Blender Art Magazine #8

Is s ue 8 January 2007 |Bl e nde rArt M agazine

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ED ITO RIA L

Go to al m os t any CG s ite on th e w e b and you w il l find th e m . Cars ; h undre ds of CG cars can be found in e ve ry s h ape , s ize and col or. Littl e cars , big cars , fancy cars , s ports cars , toon cars , radicalde s igns and e ve n e conom ical cars ; th e y are e ve ryw h e re . Cars h ave l ong be e n a popul ar s ubje ct for m ode l e rs . Th e y tak e gre at s k il l and l ook am azing w h e n done righ t. You coul d s pe nd h ours tw e ak ing e ve ryth ing from ch rom e de tail s to th e tre ads on th e tire s . And a gre at m any m ode l e rs do e xactl y th at. Many m ode l e rs not onl y m ode lfrom bl ue prints or re fe re nce ph otos , but actual l y de s ign th e ir ow n cars . It’s CG;th e y can add or de l e te any part th e y ch oos e . Col ors can be ch ange d at w il l . D iffe re nt s e ttings can be cre ate d to s h ow cas e th e ir ne w de s ign. And w ith th e advance s in re nde ring e ngine s , al ltoo ofte n th e re s ul ting im age s can be /are m is tak e n for actualph otos of re alcars . Many car m anufacture rs tak e advantage of th is and provide us w ith e xce l l e nt adve rtis e m e nts too.

th at is jus t w is h fulth ink ing … or is it? Marin Myftiu s h ow s h ow h e buil t a prototype of a conce pt de s ign car us ing Bl e nde r in com bination w ith oth e r te ch niq ue s . Al s o in th is is s ue w e cove r tire s , rim s and a l ow pol y car in a s im pl e driving gam e . Gaurav is going to tak e us th rough s om e 'approach e s in m ode l ing a car body' via th e Nis s an 350z m ode l . And as an adde d tre at Cl aas Kuh ne n s h ow s us h ow to cre ate h is am azing brus h e d m e talte xture s ; us e fulfor car inte riors as w e l las for je w e l ry and a h os t of oth e r m e tal ne e ds . So re v up your bl e nde r e ngine and l e t’s ge t th is party s tarte d! H appy Bl e nde ring s andra@ bl e nde rart.org

W oul dn’t it be gre at if you coul d actual l y buil d your conce pt car? But

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Is s ue 8 - January 2007

CO NTENTS

ED ITO R/D ESIGNER Gaurav Naw ani gaurav@ bl e nde rart.org M ANAGING ED ITO R Sandra Gil be rt s andra@ bl e nde rart.org W EBSITE Nam Ph am nam @ bl e nde rart.org PRO O FER Ke rnon D il l on Ph il l ip A. Ryal s Ke vin C. Braun D e re k M ars h W RITERS Cl aas Eick e Kuh ne n Z s ol t Ste fan M arin M yftiu Pabl o De l gado Th om as Baron Sandra Gil be rt Gaurav Naw ani CO PYRIGH T© 05-07 ‘Bl e nde rArt M agazine ’,‘bl e nde rart’ and bl e nde rArt l ogo are copyrigh t of Gaurav Naw ani. ‘Izzy’ and ‘Izzy l ogo’are copyrigh t Sandra Gil be rt. Al lproducts and com pany nam e s fe ature d in th e publ ication are trade m ark or re gis te re d trade m ark s of th e ir re s pe ctive ow ne rs . COVER ART Ph il ippe Roubal

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Is s ue 8 - January 2007

Bl e nde r Ne w s

Bl e nde r Re l e as e

2006 h as com e and gone , bringing w ith it a l arge num be r of e xciting ch ange s and e ve nts . I h ad pl anne d on doing a re vie w of 2006, but b@ rt be at m e to it and did s uch a good job, th e re is no point in doing it again. If you m is s e d it, you can ch e ck out h is 2006 re vie w ofBl e nde r at: (h ttp://w w w .bl e nde rnation.com /2006/1 2/31/l ook ing-back -on-2006/). Th e re l e as e of Bl e nde r 2.43 is on th e h orizon. RC1 and RC2 h ave al re ady be e n re l e as e d for bug te s ting and th e official re l e as e s h oul d be fol l ow ing w ith in a fe w w e e k s . Th e re l e as e h as q uite a fe w ne w fe ature s to pl ay w ith . O f particul ar inte re s t to m e are th e W al k -Cycl e Modifie rs . Th e W al k -Cycl e Modifie rs re pl ace th e Stride bone al l ow ing for an e as ie r s e tup of w al k cycl e s for us e in th e NLA. Additional l y, an Action Modifie r al l ow s you to us e a Curve Path to de form th e m otion of control l ing bone s in th e arm ature . Fol l ow ing is a l is t ofincl ude d ne w fe ature s :

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M ode l ing Modifie r s tack upgrade s . Ne w m odifie rs : Edge s pl it and D is pl ace UVProje ct, Scul pt m ode l ing Mul ti-Re s ol ution Me s h and Re topo Fl uid D ynam ics s upporting anim ate d O bje cts Mul ti-l e ve lUVe diting Face D upl icators Anim ation W al k Cycl e Modifie rs Proxy O bje cts , for l ocalcontrolove r re fe re nce d data from Librarie s

For furth e r update s and curre nt re l e as e l ogs , go to: h ttp://w w w .bl e nde r.org/cm s /Ch ange s _ s ince _2_42.771.0.h tm l

2007 Bl e nde r F1

Th e 2007 Bl e nde r F1 conte s t is h e re again. Curtis S is running th e conte s t again th is ye ar and w il ls oon h ave th e officialconte s t s ite up and re ady w ith al lth e rul e s and s pe cifications for th e im age s .

Re nde ring Re nde r fe ature s : Al ph a Mas k s , Node Sh ade r s pe e dup, Tange nts and Norm alMaps Irre gul ar Sh adow Buffe rs Sh adow Buffe r, H al fw ay Ave rage Re nde r Bak ing Re nde r Pas s e s Com positing UVMap, Inde x Mas k and Z -Com bine D e focus Matte Node s Matte Node s , tutorial Im aging Mul ti-l aye r im age s , Se q ue nce im age s , fl ip book s

Ch e ck at th e Bl e nde r F1 Conte s t s ite for l as t ye ars re s ul ts . Al s o, ch e ck th e dis cus s ion th re ad in th e forum s , for update d ne w s and to jus t ge ne ral l y dis cus s th e conte s t. Good l uck and ge t re ady to s tart your bl e nde r e ngine s !!!!!!!!

Is s ue 8 - January 2007

Iz z y K now s

Introduction

Mode l ing cars can be as e as y or as com pl icate d as you w ant to m ak e it. You can de s ign your ow n car or m ode l e xis ting cars . It is am azing h ow m uch inform ation is avail abl e to h e l p you ge t your car m ode l e d. In fact, th e forum databas e at w w w .bl e nde rartis ts .org h as page s of l ink s to gre at tips , tutorial s and im age s of s om e am azing cars .

H e re are a fe w ge ne raltips to ge t you going. Ge ne ralSte ps to m ode l ing a car Ste p 1: Ge t bl ue prints or cre ate s k e tch e s ofyour de s ign conce pt. Ste p 2: Se t th e bl ue prints up in th e

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Top, Righ t, and Front vie w ports us ing Vie w |Back ground Im age . Ste p 3: Add a Pl ane , pos ition it ne ar th e ce nte r-l ine . Ste p 4: Mirror th e Pl ane , s o you onl y h ave to m ode lh al fofth e car. Ste p 5: Extrude th e e dge s of th e Pl ane and m ove ve rtice s around to m atch th e profil e of th e car in th e Righ t vie w . Ste p 5a: Move ve rtice s around to m atch th e profil e of th e car in th e Top vie w . Ste p 5b: Move ve rtice s around to m atch th e profil e of th e car in th e Front vie w . Ste p 6: Re pe at Ste p 5 untilth e m ode l is finis h e d. Ste p 7: Add s om e te xture s , w ork on l igh ting, and do a re nde r.

can m ode l3-4 row s of ve rtice s cl os e toge th e r.

To m ak e it e as ie r to m ode lth e inte rior, you can m ove th e roof s e ction to anoth e r pos ition or Laye r to m ak e it e as ie r to s e e ins ide th e car.

Sonix cre ate d a l ibrary of car paints /ch rom e /gl as s /tire s and m is c m ate rial s ne e de d for cars : Bl e nde r 2.34 Car Mate rialLibrary Re l e as e 1. h ttp://w w w .fre e -w e bs pace .biz/s onix/

It is e as ie r to m ode lth e w h e e lw e l l s ins te ad oftrying to cut th e m out l ate r.

Painting y our car

At s om e point, you w il lw ant to paint your car;w h e th e r it is a toony car or a s upe r re al is tic one . It can be as com pl icate d or as s im pl e as you w ant to m ak e it. H e re are s om e re s ource s to h el p ge t you s tarte d. A de m o car paint m ate rial , us ing node s , can be found h e re (pos te d by "brok e n"): h ttp://bl e nde rartis ts .org/forum /s h ow th re ad.ph p?t=71232& h igh l igh t=car+ paint H e h as al s o pos te d a vide o tutorial th at s h ow s you h ow to fak e a l aye re d car paint m ate rial

Se am s on car Cars h ave l ots of s e am s and s m al l gaps w h e re parts fit toge th e r. And s ince s ubs urf is ge ne ral l y us e d on car m ode l s , s e am s ge t s m ooth e d aw ay. To cre ate s e am s , you can cre as e th e targe te d e dge s w ith 'Sh ift + E' or, you

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al ong w ith out m uch difficul ty.

Low Pol y Car

As w ith a gre at m any m ode l s, w e are going to s tart w ith a pl ane . W e w il lm ode l1 h al f of th e car and th e n m irror th e oth e r s ide .

Le ve l : Be gine r to Inte rm e diate

Introduction Low pol y cars can be a l ot of fun; both to m ak e and to pl ay w ith . You can m ak e th e m as fancy or as s im pl e as you w ant. I’m going to s h ow you h ow to m ak e a s im pl e l ow pol y car and th e n w e are going to cre ate a gam e l e t (gam e l e t = m ore th an a de m o, not q uite a ful lfl e dge d gam e ) s o w e can pl ay w ith our car. I us e d Bl e nde r 2.43 RC1 during th e w riting of th is tutorial . Th e re fore it s h oul d be com patibl e w ith Bl e nde r 2.43 w h e n it re l e as e s . It s h oul d al so be com patibl e w ith 2.42 as w e are not going to us e a l ot of gam e fe ature s to s e t th is up. Th is is an inte rm e diate l e ve l tutorial al th ough be ginne rs s h oul d be abl e to fol l ow

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1.In s ide vie w , add th e car re fe re nce im age Vie w > Back ground Im age > Load (l oad s uppl ie d re fe re nce im age “Car”) 2.Th e n add a Pl ane ; Space bar> Add> Pl ane , de l e te al lbut 1 ve rtice . 3.W e are trying to m ak e as fe w face s as pos s ibl e s o onl y add as m any ve rtice s as ne e de d. Se l e ct th e re m aining ve rtice and ControlLM B to cre ate an outl ine of th e car. Th e n cre ate face s to fil lin your outl ine by se l e cting 4 ve rtice s and h itting “F k e y”. (Fig 1) 4.In top vie w , s e l e ct al lth e ve rtice s and e xtrude (E k e y) 2 tim e s . (Fig 2) 5.Se l e ct th e oute r row of ve rtice s and h it Sm ooth a fe w tim e s . (Fig 3)) 6.Add a M irror m odifie r, you m ay h ave to cycl e th rough th e X,Y,Z axis buttons to ge t it to m irror on th e corre ct axis , al s o m ak e s ure your pivot point (l ittl e circl e /dot in ce nte r of m ode l ) is pos itione d on th e ce nte r l ine . And s e l e ct “D o cl ipping” to ge t a cl e an join be tw e e n th e 2 h al ve s . O k ay, th e re it is . O ne l ow pol y s ports

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car. Now w e ne e d to add s om e wh eel s . Th e y don’t ne e d to be fancy as th e y w on’t be re al l y s e e n in our gam e l e t. So I jus t us e d a s cal ed tube for e ach w h e e land joine d it to th e body. Th e re as on I us e d a tube w as th at I w ante d to cl os e onl y one e nd and cre ate a s im pl e rim for

m e m ory re q uire m e nts dow n. Re m e m be r to vie w your m ode l in Potato m ode (Al t + Z ) to s e e your ve rte x paint.

painting. Se e fig 4 Ne xt D upl icate your tire (Sh ift + D ) and pl ace both tire s in th e ir w h e e l wel l s . Se l e ct both tire s and th e car and Join (Control+ J). Se e fig 5. I h ave n’t appl ie d (m ade final ) th e M irror m odifie r ye t be caus e I w ant to ve rte x paint th e car and I w ant both s ide s to be th e s am e .

1.H it “V k e y” for Ve rte x paint and “F k e y” for UV/Face m ode . M os t l ik e l y your car turne d com pl e te l y bl ack . Th at’s ok ;w e w il lfix it in a m om e nt.

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2.Se l e ct al lth e face s of th e car (but not th e tire s ) and in th e Paint Pane l in th e Edit buttons w indow , s e t your paint col or. I ch os e re d. H it th e “Se t Ve rt Col or” in th e Te xture Face pane l to appl y your col or to th e car body. Se e fig 6. 3.I’m going to cre ate s om e s h adow s and h igh l igh ts us ing ve rte x paint, oth e r w is e if you pre s s “P” to s tart th e gam e e ngine you w il l notice th at your car h as no re alde finition and l ook s rath e r ugl y. 4.Se t your Brus h s ize dow n to around 10-12 and opacity to 0.200. Ch oos e a col or dark e r th an you ch os e for your car body. Start painting around th e e dge s to give it de finition. Th is is w h at I cam e up w ith . Not be autiful , but it’s a s tart. Se e fig 7. Notice I al s o painte d a l ittl e bl ue on th e bl ack tire s and m ade th e h ub of th e w h e e la l igh t grayis h col or. You coul d al s o add

Painting th e Car

At th is point you can go off and appl y a fancy UV m ap to your car or appl y s im pl e ve rte x paint. Th e ch oice is yours . For th is tutorial , I de cide d to us e ve rte x paint to k e e p

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w indow s and paint th e m a ve ry l igh t bl ue col or. Se e fig 8. button”. Se e fig 11. Now you h ave your bas ic track , but it is a l ittl e boring. I’m going to add a fe w h il l s and val l e ys us ing th e Proportionale dit tool(O ). You h ave s e ve ralch oice s of “fal l off” to ch oos e from , and I’l ll e ave it to you to de cide w h ich one you w ant. In fact m ix and m atch th e m for diffe re nt e ffe cts . Se e fig 12.

Wel lour car is finis h e d at th is point. Now go ah e ad and appl y th e M irror M odifie r and m ak e your car al lone pie ce . Ne xt w e w il l be m ak ing a s im pl e e nvironm e nt to drive around in.

D rive th rough th e Country

W e are going to m ak e a driving cours e th rough th e country for our car to drive around in. 1.Go to l aye r 2 2.In Top vie w , Space bar> Add> Grid (de faul t of 32 x 32 is fine ) 3.In Edit m ode , toggl e th e Face se l e ction button and cre ate a track for your car. Se e fig 9 . 4.In Side vie w , Extrude your track dow n a l ittl e . Se e fig 10. 5.Sw itch back to O bje ct m ode (Tab), th e n go into UV/Face M ode (F) and Ve rte x Paint (V)

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6.Se t your paint col or to a m uddy brow n and pre s s th e “Se t Ve rt Col or button”, Tab back to Edit m ode and us e th e “Se l e ct Sw ap button” in th e M e s h tool s 1 pane lto inve rt your se l e ction. Tab back to UV/Face m ode and s e t your paint col or to a nice gre e n and pre s s th e “Se t Ve rt Col or

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1.For e as e in s e l e cting w h e re I w ant m y h il l s, I se l e cte d th e face s I w ante d in UV/Face s e l e ct m ode (s o I coul d s e e w h e re th e y w e re in re l ation to th e track , you w il lnotice your ve rte x col ors don’t s h ow up in Edit m ode ). 2.Th e n Tab back to Edit M ode , w ith Proportionale diting on (O ) in s ide vie w , grab th e face s (G) and m ove th e m up. Th e y l ook a l ittl e too bl ock y to be re al h il l s , s o h it th e Sm ooth button a fe w tim e s , and th e n you m ay w ant to m ove th e m up a l ittl e bit m ore . Se e fig 13.

brow n col ors . Se e fig 14. (You m igh t dis cove r w h e n you ge t your gam e l et s e t up th at your te rrain is a l ittl e too rough , th is can be s ol ve d by appl ying a Subs urf M odifie r to s m ooth it out a l ittl e)

M ak ing a G am e l et

O k ay, now w e h ave a car and an e nvironm e nt for th e car to drive around in. It is tim e to put toge th e r our l ittl e gam e l e t s o w e can pl ay w ith it. 3.Us ing th e s am e te ch niq ue , cre ate val l e ys by m oving dow n, not up. Al s o, don’t be afraid to s e l e ct portions of your track and m ove th e m up or dow n al s o. You can al so us e th e Se l e ct> Random in th e fil e m e nus . Afte r pl aying around, th is is w h at I got. I adde d s om e ve rte x paint to bre ak up th e fl at gre e ns and

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1.Turn on l aye r 1 s o you can s e e your car. You w il lne e d to re s ize your

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car s o th at it fits on th e track . Afte r you h ave re s ize d it, m ak e s ure th at you h it “Control+ A” to appl y s cal e and rotation. It’s a good ide a to se l e ct th e track /e nvironm e nt and do th e s am e th ing. Se e fig 15.

2.Ne xt l e t’s pare nt th e cam e ra to th e car s o th at w e can s e e w h e re w e are going. (Se l e ct th e cam e ra 1s t, th e n th e car and h it "Control+ P") 3.W e are going to us e l ogic brick s to s e t up bas ic driving control s for th e car. W e w il l onl y be cre ating 4 control s , tie d to th e arrow k e ys on your k e yboard for navigation. Th at w il lgive us forw ard, l e ft and righ t turns and th e abil ity to go in re ve rs e . 4.Se l e ct your car; go to th e gam e l ogic w indow (F4).

