's m ak e th e h e ad a bit m ore fram e for th e inse ct e ye s (Fig.15).As a th ing a bit m ore com pl e x to give it a bit
com pl e x now .I adde d face t- e ye s to th e furth e r e ffe ct, th is re ve al
s th e of structure as you can se e in (Fig.17).
h e ad by adding an Icosph e re (4 unattractive are a w h e re th e Icosph e re Th e re is al so a "m outh " (or be tte r: h ol e)
Subdivisions), m oving it to th e corre ct h its th e H e ad's Surface . sh ow n w h e re th e be ak com e s out.I took
pl ace from th e front and side Afte r appl ying th e e ye s, w e w il
lth is scre e nsh ot w ith Subsurface s turne d
pe rspe ctive and e rasing th e part of it continue w ith th e se cond instrum e nt off, so you h ave a be tte r insigh t into th e
th at protrude s into th e inse cts h e ad.I th e se anim al s h ave on th e ir h e ad.As you m ode l ing structure .As you can se e
use d to cre ate th e Icosph e re s out of th e can se e on (Fig.15), th e y start out as above th e be ak (or m outh , se e n from th e
e dit m ode [TAB] to h ave th e m as a singl e ne arl y as unde r th e e ye and l ong until top or front pe rspe ctive ), I h ad to m ak e
m e sh and on th at w ay, se parate l y for th e th e uppe r e nd of it.Th e ir structure is som e m ore cuts to de fine th e m .Do not
late r te xturing proce ss.Final l
y I got a bit re lative ly e q ualto th e one of th e use l oop cuts [K ] al lth e tim e .Inste ad of
m ore th an a h al f Icosph e re on e ach side ante nnas, so use th e sam e te ch niq ue to th is, use norm alcuts [K ] to incre ase just
w h ich I fitte d on th e h e ad by using th e cre ate th e m . th e part of ge om e try you re al ly w ant to
ProportionalEdit Fal loff Tool s [O] again. incre ase in de tailand avoid probl em s
Th is action coul d ne e d som e tim e until As you can se e in (Fig.16), I al so cre ate d w ith too m any face s or probl e m s w ith
th e w h ol e e ye fits (ne arly) pe rfe ctl y to a be ak w h ich h oists spiralunde r th e too ch ise l e d e dge s (Th is occurs w h e n
th e h e ad.So tak e som e coffe e and be h e ad.You can e asil y cre ate th is by too m any e dge s com e too cl ose toge th e r
patie nt.:) In addition, I al so adde d a e xtruding on oth e r re gions of th e m e sh , e .g.) w h e n
ring, one face turning Subsurf on again.
Fig15 m ade by from th e
e xtruding uppe r
a circl e m iddl e
se ve ral h e ad and
tim e s continuing
(using th e e xtruding
scal e - tool [E] and
[S]) and rotating
fitte d it [R] it until
on th e you h ave
h e ad as a spiral .I
w el l, as a did th e
k ind of Fig16 w h ole Fig17
Now w e w il
lstart Fig20
As a th ird de tail
, you can e xtrude som e ch ose n face s
of th e top th orax and e xtrude th e m too, to cre ate
also som e sh e llse gm e nts on th is pl
ace .Se e (Fig.24)
for th is
Fig23
Fig29
Fig27
Fig4.Radiosity Options
: As
Radios ity Final th e nam e indicate s,
it is use d for h igh q ual ity re nde rs and as
you gue sse d w ith e ve n h igh e r re nde r
tim e s.
Radios ity O utdoorLQ: Th e l ow - q uality
radiosity re nde ring for outdoor sce ne s.It
w illbe spe e die r.It is use d to sim ul ate
radiosity in e xte rnalsce ne s in w h ich th e
ligh t com e s from a source of punctual
ligh t.Th e re nde r is of l ow q ual ity and is
ide alfor te sting due to th e l ow re nde r
tim e s.
Radios ity O utdoorH Q: Th is is th e Final(13 M in 37 Se c) Outdoor LQ (32Se c)
opposite of th e pre vious se tting and is
use d for h igh - q uality re nde rings of
outdoor sce ne s.
