Mudbox Introduction Session: T-Rex Model

Last week’s session was an introduction into using Autodesk Mudbox sculpting software. I was very excited to find out more about the software ZBrush and especially Mudbox for the freedom and creativity of modelling. Unlike Maya, another Autodesk product, Mudbox allows you to manipulate the object as if it was actual modelling clay. We experimented around with the sculpting tools on a simple cube and learned the basics of how mesh levels work with subdivisions to create more polygons; creating a smooth skin.

We were given the challenge to create our own T-Rex from a starting model prefabricated for use. Above is the second to last level subdivision of my Carnotaurus (a member of the T-Rex family and also one of my favourite Dinosaurs). Fortunately I knew the shape and structure from memory. However, I used some references from Google to tweak the final shapes as seen below.

We were also taught several painting tools and layers of the material. For this simple paint over, I have used a diffuse setting which creates a matt finish. Underneath is the final model and painted body. I really enjoyed making a camouflage like skin and toning the shape with the harsh contrast of yellow and black.

Another really useful tool we were told about was the mirror setting on the hierarchy tab. This simply simultaneously reflected what you do to the opposite side on the axis. This was really helpful when I made something like the horns or teeth as it is tricky to get the exact reflected symmetry for the features. 

Before I painted the second coat of skin colour (the black patterns), I made a new layer; this time selecting bump map. This technique is commonly replicated throughout the games industry and is a key part when texturing a detailed model. Any of the actual texture applied when using this, fools the light into making it look like it is a three dimensional form saving polygons and memory.

Above is one of the stencil tool textures I used which, when using a black brush, applies the detail to the model. As you can see I have used a scalely appearance which I thought worked well near the pale chin and head area.

In the pose tool bar I used the pivot settings to adjust the tail position and also the forearms of the Dinosaur. I also shrunk several features like the head which is prolifically shorter to the snout and the chest which is higher with the tail being longer (one of several characteristics that tells us this Dinosaur was built for speed, rather than brutishness like that of the T-Rex).

Above is the starting model before I did anything to it and below is the final side view of my Carnotaurus model.

We were also given an insight into using the turntable feature which creates a 360° render of the model. Below is my turntable video which I added a shallow depth of field too, to give it a more realistic composition. Overall I have really enjoyed learning the features of Mudbox and look forward to more of the freedom and creativity in modelling it offers.

Visual Arts & Animation - Anatomy: Muscle Assignment

Our first two-week assignment for the new term was to study the Human Anatomy. Continuing from the last analysis of the Human skeleton, this time we looked at the key muscles of the body. Below is my diagram listing the main muscles with a colour marker. While focusing on the main muscles of the average male, I highlighted more complex forms in the magnifier circles. In addition, I got the chance to use watercolours; as this is something I have had years of practise with and am comfortable to use.

Below is my second study focusing more on the muscle detail around the body that I found interesting or had not looked at before. For example, the coracobrachialis and the serratus anterior muscles located under the armpit. Furthermore, I briefly covered how certain muscles expand and contract like in the gastrocnemius (calf) and the brachioradialis (situated on the wrist).

I really enjoyed learning new muscle groups, like that of the face and think it has been a huge help in understanding the form of the human body even more. Below are the two links I used for reference in my study. One again being the amazing website called InnerBody which lets you understand the system of the muscles in an interesting and interactive diagram. The other is a book called Atlas of Human Anatomy for the Artist by Stephen Rogers Peck as suggested by our lecturer.

http://www.innerbody.com/anatomy/muscular-male

http://goo.gl/6cJZBQ

Maya Modelling Assignment - USS Enterprise

In the first week of the new term, we were given the assignment to create a model of the Starship Enterprise from the original TV Series of Star Trek. In company with this, we were given a technical drawing blueprint image to aid us in the modelling process; as seen below.