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5.Toggl e th e “Actor” button, a w h ol e bunch ofne w buttons appe ar 6.Toggl e D ynam ic 7.You can l e ave th e re s t of th e s e ttings at de faul t for now 8.Toggl e “Bounds ” and ch oos e “Box” as bounding type 9 .O nce you h ave s e t th e bounding type , go back up to th e Actor buttons and l ook for th e one th at s ays "Radius ", s e t it to fit around your car m ode l . You don't w ant it too big or too s m al l . Sw itch to s ol id or w ire vie w to s e e th e s ize of th e radius in re l ation to your m ode l . Now I am going to s h ow you h ow to s e t up th e 1s t control , th e n you can s e t up th e re s t by l ook ing at fig 16 or ch e ck ing out th e incl ude d bl e nd fil e. 1.You w il ls e e 3 s e ts of boxe s to th e righ t of th e s cre e n (s e ns ors , control l e rs , and actuators ) 2.Toggl e th e “Add” box ne xt to th e 1s t one (s e ns or) 3.Cl ick on th e box th at s ays “Al w ays ” s crol ldow n to “Ke yboard” 4.Cl ick on th e box ne xt to “Ke y”, it w il lth e n s ay “Pre s s a Ke y”;pre s s th e up arrow on your k e yboard 5.Toggl e th e “Add” box ne xt to th e 2nd one (Control l e r) 6.Toggl e th e “Add” box ne xt to th e 3rd one (Actuator) 7.In th e m iddl e col um n of “dLoc” type (0.25)

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righ t 4. Th uds as you h it th e ground 5. Add m oving obje cts (i.e . cow s , pigs , tum bl e w e e ds ) 6. Add ram ps or obs tacl e s w ith or w ith out w ate r traps 7. Add fal l ing obje cts to avoid 8. Add buil dings /cove re d bridge s 9 . Add l ak e s in s om e of th e de pre s s ions /val l e ys 10. D rop a fe w l ow pol y tre e s in 11. Surround th e track /grid w ith w ate r (turning it into an is l and) 12. Add a s k y 8.Cl ick on th e l ittl e bal lne xt to th e Se ns or col um n and drag it to th e Control l e r col um n and th e n from th e Control l e r col um n to th e Actuator col um n. You h ave now conne cte d l ogic brick s to cre ate your firs t control . In e ffe ct you h ave tol d th e gam e e ngine th at you w ant th e car to go forw ard (or m ove al ong th e Y axis ) anytim e you pre s s th e up arrow k e y. Th at’s pre tty m uch al lth e re is to it. Pre s s “P” to pl ay your gam e l e t.

You can find gre at tips on im proving th e gam e e nvironm e nt in Is s ue # 7, “Cre ating a Re al is tic Environm e nt for BGE” by Joh n Al l ie (pl antpe rs on). Furth e r gam e e ngine re s ource s : h ttp://m e diaw ik i.bl e nde r.org/inde x.p h p/Gam e _Engine h ttp://w w w .continuous ph ys ics .com / Bul l e t/ h ttp://bl e nde rartis ts .org/forum /foru m dis pl ay.ph p?f=12

H e re are a fe w s ugge s tions to im prove your gam e ; 1. Add s ound 2. Engine re vving w h e n you pus h th e up arrow . 3. Tire s turning w h e n going l e ft or

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Car R im

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h ave us e d, s til lI as s um e th at you are fairl y fam il iar w ith bl e nde r and k now your w ay around.

Le ts G e tS tarte d O nce you h ave de cide d on your de s ign and you k now h ow m any s pok e s your rim is going to h ave , th e n w e be gin l aying out th e foundation. For th is tutorialw e are going to m ode la five (5) s pok e rim . So in orde r for m e to be abl e to l ate r corre ctl y attach m y s pok e s , I h ave to cre ate a bas e w h os e ve rtice s al ign pe rfe ctl y w ith th os e of th e s pok e s .

Le ve l : Be ginne r to Inte rm e diate

Introduction

H ave n’t you e ve r l ook e d at your car and h ad an ide a for a s e t of rim s th at w oul d turn h e ads ? M aybe you h ave gone as far as s k e tch ing th e m out on a pie ce of pape r. W e l l , now you are going to l e arn h ow to bring th at ide a to l ife ! W e l lal m os t. In th is tutorial I w il l te ach you a s im pl e te ch niq ue th at you can us e to m ode l your ve ry ow n rim s . I h ave trie d m y be s t to provide tool nam e and k e y com binations th at I

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So to do th at I find a l ow num be r th at can be e q ual l y divide d by th e num be r of s pok e s th at I am going to de s ign, w h ich in th is cas e is 5, but h igh e nough to al l ow us to give th e rim nice de tail s and pl ace s a ve rte x de ad ce nte r of m y s pok e . So I ch os e 25. Cre ate a circl e by cl ick ing th e righ t m ous e button and s e l e cting “add> > m e s h > > circl e ” and rotate th e circl e s o th at one of th e ve rte xe s is al igne d w ith th e y-axis . Your w ork s h oul d re s e m bl e Fig 1.

e nte r to l e ave it in pl ace . Th e n from th e top vie w , pre s s S to s cal e dow n th e e xtrude d ve rtice s untilyou h ave an im age th at re s e m bl e s im age num be r 2.

From th e s ide vie w s e l e ct th e top ve rtice s us ing th e box s e l e ction tool . Now pre s s “E” to e xtrude , but do not m ove th e e xtrus ion. Sim pl y h it

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pol ygons to w ork w ith w h e n w e be gin to de ve l op our s pok e s and l ip. From th e s ide vie w s e l e ct th e l ine th at runs around th e tube and m ove it up cl os e to th e top. Se e Fig 5.

val ue 3. Your w ork s h oul d re s e m bl e Fig 7.

Se l e ct th e e ntire obje ct and pre s s E to e xtrude again and h it e nte r w ith out m oving your s e l e ction. From th e s ide -vie w m ove th e e xtrude d ve rtice s dow n a bit untilth e tube you are cre ating is th e s ize of a rim . Se e Fig 3 and 4. Se l e ct th e e ntire obje ct and cl ick th e s ubdivide button from th e M e s h Tool . Th is is s o w e h ave m ore

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Se l e ct th e e ntire e dge of th e inne r tube at th e top by s e l e cting one e dge and pre s s ing “Crtl + E” and se l e cting “Edge Loop Se l e ct” from th e m e nu. Now from th e s ide vie w bring it dow n cl os e to th e e dge th at w e e arl ie r m ove d up ne ar th e top. Pre s s S to s cal e th e e dge a bit s o th at it l ook s l ik e Fig 6. Now w e are going to m ode l th e w al l s around th e rim w h e re th e tire goe s . Se l e ct al lth e face s al ong th e outs ide of th e tube . M ak e s ure you do not s e l e ct th e face s from th e ins ide or you w il lbe in for s om e h e adach e s . Us e th e k nife tool(Sh ift + K), s e l e ct m ul ti-cut and e nte r th e

Se l e ct th e l as t e dge of th e tire , ne ar th e bottom of th e tube , and m ove it cl os e to th e bottom about th e s am e as th e e dge w e m ove d tow ard th e top. M ove th e oth e r tw o e dge s w e cre ate d and ce nte r th e m s o th at w e h ave tw o l arge row s running around th e rim , th e n s e l e ct al lth e face s . Se e Fig 8.

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Fig 10. Final l y, th e bas e of th e w h e e l is com pl e te ! Now w e can s tart w ork ing on th e s pok e s .

Scal e dow n th os e face s s o th at it cre ate s a l ip ne ar th e top and bottom of th e rim . Se e Fig 9 .

Th e re is one final de tail th at w e ne e d to do be fore w e be gin w ork on th e s pok e s of th e rim . Se l e ct al lth e face s of th e ins ide of th e rim th at fal l s be l ow th e e dge w e h ad m ove d up. Pre s s S and s cal e th e m dow n jus t a bit s o th at th e y m ak e th e ins ide w al l s s m al l e r. Now us e th e Knife toolto m ak e a ne w e dge and m ove it dow n s o th at it re s e m bl es

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Ce nte r your curs or and add a pl ane . M ove th e pl ain s o th at th e ce nte r of th e pl ane is in th e bottom l e ft corne r. O n th e m odifie rs pane ladd a m irror and e nabl e cl ipping. Pul lth e top of th e pl ane untilit e nte rs th e w al l s of th e rim . Th e n s e l e ct th e pl ane and m ove it to anoth e r l aye r. Se e Fig 11.

m irror so th at it pe rm ane nt. Se e Fig 13.

be com e s

Se l e ct Knife > > M ul ti-cut and e nte r 5 and cut th e pl ane h orizontal l y. M ove th e points to give th e s h ape of th e s pok e . Se e Fig 12. From th e s ide vie w s e l e ct th e pl ane and e xtrude it upw ards to give th e s pok e its th ick ne s s and appl y th e

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bottom . O n th e proportional drop dow n m e nu, w h ich is th e one th at l ook s l ik e a donut, s e l e ct conne cte d and on th e fal loff m e nu, w h ich is th e drop dow n righ t ne xt to it, s e l e ct “Sph e re Fal l off.” From th e s ide vie w us e th e arrow m anipul ator to pul l th e tw o ve rtice s dow n until you cre ate a concave s h ape . Se e Fig 16.

H urray, w e h ave our firs t s pok e four m ore to go. W e can do th is th e h ard w ay (By e ye bal l ing it) or w e can do th is l ik e pros and do a l ittl e m ath . A circl e h as 360 de gre e s and w e divide th at by 5(th e num be r of s pok e s w e h ave ), s o w e ge t 72. W h ich m e ans w e are going to l ay e ach s pok e at a 72 de gre e s angl e from e ach oth e r. So pre s s tab to e xit e dit m ode and e nte r obje ct m ode . Pre s s “Sh ift + D ” and pre s s e nte r. It se e m s l ik e noth ing h appe ne d but s om e th ing did, it cre ate d a cl one . Now tak e your h and off th e m ous e and pre s s “R”, to rotate , and us ing your num be r pad pre s s 7, 2 and h it e nte r. If you notice d th e cl one is now vis ibl e to you and is l aid out 72 de gre e s from th e firs t one . Re pe at th is s te p th re e m ore tim e s s o th at you h ave five s pok e s . Se e Fig 14. Le ts go back to th e firs t l aye r and s tart cre ating th e ce nte r of th e rim . Cre ate a cyl inde r and s cal e it dow n s o th at it l ook s l ik e Fig 15.

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Go back to th e s e cond l aye r, w h e re you h ave th e prim itive s for th e s pok e s . Se l e ct th e bottom four cube s on e ach s pok e and de l e te th e face s . M ove th e ce nte r of th e s pok e s from th e firs t l aye r to th e s e cond, w h e re your s pok e s re s ide . Se e Fig 17. Se l e ct th e ve rte x in th e ce nte r both from th e top of th e cyl inde r and th e

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3D W ork s h op - M ode l ing A Th is ne xt part is a bit te dious but jus t as fun. Se l e ct both th e cyl inde r (Rim Ce nte r) and th e s pok e s and pre s s and “CTRL + J” to m e rge both obje cts toge th e r. Now be gin to m e rge e ach ve rte x on th e s pok e s w ith th e corre s ponding ve rte x on th e cyl inde r s o th at th e re s ul ting im age l ook s l ik e Fig 18.

Now th at w e h ave th e s h ape of th e s pok e s , w e h ave to cre ate th e h ol es w h e re th e bol ts go. Cre ate anoth e r cyl inde r and s cal e it dow n s o th at it l ook s l ik e a l ong rod w ith th e th ick ne s s of th e h ol e s w e w ant to cre ate . Pl ace it ne ar th e top s pok e and ce nte r it on th e y-axis and s o it trave rs e s th e s pok e s ce nte r. Pl ace

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your 3D -Curs or at th e ce nte r of th e s cre e n (x=0, y=0, z=0) and ch ange th e pivot point to 3D curs or. Pre s s tab to e xit e dit m ode and s e l e ct th e rod w e jus t cre ate d and dupl icate it by pre s s ing “CTRL + D ” and pre s s e nte r. Pre s s “R” and e nte r 72 on your num be r k e ypad. Th is s h oul d h ave m ove d th e cl one rod to th e e xact l ocation as th e firs t but on th e s e cond s pok e . D o th is th re e m ore tim e untilyou h ave 5 rods . (Note : re m e m be r to ch ange th e pivot point back to its norm als tate or you w il l ge t frus trate d l ate r.) Se e Fig 19 .

to th e s ide . Se l e ct th e pre vious tw o obje cts th at you h ad and de l e te th e m , and ce nte r your ne w s pok e s w ith h ol e s.

Ne xt Pre s s “W ”, w h ich brings up th e Bool e an Tool s M e nu, and s e l e ct “diffe re nce ” from th e m e nu. Th is w il l cre ate an obje ct th at is com pos e d of al lth e m e s h e s th at do not inte rs e ct. Pre s s “G” to grab your ne w l y cre ate d obje ct and m ove it off

Al lth at is l e ft is to add de tails o I add a s ubs urface m odifie r and us e “SH IFT + E” to m ak e ce rtain e dge s around th e l ip of th e rim and th e e dge s of th e s pok e s are s h arpe r. Se e Fig 21.

W e are al m os t com pl e te , s o h ang in th e re . M ove th e ne w l y cre ate d obje ct to th e firs t l aye r. M ove th e s pok e s tow ard th e top of th e rim . Now th at th e y are in pl ace s e l e ct both th e rim bas e and th e s pok e s and pre s s “CTRL + J” to join th e to m e s h e s into one obje ct. Be gin to m e rge e ach ve rte x on th e s pok e s w ith th e corre s ponding ve rte x on th e rim bas e ne ar th e bottom of th e l ip. Se e Fig 20.

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Pab l o De l gado

Te xture , Pos ition and Re nde r to your h e arts conte nt !!! Enjoy !!!

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Pabl o is 25 ye ars ol d from Pue rto Rico curre ntl yl iving in M iam i, FL. H e w ork s as a s oftw are e ngine e r and doe s part tim e 3D w ork for cus tom e rs us ing Bl e nde r and Ligh tw ave . w w w .pde l gado.com pabl ode l gado@ be l l s outh .ne t

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3D W ork s h op - M ode l ing Tire s 500*19 0), W e cal cul ate th e h e igh t of th e im age (a part of th e tire tre ad) to 205*19 0/500 = 77.9 m m

Le ve l : Inte rm e diate

Introduction

In th is tutorialI w il ltak e you th rough th e s te ps to m ode lth e tire s l ik e th e one I h ad e arl ie r m ade for an Al fa Rom e o GT m ode l .

W h aty ou w il lne e d

A s k e tch of th e tire , l ik e th is one (PIRELLI P6000). For th e dim e ns ions of th e tire , l e t’s us e a 205×60r16.

As th e diam e te r of th e tire is 526.65m m , its pe rim e te r is 3.14159 265 *526.65 = 1654.52. So, on our tire tre ad, w e can put N tim e s th e s k e tch im age w ith N = 1654.52/77.9 = 21.239 . Be caus e th e im age can be til e d, w e ne e d to round off th e fractional num be r (21.239 ) to a w h ol e num be r. So w e cal cul ate out th at th e tire tre ad s k e tch w e h ave w il lfit 21 tim e s around th e tire .

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As th e Bl e nde r de faul t Circl e 's radius is 1.414 (s q uare root of 2), s ize it by 0.707 (1/1.414) to h ave a radius of 1.0. Th e n, s ize it by 0.526/2 = 0.263 (tire radius in m e te rs ) and m ove al lve rtice s up by 0.263 (th e radius ). It’s O K th at th e bottom e dge is not on Z =0. W e ’l ls e e w h y, l ate r. D upl icate th is bottom e dge ; s e parate th e dupl icate d ve rtice s to h ave anoth e r obje ct. Extrude it al ong th e Y-axis by 0.205 (th e w idth of our tire ). You now h ave a Pl ane and a Circl e l ik e th e s e :

Cre ate a 21-e dge circl e and e xtrude it to h ave one face fitting w e l love r th e s k e tch . Ne xt, w e ’l l m ode l jus t one e l e m e nt (1/21 of th e ful ltire ). and th e n m ul tipl y it 21 tim e s , m e rge it, and voil a!

O ve rvie w

W e w il lbul d th e dim e ns ions of th e tire from th e im age w e h ave s o l e ts cal cul ate th at: Th e w idth of th e im age = 205m m . Th e e xte rnaldiam e te r of th e tire 16inch + 2 *60m m = 16*25.41+ 2*60 = 526.56m m From th e im age s ize (in pixe l s:

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S te p1. S ce ne s e tup O pe n Bl e nde r. Eras e al le l e m e nts of th e de faul t s ce ne . In th e Righ t vie w (NUM PAD 3), add a Circl e m e s h of 21 ve rtice s . Rotate it to h ave one of th e bottom e dge s pe rfe ctl y h orizontal (tip: al ign top, oppos ite ve rte x w ith th e Z -axis .

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3D W ork s h op - M ode l ing Tire s You can ch e ck th at your w ork is O K by dis pl aying e dge s l e ngth : you s h oul d h ave 0.205*0.078 for th e pl ane . O ne m ore s te p and you’re done : dupl icate th e Pl ane , ch ange one to dis pl ay onl y as W ire (D raw type in O bje ct pane l , F7) and th e n, s e l e ct th e oth e r one . Sw itch to UV Face Se l e ct m ode , go to th e UV/Im age Editor and l oad th e s k e tch im age . Re turn to 3D vie w and O bje ct m ode . Activate th e Te xture d draw type (Al t+ Z KEY), you ge t th e fol l ow ing:

Th e s k e tch is dis pl aye d corre ctl y, w ith out any dis tortion: th e fe w m ath cal cul ations w e did be fore s tarting Bl e nde r w e re not us e l e ss.

S te p2. M ode l ing in parts Se l e ct th e Pl ane th at w e s e t to dis pl ay as W ire . W e ’l lw ork on it to m ode la s ub-part of th e tire th re ad. Firs t, us e s ym m e try to s ave yours e l f s om e w ork . Th e s k e tch w e h ave can be s pl it al ong both th e X-axis (radial

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cut) and th e Y-axis (axialcut). So, you can s ubdivide th e Pl ane one tim e . But be fore you do, care ful l y re ad th e fol l ow ing. W h e n s pl itting your e dge al ong th e Y-axis , no probl e m . But w h e n s pl itting al ong th e X-axis , re m e m be r you’re not w ork ing on a Pl ane but a s e ction of a cyl inde r.