Radios ity O utdoorLigh t: Th is is use d
to sim ul ate radiosity in e xte rnalsce ne s
w ith th e sun as a prim ary source of l igh t.
H ow e ve r, th e q uality is sim ilar to
OutdoorLQ.
Radios ity IndoorLQ: Th is is use d to
sim ul ate radiosity in inte rior sce ne s.It
use s a 're cursion l im it' val ue of 2.
Radios ity IndoorH Q: Th is is use d to
sim ul ate radiosity in inte rior sce ne s
using a 're cursion_ l im it' value of 3.Th e
re nde r tim e is h igh so, th is is be st use d Outdoor H Q (12 M in 11 Se c) Outdoor Ligh t(20 Se c)
for your finalre nde rs.
Above com paris on of th e q ual
ity and re nde r tim e s w ith diffe re nt radios ity on th e s am e s ce ne :
Ph otons
Th is button e nabl e s th e ge ne ration of
caustics in your sce ne .If not activate d by
de faul t, fak e caustics are ge ne rate d, w h ose
re sul ts can som e tim e s be good.Th e Indoor LQ (46 Se c) Indoor H Q (25 M in 36 Se c)
param e te rs of th e ph otons for caustics are
store d in th e "e xp.ph " fil e .Th e ph otons are
use d as h e l pe rs for Radiosity cal cul ations.
Al th ough th e fak e caustic re sul ts are W ith Ph otons W ith outPh otons
not so gre at, th e se can be use fulin sce ne s
w ith l arge q uantitie s of w ate r (for e xam pl e,
unde rw ate r in a se a or a pool ).In th e se type
of e nvironm e nts, re nde ring th e caustics
w ith ph otons w il ltak e a ve ry, ve ry l ong
tim e .So, it is sugge ste d to use fak e caustics
h e re .Th is can be dire ctl y adjuste d from
Povray using th e k e yw ord caustics pow e r,
th is com m and can h ave a val ue be tw e e n 0.0
and 1.0.Note th at caustics are not sim ul ate d
w h e n th e val ue is se t to 0.0.Th e val ue of
caustics pow e r is introduce d as an Inte rior
param e te r of th e m ate rial s. Radiosity 2bounce (11 M in 34 Se c) Radiosity 2bounce (4 M in 47 Se c)
D e fau l t Am bie nt
Th is produce s th e sam e e ffe ct as th at of
Ble nde r's 'Em it' function. Radiosity 2bounce (5 M in 14 Se c) Radiosity 2bounce (7 M in 55 Se c)
Exe c. PovR ay w il
lal l
ow you to h ave m anualcontrolove r
Th e function of th is button is ve ry sim pl e, anti- al
iasing.
to run PovRay for re nde ring as soon as
re nde r button is pre sse d.If Exe c.PovRay is Th e AA Sam pl e s is use d w h e n using DOF
activate d, th e sce ne ge ts e xporte d to th e (De pth of Fie ld).AA Passe s is th e q uantity
Povray form at and th e im age is re nde re d of passe s th at are use d in th e re nde r for
dire ctly w ith in Povray. aliasing.Th r (AA Th re sh ol d) is th e
se paration val ue of th e pixe lre gion to
Au to AA anti- al
ias.
If th is button is pre sse d, th e re nde r is Anti-
aliase d in Povray.It is ide alfor a te st
re nde r.It is pre sse d by de faul t.If you
de se le ct th is button, th re e ne w options Fig5.Antialiasing options
w illappe ar: AA Sam pl e s, AA Passe s and
Th r (AA Th re sh ol d).Th e se ne w options
Proce ssors
Th is option is curre ntl
y not active in th is blende 2povray dow nl oad.