Above is a screen capture of the image imported into Maya and cut into formation of the axis of x,y,z. This was a great way of working fast and accurately depicting the model. Below is the first section I worked on using the smooth view on the hull. This allowed me to see the design with a clean face of curved surface. Furthermore, I shaped the vertices and edges while adding in multiple edge loops to shape the fuselage. 

We were taught by our lecturer how to use the Bezier Curve tool on more complex forms which came in handy for the modelling of the radar like dish on the front of the hull. This tool enabled me to create an outline of the top half of the dish in its curvature construct along the x axis. After aligning the move pivot tool to be parallel alongside the dish, I switched to the surfaces tool set and used the revolve feature to create the actual polygonal shape from 2D to 3D as seen below.

Below is the complete dish that I think worked out really well. I made sure to keep a low polygon count as this helps save memory and data space for other components later on.

In the shaded display view I used a feature called XRay which allowed me to see through the object to the blueprint image. I found this was very useful in reflecting on the precision of the model. Below is before I converted the shape of the hull using the smooth tool found in the mesh tab.

Underneath is the finished hull on the model using the smooth tool. I made sure to align the vertices with that of the blueprint and after using the harden edge tool on the faces, it gave that composition a great result.

Here is the recognisable 'flying saucer' bow of the Enterprise. I aimed at extruding the bridge deck on top as this is more ideal in practise when it comes to using a model element as one piece. One error that I made, when creating the plate shape, was not increasing the polygon circumference. The only drawback to this was I had to individually create each edge loop for the sections of rotation; after doing this I equally selected the side edges and distributed them in scale.

Using the front and side view for reference, I formed the rear of the ship with the spine columns leading to the raised engines. Similar to the hull, I made the elongated engines with the key '3' selected in the rounded mode and then used the smooth tool to create it into a basic polygon shape. Unfortunately the process of this is the creation of more edge loops which are then only removable by individually double-click selecting and deleting them.   

Below is final model using the blueprints for final checks. While in the process of modelling I fixed the three images to a locked layer, as so I did not accidentally move them out of position. I believe that small techniques like this one is essential in the long term modelling or with detailed concentration on a specific object and reference.

Finally I added, from the create tab, an area light with a low level intensity to bring out harsh contrast as often seen in space. I have also started studying and following tutorials on the plug-in Mental Ray which renders out the model to a crisp definition along with the lighting which will be really useful to learn for future work.

Here is another angle of the USS Enterprise with the area light illuminated in the '5' key lighting display mode. I am really pleased with how the model has come out and in the time I have produced it in. 

Photoshop Session - Lizard Creature Tutorial

In our first session of the new term, we got to watch another great tutorial by artist Feng Zhu. In the online lesson, Feng Zhu went through the basic elements to starting off a digital art piece. Several techniques were covered including how to place textures along with a short example of how to create bounce and backlit lighting. It was then our turn to try out the methods of practise. To make things easier in the time we had in our session, we were given some reference images and a line drawing to help us re-create his work.

Above is my progress towards my final piece. I started off by blocking in the simple colours and then adding in the bounce and strong contrasts of light with a soft edge brush. The second step was just refining what I had done and tidying up values with the areas of the body. I found it difficult to tone the arms as the actual angle of the shoulders are distorted in a concave manner with the chest armour. However, after cleaning the shadows up with a hard edge brush, I focused with more detailed around the upper torso. 

I was then able to go onto Google search and find a matt high quality free image of a gecko texture; that I used to give the detail of the lizard skin texture. Above is my almost finished piece I made, which I am rather pleased with given that we only had about four hours to make it. In addition, I found the texturing rather easy to do with the help of the warp tool on Adobe Photoshop CS6.

Above is the original free texture that I used multiple times (as seen closer up below) on the arms, head and neck area. Using 'Paste Special' we could mask around the edge of the areas we wanted covered and then simply wrap the image using the warp tool. To match the image colour to that of the lizard's, I converted the colour in the image to black and white and then changed the blending mode to soft light.