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dow nw ard to ge t th e adde d ve rtice s above it (s o th e y’re s til lvis ibl e ). Now you can continue w ith m ode l ing. Re m ove 3/4 of th e pl ane as s aid above , and cut th e pl ane according to e ach de tailvis ibl e on th e th re ad. You s h oul d ge t s om e th ing l ik e th e im age be l ow .

Th at’s w h y th e bottom e dge of th e circl e is not at Z =0. Le t’s e xpe rim e nt to ge t a cl ue . If you've al re ady s ubdivide d th e pl ane , pl e as e undo it. Th e n cut th e face (CTRL+ RKEY) at pe rce ntage 1.00. D on’t se l e ct/de s e l e ct anyth ing to k e e p th e ne w ve rtice s s e l e cte d. Th e n, rotate care ful l y th e s e ve rtice s around th e Y-axis (RKEY th e n YKEY) to ge t th e m at X=0 (as s e e n from th e Top or Righ t vie w ) And in th e Righ t vie w (NUM PAD 3), you can now ch e ck th at th e s e ve rtice s are al m os t at Z =0. Re m e m be r th is m ove : w h e n cutting al ong th e X-axis , do not m ove e dge ve rtice s al ong th e X-axis , but rotate th e m around th e Y-axis , to m ove th e m around a pe rfe ct circl e. Jus t a l ittl e note : you h ave to m ove th e Pl ane , te xture d w ith th e s k e tch ,

As you can s e e , cuts in th e pl ane are m appe d on th re ad de tail s , but not on th e curve d de tail s.

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3D W ork s h op - M ode l ing Tire s To s ol ve it, jus t rotate th e m around th e Y-axis . Th is tim e round de tail s are corre ct.

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e dge s in dark are as , to m ate rial ize th e h ol l ow s of th e tre ad. You s h oul d obtain th is :

(re m e m be r, w e w il l dupl icate part 2*2*21 = 84 tim e s !!!).

th is

It’s im portant to k e e p th e e dge s circl ing th e dark are as ! W e w il ls e e wh y l ate r. Now it’s tim e to optim ize our m e s h a bit. W e h ave to re m ove al lunne e de d ve rtice s and e dge s in w h ite zone s and on borde rs . D oing th is w il lal l ow us to s ave a l ot of pol ys on th e com pl e te d tire

Th e ve rte x count goe s from 144 to 78 and, th e face count goe s from 53 to 22.

As you can s e e in th e Righ t vie w , th e tire e l e m e nt is not a Pl ane but w arpe d around a circl e.

Th is is w h y it’s s o im portant to rotate ve rtice s around th e Y-axis ins te ad of trans l ating th e m al ong th e X-axis . Now , w e w il l cut th e

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S te p3. A dding s om e th ick ne s s . Tim e to m ode lth e h ol l ow s ! From th e pre vious s te p, s e l e ct al lve rtice s

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3D W ork s h op - M ode l ing Tire s S te p4. Com pl e ting th e tire SpinD up th e e l e m e nt you patie ntl y m ode l e d (1 turn, 360?of cours e , 42 s te ps : be caus e we ne e d 21 el e m e nts and th e m e s h w e h ave is onl y a h al f). O nce SpinD up is done , you m ay obs e rve your borde r ve rtice s are not pe rfe ctl y dupl icate d. So, s e l e ct al l ve rtice s , and Re m ove D oubl e s (s e t th re s h ol d to 0.001).

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tire 's ce nte r, in th e m iddl e pl ane of it) D upl icate th e h al f tire , don’t m ove it, but rotate it 180 de gre e s in th e Top vie w (around th e 3D Curs or). Rotate around th e Y-axis to al ign th e m iddl e ve rtice s to th e one s of th e oth e r h al f tire . M e rge , and you’re done !

You now ne e d to m irror th e tire . Se l e ct th e row of ve rtice s at th e m iddl e of th e tire , and m ove th e 3D Curs or to s e l e ction (to h ave it at th e

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Th om as Baron

I advis e you to us e th is m e s h w ith AutoSm ooth on, to h ave s ol id th re ad de tail s as w e l la s m ooth s ide . H e re are s om e Yafray re nde rs w ith a rim (bl ack tire m ate rial courte s y of Sonix's Car M ate rialLibrary). Th om as Baron is a s oftw are e ngine e r for th e ae ronauticalindus try in France . Afte r dis cove ring Bl e nde r in 19 9 9 h e h as be e n a s e rious am ate ur us e r for tw o ye ars . A car e nth us ias t w h o al so l ik e s to w ork on pl ane s .

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3D W ork s h op - M ak ing O fScal e M ode l nicalm ark e ting, note s s om e of th e de s ign s ol utions s e l e cte d by th is ye ar's e igh t-m e m be r jury - an e xpe rt pane lof re now ne d de s igne rs , trans portation indus try e ducators and s afe ty e xpe rts - addre s s e d be ing "doore d." "Th e xV conce pt from M arin M yftiu of Al bania fe ature s a l ock ing s ys te m th at pre ve nts a door from be ing ope ne d for a fe w s e conds afte r th e ve h icl e is turne d off w h e n an obje ct approach e s w ith in th e door's s pan". Th is tutorialcove rs h ow M arin M yftiu m ode l e d/cre ate d h is e ntry.

Introduction

"Sh aring th e Road," is th e th e m e for th e 2007 M ich e l in Ch al l e nge D e s ign™ (M CD ) (w w w .m ich e l inch al l e nge de s ign.com ), a ye ar-l ong trans portation de s ign e ve nt th at cul m inate s at th e North Am e rican Inte rnationalAuto Sh ow (January 1321, 2007) at Cobo Ce nte r in dow ntow n D e troit. Th is ye ar's e ntrants ove r 260 of th e m from around th e w orl d - addre s s e d cars and oth e r l igh t ve h icl e s , s e m i truck s and pas s e nge r bus e s as w e l las road us e rs on tw o w h e e l s and tw o fe e t. Bob M iron, M ich e l in's dire ctor ofte ch -

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Car de s ign te ch niq ue ; Conce ptto s cal e m ode l . G e tting s tarte d.

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D uring th is tutorial , I w il le xpl ain th e w h ol e proce s s I h ave fol l ow e d for de s igning a car. It w il lnot be a de tail e d, s te p by s te p m e th od s ince it cove rs m any fie l ds be yond Bl e nde r or e ve n your ow n PC. Th is is an ove rvie w of th e w h ol e proce s s , w ith occas ional focus on particul ar te ch niq ue s . W e w il l s tart w ith th e conce pt s k e tch e s and e nd up w ith a 1:6 foam s cal e m ode l .

Conce pt: Firs t of al lit tak e s a l ot

of th ink ing -> s k e tch ing -> re th ink ing -> re -s k e tch ing. Car m ode l ing is th e m os t frus trating th ing I h ave s e e n in 3D m ode l ing up to now and you’ve got to h ave crys tal cl e ar ide as (or al m os t) of th e ins and outs , s ol id and voids , bum ps and de pre s s ions of th at s urface be fore you s tart off; m os t fre q ue ntl y, big m is tak e s found during 3D m ode l ing w il l re q uire you to re do m os t of th e w ork , th at m ay be w h ol e w e e k s . So firs t of al l , do a l ot of s k e tch e s and dif-

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3D W ork s h op - M ak ing O fScal e M ode l fe re nt vie w s to cl arify as m any de tail s as pos s ibl e.

Bl ue prints As you m igh t h ave s e e n in car m ode l ing tutorial s , it al w ays tak e s bl ue prints of th at particul ar car and th e s am e is ne e de d for your ow n conce pt. For s om e pre cis e bl ue prints you can us e fre e w are ve ctor s oftw are l ik e Ink s cape (l ik e I did). Ink s cape al so h e l pe d m e go one s te p ah e ad of m y s k e tch e s , m ak ing a col ore d il l us tration. W h e n w ork ing

s ys te m s o th e x64 / SSE3 optim ize d buil d give s a l ot of adde d re nde ring pow e r (+ 75% ) com pare d to th e s tandard. I w il lnot cove r h e re , in de tail , th e w h ol e m ode l ing as it is a tutorialapart but, a fe w conce pts are al m os t vital w h e n turning your conce pt into a 3D : - Part Subdivis ion. Al w ays s ubdivide your m ode lbody into dis tinct parts (doors , s ide s , cow l ing, m irrors e tc). Atte m pt-

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curve s on th e back ground bl ue print. Ne igh boring curve s s h oul d h ave approxim ate l y th e s am e num be r of ve rtice s to form as m any re gul ar, four ve rte x face s as pos s ibl e . You h ave to s e t in m ind th e e xact pos itioning of th e m ain curve s s ince any l ate r cut or l oop cut m ay s e rious l y dam age th e s urface . - Corre ct Ligh ting. Us ual l y I us e a traditional 3-l igh ts s ch e m e and pl ay w ith th e m to ge t good l igh ting and s ince m os t ofte n tim e is a conce rn s o I don’t incl ude radios ity or occl us ion in te s t re nde rings . Afte r al lth e w ork , th e finalre nde rings l ook e d s om e th ing l ik e th is :

on th e bl ue prints , I w oul d advis e to k e e p an e xis ting car bl ue print on th e back ground to k e e p th e proportions in ch e ck .

Bl e nde ring Wel l , as s um ing th at w e h ave done al lth e above corre ctl y, it’s tim e to w arm up th e Bl e nde r e ngine s . I am on a 64bit AM D m ach ine and 64 bit

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ing to s e parate s om e parts afte r h aving done s om e m ode l ing, by cutting or oth e r m e th ods , w il l cos t you a l ot of tim e and e fforts to corre ct/adjus t th e m . - Grid Re s ol ution. Th e s am e is to be s aid w h e n you m ode lth e pol ygons . Th e te ch niq ue I h ave us e d is pre tty s traigh tforw ard; Extrude a point fol l ow ing dis tinct

S cal e m ode l W h e n finis h e d w ith

th e re nde rings

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3D W ork s h op - M ak ing O fScal e M ode l and ph oto e diting, it w as th e tim e to s tart th ink ing about th e s cal e m odel . W h il e I w as not an e xpe rt w ith Bl e nde r, a s cal e m ode l w as s om e th ing in w h ich I h ad ze ro e xpe rie nce and al lI h ad at m y dis pos al w e re s im pl e tool s l ik e a s aw , s h ap-

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te m pl ate s of s om e give n body s e ctions . I s ubdivide d th e w h ol e l e ngth of th e xV in 12 s e ctions and cut th e car body afte r th os e s e ctions . Afte r re nde ring e ach s e ction cutout, s cal ing th e m in th e GIM P and th e n printing, w e onl y h ave to s tick e ach s e ction on a cardboard pie ce and care ful l y cut th e h ol l ow part. Afte r th is ope ration, th e onl y th ing to do re m ains m ark ing th e s e ctions on th e w ork ing board according to th e dis tance s of th e s e ctions w e h ave in Bl e nde r, s o w e can pl ace th e righ t s e ction at th e righ t dis tance to ch e ck th e w ork progre s s .

ing gauze s , s cis s ors , rul e rs , a s im pl e cal ipe r and fe w oth e r th ings . Th e firs t th ing I did w as to print al l th e th re e m ain vie w s of th e m ode lin 1:6 s cal e (th e m ode l ’s re als cal e ). Th e s e im age s on th e w al l s e rve d th rough out th e m ode l ing proce s s as a 1:1 re fe re nce for m os t of th e dim e ns ions ; you ope n th e cal ipe r according to th e part you w ant to m e as ure and th e n com pare it w ith th e re al dim e ns ion on th e m ode l , pre tty s traigh tforw ard.

And th is is th e final output. Th is m ode lw il lbe dis pl aye d by M ich e l in on th e North Am e rican Inte rnational Auto Sh ow , in e arl y January 2007. As you coul d s e e m os t of th e proce s s , Bl e nde r pl aye d a crucialrol e not onl y in m ode l ing and re nde ring but al s o in putting toge th e r a corre ct s cal e m ode land th e re s ul t w as pre tty s atis factory.

Anoth e r trick in w h ich Bl e nde r h el pe d m e , w as pre paring cardboard

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M arin M yftiu

3D W ork s h op - M ak ing O fScal e M ode l

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M arin M yftiu is from Tirana, Al bania. H e is curre ntl y s tudying Arch ite cture and w ork ing part tim e as a graph ics de s igne r. H e is w ork ing in arch ite cture , product de s ign, inte rior de s ign proje cts and m ore im portantl y s e e k ing a care e r in car de s ign. w w w .fre e w e bs .com /m ul tid

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W ave s'

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As w ith m os t proje cts , th is one al so s tarte d w ith th e m ode l ing ph as e . I s canne d m y draw ings and l oade d th e m onto tw o pl ane s in Bl e nde r w ith UV m apping, giving a top and s ide vie w , as bl ue prints .

M ak ing of'Cutting th e W ave s ' As a re gul ar Bl e nde r us e r, I h ave al w ays w aite d for th e annualBl e nde r F1 ch al l e nge . Unfortunate l y for m y 2005 e ntry I h ad l ittl e tim e and coul dn't com pl e te it. Bas ical l y, th e car w as done but I h ad no tim e for a back ground s ce ne . Stil l , a fifth pl ace m otivate d m e to try h arde r ne xt ye ar, s o for 2006 I de cide d to m ak e th e be s t im age I coul d, w ith as m uch de tailas pos s ibl e , incl uding a back ground.

M ode l ing th e car

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Th is ye ar I w ante d s om e th ing fre s h and ne w . So I ditch e d th e ol d wh eel bas e d car conce pt and de cide d on a h ydrofoil -type ve h icl e w ith a je t e ngine . Th is com bine d fl igh t and w ate r, as I re al l y w ante d s om e th ing bas e d around th e th e m e of "w ate r" th is ye ar. I s tarte d s k e tch ing and de cide d on th e fol l ow ing de s ign (Figure 1):

I us ual l y m ode l w ith s ubdivide d m e s h e s , as th e m e s h tool s in Bl e nde r are th e m os t advance d. H ow e ve r, to aid in m ode l ing, I firs t dre w th e outl ine of th e car w ith 3D Be zie r curve s , adjus te d to fit th e top and s ide bl ue prints (Figure 2). Th e n cam e s om e adjus tm e nts in 3D to m ak e th e m nice and s m ooth , giving th e ve h icl e th e prope r ae rodynam ic outl ine s . Us ing th e curve s as outl ine guide s , I m e s h m ode l e d th e car body. Th e n: Subs urf once , Al t-C conve rt to m e s h , and continue d m ode l ing. Figure 3 is m ore or l e s s th e finalm odel , w ith front gril l e , w inds h ie l d, roof air intak e s and front l am ps adde d. To m ak e it m ore inte re s ting, th e re is

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ve h icl e, l ik e a toy in a bath tub. I de cide d to ge t rid of th e "bath tub"and go for th e ope n s e a!

Ligh ting

an inde ntation, dividing th e fus e l age into tw o diffe re ntl y col oure d parts , pure l y for ae s th e tic re as ons .

Th e D rive r

Th ough I am not m uch of a ch aracte r m ode l e r, e s pe cial l y not w ith re al is tic h um ans , I jus t h ad to add a ch aracte r to th e s ce ne to m ak e it com e al ive . Figure 4 s h ow s m y drive r, al ong w ith th e ins ide s of th e cock pit. H is body is m y m ode l , but I h ave to adm it h is h e ad is a M ak e H um an h e ad s titch e d to th e body. H e 's ful l y pos e -abl e , e xce pt for finge rs . Fol l ow ing m y m otto of "de tail , de tail , de tail ", I adde d h e l m e t, gl as s e s , 4 point s e at be l ts w ith th e re l e as e button m ode l e d, th ough you can't s e e it in th e finalre nde r.

W ate r

Th e w ate r I us e d com e s from an e arl ie r picture of m ine (Ve nice M orning), as I l ik e d it s o m uch :) Its re al l y noth ing too com pl icate d, th e w ave s are

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done w ith th re e Cl ouds te xture s , w ith diffe re nt Input Size X,Y,Z param e te rs as bum p m aps , giving 3 l aye rs of w ave s : s m al l , m e dium and l arge . Th e m ate rialits e l f is a s im pl e gre e nis h bl ue re fl e cting and re fracting m ate rial . Figure 5 is m y firs t W IP pos te d to s om e 3D graph ics forum s on th e ne t (El ys iun/Bl e nde rartis ts ). Th is is good practice , as th e com m e nts I re ce ive d re al l y h el pe d m e de ve l op th e picture furth e r. M os t pe opl e s aid it l ook e d l ik e a s m al l s cal e m ode land not a ful ls ize race

For l igh ting, I us e d an H D R m ap ge ne rate d w ith Te rrage n, as Te rrage n can m ak e s om e ve ry nice s k y re nde rs . To find th e pe rfe ct m ood for m y im age , I trie d various s e tups for th e H D R m aps untilI found th e ce ntralone as s h ow n in th e fol l ow ing picture , a ve ry nice , pink is h -ye l l ow is h m orning s k y. It w as undoubte dl y th e 'O ne ' pe rfe ct for a m orning te s t run on th e ope n-s e a track ! Be s ide s th e gl obalGI l igh ting, as w ith m any of m y im age s a s un l am p is al s o us e d to add s om e s tronge r s h adow s , th ough th e s e do not s h ow up w e l lon th e w ate r. For re al is m , th e s un l am p is al igne d w ith th e s un in th e Te rrage n H D R m ap.