ve rsion of Ble nd2Pov. h ttp://w w w .graph icall
.org/builds/builds
/sh ow build.ph p?action=sh ow & id=116& PH
Gam a PSESSID=b4c1a7c0379 5db2af8e fe 72e 0349 6
Gam m a is re late d to th e OSA proce dure , 217
th e ove rsam pl ing of pixe ls th at are Code r: RCRuiz
m ixe d to ge ne rate th e finalre nde r.Th e
conve ntionalre nde ring h as a Gam m a of
1.00. Im portant
Exposu re To use Exposure you w il lne e d to
Th is addition sim ul ate s a de cre ase of h ave M e gapovinstal l
e d, since Povray
re active ch e m icals in film e m ul sion doe sn't support th is function.If you
during e xposure .Th e are as th at h ave use it w h il
e re nde ring, M e gapovw ill
re ce ive d m ore ligh t re act l
e ss th an oth e r be e xe cute d autom atical ly.
are as.Use fulfor h igh contrast sce ne s as
it brings out th e dark are as and l im its
brigh t are as.
Concl u sion
I h ope th is basic e xpl
anation of th e
Bl e nde r2Povparam e te rs w il lge t you
starte d w ith using th e aw e som e PovRay
Using Laye rs can som e tim e s be trick y m ode land w ork w ith th e ch aracte r's 3D bl ock m ode lm ade in Bl e nde r as m y
but, in th e e nd it w il
lbe ne fit you q uite pose . re fe re nce for th e pe rspe ctive
substantial ly, saving you pre cious tim e . pose s.It give s a naturalcam e ra vie w fe e l
For th e m ain ch aracte r sk e tch , your goal to th e pe rspe ctive draw ings and it´s
Th e Sh e e t sh oul d be a 3- side d ch aracte r sh e e t re al ly e asy to
Th e first th ing you ne e d to re m e m be r is (Front, Side and Back ).Th is is a ve ry de fine th e vol um e of th e ch aracte r.
th at w h e n you finish th e 3D m ode l , you'll crucialste p for th e 3D m ode l ing ph ase of
also ne e d to Rig(*) it so th e ch aracte r can your ch aracte r.You ne e d to de fine th e 3- Sk e tch ing Up
be pose d in th e sce ne .It is h igh l y dim e nsionalfe ature s of th e ch aracte r in W h e n I use d to se e draw ings m ade by
re com m e nde d th at you pose your th e sk e tch l ik e m uscul ar vol um e and th e profe ssional s, I th ough t to m yse l f
ch aracte r w ith th e arm s and l e gs sl igh tl
y strik ing contours.Afte r th at, if it's "W h ooo!! I’l lne ve r be abl e to m ak e th at,
spre ad apart.You w ant to do th is possibl e , you can de fine m ore de tailon a th e se guys are gods and sim pl e m ortal s
be cause , for instance , if th e righ t l e g is clay m ode l , but for now your 3- side d lik e m e w il lne ve r re ach th e m ." W e l
l,
ve ry cl ose to th e le ft it w il
lbe a m ad job ch aracte r sh e e t sh oul d give you an w h at h appe ns is th at w e usual l
y onl y se e
assigning th e ve rtice s to th e bone s.Th is acce ptabl e 2D fl atte ne d re fe re nce .Th is th e finaldraw ing, and ignore th e ste ps
type of pose facil itate s th e arm ature bone sh oul d be e nough to ge t you going.In th at th e y’ve use d to ge t th e re .You can
positioning and m ak e s it a l ot e asie r to addition, if you w ish , you m ay al so do com pare draw ing to th e construction of
som e a h ouse or a buil ding.In th e e nd, it l ook s
pe rspe ctive pre tty.But w h il e th e artists are w ork ing,
sk e tch e s of it’s just a l ot of dirt, trash and individual
your parts.
ch aracte r
w ith re l axe d Rigging
pose s.I use
th e Pl acing an arm ature or bone inside
pe rspe ctive th e m e sh to e nabl e th e
draw ings for m anipul ation of th e ch aracte r's
additional pose .
re fe re nce .I
al w ays use a
Th e Golde n R u le of 2D I’m not going to de scribe ste p- by- ste p e xam pl e , th e h air on top of th e h e ad.
Ch aracte r Sk e tch ing h ow to draw , but if you find m y sk e tch e s W h e n you're done , scan e ve ryth ing and
gre at th e n you re al ly are in troubl e and I join th e m in th e com pute r.
Ne ve r forge t th at th e re is a h e ad unde r re com m e nd th e fol low ing site s th at h ave
th e h air and a body unde r th e cl oth e s.If q uick tutorial s on 2D ch aracte r de sign. Lik e in 3D, th e first th ing you ne e d is a
som e th ing is w rong, you w il l Th e y are focuse d m ainl y on th e Japane se bl ock m ode l , in th is case a bl ock oval iz e d
instinctive l y k now it.You m ay not k now anim e styl e but, th e te ch niq ue s de scribe d draw ing.Th is w ay you can de fine th e
e xactl y w h at's w rong but, you w il lk now are fl e xibl e and e asil y adaptabl e to any are a and position of your ch aracte r on
th at som e th ing isn't q uite righ t.You’l lbe styl e (de dicate d draw ing book s are th e pape r and avoid boring th ings l ik e ,
fine if you k e e p th at in m ind. pre fe rabl e but, if th e y are out of your afte r alm ost com pl e ting th e ch aracte r,
re ach , th e se site s are good one s and not h aving e nough room l e ft on th e
cove r w e l lth e basics): pape r to draw th e fe e t.
O h M y! So M any Line s!!! Pe rfe ction h e re is th e k e y.Th e m ore it's al ldow nh il lfrom th e re .But, th at is
pe rfe ctly you can do it, th e e asie r it w il
l
just m e , fe e lfre e to start w h e re ve r you
Don’t panic just ye t.Its just l ik e a h ouse , be to m ode lth e ch aracte r in 3D.I th ink lik e .).Start by just se l e cting your h airl e ss
e ve ryth ing is m ade progre ssive l y.I’ve th at’s w h y I alw ays h ave so m uch troubl e
h e ad's l aye r and m ak e e ve ryth ing e l se
m ade th e im age be l ow to sh ow you th e in th e m ode l ing ph ase . invisibl e .Save th e im age to som e th ing
ste ps I’ve tak e n and th at it’s e ve n use ful lik e h e adGuide .jpg and, using Bl e nde r,
w ith a diffe re nt pose . Th e Back Vie w ope n it in th e Front and Side vie w ports
To cre ate th e Back vie w you use a fusion (in th e 3D vie w port h e ade r, pre ss
First, you onl y trace line s from th e k e y of th e m e th ods you’ve al re ady use d in Vie w |Back ground Im age ...and th e n cl ick
parts of th e bl ock m ode ll ik e th e h e ad, th e Front and Side vie w s.Th e re ’s noth ing th e Use Back ground Im age button) .You
m ore to it th an th at.Afte r finish ing th e can adjust th e position to focus onl y on
Back vie w , you’re re ady to fire up th e th e one th at m atte rs.Se tup th e Front
Bl e nde r th ruste rs! vie w port to use th e Front vie w sk e tch
and th e Side vie w port to use th e Side
R e ady to Bl e nd vie w sk e tch as back ground im age s.
W h e n you finish draw ing, it's tim e to
save th e picture s to JPEG
file s.Th is save s space and is
Bl e nde r- frie ndl
y.Any oth e r
file type you pre fe r is OK as
w el l, as long as Bl e nde r can
re cognise it (don't go w ith
BM P's).
H e re is w h e re th e Laye r
w aist, k ne e s, fe e t (1) th e n, you trace division proce ss pays off.Th e
som e m ore to re fine th e h e ad (2) and so first th ing you’l lw ant to do is
on… draw h air, draw th e body (3) and m ode lth e h e ad (I al w ays
dre ss h im (4) just l ik e th e Front vie w . pre fe r to start w ith th e
Don’t forge t to use Laye rs. h arde st th ing be cause th e n,
Afte r you m ode lth e h e ad, you’l lw ant to coolw ays to do 3D ch aracte r m ode l ing
do th e body.So, se l e ct th e Front, Side and th at are in th is e dition of bl e nde rart
Back body l aye r and m ak e sure th at m agaz ine ...I’m in fl e as to re ad th e m .H o!
e ve ryth ing e l
se is invisibl e .Save th e About Orion...w e l l, pe rh aps you'l lse e
im age to som e th ing l ik e bodyGuide .jpg h im again som e day.Untilne xt tim e ...
and bl e nd on.For th e cl oth e s, you also
can and sh oul d use th e sam e proce ss.