Fl uid W ave s

O ne im portant part of th e picture is h ow th e s e a re acts to th e h ydrofoil . Th e ve h icl e is in cons tant m otion, "cutting th e w ave s ". In th is capture d m om e nt it is tak ing a s h arp l e ft turn, w h il e th e w ate r w ave s fol l ow th e originalpath of m otion. To cre ate th e prope r s w e l l ing and de pre s s ing of th e w ate r s urface , I us e d th e nice Bl e nde r fe ature of fl uid s im -

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ul ation. It took at l e as t 20 or m ore trie s to ge t th e prope r w ave s to form . Th e s e tup th at final l y w ork e d w as a cube s h ape d bl ock of w ate r at th e bottom of th e s im ul ation dom ain, and a l arge bal lof w ate r is 'th row n' w ith a give n s tarting ve l ocity (v0) s ide w ays into th e w ate r, in th e dire ction th at th e ve h icl e w as going. Th is cre ate d a ve ry nice w ave e ffe ct. Ne xt s te p w as inte grating th e bounde d fl uid dom ain into th e big dis k of w ate r th at w as th e s e a. Afte r s om e uns ucce s s fultrie s w ith oth e r tool s , th e buil t in s cript: M e s h -> Appl y D e form ations conve rte d m y bak e d fl uid-s im into an e ditabl e m e s h . Th is w as s titch e d to th e l arge round s e a m e s h . TIP: to m ak e it se e m l ik e it e xte nds fore ve r (til lth e h orizon), th e outs ide of th is dis k is about 1000 Bl e nde r units aw ay. Th is is not e nough , you can s til lcl e arl y s e e th at th e 'w orl d' e nds abruptl y. So th e oute r ve rtice s w e re m ove d

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W ave s'

up a bit, m ak ing th e dis k curve upw ard a bit, and it th e re fore s e e m s to e xte nd to th e h orizon.

Extras W ith th e m ain obje cts done , tim e for th e e xtras ! I m ode l e d tw o dol ph ins and painte d th e m w ith ve rte x paint. You can s pot th e m in th e w ate r in th e finalim age . I'm not e xactl y s ure a race track w oul d be al l ow e d w h e re dol ph ins l ive d but I jus t h ad to k e e p th e m in th e finalim age . Th e race track its e l f is bounde d w ith buoys and s om e dire ction boards (Fig. 7). Th e re 's al s o a cam e ra on a pl atform (Fig. 8), th e s am e m an m ode lfrom be fore . It w as fun to m ode lh is m ovabl e pe de s tal , w h ich is prope rl y rigge d w ith an arm ature , w ith th e

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w ire s and e ve ryth ing fol l ow ing its m ove m e nt. Figure 9 is a cl os e up of th e ve h icl e 's back , w ith s e ve ral inte re s ting de tail s . Th e re is th e je t e ngine e xh aus t w h ich prope rl y 'w arps ' th e air - th e re fractive inde x of h ot air is h igh e r th an of col d air - , and h as jus t a h int of bl ue w h e re it l e ave s th e car. A com m on m is tak e th at I s e e in m any picture s is e xce s s ive us e of th ick bl ack or fire col oure d fum e s , us ual l y particl e s ys te m s , for je t e ngine e xh aus ts . Th is is unre al is tic, e ngine s don't burn air, if you s e e fire and/or s m ok e - not to be confus e d w ith conde ns ation trail s - com ing from an e xh aus t, th e re is s e rious troubl e in th e e ngine (re m inds m e of: M onty Pyth on, H ow to Irritate

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in Core lPh otoPaint to th e back parts of th e im age . Th is w as a s im pl e w ay to s e parate th e car from th e fore ground. I al s o appl ie d s om e Gaus s ian bl ur and de s aturation to th e back ground. Trivia: w h y doe s th e s ide s ay "Fal con Racing"?If you l ook at m y bl ue print s k e tch at th e be ginning, th e car l ook s l ik e th e ope n be ak of s om e bird of pre y. H e nce "fal con" and th e l ogo as w e l l . Pe opl e : "Th e re is no caus e for al arm . Th e w ings are not on fire ." :)), s o I'd advis e agains t it. Th e s e e -th rough e xh aus t h e re w as actual l y a pre tty com pl e x m ate rial , w ith a num be r of proce duralte xture s and col orbands us e d. Th e s m al lw ate r drops are th e re s ul t of a s e parate fl uid-s im , th at w as conve rte d to m e s h w ith th e afore m e ntione d s cript, and jus t th e s m al l drops k e pt. Th e re are al so brigh t s pots on th e h ul lof th e 'car', th e s e are m e ant to be w ate r drops th at h ave s tuck to th e fus e l age at th e back (th e air re s is tance w oul d bl ow th e drops off th e front).

Finaltouch -ups W h e n th e date of th e com pe tition w as e xte nde d 1 m onth , I didn't

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And th e finalim age : Pl ace d fourth . Not bad, but coul d h ave be e n be tte r. But th e re 's al w ays a ne xt tim e ! :) Se e you at th e race s !

re al l y h ave anyth ing l e ft to do. I adde d th e is l and w ith th e l igh th ous e in th e back ground, w ith s om e pal m tre e s , th e de tail s of w h ich w e re unfortunate l y l os t w ith th e m otion bl ur. Righ t: m otion bl ur! Bas ical l y I re nde re d a de pth m ap (ie z-buffe r) of th e im age , and us ing th at as a m as k , appl ie d pos t-pro m otion bl ur

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M os t of th e s ce ne s are je w e l ry re l ate d be caus e th is is m y m ain fie l d at th e m om e nt. H ow e ve r, e ve ryth ing e xpl aine d can e as il y be trans fe rre d to any oth e r type of obje ct as w e l l- as th e l as t ch apte r s h ow s .

Le ve l : Inte rm e diate to A dvance d

UV- unw rapping - m ate rial ne s ting - dis pl ace m e ntm apping - dis pl ace m e ntm ixing Th is tutorialw il le xpl ain h ow diffe re nt type s of m e tals urface s , found in Indus trialD e s ign and M e talArt, can be re buil t in Bl e nde r. It w il lcove r brus h e d and h am m e re d m e talte xture s incl uding m ode l ing, UV-unw rapping, and te xturing approach e s and te ch niq ue s .

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Le t's tal k about a brus h e d m e tal s h ade r firs t. M any firs t s e m e s te r s tude nts m arve l about th e ir firs t cas te d s il ve r ring afte r th e y've s tarte d to cl e an up th e ir firs t cas ting w ith s and pape r. Th e y l ove to m ove th e ring around and e njoy w atch ing th e ch ange of th os e s tre tch e d h igh l igh ts . But w h at are th os e anis otropic re fl e ctions ?M icro fine groove s ins ide a pol is h e d m e tals urface re fl e ct th e incom ing l igh t at diffe re nt angl e s aw ay - pe rpe ndicul ar to th e groove s dire ction. Th os e vis ual e l e m e nts , m os t com m onl y k now n as l ine ar and circul ar brus h patte rns , are cal l e d anis otropic s pe cul ar re fl e ctions , or s h ort anis otropic h igh l igh ts . H ow e ve r, th os e groove s al s o s pre ad th e re fl e ction val ue in th e s am e m anne r. Th is is k now n as anis otropic re fl e ction. It is not jus t a diffus e d, radialbl urre d re fl e ction, be caus e th e anis otropic re fl e ction is s tre tch e d as th e s pe cul ar

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h igh l igh t re fl e ction is s tre tch e d. An anis otropic re fl e ction is com pos e d out of m any fine paral l e lre fl e ction l ine s , de pe nding on th e groove s ize . It is im portant to k now th at cl os e obje cts appe ar m ore cl e ar in th e re fl e ction and far obje cts appe ar m ore diffus e d. Th e l as t point is e s pe cial l y w h at is curre ntl y difficul t to re cre ate w ith th e Bl e nde r m ate rials ys te m . It is not onl y a q ue s tion of s tre tch ing a re fl e ction al ong one axis pe rpe ndicul ar to m icro-fine groove s , but furth e rm ore to m ak e th at re fl e ction h ave th e corre ct bl urrine s s according to th e dis tance be tw e e n th e re fl e cte d and th e re fl e cting s urface . To cre ate th is vis uale ffe ct w e ne e d to cre ate a bum p m ap w h ich can provide us w ith th e ne e de d am ount of fine groove s . Be caus e w e w ork in 72 D PI and not th e re alw orl d, w e onl y h ave a l im ite d am ount of vis ual inform ation (pixe l s ) to cre ate th is e ffe ct. Th e s ol ution to th is te ch nical probl e m is to cre ate a bl e nd of diffe re nt m ate rial s w h ich al lh ave s l igh tl y diffe re nt bum p val ue s . By ove rl aying and m ixing th e m toge th e r w e can cre ate th at fine s urface w e ne e d. Each m ate rialw e are going to cre ate h as a s m al l re fl e ctive raytrace val ue toge th e r w ith a de s ire d Fre s ne l s e tting. In addition,

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e ach m ate rialis util izing th e UVm apping m ode for any us e d bum p m ap. Th e firs t m ate rialcontains th e m ain anis otropic s pe cul ar re fl e ction util izing th e ne w Tange nt V function for s pe cul ar h igh l igh ts . Th is functions as th e m ain bas e m ate rial . It al so contains a l ow s e tting for raytrace d In addition, you coul d e xpe rim e nt w ith th e Col 1 option. W ith th e inte rnalte xture s cal e val ue you can controlth e s ize of th e points w h ich w il l l ate r be s tre tch e d. re fl e ctions . It is ve ry h e l pfulto give your m ate rial s uniq ue nam e s to h el p you m anage th e m . In te rm s of te xture you can e ith e r us e an im age m ap you cre ate ins ide Ph otos h op (or oth e r im age e diting s oftw are ) util izing m otion-bl urre d nois e , or you can us e a proce dural function. Th e be ne fit of a proce dural te xture is th at it is re s ol ution inde pe nde nt. I pre fe r to us e voronoi. Th is te xture can produce nice point patte rns s im il ar to nois e . Us ing th e th e Int function you can de cide if you w ant to us e onl y dots or m ore a ce l l -l ik e s tructure by pl aying w ith th e Brigh tne s s and Contras t val ue .

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You can now de cide if you w ant to s tre tch th e te xture com pl e te l y al ong one axis by turning off one axis ins ide th e M ap Input tap, or you can us e th e X-Z s ize val ue s to s cal e th e

patte rn dow n al ong one axis and s tre tch it al ong th e oth e r axis . Th is w il lproduce th e s am e vis ualre s ul t you w oul d ge t w ith Ph otos h op

anyw ay. Th e m ate rialis conne cte d to one col or input ch anne lof a col or m ixe r node w h ich bl e nds into th e col or ch anne l of th e output node . Th e ne xt s te p is to cre ate a s e cond m ate rialth at contains a diffus e d uns tre tch e d s pe cul ar re fl e ction. Th is h el ps to buil d a m ul tiface te d ove ral l s pe cul ar re fl e ction w h ich is typical for brus h e d m e tals urface s . Th is m ate rial w e dupl icate w ith e ach copy h aving a s l igh tl y diffe re nt bum p s e tting, th e n m ix th e m toge th e r w ith col or m ixe rs . Th e e nd-re s ul t of th is m ate rialne tw ork ne e ds to be conne cte d to th e s e cond col or ch anne linput to w h ich th e firs t m ate rial is conne cte d. Th e am ount of s e cond m ate rial s w il l de fine th e s m ooth ne s s of th e brus h e d m e tall ook and al s o th e s m ooth ne s s of th e anis otropicalre fl e ction. A s ch e m atic vie w w oul d l ook l ik e in th e Im age be l ow : Brus h e d m e tal s h ade r tre e : bas e

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s h ade r w ith anis otropic s pe cul ar s e cond s h ade r w ith s h arp s pe cul ar and am ount of s e condary s h ade s w ith diffe re nt bum p s e ttings

l igh t and a m ore s oft l ook ing anis otropic s pe cul ar h igh l igh t. To ge t th is re s ul t you ne e d to l ow e r th e val ue of th e anis otropic h igh l igh t and incre as e th e val ue of onl y one re gul ar s pe cul ar h igh l igh t.

Brus h e d m e tals urface s s om e tim e s h ave th e probl e m of catch ing dirt be caus e of th e fine groove s . To pre ve nt th is you can s e alth e s urface w ith a l acq ue r. Th is w il lre s ul t in a ve ry s trong and s h arp s pe cul ar h igh -

Anis otropic h igh l igh ts are ofte n found on m e talobje cts w h ich re pre s e nt ge om e trical prim itive s l ik e a tube , a bal l , a s h e e t or a box. Be fore w e continue , I w oul d l ik e to pre s e nt fe w im portant tips :

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1. Al w ays try to unw rap th e m e s h from th e s ide , or top vie w , but not from any pe rs pe ctive vie w to pre ve nt any dis tortion of th e UV te xture you w il lappl y. If your obje ct or face s are not al igne d to any axis , try to l ook pe rpe ndicul ar onto th e face s you unw rap. 2. To pre ve nt dis tortions , al w ays try to s cal e face s ins ide th e UV e ditor to th e s am e dim e ns ion th e y al s o h ave ins ide your 3d m ode l . Th is is ve ry im portant to k e e p in m ind w h e n you fol l ow th e ne xt s te ps . 3. You s h oul d h ide th e UV s e am by e ith e r putting additionalge om e try ove r it or by rotating it aw ay from th e cam e ra. 4. Us e s e am s to controlw h e re th e m e s h unfol ds to h ave be tte r controlabout w h e re you w il ls e e th e h igh l igh t bre ak . 5. Rotating a m e s h in th e UV e ditor w il l control orie ntation of s pe cul ar re fl e ctions . Th ink about UV in onl y one dire ction. 'UV' coul d be upw ards /dow nw ards , and a 9 0 de gre e rotate d ve rs ion, l e ts s ay 'VU', coul d go l e ft and righ t. 6. To cre ate s m ooth and e ve nfl ow ing anis otropic h igh l igh ts on curve d obje cts , you w il lne e d to

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3D W ork s h op - Te xture d M e talSh h ave a ve ry s m ooth s urface us ing e ith e r s m ooth e d s ubdivis ions or th e s ubs urface m odifie r. O th e rw is e you w il l s om e tim e s s e e s h arp corne rs in th e h igh l igh t. Pl ane : Unw rap > Proje ct from vie w : Th is is th e e as ie s t obje ct to unw rap. Jus t m ak e s ure you l ook pe rpe ndicul ar onto th e pl ane . Cyl inde r: Unw rap > Cyl inde r from vie w : To te xture a cl os e d cyl inde r, I found it e as ie r to cre ate a tube and unw rap it firs t. Afte r th at s te p you s h oul d cre ate a ne w l oop cut ve ry cl os e to th e e dge of th e e nd you w ant to cl os e . Be caus e you unw rappe d th e tube , th e ch ange in th e m e s h w il lal re ady be update d in th e UV unw rappe r's m e s h . Se l e ct th e top l oop of th e tube and s cal e it dow n to cl os e th e tube by cre ating a cap. D o not m e rge th e points . Th is w ay you can cre ate a cyl inde r w h e re th e s ide s h ave a l ine ar h igh l igh t patte rn and th e cap s h ow s a circul ar h igh l igh t patte rn, s im il ar to w h at w e k now from a CD . Box: Unw rap > Unw rap w ith s e am s m ark e d be fore : A box is

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a pre tty s im pl e s h ape to unw rap. You onl y h ave four s ide s and tw o caps . H ow e ve r in contras t to a cyl inde r, th e box can onl y provide you w ith l ine ar h igh l igh t patte rns . Th is al s o m e ans th at th e cap w il ls h ow a l ine ar dire ction w h ich fl ow s from one ne igh bor face th rough th e cap face to th e oth e r ne igh bor face . Th e oth e r tw o face s w il lprovide you w ith an anis otropic s pe cul ar h igh l igh ts w h ich w il lnot cre ate a joint w ith th e s pe cul ar h igh l igh t of at l e as t one cap face . If you tak e a s m al ls te e l cube and try to brus h e ach s ide w ith s and pape r you w il ls e e th at you can onl y conne ct 4 s ide s l ik e a face l oop. Th e oth e r tw o face s w il lnot be abl e to be inte grate d. Sph e re : Unw rap > Sph e re from vie w : A s ph e re is ve ry e as y to unw rap as w e l l . Jus t go to th e s ide vie w and unw rap it. You w il l notice th at th e pol es s h ow s om e dark e r artifacts . To fix th at, re m ove th e tw o top pol e points to furth e r ope n th e s ph e re . Se l e ct a l oop ring, e xtrude , and s cal e th e s e l e ction dow n to cl os e one pol e . You s h oul d m ove th e ne w l y cre ate d l oop ring to th e s am e pos ition

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of th e ve rtice s you de l e te d firs t to re tain th e s ph e re curvature at th e pol e s . As w ith th e cyl inde r, do not m e rge th e ve rtice s ring to cl os e th e s ph e re . M ixe d s h ape s : D e pe nding on your obje ct you w il lh ave to util ize diffe re nt unw rapping m e th ods to ge t good re s ul ts . In m y te s t obje ct I w ant to unw rap a cyl indrical obje ct w h ich contains an e xtrude d e l e m e nt.

S te p 1: Buil ding bas ic body :

Be caus e you ne e d to h ave a ve ry s m ooth s urface to re ce ive s m ooth anis otropic h igh l igh ts , I pre fe r to cre ate cyl indricalobje cts out of cube s util izing th e s ubs urface m odifie r to cre ate th e roundne s s . Starting w ith a box, I re m ove th e pol e caps and incl ude tw o l oop cuts . (Im age 1)

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I go into s ide -vie w and unw rap th e box as a cyl inde r from vie w . Ne xt I re -s ize th e face s in th e UVe ditor s o th at th e y w il lbe s im il ar to th e face s ize of th e 3d m e s h . (Im age 2)

q uick l y s h ow you h ow m uch th e s m ooth ne s s ofth e s urface h as an im pact onto th e s m ooth ne s s of th e fl ow of th e h igh l igh t.