Cl osu re Note s
Re m e m be r, it’s al
w ays pre fe rable to do a
sk e tch be fore going to 3D, e ve n if you’re
draw ing sk il ls are not ve ry de ve lope d.
You’l lfind a l ot of draw back s, anatom ical
issue s and annoying com pl ications in
your ch aracte r de sign during th e 2D
sk e tch ph ase th at you, for sure , don’t
w ant to find w h il e m ode ling in 3D.
re al
istic ch aracte rs, re ady for use in a m ode l ing an e ntire ch aracte r, from h e ad
M ak e H um an varie ty of profe ssionalgraph ics to foot.Oth e rs l ik e d th e ide a, and afte r
"M ak ing" H um anoids Since 20 0 0 ! appl ications. about four m onth s of de ve l opm e nt,
th ank s to th e first group of
M anue lBastioni (English ve rsion) Sh ort H istory program m e rs, in particul ar, Filippo di
Alessandro Proglio Natal e and M ario Latronico, th e first
Antonio Di Ce cca Th e ance s tor alph a ve rsion w as finish e d and
Giovanni Lanza M ak e H um an w as born, ne ar th e e nd of im m e diate ly re le ase d unde r th e GPL
th e ye ar 2000 in an Ital ian com m unity of lice nse .
M artin M ack inlay
ope n source graph ic softw are de ve l ope rs.
M anue lBastioni h ad pre viousl y
W h at is M H ? de ve l ope d som e th ing sim il ar: a pyth on
M ak e H um an is a softw are pack age , script for Bl e nde r, w h ich m ode l e d only
w ritte n com pl e te l
y in C+ + and avail
abl e th e ch aracte rs' h e ad.It w as a sim pl e tool
for al lth e m ain pl atform s (W indow s, cal le d "M ak e H e ad", and base d on
OSX, Linux, e tc..).Its aim is th e m ode l ing Bl e nde r's ve rte x k e ys, w h ich can be
of th re e dim e nsionalh um anoids. conside re d, in e ve ry re spe ct,
M ak e H um an's ance stor.
Use rs can se t up th e age , w e igh t, se x,
race , siz e of th e nose , sh ape of th e face ,
proportions of arm s and l e gs, and a
w h ole se rie s of oth e r w e l
lde fine d Oth e rs w e re re sponsibl
e for th e
param e te rs, so w e can say th at M H is an transl ations (Fabriz io Cal i', Lore nz o
artistic/para m e tricalm ode l ing tool . Dave ri), for l ogos and oth e r aspe cts
re l
ating to th e m ate rial
's publ ication.
Eve ry fe ature is de fine d by ch oosing it's
pe rce ntage , and al lth e fe ature s are
"adde d" to e ach oth e r to obtain e ndl e ss Firs t s cript for Bl
e nde r
com binations of form s.Th is al low s th e M anue l 's ne w proposalw as to do
cre ation, w ith a fe w click s, of e xtre m e ly som e th ing m ore fl
e xibl
e , w h ich al
low e d
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In line w ith th e ph il osoph y of th e proje ct, be ta ve rsion untilit is ful ly stable and h as im prove d to be com e e ve n m ore intuitive ,
w e avoide d th e use of l arge e xisting th e ne ce ssary fe ature s to to be conside re d w e are stil lgoing to be pre paring ade q uate
librarie s.W e w ante d M ak e H um an to be "com pl e te ".Th e fol
low ing im age s are a docum e ntation.Th is is possibl e th ank s to a
com pact and an e xtre m e l y re liable tool pre vie w of th e w ork th at w e are carrying te am e xcl usive l
y assigne d to th e
w ith fe w de pe nde ncie s, and w ith w e l l forw ard. production of docum e nts, th e ir transl ation
de fine d fe ature s.Afte r h aving re vie w e d a and l ogicalorganiz ation.A spe cialth ank s
large num be r of e xisting l ibrarie s, w e goe s to Al e ssandro Progl io for transl ating
final ly de cide d th at, for th e spe cial th e docum e ntation and adm inistrating th e
inte rface of M ak e H um an, th e be st th ing W ik i (stil
lin ph ase of de ve lopm e nt), to
w oul d be to w rite th e ne ce ssary cl asse s M artin M ack inl ay for th e finalre vision of
ourse l ve s.Sim pl e = Re liabl e , Sim ple = Easy th e ITA- ENG transl ation, and to Antonio Di
to m anage and update .For th e se re asons, Ce cca and Giovanni Lanz a, w h o active l y
th e GUI contains onl y w h at is ne ce ssary to contribute to th e ITA- ENG transl ation.
us and w e are doing e ve ryth ing to te st it
th orough l y.Th e core h as be e n w ritte n w ith
th e h e lp of Ninibe Labs.A particul ar th ank s
goe s to Sim one Re and M anue lw h o
toge th e r h ave de ve l ope d th e first sk e tch of
th e GUI.Subse q ue ntl y, e ve ryth ing h as be e n
re vie w e d by anoth e r program m e r, H ans
Pe te r Duse l , w h o h as also w ork e d on th e
porting for OSX.
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stil
lfram e im age s. re nde ring w ith Bl e nde r?
Spl
it/Fram e re nde ring on Th e Bl e nde r Pyth on API h as facil itie s to
Re sPow e r Supe r/Farm . Th e basic ide a be h ind Spl it/Fram e pe rform a "Borde r Re nde r." Th is
re nde ring is to bre ak a singl e fram e into basical ly m e ans th at a re ctangul ar
by - Cory K ing and Earl y Eh linge r m ul tiple ch unk s cal le d "buck e ts". Each se ction of pixe l s from any im age can be
buck e t is th e n re nde re d on a se parate se le cte d and th e re nde r e ngine w il lonl y
com pute r so th at se ve ral(possibl y one re nde r th e pixe l s w ith in th at re ctangl e,
O utl ine : h undre d or m ore ) ch unk s can be run in le aving e ve ryth ing e l se bl ack . Using th is
I - W h atis Split/Fram e re nde ring? paral l
el. Th is spe e dup is l ine ar in th e ory, m e th od, Re sPow e r can spl it an im age
II - H ow doe s Re sPow e r accom plish m e aning th at a fram e spl it into 100 into any arbitrary num be r of buck e ts,
Split/Fram e re nde ring w ith Blende r? buck e ts sh oul d re nde r 100 tim e s faste r and re nde r e ach buck e t on a se parate
III - W h ataboutre - asse m bly? th an th e sam e fram e re nde re d as 1 com pute r.Th e n, using anoth e r ope n
IV- H ow m uch spe e dup doe s Split/Fram e buck e t. Unfortunate l y, be cause of source softw are pack age cal led
provide ? Am dah l 's Law , th is is not th e case , Im age M agick , th e fram e is autom atical ly
V- Re alw orld e xam ples. alth ough th e spe e dup can stillbe q uite croppe d to re m ov e all th e e xtra bl ack
VI - Know n Issue s. re m ark abl e . Ch e ck th e side bar for m ore space . Each individualbuck e t's output is
inform ation on Am dah l . save d as a se parate im age in th e use r's
I - W h at is Spl it/Fram e Re nde rs fol de r.