S te p 2: Enh ancing ge om e try and unw rapping:

W e can now te s t out th e firs t re s ul t. Turn on s ubs urf w ith a re nde r val ue of 5, and cre ate a m ate rialw h ich h as th e Tange nt V option, found ins ide th e s h ade rs pane l , turne d on. Se t th e obje cts ' face s to s m ooth , and do a re nde r pre vie w . You w il l s e e a nice and s m ooth anis otropic h igh l igh t. (Im age 3) M aybe pl ay a bit w ith th e s ubs urf re nde r val ue s e ttings . Incre as ing and de cre as ing th e val ue toge th e r w ith q uick re nde r pre vie w s w il l

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Le t's s e l e ct one face and e xtrude it and re vie w th e re s ul t ins ide th e UV e ditor. As you can s e e , th e ne w l y cre ate d face s do ove rl ap and a q uick pre vie w re nde ring s h ow s a bad re s ul t. (Im age 4) W e ne e d to s e l e ct th e ne w l y cre ate d

face s in th e face s e l e ction m ode and unw rap th e m w ith "U > Unw rap". Going back into th e UV e ditor w e w il ls e e th at th e s cal e proportions are total l y off and w e ne e d to m anual l y corre ct th at. (im age 5) Se l e ct al lface s of your obje cts in th e Face s e l e ction m ode , go into th e UV e ditor and s cal e dow n th e ne w l y adde d face s s o th at th e y w il l

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orie ntation. (Im age 7) Se l e ct a face ne xt to th at face and

re pre s e nt th e actualdim e ns ions of th e 3D m e s h . (Im age 6) It is ve ry im portant to k e e p th e face

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In cas e in th e UV e ditor th e tw o e dge s do not ove rl ap th e face s w il l h ave diffe re nt UV orie ntations and pos itioning and th e h igh l igh t w il l now fl ow th rough both conne cte d face s . (Im age 9 )

you w il ls e e th at s om e tim e s th e col or ch ange de pe nds on th e orie ntation. H ow e ve r, in cas e th e l ow e r e dge of one face is re d and th e top e dge of th e face be l ow is gre e n in th e Face s e l e ction m ode - and in th e UV e ditor it is th e s am e , you w il lbe fine , th e y ove rl ap and s h are th e s am e coordinate s in 2D s pace . (Im age 8)

orie ntations intact. Go into th e face se l e ction m ode and s e l e ct on face .

I al s o rotate d th e face to s h ow h ow th at w il laffe ct th e orie ntation of th e h igh l igh t and any te xture s us ing th e uv coordinate s .

You w il ls e e tw o ye l l ow , one gre e n, and one re d e dge . Th os e re d and gre e n e dge s pre s e nt th e UV

Appl y a s cal e d dow n voronoi te xture and s tre tch it al ong one axis w h il e de s e l e cting th e axis ins ide M ap

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3D W ork s h op - Te xture d M e talSh Input w h ich is pe rpe ndicul ar to your anis otropic s pe cul ar h igh l igh t dire ction. M ap th e te xture to th e Norm al ch anne l , se l e ct th e UV m apping m ode , do a q uick re nde r pre vie w and e njoy th e nice e ffe ct. (Im age 10)

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ove r th e ge om e try. (Im age 11)

As you can s e e th e h igh l igh t fl ow s nice l y ove r th e ge om e try.

Th e draw back is th at th e l as t s te p dis torts th e proportionaldim e ns ions of th e ne w l y incl ude d face s ins ide th e UVe ditor, th us dis torting th e te xture a l ittl e bit. In oth e r w ords , as you can s e e , th e top s ide s of th e e xtrude d face s h ow s s tre tch e d l ine s w h il e th e s ide s re m aining h ave a fine r grain.

S te p 3: Fixing te xture fl ow :

S te p 4: Finis h ing up:

H ow e ve r th e proce dural te xture s e e m s to h ave s om e bad s e am s . Th is is be caus e w e did not w e l d th e ne w l y adde d face s ins ide th e UVe ditor to th e face s of th e cube . W e h ave to do th is now . Se l e ct th e face s of th e ne w e xtrude d parts and m ove th e m into th e h ol e of th e unw rappe d cube . Us ing s nap to pixe l s w il lh e l p w ith m oving th e face s . Stre tch th e m s o th at th e y fil lout th at h ol e and th e n s e l e ctive l y wel d th e ove rl apping face points toge th e r. D o a te s t re nde ring and you w il ls e e th at th e proce dural te xture pe rfe ctl y fl ow s

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Le t us cl os e th e top cap. Sim il ar to th e cyl inde r unw rapping, jus t add an e dge l oop cut ve ry cl os e to th e top e dge of th e cube . Se l e ct th e top e dge and s cal e it dow n until th e e dge s h it e ach oth e r. (Im age 12) To m ak e th e m pe rfe ctl y touch e ach oth -

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e r us e th e CTRL k e y and re l e as e th e m ous e button w h e n th e s cal e val ue re ach e s 0 for x,y, and z. (Im age 13)

Th e l as t s te p is to incl ude anoth e r e dge l oop cut cl os e to th e ol de r top e dge to cre ate a nice l y rounde d e dge for th e pol e cap. (Im age 14)

(Final e Re nde ring: brus h e d m e tal )

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Th is ove rvie w s h oul d s h ow you h ow to approach th e te xturing and m ode l ing as w e l l . Try not to m ak e your obje ct too com pl e x. Al s o, k e e p in m ind th at w ith a ve ry good te xture you m igh t not ne e d to s h ow al lge om e trical de s igns . D raw ing q uad bas e d w ire fram e s of your obje cts be fore m ode l ing th e m w il lh e l p you to l ayout th e de s ign and m igh t s ave you a l ot of tim e at th e e nd. Starting ove r from th e be ginning is al w ays a h as s l e - e s pe cial l y w h e n you re al ize th at w ith a bit m ore pl aning you w oul d h ave al re ady be e n done . Th rough th e ove rl aying of th e s e cond m ate rial s w e al s o re ce ive s om e nice l y gl ow ing s pe cul ar re fl e ctions s pe cifical l y al ong e dge s as s e e n at th e top e dge of th e cyl inde r. Expe rim e nt w ith th e approach e s I s h ow e d you. For e xam pl e , th e UV e ditor is q uite coolto pl ay w ith in cas e you w ant to cre ate s om e funny anis otropic h igh l igh t dis tortions . Le t face s ove rl ap or rotate oth e r face s and th e n w e l ding th e m rotate d again into th e m ain m e s h . Th e re s ul ts m igh t not be ve ry re al is tic or us e fulfor re pre s e nting a re al obje ct. H ow e ve r th e y m igh t be ve ry us e ful for s om e th ing e xpe rim e ntalor oth e r appl ications in w h ich you can s e e th is

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w ork ing. (Im age 15)

2. H am m e re d m e tals h ade r To cre ate a forge d brace l e t I tape r th e e nds w ith a rol l ing pre s s and pl anis h th e m round. (D e finition of pl anis h : to s m ooth th e s urface irre gul aritie s in a s h e e t m e talpart w ith re pe ate d h am m e r bl ow s ) Th is produce s nice l y tape re d round cone s h ape d e nds w h ich can be te xture d. For th at I us e m ainl y a bal ls h ape d h am m e r. Th rough te xturing I conve rt th e round cros s s e ction into th e s h ape of an octagon.

al ong th e body w il lproduce a nice and round body w h il e th e e dge s are s h arp. I pre fe r to h ave a fl at pl anis h e d e nd w h ich I rol linto a l oop. Be caus e th os e e nds are pl anis h e d, th e re is h ardl y any te xture l e ft. To m ode lth is I ne e d to trans form th e octagon s h ape into a re ctangul ar s h ape and m ove th e ce nte r points to th e s ide s in orde r to m ode l th e s h arpe r e dge s . In th e fol l ow ing s te ps I jus t ge ntl y s cal e dow n th e th ick ne s s of th e m ode land buil d a l oop. (Im age 17)

Th is s h ape h as to be re cre ate d th rough m ode l ing. I s tart at th e ce nte r of th e brace l e t and cre ate an octagon. By e xtruding and e ve nl y s cal ing dow n e ach ne w e xtrus ion I can q uick l y buil d th e m ain part of th e brace l e t. (Im age 16) Turning on s ubs urf, s e tting al lface s to s m ooth , and cre as ing th e e dge s

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Be caus e of th e pre s s ure appl ie d during be nding, th e e dge s of th e m e tal its e l f w il lrol lup a l ittl e bit. In th is cas e it m igh t m ak e m ore s e ns e to l e ave th e ce nte r points w h e re th e y are and s cal ing dow n al lth os e ce nte r points w h ich de fine th e l oop. (Im age 18)

dire ction (ie . w ork ing outs ide tow ards th e ins ide of th e ge om e try), w h ite w il le ith e r m ove pol ygons outs ide or ins ide . Bl ack w oul d h ave th e oppos ite e ffe ct. Ne utralgray w il lnot m ove any ge om e try. So it is advis abl e th at you do not w ork w ith w h ite to bl ack trans itions . O nl y us e Bl ack to ne utralgray trans itions ins ide th e col or band and s e l e cting th e No RGB option. Th is w ay you can e as il y controlth e dis pl ace m e nt dire ction w ith th e 'D is p' button ins ide th e 'M ap To' tap.

s om e bas ic inform ation w h ich is im portant to k now to gain ful lcontrol ove r your s h ade r cre ation. W e can us e th e e dge cre as e option to s e l e ctive l y s h arpe n th e e dge s of th e brace l e ts . Th e e dge s al ong th e l oop h ave a h igh val ue to produce s h arp e dge s , w h il e th e e dge s cl os e r to th e ce nte r of th e brace l e t h ave a l ow e r val ue to produce a nice trans ition be tw e e n th e l oop e dge s and th e bas e e dge s . (Im age 19 ) Be fore w e ge t de e pe r into de s igning th e s h ade r I w oul d l ik e to pre s e nt

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D is pl ace m e nt > h ow to controlth e dis pl ace m e nt : Eve ry dis pl ace m e nt m ap s h oul d util ize a gray s cal e . Us e th e 'No RGB' option ins ide th e 'M ap To' pane lto turn col or bands into gray s cal e inform ation. Bl ack and w h ite are th e tw o diffe re nt e nds of any dis pl ace m e nt m ove m e nt. Th e val ue ofth e dis pl ace m e nt w il l control th e dis tance be tw e e n th e s e tw o e nds . D e pe nding on if you s e t th e dis pl ace m e nt

Ste ncil> h ow to controlth e bl e nding of dis pl ace m e nt m aps : To m ix tw o diffe re nt te xture s toge th e r you h ave to pos ition a m as k ing te xture be tw e e n th e m w h ich h as th e 'No RGB' and 'Ste ncil ' options ins ide th e 'M ap To' pane l s e l e cte d. Th e 'No RGB' w il lgive you be tte r control ove r th e bl e nding be caus e th e bl e nding is bas e d on gray val ue s . Th e 'No RGB' option al s o e nabl e s you to us e th e col or band function. W h ite m e ans it w il l be 100% trans pare nt and bl ack m e ans it w il lbe opaq ue . Gray val ue s w il l re pre s e nt th e trans itional val ue s be tw e e n w h ite and bl ack , in oth e r w ords - be tw e e n trans pare nt and opaq ue .

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3D W ork s h op - Te xture d M e talSh As m e ntione d, w e h ave a trans ition from a te xture d octagon s h ape d body into an unte xture d re ctangul ar body. Cre ating a m ate rial l ik e th is w oul d be e as y. You w oul d onl y ne e d to appl y a ce l lte xture as a dis pl ace m e nt m ap for th e m ain body, a s e cond te xture m ap w ith a m uch l ow e r dis pl ace m e nt val ue , and a bl e nding te xture to bl e nd th os e tw o dis pl ace m e nt te xture s toge th e r w h e re th e m ode lch ange s its cros s s e ction s h ape . To m y k now l e dge it is not ye t pos s ibl e to m ix diffe re nt ch anne l s of m ate rial s toge th e r util izing th e dis pl ace m e nt inform ation. Curre ntl y onl y th e col or output is s upporte d. Fixing th is l im itation w il lal l ow th e cre ation of a l aye re d s h ade r w ith diffe re nt dis pl ace m e nt s e ttings util izing th e node s ys te m . A s ch e m atic vie w w oul d l ook l ik e th is : H am m e re d m e tals h ade r tre e : m ixing - ch anne lone : 1. dis pl ace m e nt te xture (s trong val ue voronoi) - ch anne ltw o : s te ncilte xture (h and-painte d uv m ap) - ch anne l th re e : 2. dis pl ace m e nt te xture (s oft val ue voronoi)

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Th is m e ans th at w e w il lh ave to cre ate a h andm ade dis pl ace m e nt m ap w h ich provide s s trong and s oft dis pl ace m e nt val ue s w h e re w e ne e d th e m . Th is is not ve ry difficul t and can produce ve ry convincing re s ul ts . W ith h and painte d m aps you al so h ave m ore controlove r th e e nd re s ul t. H ow e ve r th e y are al s o m ore tim e cons um ing to cre ate . Unw rapping and e xporting th e UV Face Layout Al lw e h ave to do is to unw rap our brace l e t and corre ct th e face l ayout ins ide th e UV e ditor. Start th e UV Face l ayout s cript and s ave it by h itting F1. (Im age 20)

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You can m ode lone -h al f of th e brace l e t, and afte r te xturing s titch a dupl icate to th e oth e r e nd. Th e UV coordinate s w il l be trans fe rre d to th e dupl ication. Pre paring th e te xture bak ing To bak e a dis pl ace m e nt te xture w e ne e d to appl y a te xture to th e Col or ch anne lins ide th e 'M ap To' tap. As w e did e arl ie r, I re com m e nd th e voronoi te xture . Ins ide th e M ap Input tap I incre as e th e s cal e for x,y, and z to cre ate s m al le nough face s . Be caus e I unw rappe d th e brace l et firs t th e proce dural te xture w il l nice l y fl ow al ong th e cyl indrical body. Sw itch to th e UV e ditor and s tart th e Te xture Bak e r s cript. Th e bigge r th e fil e s ize , th e s h arpe r th e e nd-re s ul t w il lbe . Be caus e w e w ork w ith pixe l s and not a proce dural m ap, you s h oul d m ak e s ure th at your dis pl ace m e nt m ap w il l s uppl y you w ith e nough pixe linform ation to pre ve nt a bl ock y l ook . Com pos ing th e D is pl ace m e nt M ap in Ph otos h op Load both im age s , th e bak e d te xture and th e UV face l ayout fil e into Ph otos h op and com pos e th e m toge th e r in one fil e . Appl y a l aye r m as k to th e bak e d te xture im age

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l aye r. Cre ate an opaq ue to 80% trans pare nt gradie nt, and fade th e top part of th e bak e d te xture aw ay s tarting at w h e re th e UV face l ayout m ap s h ow s you w h e re th e l oops of th e brace l e t s tart s oon. H ide al loth e r l aye rs and e xport th is im age as a h igh re s jpg fil e. Cre ating a dirt m ap H am m e re d s il ve r s urface s te nd to ge t dirty in de e pe r groove s be caus e of tarnis h ing. Th e h igh e r h il l s are ofte n jus t pol is h e d th rough w e aring th e brace l e t. Th os e dirty are as al so h ave a l ow e r re fl e ction val ue th an th e h igh and pol is h e d are as . Save th e ne w l y cre ate d com pos ition as a ne w ph otos h op fil e and cal l it s om e th ing l ik e re fl e ction_dirt_m ap. Appl y a l e ve l l aye r e ffe ct and incre as e th e contras t be tw e e n w h ite and bl ack . You can al so l ow e r th e val ue output by m oving th e s l ide at th e bl ack s ide a bit aw ay tow ards m ore a dark gray. Th is w il lk e e p s trong w h ite e dge s w h il e brigh te ning up th e dark e r are as . D irt is ne ver uniform so appl y a m onoch rom atic nois e fil te r to th e bak e d te xture l aye r. H ide al loth e r l aye rs and e xport th is im age as a h igh re s jpg fil e . (Im age 21) Cre ating th e h am m e re d s il ve r m ate rialin Bl e nde r

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M ap Input tap s e l e ct UV go to th e 'M ap To' tap and de s e l e ct Coland s e l e ct D is p. Se t th e Nor val ue to 0 and s e t th e D is p val ue to s om e th ing l ik e 0.045. D e pe nding on th e gray s cal e of your dis pl ace m e nt m ap you m igh t ne e d to incre as e or de cre as e th e D is p val ue to ach ie ve re al is tic val ue s .

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Sw itch to th e M ate rialw indow (F5) and cre ate a m ate rialand turn Ray M irror on. H ow e ve r l e ave th e Ray M ir val ue untouch e d. Se l e ct Bl inn for th e s pe cul ar h igh l igh ts and cre ate a s h arp re fl e ction. Firs t w e w il l cre ate a ch anne lfor th e dis pl ace m e nt m ap. Go to th e Te xture tap and cre ate a one ch anne l . Ins ide th e

Se condl y w e w il lcre ate a ch anne l for th e re fl e ction and dirt m ap. Add a s e cond ch anne land al s o s e t th e m apping m ode to UV. In addition to th e Coloption, s e l e ct th e RayM ir option. Se l e cting th e l as t one w il l m ak e us e of th e val ue s of th e re fl e ction m ap to de fine w h ich are a of th e brace l e t w il lbe re fl e ctive and w h ich w il l not. Gray val ue s w il l be th e trans ition be tw e e n re fl e ctive and not re fl e ctive . Le aving th e Coloption s e l e cte d w il ls h ow th e dirt val ue s w h e re th e s urface h as no re fl e ction val ue . Nice h ow both w ork toge th e r th ough one im age m ap. (Im age 22)

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Sw itch to th e Te xture w indow (F6) and cre ate an Im age te xture . Load th e bak e d dis pl ace m e nt m ap jpg fil e . De se l e ct Inte rpol ation and s e t th e Fil te r val ue to 0.1 to pre ve nt additionals m ooth ing of your m ap. Cre ate an additionalIm age te xture and l oad th e re fl e ction dirt m ap jpg fil e. W h il e you're at it, de s e l e ct inte rpol ation and s e t th e Fil te r val ue to 0.1 To m ak e w ork ing w ith te xture s e as ie r you s h oul d se l e ct th e auto nam ing function, or give e ach te xture a

paint a bit into th e dis pl ace m e nt m ap to fl atte n out norm al l y dis pl ace d are as . Th rough th e proce s s of be nding th e brace l e t, I al s o pl anis h e d out s om e are as of th e te xture d s urface . Us ing a h and painte d dis pl ace m e nt m ap give s you th e abil ity to q uick l y s h ow th os e irre gul aritie s . W ith a pure proce duralm ap, you w oul d not be abl e to do th at s o e as il y.

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uniq ue nam e . (Im age 23) And w e are done . You can h it re nde r to pre vie w you re s ul ts . Ch e ck out th e s h adow s . Th e y s h ow th e dis pl ace d s urface of th e brace l e t. Com m e nt H and cre ate d obje cts ofte n s h ow a l e ve lof im pe rfe ction or irre gul arity in s urface and s h ape . As you can s e e th e finalm ode lof th e brace l et s h ow s s om e of th os e de form ations .

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For e xam pl e , e ach l oop is diffe re nt. I m ove d and re m ove d s om e ge om e try. I did th e s e s te ps afte r I m e rge d both h al f s h ape s of th e brace l e t toge th e r. Th is w ay, I s ave d th e tim e to cre ate tw o cus tom s ide s firs t w h ich al s o w oul d h ave re q uire d m e to cre ate cus tom m ade im age m aps as w e l l . You s h oul d onl y do th is afte r your are bas ical l y done w ith your m ode l and te xturing it. Furth e rm ore , I did

D is pl ace m e nt M odifie r Th e ne xt ve rs ion of Bl e nde r w il l h ave an inte ractive dis pl ace m e nt pre vie w . Th is dis pl ace m e nt m odifie r w il le nabl e you to s e e th e dis pl ace d ge om e try in re al tim e . Th e s ubdivis ion m odifie r l e ve lw il laffe ct th e pre cis ion of th e pre vie w . Th e h igh e r th e l e ve l , th e fine r th e de tail , but it w il l be s l ow e r. Th is is gre at for s m al l er obje cts but not ve ry fas t to pre vie w m any at th e s am e tim e . H ow e ve r, you te nd to onl y w ork on one obje ct at a tim e anyw ay. Proce duralte xture s or im age m aps are s upporte d. Be caus e Bl e nde r al s o com e s w ith a buil t in paint m odul e you can cre ate your dis pl ace m e nt im age m ap in Ph otos h op, appl y it in Bl e nde r to th e dis pl ace m e nt M odifie r and pre vie w th e re s ul t. In cas e you ne e d a l ittl e m odification you can l oad th e im age

Is s ue 8 - January 2007

3D W ork s h op - Te xture d M e talSh in th e UV/Im age ch ange s .

e ditor and paint

Sw itch ing be tw e e n O bje ct and Edit m ode w il lforce Bl e nde r to re cal cul ate th e dis pl ace d ge om e try and to s h ow th e ch ange s to th e im age th rough th e 3D m e s h . W ith th e pos s ibl y ve ry h igh am ount of pol ygons , it m ak e s s e ns e th at Bl e nde r doe s not re fre s h any ch ange autom atical l y. Fortunate l y, h is m odifie r com e s w ith a ve ry h andy fe ature - It can bak e th e dis pl ace d ge om e try. Th is m e ans th at you can turn your pre vie w into a s ol id ne w m e s h and continue m ode l ing w ith it. Th is e nabl es th e artis t to us e th e dis pl ace m e nt function, not onl y as a re nde r tim e e ffe ct, but al s o as a s ol id m ode l ing tool . W ith th is tool , m atch ing oth e r obje cts to dis pl ace d ge om e trie s is final l y not a nigh tm are ! W arning Th e re is one dow n-s ide . Your s ce ne fil e can q uick l y e xpl ode in fil e s ize . W h il e my l ow pol ygon brace l et s ce ne is around 1 M B a back e d dis pl ace m e nt ge om e try w il ladd an additional242 M B! Th is m e ans th at th is function is gre at w h e n you appl y it to a s m al l se l e ction of obje cts w ith out th e h igh e s t s ubdivis ion l e ve l val ue .

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3 Structure d and dark e ne d s il ve r s urface s found w ith cas te d rings Ve ry com m on for cas te d s il ve r je w el ry w h ich s h ow a h igh l e ve lof de tail s is th at it is difficul t to k e e p th e m cl e an. Th is caus e s a dark e ning of th e s e are as w h ich are h ard to re ach w ith a s ul fur bas e d ch e m ical . Th rough w e aring th e ring al l h igh points of th e ring s urface are going to be pol is h e d. So w h at w e w oul d ne e d is a m ate rial w h ich provide s a s m ooth pol is h e d and re fl e ctive s urface for th e m ain body and a m ate rialfor th e de corate d are a w h ich s h ow s a dis pl ace d s urface , h aving a re fl e ction val ue for th e h igh points and a col ore d and non-re fl e ctive val ue to th e l ow points of th e dis pl ace m e nt m ap. In re al ity th os e tw o diffe re nt m ate rial s do not bl e nd into e ach oth e r. Th is m e ans th at w e do not ne e d to cre ate any bl e nding be tw e e n th e m in Bl e nde r. To appl y th os e tw o diffe re nt m ate rial s to th e ring w e can s im pl y cre ate tw o diffe re nt m ate rial inde xe s and appl y th e m ins ide th e Edit m ode to diffe re nt face s e l e ctions of th e ring ge om e try. Se l e ct al lof th e face s w h ich re pre s e nt th e m ain body of th e ring and

41

h it 'Ne w ' and th e n 'As s ign' ins ide th e Link And M ate rialtap. Ins ide th e m ode l ing w indow pre s s W and cl ick Se l e ct Sw ap to s e l e ct th e oth e r face s w h ich w il l be dis pl ace d. H it

Ne w and As s ign as w e l l . (Im age 24) You now cre ate th e tw o ne w m ate rial s , th e n as s ign th os e m ate rial s to tw o s pe cific are as of th e ring. M os t ring de s igns can be m ode l e d as a l ow pol ygon cage w ith q uad face s th at w e w il l be s m ooth util izing th e s ubs urf m odifie r. Th rough

Is s ue 8 - January 2007

3D W ork s h op - Te xture d M e talSh adding l oop cuts w e can pick out l ayout are as w h ich w il lre ce ive diffe re nt te xture s . W ith s om e pus h and pul l ing you can q uick l y cre ate s om e nice l ook ing and com fortabl e to w e ar ring de s igns . (Im age 25) Tim e to cre ate th e m ate rial s. A

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- ch anne ltw o : inve rte d dis pl ace m e nt te xture - ch anne lth re e : col or te xture for dark e ne d s il ve r

W e al re ady cre ate d th e m ate rialinde x for th e ring. Sw itch to th e M ate rial w indow (F5) s e l e ct th e firs t m ate rialw h ich re pre s e nts th e m ajority of th e uns tructure d ring ins ide th e Link s and Pipe l ine tap. Re nam e th at m ate rialto s om e th ing m e aningful , l ik e "M ain body". Se t th e O bje ct col or to bl ack . To re buil d a pe rfe ctl y pol is h e d s il ve r s urface , turn on Ray M irror, s e t th e RayM ir val ue to 1.00 and cre ate a s h arp s pe cul ar h igh l igh t w ith th e Bl inn s h ade r.

- D e tailm e s h face s : s tructure d m ate rial w ith additional s il ve r s e ttings

Eve n pe rfe ctl y pol is h e d s urface s ofte n s til lh ave s om e fine groove s and s cratch e s . Th rough buffing you s m ooth out th e s h arp e dge s of th os e s cratch e s and th os e produce a m ore e ve n re fl e ction w h ich give s you th e im pre s s ion of a s cratch fre e s urface . An e as y s te p to cre ate th at e ffe ct is to q uick l y unw rap th e face s of th e m ain body. Appl y tw o l oop e dge s e am s al ong w h ich Bl e nde r w il lcut th e ring apart. (Im age 26)

- ch anne lone : dis pl ace m e ntte xture

Sw itch to th e Te xture w indow (F6) and cre ate voronoi te xture . You can

s ch e m atic vie w w oul dl ook l ik e th is : Structure d m e tals h ade r tre e : - M ain m e s h face s : bas e m ate rialw ith s il ve r s e ttings

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s cal e it dow n a l ittl e bit and activate th e Col orband option unde r th e Col ors tap. W h at w e w ant is a bum p m ap w h ich onl y h as fe w s cratch e s h e re and th e re . For th at s e t th e bl ack col or Al ph a val ue to 1.00 and turn cyan into pure w h ite . W e s til l h ave th at ce l ls tructure grain typical for voronoi. M ove th e bl ack col or tw o th irds to th e righ t s ide and th e w h ite col or to th e ful ll e ft s ide . Know w e h ave a nice bl ack s urface w ith s om e dots onl y. It m igh t m ak e s e ns e to re nam e th at te xture s om e th ing l ik e "Voronoi Scratch ". Se e Im age 27. Sw itch back to th e M ate rialW indow (F5) and appl y th e ne w l y cre ate te xture ins ide th e 'M ap To' tap onl y to th e Nor ch anne land give it a ve ry l ow Nor val ue . Ins ide th e 'M ap Input'

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Im g 27

tap, s e t th e w ork ing axis for your m ode l to a h igh val ue . Th is w il l s q ue e ze th e bum p m ap to produce a brus h e d l ook . In m y cas e I s e l e cte d th e Y axis and us e d a s ize Y val ue of 40. (Im age 28)

th e de s ire d patte rn s ize . Sw itch to th e Col ors tap and turn on Col orband. W e onl y w ant th e dis pl ace m e nt go into one dire ction. It s h oul d e ith e r ris e aw ay from th e

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Afte r you m ade your de cis ion it is tim e to cre ate a bl e nding m as k . Se l e ct cl ick into an e m pty ch anne lins ide th e Te xture tap and s e l e ct th e s am e M us grave te xture from th e Add Ne w m e nu. Cl ick th e 2 ne xt to th e s m al lcar icon to turn th at ins tance of th e te xture into a s ingl e us e r. Go into th e Col orband and m ove th e bl ack and m e dium gray sl ide r a bit to th e l e ft. Add anoth e r col or pos ition and s e t th at one to

Im g 28

Now it is tim e to cre ate th e dis pl ace m e nt m ate rial . Ins ide th e Link s and Pipe l ine s tap, s e l e ct th e s e cond m ate rial . Re nam e it to s om e th ing l ik e "dis pl ace d". Turn on Ray M irror ins ide th e M irror Trans pare ncy tap but l e ave th e RayM ir val ue at 0. W e w il l cre ate a te xture w h ich w il l de fine th e re fl e ction val ue s . You h ave to de cide w h ich proce duralte xture pl ug in you w ant to us e for th e dis pl ace m e nt. In m y cas e I s e l e cte d a M us grave . Pl ay w ith th e Nois e Size val ue ins ide th e M us grave tap to cre ate

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ring s urface or it s h oul d s ink into it. For th at w e ne e d to s e t th e col orband to a gradation be tw e e n bl ack or w h ite to ne utralgray. You can m ove th e bl ack s l ide r aw ay from one s ide cl os e r to th e gray point to de fine h ow s oft th e trans ition be tw e e n untouch e d and dis pl ace d ge om e try w il lbe . (Im age 29 )

Im g 29

w h ite and m ove th is one a tiny bit aw ay from th e righ t s ide . You jus t cre ate d a m as k w h ich h as s l igh tl y s m al l e r h ol e s th an th e dis pl ace m e nt m ap th rough w h ich th e ne xt te xture w il lbe vis ibl e th rough . (Im age 30) Th e l as t te xture w il lbe a dirt m ap. Se l e ct w h at e ve r proce duraland im age te xture you w ant to us e . I us e d a s trongl y

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al so th e and. 33) Im g 30

s cal e d dow n voronoi te xture and s e t th e col ors ins ide th e col orband to bl ack and dark gray to produce a ve ry fine and h ardl y notice abl e grain l ook . (Im age 31) Go back to th e M ate rialw indow (F5) I s tre s s again to m ak e us e of nam ing e ach te xture to m ak e m anaging

Im g 31

your ch anne l s m uch e as ie r. Se l e ct th e firs t ch anne lw ith th e dis pl ace m e nt m ap. I s e t th e D is p option to m ove face s aw ay from th e ring ins ide th e M ap To tap. Se l e ct th e 'No RGB' button, s e t th e Nor val ue to 0.00, and s e l e ct a ve ry l igh t val ue for th e D is p. I us e 0.02 for e xam pl e. (Im age 32) Se l e ct th e s e cond ch anne lw ith th e m as k ing m ap. D e s e l e ct Col ins ide th e 'M ap To' tap and cl ick 'Ste ncil ' and 'No RGB'. Turning both on w il l m ak e w h ite trans pare nt and w il l

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e nabl e col orb(Im age

Se l e ct th e th ird ch anne l w ith th e dirt m ap. D oubl e cl ick RayM ir. Th is w il ls e t th e RayM ir function to w ork on th at part of th e te xture w e did cut aw ay th rough th e m as k ing m ap ins ide th e s e cond ch anne l . Th is w ay th e th ird ch anne lw il ls h ow th e dirt m ap w h e re w e m as k ing m ap did not k e y out and as wel l s h ow th e re fl e ction. Furth e rm ore doe s th e te xture we cre ate d al s o provide us w ith al lne e de d RayM ir val ue . (Im age 34) H aving al l th os e ch anne l s s e t up ch e ck out th e Pre vie w tap. Look s gre at doe s n't it?(Im age 35) Ins ide th e Editing (F9 ) w indow s e l e ct th e Subs urf option and give th e re nde r option a val ue of around 4 to 6. Th e h igh e r th e m ore pre cis e your dis pl ace m e nt w il lbe during re nde r tim e .. (Final e Re nde ring: Structure d Ring)

Im g 32

Im g 33

Im g 34

Im g 35

Com m e nt

W h e n you w ork w ith pe rfe ct re fl e ctive s urface s it m igh t m ak e s e ns e to give th e diffe re nt m ate rial s diffe re nt bas e col ors . Th is w ay you can s e e w h e re you appl ie d w h ich m ate rialto w h ich face s ins ide th e 3D w indow s . I find th at ve ry conve nie nt to w ork w ith . Th e h igh e r th e s ubs urf val ue ,

Is s ue 8 - January 2007

3D W ork s h op - Te xture d M e talSh th e m ore pre cis e th e re al tim e pre vie w . W h e n you w ork w ith re fl e ctions you al w ays ne e d to tak e th e e nvironm e nt you put th e ring into al s o into cons ide ration. Your raytrace d re fl e ctions h ave to re fl e ct s om e th ing. Quite ofte n, raytrace d obje cts do not w ork out for be ginne rs be caus e th e y onl y cre ate d th e s h ade r for th e obje ct, but did not continue to th ink about w h at th os e re fl e ctions w il l s h ow . Putting th e ring into th e righ t s e tting w il lofte n dras tical l y im prove th e q ual ity of th os e re fl e ctions . Soft irre gul aritie s ins ide re fl e ctions cre ate d th rough a s e cond ve ry bl urre d bum p m ap w il l ofte n incre as e th e re al is m of re fl e ctions . Th e re are h ardl y any pe rfe ctl y fl at s urface s in re al ity. Raytracing te nds to produce th os e pe rfe ct vis ual s . As an artis t you h ave th e tas k to bring nature 's irre gul aritie s back . Th os e fine de tail s are ofte n th e k e y to producing re al is tic re s ul ts .

Com pos itor bas e d de pth of fie l d re nde ring Sm al l obje ct s tudio ph otograph y m ak e s h igh us e of th e de pth of fie l d e ffe ct to diffus e dis tracting back ground e l e m e nts and to put focus

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on th e m ain obje ct. W e can re produce th is e ffe ct w ith th e com pos itor. Th e re are tw o w ays you coul d do it. Th e ol d w ay us e s th e w e l lk now n Z de pth bl ur trick . In Bl e nde r you w oul d us e a pixe lbas e d m atrix cre ate d th rough th e z-de pth inform ation to bl ur th e re nde r output. Th e probl e m you w oul d e ncounte r is th at pixe l s ofth e e dge s ofth e obje ct in focus w il lbe m ixe d toge th e r w ith th e ne igh bor pixe l s , w h ich be l ong to th e back ground. A re alD oF e ffe ct w oul d not us e a Z de pth bas e d im age , but w oul d re nde r pixe l s de pe nding on th e dis tance to th e cam e ra in re l ation to th e l e ns s e ttings . Th e finalbrace l et re nde ring s h ow s th at probl e m . Th e top e dge s of th e m e tals urface are bl urre d as w e l l . H ow e ve r a w ay to pre ve nt th at is to divide th e obje cts onto diffe re nt l aye rs and bl ur onl y th e l aye r w ith th e back ground obje cts . W ith us ing an Al ph a O ve r node ins ide th e com pos itor you can th an m ix th e bl urre d back ground toge th e r w ith th e obje ct in focus . You jus t h ave to be ve ry care fulw ith not bl urring al s o parts of th e back ground on w h ich th e cam e ra focus s its on. O th e rw is e you m igh t s e e a bl urre d s urrounding w h il e th e focus

obje ct is s h arp. Th is w oul d l ook ph ys ical l y w rong. In m os t cas e s you w il lonl y s e e a s m al lam ount of th e fore ground w ith obje ct s tudio ph otograph y. Th is m e ans th at you can al s o ignore bl urring th e fore ground. Th e "Final e _Unw rapping" bl e nd fil e contains al l th e re q uire d s e tups . Ke e p in m ind th at w h e n you s pre ad obje cts al ong re nde r l aye rs , you al s o h ave to m ak e s ure th at al lyour l igh ts al s o are active in th os e l aye rs at th e s am e tim e . Ins ide th e O bje ct w indow (F7) can s e l e ct th e diffe re nt l aye rs ins ide th e D raw tap. For m ore inform ation about h ow to s e tup th e re nde r l aye rs go to: h ttp://w w w .bl e nde r.org/cm s /Re nde r_pipe l ine .747.0.h tm l Look al s o into th e oth e r tw o je w e l ry bl e nd fil e s and

Is s ue 8 - January 2007

3D W ork s h op - Te xture d M e talSh you w il lfind s im il ar bl ur probl e m s.