re nde ring? Spl it/Fram e re nde ring is not a ne w
Re sPow e r is constantl y se arch ing for conce pt and h as be e n avail able for m any Th e abil ity to re nde r se parate portions of
w ays to spe e d up th e proce ss of 3D 3D re nde ring e ngine s for ye ars. a singl e fram e in paral l e lal low s 3D
conte nt cre ation, spe cifical ly in th e are a Profe ssional3D pack age s such as artists w h o w ork w ith stil lfram e s to tak e
of re nde ring. Spe e ding up th e re nde r 3DStudio and Ligh tw ave support ful ladvantage of a re nde r farm . W ith
tim e s of anim ations w ith h undre ds or Spl it/Fram e native l y, but e ve n w ith one th is te ch niq ue , a singl e fram e can be
th ousands of fram e s is fairl y of th e se pack age s th e advantage s of re nde re d at ful lre sol ution in a m atte r of
straigh tforw ard;sim pl y re nde r e ach Spl it/Fram e are onl y se e n w h e n using a m inute s at Re sPow e r w h e re it m igh t tak e
fram e on a diffe re nt com pute r so th at re nde r farm l ik e Re sPow e r. h ours, or e ve n days, to re nde r at th e
m ul tiple fram e s run in paral l
el. sam e siz e and q ual ity on a singl e
Spl it/Fram e re nde ring is basical ly II - H ow doe s R e sPow e r com pute r.
th e sam e proce ss, onl y it is de signe d for accom pl ish Spl it/Fram e
Th e ir form ul ae al
lw ork e d out to th e sam e th ing, w ith re sul
ts th at jive w ith w h at
w e se e at Re sPow e r: a static proble m siz e yie l
ds dim inish ing re turns, but additional
proce ssors l e t you sol ve large r proble m s in th e sam e am ount of tim e . So th ank s to
Dr.Sh i, w e can now se e th at th e unive rse m ak e s se nse again and pe ace h as be e n
re store d.
R e fe re nce s:
h ttp://e n.w ik ipe dia.org/w ik i/Am dah l 's_ l
aw
h ttp://joda.cis.te m pl e .e du/~ sh i/docs/am dah l/am dah l
.h tm l
h ttp://w w w .scl .am e slab.gov/Publ ications/Gus/Am dah l sLaw /Am dah l
s.h tm l
W h e th e r you h ave a copy of th e first or se cond e dition, you are 3D Cre atu re W ork sh op
h olding an inval uabl e re source on cre ature /ch aracte r m ode l ing and by BillFl e m ing
cre ation.Each book starts off w ith a th orough discussion of cre ature · Pape rback : 450 page s
de sign.Th e n you w ork th rough th e e l e m e nts of cre ating a cre ature · Publish e r: Ch arle s Rive r M e dia;Bk & CD Rom e dition (M ay 19 9 8)
biograph y th at w il lh e l
p you w ith your de sign de cisions.Th e re is al so · Language : Engl ish
a gre at se ction on th e val ue of source m ate rialand h ow it fits into · ISBN: 1886801789
de signing your cre ature .
3D Cre atu re W ork sh op, Se cond Edition (Graph ics Se rie s)
Th e ne xt m ajor se ctions contain ch apte rs th at cove r m ode l ing in by BillFl e m ing and Rich ard H .Sch rand
various softw are program s.And w h il e th at m igh t put you off buying · Pape rback : 441 page s
th is book , don’t le t it.Th e tutorial
s are w e llw ritte n and w h ile sl
ante d · Publish e r: Ch arle s Rive r M e dia;2 e dition (Fe bruary 1, 2001)
tow ard spe cific program s, can be appl ie d ve ry e asil
y to bl
e nde r · Language : Engl ish
te ch niq ue s and tool s. · ISBN: 1584500212
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e nde r ak i - "Be l
aKis s "& "Irk e n Cre w m an"
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by - Bl
e nde r ak i - "Robopato"& "Pl
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by - Luis De l
- "Aguil
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by - Cal
e b Eph ratah - "Th e Knigh t"
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Farm e r M atrix
by - Grze gorge M ich al
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M atrix2 Rape r
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Spide y W ade r
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Galleria Issue 4 M ay 2006
by - Jonath am W il
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Galleria Issue 4 M ay 2006
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CONTRIBUTIONS Issue 4 M ay 2006
Bl
e nde rart Staff
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e nde rart Contributors
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Upcom ing Issue 4 M ay 2006
Is s ue 5 avail
abl
e in Jul
y 2006
Th e m e : M ode l
ing trick s and Bl
e nde r Scripts
Articl
es : Using Ble nde r for 3d gam e asse sts
Various m ode l ing approach e s
Exte nding your Bl e nde r via Scripts
Dis cl
aim e r
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