Z - D e pth s am pl e bas e d bl urring Re ce nt ch ange s in Bl e nde r brough t to us by Al fre do de Gre e f brough t us th e ne w D e focus node for th e com pos itor. From w ork ing w ith it, I got th e im pre s s ion th at it s e e m s to be a cros s -ove r of th e traditionalZ -de pth bas e d bl urring. It is not pure l y pixe l m atrix bas e d, but rath e r us e s s am pl es l ik e w ith a true D oF e ffe ct. Th e Z -buffe r inform ation s e e m s to w ork as a h e l pe r in aiding D e focus to k now w h e re to s am pl e . Th is w il l re s ul t in a s am pl e m as k w h ich w il l onl y bl ur are as out of focus w ith out bl e e ding into s h arp e dge s of obje cts in focus . Th is is a e norm ous advantage ove r th e ol d fak e D oF trick be caus e th e re are not artifacts and th us al s o no cl e anup afte rw ards . You can e ith e r us e a traditional fStop l ik e approach for bl urring or you coul d us e a Z -de pth bas e d im age . If you go w ith th e Z -de pth im age you can e ith e r us e th e Z inform ation Bl e nde r provide s you, or e ve n s uppl y th e D e focus node w ith any oth e r inform ation of your ch oice . O ne gre at advantage ove r th e ol d Zde pth bl ur trick is th at it's re as onabl y fas t. Be caus e it is a pos t production e ffe ct, you can us e th e pre vie w

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function to q uick l y ge t a rough ide a of th e finale ffe ct. D e pe nding on th e am ount of s am pl e s , th e pre vie w w il l be s m ooth e r or m ore grainy. For a finals h ot you onl y ne e d to de s e l e ct pre vie w and th e com pos itor de l ive rs th e finalre s ul t s h ortl y afte r th at.

46

e ve rybody k now s from re alcam e ras . A val ue of 128 w il l se t e ve ryth ing s h arp w h il e 64 w il l

Util izing th e M ap Val ue node toge th e r w ith a Col or Ram p node you can cus tom ize th e z-de pth im age to m ak e it fit your ne e ds . Th e M ap Val ue node s e ts th e focalpoint w h il e

th e Col or Ram p node w il ladjus t th e s ize of th e de pth of fie l d. And of cours e th e nice Vie w e r node give s us a dire ct fe e dback on h ow th e actual l y z-de pth m ap l ook s l ik e . And w ith th e Z s cal e val ue you h ave control about th e s tre ngth of bl uring. Th e fStop option is s im il ar to w h at

doubl e th e am ount of bl ur according to Al fre do. Th is is for control l ing bl uring. D e pe nding on your s ce ne you m igh t h ave to go dow n to val ue s l ik e and fStop of 4 to s e e th e bl ur e ffe ct. To controlth e focalpoint th e cam e ra h as a ne w option w h ich is cal l e d D oFD is t . You ne e d to turn on s h ow Lim its for th e cam e ra to s e e th e focalpoint. It is pre s e nte d to th e us e r as a ye l l ow cros s . Incre as ing th e D oFD is t w il l m ove th e cros s aw ay from th e cam e ra. Th is is a ve ry com fortabl e and pre cis e w ay on h ow to controlth e focal point and al s o k now ing w h e re it re al l y is in contras t to th e ol d fak e

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cus w ide /l onge r w h il e re m aining th e am ount of bl ur as w e l l . Tak e a l ook at th e Car_Inte rior.bl e nd fil e . Th e re you w il ls e e th at th e righ t part of th e ge ar s tick is out of focus . Incre as ing th e BTh re s h ol d w il lm ove th e e dge s of th e focalpoint m ore apart.

trick . But s om e tim e s , de pe nding on h ow you s e t up your s ce ne and from w h e re you point your cam e ra, not e ve ryth ing s e e m s to be in focus . Th e D e focus node com e s w ith tw o tool s w h ich can be us e d to cl e an up artifacts but. Th os e are th e M axbl ur and BTh re s h ol d. H ow e ve r th os e tool s you can al s o us e to m ak e th e fo-

But as you can s e e th e re is al so a bl ur artifact on th e pane l . Th e out of focus are a s tarts too fas t and th e re

and back ground are nice l y bl urre d. Be caus e D e focus is a pos t production e ffe ct you can al s o jus t adjus t th e cam e ra D oFD is t val ue afte r re nde ring, and th e com pos itor can re cal cul ate th e D oF e ffe ct again w ith out re -re nde ring th e com pl e te s ce ne . For m ore inform ation l ook h e re : h ttp://bl e nde r.org/cm s /Com pos ite __D e focus .836.0.h tm l

Car inte rior s tudy is no trans ition be tw e e n in focus and out of focus . You can fix th is w ith us ing th e M axbl ur option. Th is w il ls m ooth out th e e dge . As you can s e e th e com pl e te ge ar s tick is in focus and th e fore ground

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Th is im age s h ow s th e type s of ge om e trie s you m igh t com e in contact w ith . Cyl inde rs , pane l s , and oth e r bas ic s h ape s . Luck y us , th os e e l em e nts are e as y to unw rap. Tak e a l ook at th e s ce ne fil e s and h ow th e individualobje cts are unw rappe d to ge t an ide a about h ow you s h oul d

Is s ue 8 - January 2007

3D W ork s h op - Te xture d M e talSh

ade rs For IndustrialD e sign

ce s s ful . Be aw are of th e re l ation be tw e e n te xture and obje ct s ize . As you can s e e , th e te xture l ook s m uch m ore rough on th e pane lth an th e ge ar s tick . Expl ore th e s ce ne s and you w il ls e e h ow s im pl e th e actual approach e s are .

pl an ah e ad you m ode l s for te xturing. It can be a ve ry big pain w h e n you re al ize h ow difficul t you m ade th e obje ct to unw rap. Th e k e y to m e tal s urface s are s m ooth and fl ow ing h igh l igh ts and th us do you ne e d continuous s urface s as w e l l . Try not to m ak e obje cts out of one m e s h . It is h e l pfulto s tudy th e cons truction and as s e m bl y of products be fore you try to m ode lth e m . You w il lfind out th at m any e l e m e nts are m ade out of sh e l l s . Tw o s h e l l s can produce on containe r. Th e ge ar s tick pane lis m ade out of one s h e l l . I w oul d rath e r try to m ode lal le l e m e nts s e parate . Th is w ay th e UV-unw rapping and te xturing w il lbe m uch e as ie r and m ore s uc-

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48

th e w ood. Th e com bination of diffe re nt s pe cul ar h igh l igh ts adds additionalre adabil ity for th e vie w e r to unde rs tand th e ge om e try and al so th e m ate rialprope rtie s .

Look ing at th e ge ar s tick in th e UVe ditor you can s e e h ow w h e re I de cide d to appl y th e s e am al ong w h ich Bl e nde r cut th e m e s h apart. It is be h ind th e s tick and th us cannot be s e e n in th e re nde ring. I us e d th e unw rap function. Look ing at th e pane l s h ow s you h ow th e dow nw ards e xtrus ion to m ak e pl ace for th e ge ar s tick to s l ide in is inte grate d. In th is cas e no com pl e x w ork w as ne e de d. Th e pane lw as unw rappe d us ing th e unw rap option. Look ing at th e air ve nts s h ow s you th at not e ve ryth ing ne e ds to be pe rfe ctl y unw rappe d s ince you w il l not zoom in far e nough to s e e th e im pe rfe ction. Th e y w e re unw rappe d w ith th e unw rap function us ing a s e am . Th e Car Inte rior 2 bl e nd fil e incl ude s th e s am e s ce ne jus t w ith m odifie d s h ade rs to s h ow h ow s e al e d s urface s coul d be re nde re d. Th is is a q uick s e tup e xpl aining a pos s ibl e approach . Tak e a l ook at h ow fine th e brus h e d l ook coul d be and h ow it w ork s toge th e r w ith th e rich ne s s of

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O f cours e , h aving th e re fe re nce im age s re ady h e l ps to s ol ve any doubts th at I m ay h ave during m odel ing.

Bl ue prints

Ne e dl e s s to s ay, bl ue prints are th e ve ry bas is of accuracy th at you w ant from your m ode l . Th e m ore accurate th e y are , th e gre ate r th e pos s ibil ity of you be ing abl e to m ak e a ne ar-to-accurate m ode l . I s aid ne arto-accurate , be caus e Bl e nde r doe s not offe r m e as ure m e nt in re all ife units , e ve n if you conve rt th e m to Bl e nde r units s om e h ow th e re w il lal w ays be a pos s ibil ity of am biguitie s in cal cul ations . H ow e ve r, if you are cl os e , th e y w il lbe h ardl y notice abl e.

D ata Col l e ction Le ve l : Inte rm e diate

Introduction

Unl ik e m y pre vious tutorialon m ode l ing th e Toyota Ce l ica car, th is articl e is not a s te p-by-s te p m ode l ing tutorialfor a be ginne r. W h at I h ave trie d to tack l e in th is articl e is s om e us e ful approach e s tow ards m ode l ing th e car body in Bl e nde r. Al th ough it l ook s and fe e l s l ik e a w al k -th rough , I h ave trie d to tack l e s om e com m on probl e m s w h il e m ode l ing a car in Bl e nde r w h ich I h ope w il lbe us e ful to oth e r car m ode l e rs .

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It h as be e n e m ph as ize d ofte n, in m any car m ode l ing tutorial s , th e ne e d to gath e r or re s e arch various data, incl uding ph otograph s of cars and its various parts . Th is provide s th e m ode l e r w ith re ady re fe re nce s during m ode l ing. Long be fore I s tart m ode l ing, I try to re m e m be r th e s h ape and uniq ue fe ature s of th e car body w h il e going th rough th e re fe re nce s and, if pos s ibl e , th e actualcar. Th is h e l ps m e to cons cious l y ide ntify th e pos s ibl e probl e m s in th e m e s h w h il e I m ode l .

W h il e m any us e rs pre fe r to h ave th e bl ue prints s e tup in a typicalbox-l ik e fas h ion. I find th e m bl ock ing m y w ay w h il e I m ode l . So its m os tl y a pe rs onal pre fe re nce . Ch oos e w h ate ve r fe e l s m os t com fortabl e to you. W e h ave cove re d s e tting up bl ue prints in a box-s tyl e in one of our e arl ie r is s ue s , you can cons ul t it if you l ik e to us e bl ue prints th at w ay. I fe e lcom fortabl e w ith us ing Bl e nde r's abil ity to s h ow im age s in th e vie w ports . For th e viabl e s cope of th is articl e , I am as s um ing you k now h ow to do th at al re ady. Th e re are various s h ape and s ize s of

Is s ue 8 - January 2007

3D W ork s h op - Car Body bl ue prints avail abl e on th e w e b s o, th e firs t s te p is to e dit th e m in an 2d im age e ditor l ik e GIM P or your pre fe rre d appl ication. W e are us ing th e bl ue prints of th e Nis s an350z th at can be found on th e s ite w w w .th e bl ue prints .com . Th e re is ofte n a fe w probl e m s th at m os t bl e nde rh e ads h ave to de al w ith and th os e are : - D iffe re nt proportions in diffe re nt vie w s . - Non-al ignm e nt of bl ue prints in diffe re nt vie w s . Proportion probl e m s occur as m os t us e rs jus t cut th e bl ue prints w ith out tak ing into cons ide ration th at Bl e nde r's vie w port s om e h ow dis torts th e proportions de pe nding upon th e re s ol ution.

S te p 1 - Fixing th e bl ue printproportions probl em

M ak e a s ingl e s q uare docum e nt in your im age e ditor w ith th e m axim um w idth be ing th at of th e bl ue print. W e ch oos e a s q uare as w e are giving Bl e nde r im age s (vie w s ) of th e s am e s ize , th us m ak ing s ure th at al lare dis pl aye d in th e Bl e nde r vie w ports w ith th e s am e proportions . Firs t, copy al l top, s ide and oth e r bl ue print vie w s into s e parate l aye rs

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in th e im age e ditor. W h il e w e are in th e im age e ditor, w e can do th e re q uire d trans form ations of diffe re nt parts of th e bl ue print s o th at th e y can be re pre s e nte d in th e corre ct vie w port in Bl e nde r. I al w ays ch oos e to h ave th e top vie w of th e bl ue print in th e ve rtical pos ition as it com pl im e nts both front and back vie w s nice l y in th e vie w ports . So, if your top vie w is h orizontalyou m igh t w ant to m ak e it ve rtical by rotating it. Now cre ate a ne w l aye r on top and draw a s ingl e -pixe ll ine in th e m iddl e of th e docum e nt. Tak ing th is as re fe re nce , you can m ove th e top, front and back bl ue print vie w s in th e ve rticalm iddl e . Now , again draw tw o re fe re nce l ine s , one above th e car and th e oth e r at th e bottom of th e tire s . Th is w il lgive you th e re fe re nce for fixing th e pos ition of th e s ide , front and back vie w s . If you did th is s te p nice l y, you s h oul d h ave th e four diffe re nt re fe re nce s s e tup l ik e th e im age s be l ow .

S te p 2 - A l ignm e nt probl e m in vie w ports

If you h ave fol l ow e d th e l as t part prope rl y, you w il l h ave a good ch ance to s e t th is up corre ctl y. Now , al lyou h ave to do is s pl it Bl e nde r's

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w indow s into four s e ctions and incl ude th e re s pe ctive im age (vie w s ) in th e vie w port l ik e th e Fig 1. (Th e s cre e ns h ot h as be e n tak e n in Bl e nde r2.4 RC1). You can e nabl e th e vie w port nam e from th e Pre fe re nce s m e nu in th e 'Vie w & Control s ' tab (Vie w Nam e ). So you can s e e w h ich vie w proje ction you are in. Notice th e O ffs e t num e ricalbuttons , th e s e are th e k e ys for you to al ign your im age . H e re , th e re fe re nce l ine s w e pl ace d on th e bl ue print im age in th e l as t s te p w il l h el p you to ge t a good al ignm e nt. Now jus t to m ak e s ure your al ignm e nt is w ork ing, al lyou h ave to do is ins e rt a cube prim itive and s tart e xtruding it in th e top vie w . If th e e xtrus ion is outw ards , th e n it s h oul d be outw ard in th e front as w e l las th e back vie w and tow ards th e us e r or

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th e s ide vie w . Se e Fig 2 for e xam pl e.

M ode l ing a Car's Body Th e re are tw o approach e s tow ards pol ygon m ode l ing a car in Bl e nde r. O ne is 'Box-m ode l ing' and anoth e r is 'Pl ane -m ode l ing'. Th e y are com pl e te l y oppos ite in nature . O ne at-

te m pts to cre ate a s h ape in bl ock s w ith incre as ing am ounts of de tail , w h il e th e l atte r atte m pts to do it dire ctl y, but in parts .

S te p 1 - Pl ane m ode l ing

I h ave no e xpe rie nce w ith box-m odel ing s o I w il lgo about e xpl aining a fe w approach e s w h ich coul d s ave you tim e and e ffort w h il e m ode l ing a car's body us ing 'Pl ane -m ode l ing'. Th e be s t w ay to w ork is to w ork

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3D W ork s h op - Car Body w ith parts l ik e th e front fe nde r or th e bonne t, s e e il l us tration 3 for m ore . W e can s tart im m e diate l y by adding a pl ane in th e s ide vie w . Be fore do-

ing th at, pos ition th e 3D Curs or as s e e n in Fig 2.

M ode l ing: A n A pproach

Pos ition it ove r th e front fe nde r and re duce its s ize s o th at it can cove r th e contours of th e fe nde r jus t above th e tire as in Fig 4.

s oon as you m ak e s om e m ajor ch ange s in th e m e s h , w il lal l ow you to k e e p your m e s h in a cl e an s tate . Fol l ow ing th is , now go to th e top vie w and m ove th e top ve rtice s back a l ittl e and e xtrude a s e t of anoth e r ve rtice s tow ards th e bonne t of th e car to cove r th e m e s h as s e e n in th e Fig 5a. Now , m ove th e ve rtice s as s e e n in Fig 5b, fol l ow ing th e contours of th e front fe nde r.

S te p 2 - Cons tructing ge om e try

You s h oul d e nabl e Subs urf w ith a Le ve lof 2, if your graph ics card can h andl e it. O ne th ing you ne e d to k e e p in m ind w h il e you are m ode l ing w ith bl ue prints is th at you w il l h ave to m ode l and re ch e ck th e m e s h in th re e vie w s . Th re e be caus e once you are m ode l ing, for e xam pl e th e front part, th e back vie w w il lnot be us e fulfor any re fe re nce s . If you are not doing it ofte n e nough you w il lbe ruining th e ge om e try of th e m e s h . So, m odifying th e n ch e ck ing th e ge om e try in th e oth e r vie w s , as

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TIP: W h il e m ode l ing a car body w ith SubSurf appl ie d, it is advis abl e to initial l y us e onl y ve ry fe w e xtrus ions to ch al k out th e bas ic outl ine of th e s h ape or contour of th e part. For e xam pl e , in Fig 5a, w e h ave us e d onl y th re e e xtrus ions to m ak e th e s ide of th e fe nde r m e s h . W e w il lne e d m ore cuts in it to cre ate m ore de tailbut, th at can com e l ate r. Th is m e th od

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w il lal l ow you to h ave gre ate r controlove r th e m e s h 's com pl e xity. Fol l ow ing th is m e th od, w e w il lnow im m e diate l y s w itch to th e s ide vie w again and adjus t th e contour or s h ape as can be s e e n in Fig 6. Th e re s ul ts can be s e e n in Fig 7 and Fig 8.

S te p 3 - D e tail ing

Al w ays add m ore ve rtice s or e xtrus ions in w h ich you can s e e th e m ajor portion of th e part. For e xam pl e, w e can s e e th at th e s ide vie w s h ow s a m ajor portion of th e fe nde r. Sw itch to it and add m ore e xtrus ions to cove r oth e r portions in th is vie w . And fol l ow ing Ste p 2, corre ct th e ge om e try in th e top and front vie w s . An initial and corre cte d ve rs ion can be s e e n in Figs 9 and 10 re s pe ctive l y.

W h e n us ing Subs urf, you w il lne e d approxim ate l y th re e s im il ar e dge s , cl os e toge th e r, to bring out s h arp be nds . In Fig 10, you can s e e th at th e fe nde r rim l ook s pre tty s h arp as in th e re all ife im age s of th e car. To ach ie ve th e s h arp bl e nding, it w il l h el p if you k e e p your m e s h in a cl e an s tate by onl y al l ow ing it to

3a) Be nds or contour l ine s Th e s h ape s of a car ofte n h ave pointe d s urface guide s or be nds l ik e ne ar th e fe nde r rim and a s l igh t e l e vation ne ar to th e bonne t in th is car (Nis s an350z). Th e s e uniq ue be nds can be s e e n in th e Fig 10 as h igh l igh te d orange e dge l ine s .

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3D W ork s h op - Car Body h ave q uad face s ne ar th e pl ace w h e re th e be nd or s h arp contour w il l be pl ace d.

M ode l ing: A n A pproach

parts th at are at th e front and back . To be tte r unde rs tand, s tudy Fig 13 care ful l y. You w il lne e d to s e l e ct and m ove th e e xtrude d parts s e parate l y.

Pl acing a be nd in th e m e s h is as e as y as us ing th e Loop Cut toolat th e re q uire d pl ace . Ch e ck Fig 11 for th e re s ul ts .

3b ) Cl e an e dge s Al lth e body parts of a re alcar are be nt inw ards to cre ate a cl e an e dge l ook . W e , too, h ave to re pl icate th is in our m e s h e s to ge t q ual ity m ode l s. H e re , al lof th e oute rm os t e dge s are se l e cte d and e xtrude d once . Now th e m ove m e nt of th e e xtrus ion s h oul d be dow nw ards for th e parts th at are at th e top and, it s h oul d be inw ards for th e parts th at are at th e s ide and, again, inw ards for th e

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3c) Cl e an corne rs A car's body al m os t al w ays h as pre tty s h arp corne rs w ith ve ry l ittl e

54

roundne s s . For e xam pl e , righ t now in th e Fig 13 you can s e e th e ve ry front part corne r is round in appe arance . Again, util izing th e k now l e dge th at w ith Subs urf, w e can m ak e it appe ar s h arp by incl uding e dge l oops ne ar th at corne r. To ge t a be tte r ide a, w e h ave s w itch e d to th e top vie w in th e Fig 14. H e re , you can s e e th e front corne r be fore , and afte r, introducing an e dge l oop in Fig 14a and 14b re s pe ctive l y.

Notice th at once you add tw o e dge l oops ve ry ne ar to e ach oth e r (in a m e s h w ith a l arge dis tance and diffe re nce of angl e be tw e e n tw o e dge l oops ) you w il lge t a de form ation in th e m e s h . In th e Fig 14b, th e s e cond e dge l oop w il lcre ate a vis ibl e bul ge on th e top s ide if you w il lvie w it w ith pe rs pe ctive vie w . H e re , you

Is s ue 8 - January 2007

3D W ork s h op - Car Body h ave to m anual l y m ove one of th e e dge l oops to ge t a s m ooth s urface . If it's s afe , you can e ve n m e rge th e e dge l oops , for th e m os t part, to re duce th e e dge com pl e xity and re tain th e m e s h 's s m ooth ne s s .

M ode l ing: A n A pproach

55

al igne d on th e X-axis (re d). Th is w as done by pre s s ing th e S-k e y(s cal e) + X-k e y(re s tricts to X-axis ) th e n, pre s s ing Num pad-Z e ro and cl os ing th e s cal ing.

TIP: Snapping. It is a good ide a to e nabl e s napping from th e Pre fe re nce s m e nu. As car m ode l ing is al l about de tail ing, and w h e n you m ove ve rtice s of e dge s in pe rs pe ctive vie w , th e s napping coul d h el p you a l ot. For e xam pl e , w h il e e xtruding, to cre ate and be nd, it w il lgive you nice k now n re s ul ts . 3d) Sm art parts Th e h e ading m ay be a bit m is l e ading but, it's a gre at w ay to re duce re dundancy and al s o m ak e s ure th at m os t of your m e s h e s in th e s ce ne are ofabout th e s am e m e s h com pl e xity. Care ful l y l ook ing at Fig 15 w il l h el p you unde rs tand w h at is m e ant by "s m art parts ". Actual l y, w h at w e are doing h e re is s im pl e . O nce w e finis h one part of th e car, w e can us e its corne r e dge as th e s tarting point of anoth e r part. H e re , w e jus t dupl icate d and s e parate d th e e dge , w h ich w as adjace nt to th e bonne t, and e xtrude d it to cre ate th e bonne t m e s h . You w il lnotice th at in Fig 15c al lth e ve rtice s are

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3e ) W ork ing w ith e dge outl ine s Som e tim e s a part w il lbe a bit trick y to do by jus t e xtruding. As w e can s e e in th e Fig 16, th e bonne t m e s h is curre ntl y not s m ooth due to th e fact th at w e h ave onl y done th e e xtrus ion in top-vie w . If w e s w itch to th e s ide vie w and adjus t th e ve rtice s , to ge t th e re q uire d el e vation, w e h ave to de alw ith l ots of ve rtice s in th e m e s h , ce rtainl y not an e as y s ituation. Ins te ad of th at, w e se l e cte d th e m iddl e ve rtice s and de l e te d th e m s o th at w e ge t an outl ine of th e l e ft e dge as can be s e e n in Fig 17. Now , if w e s w itch to s ide vie w w e

can e as il y pos ition th e ve rtice s as in Fig 18;again w e can re pe at it in th e front vie w as w e l l , as in Fig 19 . So now w e h ave our outl ine s e t corre ctl y. W e are onl y l e ft to e xtrude th e e dge (in th e front vie w ) from th e ce nte r of th e car tow ards th e fe nde r. Pos itioning th e ir h e igh t in th e front vie w and us ing onl y th e num be r of e xtrus ions as th e re w e re pre vious divis ions . Re m ove th e e xtra ve rtice s as can be s e e n in Fig 20.

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56

Re m ove doubl e ve rtice s (caus e d by

to h ave th e pivot point of th e m e s h

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al m os t al l cars

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Is s ue 8 - January 2007

3D W ork s h op - Car Body

M ode l ing: A n A pproach

car.

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Bl e nde rArt m agazine . Som e of th e

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al s o bring out th e

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m odifie r al s o al l ow s you to join th e

re nde rings .

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approach e s in m ak ing th e car body. I h ope th at it h as be e n h e l pfulto you. If you h ave s om e th ing to s h are or fe e dback on th e s e fe w s te ps , you are

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and its m irror into an s ingl e

m e s h if you ne e d. Se e th e re s ul t in Fig23.

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you

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pl ace d th e curs or th e re , you can go ah e ad and s e l e ct th e

front-fe nde r

m e s h and m ak e its pivot ce nte r at th e curre nt curs or pos ition and add a M irror m odifie r as w e l l . 3g) Gaps

to ge t natural l ook ing

body parts , m ak e s ure you al w ays provide

e nough

gap be tw e e n th e

adjace nt parts of th e car body. You can obs e rve th is in re all ife on a re al

w w w .bl e nde rart.org

Is s ue 8 - January 2007

Unde r Re vie w

- Bl e nde r Basics

D ue to it's ope n and fre e l y-s h are d nature , it's im pos s ibl e to te l l h ow m any copie s of Bl e nde r 2.42a are curre ntl y ins tal l e d around th e w orl d, but it's a ce rtainty th at it h as be com e m ore w il dl y popul ar th an anyone h ad im agine d w h e n it w as ope n s ource d four ye ars ago. Since th e n, h ow m any tim e s h ave th e binarie s be e n dow nl oade d? Be l ie ve it or not, no one k now s for s ure , but age s ago (20042005) tw e l ve m onth dow nl oad total s approach e d 2,000,000. W ith out a doubt, m ore re ce nt figure s w oul d m ak e th os e l ook k ind ofs il l y. But h ow m any of th os e ins tal l ations are trie d for a w e e k (or a day or an h our) th e n abandone d?Lots of us l ik e us ing onl ine tutorial s , but th e re are

w w w .bl e nde rart.org

jus t as m any w h o fe e lm ore com fortabl e w ith a ph ys icalbook on th e ir de s k . And s o, w ith th e Bl e nde r Sum m e r of D ocum e ntation unde r its be l t, th e Foundation de cide d to tack l e s om e th ing e ve n m ore am bitious : a book th at w oul d be s uitabl e for 3D be ginne rs , us e rs com ing from oth e r 3D appl ications , and for m ore form ale ducationals e ttings . O f cours e , m ore e xpe rie nce d us e rs can be ne fit from th e book too. H ow m any of us h ave jus t fl ow n by th e s e at of our pants re garding s om e as pe ct of our Bl e nde r w ork , be it m ate rial s, l igh ting or s h ape k e ying?Th is book can h e l p you fil lin th e gaps . O f cours e , it al s o contains ch apte rs on th e ne w s cul pt m ode l ing tool s as w e l las a gre at ch apte r on us ing th e Com pos itor. Bl e nde r Bas ics is a book th at anyone inte re s te d in ge tting up to s pe e d w ith s om e as pe ctofBl e nde r, and 3D in ge ne ral , can pick up and us e , e ith e r cove r to cove r, or a l a carte . It cons is ts of a fe w ch apte rs on th e abs ol ute bas ics : 3D conce pts , th e inte rface , and obje ct m anipul ation. From th e re , re ade rs can continue s traigh t th rough th e book if th e y ch oos e , l e arning m e s h e diting, s cul pting, m ate rial s , rigging and ch aracte r anim ation, l igh ting, re nde ring, com pos iting and m ore . O r, if th e y are us e rs inte grating Bl e nde r into th e ir e xis ting 3D pipe l ine , th e y can

58

pick and ch oos e th e ch apte rs th at m os t im m e diate l y fil lth e ir ne e ds . Th e book contains a bit of m ate rial from th e Sum m e r of D ocum e ntation, re w ork e d to be tte r s uit a printe d, m odul ar form at, and l ots of original w ork by a gre at group of vol unte e rs . To s uit a varie ty of l e arning s tyl e s and th e diffe ring ne e ds of th e audie nce , e ach topic (l ik e Mate rial s , for ins tance ) is divide d into tw o s e ctions : a tutorialpart and a tool s and practice s dis cus s ion. For pe opl e w h o pre fe r to jus t jum p righ t in, th e tutorials e ctions provide im m e diate fe e dback and accom pl is h m e nt, w h il e ge tting th e m fam il iar w ith th e tool s in a practical s e tting. Th os e of us (l ik e m ys e l f) w h o l ik e to ge t an ove rvie w be fore w ork ing can re ad th e tool s and practice s dis cus s ion, w h ich l ays out th e m os t us e fulavail abl e options , as w e l las giving s om e h ints and s ugge s tions for a good w ork fl ow to fol l ow . In addition to th e vol unte e r w rite rs , I'm doing a fair am ount of w riting (about 35-40% of th e book ) as w e l las s tyl e -e diting th e w h ol e th ing. W e h ave a bunch of te ch nical e ditors l ine d up to m ak e s ure e ve ryth ing is accurate from a Bl e nde r s tandpoint, and are w ork ing to s e cure a profe s s ionalproofre ade r to catch th e typos and gram m ar bugs th at m igh t(!) s l ip by m e .

Is s ue 8 - January 2007

Unde r Re vie w

- Bl e nde r Basics

59

Bl e nde r Bas ics w il lbe avail abl e for pre -s al e s oon, and Ton and I are s til l w ork ing on th e finals ch e dul ing for publ ication and dis tribution. Ne e dl e ss to s ay, book s al e s are one of th e ch ie f s ource s of funding for th e Bl e nde r Foundation, and it's nice th at s uch a th ing can be a pos itive for e ve ryone : th e Foundation ge ts th e re ve nue it ne e ds to k e e p doing its am azing w ork , us e rs ge t a gre at re s ource and a w ay to dire ctl y contribute to Bl e nde r's continue d de ve l opm e nt, and th e Bl e nde r com m unity as a w h ol e ge ts to once again s h ow off its unparal l el e d s tre ngth w ith its gre at contribution to th e conte nt of th e book . I'm e xcite d about th is proje ct, be caus e I th ink th at Bl e nde r Bas ics is going to be a book of s upe rior q ual ity and us e ful ne s s . I h ope th at you w il l , at l e as t, cons ide r adding it to your pe rs onals h opping l is t.

O Scar - Re l e as e 0.2 It is th e goalof th e O Scar Proje ct to de ve l op a car according to O pe n Source principl e s . In our opinion, a car is not a ve h icl e ful l of h igh -te ch gadge ts . Ins te ad, w e are l ook ing for a s im pl e and functional conce pt to s pre ad m obil ity. Form fol l ow s function. Apart from th at, O Scar is not jus t a car. It is about ne w w ays of m obil ity and th e s pre ading of th e O pe n Source ide a in th e re al (ph ys ical ) w orl d. At: h ttp://w w w .th e os carproje ct.org/ you w il lfind a gre at com m unity of de ve l ope rs and drive rs w h o w ant to inve nt m obil ity ane w and toge th e r.

Rol and H e s s

In addition to be ing a Bl e nde r artis t, one of th e (m inor) bl e nde r de vs , and th e cre ator of Bl e nde rPe opl e , Rol and H e s s (h ark ym an) e arne d h is e ditorial k e e p as a w riting m ajor at th e Unive rs ity of Pe nns yl vania in Ph il ade l ph ia, e nduring th e brutalgroup w ork s h ops and one -on-one critiq ue s of Pe nn's w riting program . H e w rite s far too m any w ords a ye ar at Th e H e s s Re port (h e s s re port.h ark ym an.com ), Ste e lCity Cow boy (s te e l citycow boy.h ark ym an.com ), and th e Bl e nde rPe opl e de ve l opm e nt bl og (w w w .h ark ym an.com /bpbl og).

w w w .bl e nde rart.org

Th e proje ct s tarte d in 19 9 9 . In D e c. 2005, it re ach e d re l e as e 0.2. Starting in 2006, e ve ryone is wel com e to participate .

Is s ue 8 - January 2007

G al l e ria

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Ciprian Ce te ras (Cipix) Re naul t Sce nic w w w .bl e nde rart.org

G al l e ria

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Ciprian Ce te ras (Cipix) Re naul t Sce nic w w w .bl e nde rart.org

G al l e ria

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Je ffe rs on Al ve s - F360 M ode na w w w .bl e nde rart.org

G al l e ria

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Sim on K indl e r - D is cove ry w w w .bl e nde rart.org

G al l e ria

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Sim on K indl e r - Vol vo XC9 0 w w w .bl e nde rart.org

G al l e ria

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Ris h ik e s h Park h e - M e rc 300SL w w w .bl e nde rart.org

G al l e ria

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Bruno O k ano - Ch e vrol e t Cam aro (conce pt) w w w .bl e nde rart.org

G al l e ria

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W il l iam Nune s - ToonCar w w w .bl e nde rart.org

G al l e ria

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Z s ol t Ste fan - 'Cutting Th e W ave s ' w w w .bl e nde rart.org

A nnounce m e nt-

Bl e nde r W orl d Cup #4

W h e re : w w w .bl e nde rartis ts .org W h e n: 1s t June - Qual ifying e ntrie s ope ne d 1s t Jul y - Finalround ope ning

Cal lfor s pons ors !! Many of you w il lbe fam il iar w ith th e bl e nde r w orl d cup, w h ich h as be e n h el d for th e pas t 3 ye ars . Las t ye ar w e re ce ive d s pons ors h ip from Re s pow e r (w w w .re s pow e r.com ), a pow e rfulonl ine re nde rfarm s upporting th e .bl e nd form at for inte rnaland yafray re nde ring. Th is ye ar h ow e ve r w e h ave not official l y re ce ive d any s pons ors h ip, and are h oping to m ak e it th e be s t ye ar to date for prize s and participation. Com m e rcials upport is th e prim ary goal for s pons ors h ip, as th e bl e nde r foundation can onl y h el p out s o m uch . So if you w ork for, or k now a com pany th at m ay be w il l ing to donate , pl e as e contact doug@ m udpuddl e .co.nz in orde r to h e l p m ak e it fantas tic for al lin th e com m unity. Bl e nde r W orl d Cup - H ow it w il lh appe n th is ye ar

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W h at: Th e topic w il lbe m ade up of 4 ins pirations from be l ow , th e ins pirations w il l be re duce d to a s e t of 4 by th e Jul y th e 1s t, giving e ntrants th e ch ance to th ink ofpos s ibil itie s be fore th e finalannouce m e nt. *Era* *State * Be ginning Evol ution H is torical Grow th Re ce nt Utopia Now W ar D is tant D e s ruction End D is cove ry

*Location* *Infl ue nce * Ground Indus try Se a Re l igion Era Sk y Al ie ns Space Pol itics Future City Magic Nature H e rois m

H ow : As al w ays w e w il lh ave a q ual ifying round, h ow e ve r th is ye ar th e round w il lal l ow anyone to s ubm it th e ir favourite e xis ting e ntry to q ual ify for th e finalround. For Exam pl e e nte ring W e e k e nd Ch al l e nge s w il lbe a good w ay ofq ual ifying

69

Prize s: Firs t s e cond and th ird pl ace w inne rs w il le ach re ce ive an officiale tch e d bl e nde r w orl d cup, as w e l l as th e prize s donate d. Firs t

Se cond

Th ird

A nnounce m e nt-

Bl e nde r W orl d Cup #4

Bl e nde r W orl d Cup - Pre vious Ente rie s . w w w .bl e nde rart.org

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Upcom ing...

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Th e m e : O ute r Space •M ode l ing Al ie ns •M ode l ing Space s h ips •O ute r Space s ce ne s and m ore . . .

bl e nde rart.org doe s not tak e s any re s pons ibil ity both e xpre s s e d or im pl ie d for th e m ate rialand its nature or accuracy of th e inform ation w h ich is publ is h e d in th is PD F m agazine . Al lth e m ate rial s pre s e nte d in th is PD F m agazine h ave be e n produce d w ith th e e xpre s s e d pe rm is s ion of th e ir re s pe ctive auth ors /ow ne rs . bl e nde rart.org and th e contributors dis cl aim al lw arrantie s , e xpre s s e d or im pl ie d, incl uding, but not l im ite d to im pl ie d w arrantie s of m e rch antabil ity or fitne s s for a particul ar purpos e . Al lim age s and m ate rial s pre s e nt in th is docum e nt are printe d/re -printe d w ith e xpre s s e d pe rm is s ion from th e auth ors /ow ne rs . Th is PD F m agazine is arch ive d and avail abl e from th e bl e nde rart.org w e bs ite . Th e bl e nde rart m agazine is m ade avail abl e unde r Cre ative Com m ons 'Attribution-NoD e rivs 2.5' l ice ns e . Th e CC l ice ns e is avail abl e at h ttp://cre ative com m ons .org/l ice ns e s /by-nd/2.5/l e gal code

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Is s ue 8 - January 2007