Etude Two (2) - Technical Process Part 1

To create the map I am required to make my model ready for mapping by essentially converting it into a 2D format for customising. To achieve this I utilised the UV unwrap modifier in 3DS Max which allows me to unwrap the head model into segments for exporting. This process involved flattening out the unwrapped 3d mesh so that all the polygons were clearly laid out for editing.

The above image shows the 3d model with a checker material map applied to it that will help establish areas of distortion to rectify. In addition at this stage I must establish areas where the mesh model will be split i.e. seams.

Above image shows the model's mesh unwrapped and spread out in the UV editor. It's within the editor that I flattened or "relaxed"areas of the mesh to help prevent overlapping polygons exposing all of them so they are visible for painting over. Such areas include the eyes, lips and nose but I needed to keep the "relaxing" of polygons to a minimum as it would apparently cause material stretching.

The image above shows a exported render of the unwrapped UV I completed. For the process I utilised the plug-in Textporter from Maxplugins.de. This plug-in helped me to export the UV map as a black and white image so that I could use the alpha properties to help create a texture map beneath the wireframe. The above image is a rough normal map render created using the plug-in and although relatively useless the normal map render will help to establish the form of the model and thus help me to establish the form of the model in its 2D format.

Textporter available at: www.maxplugins.de/

For this process I used multiple references which were relatively vague or assumed the user had the ability to unwrap the model and were mostly work flow tutorials. Therefore I had to guess and experiment quite a bit for the desired effect. The above image is a test texture I made to establish how accurate the texture I made is when applied to the model.

Above image shows the previous texture applied to the model. At this point I proceeded in creating a texture in Photoshop using multiple references including my own skin. I didn't wish to create a texture that was too complex and over textured but I did wish to include subtle details that will enhance the appearance of the model. Therefore I included freckles and other subtle textures that helped to break up the materials colour.

Above image available from: http://web.cornell.edu/studentblogs/jenna/wp-content/uploads/2007/02/freckles.jpg
[cited: 12th March 2008]

Above image was used to help break up the texture created,
available at:

http://www.imageafter.com/dbase/textures/leather_skin/b1leather001.jpg
[cited: 12th March 2008]

The above image is an example of the initial texture I created with some integrated texture details e.g. freckles. Photography played a key role in my image referencing with the lips and cheek area receiving the most attention. The image below is an example of the photos analysed for reference and would serve future reference for the model's specular level details i.e. light properties.

Above image available at: http://tn3-2.deviantart.com/fs9/300W/i/2006/056/2/6/lips_by_XtenajX.jpg
[cited: 12th March 2008]

Etude Two (2) - Analysis and Developing Elements

Real world references are a major influence in the texturing process and although it may be presented in a 2D format i.e. images, it is essentially analysed for 3D purposes which is why lighting awareness and techniques are incorporated into the process. By extracting elements from the real world artists are able to synthesise convincing media for use in their artwork. This is a key skill which in itself is a hybrid of multiple forms i.e. the analysis of the properties of textures and surfaces and the manner in which it reacts to light. This itself is a skill that requires analysis in the 3D sense much like a sculptor. Therefore these are factors to consider when creating my materials.

Below is an example of a work flow in creating a texture for a 3D model. Skin textures are taken from wildlife photographs to help add detail to the model's texture and is essentially a hybrid of a custom palette and real world elements to be applied onto a 3D model.

Above Image available at: http://www.bobotheseal.com/Skinning_mini-tutorial_01.htm [accessed 9th March 2008]

Material 'shaders' are a key element in most 3D programs and generally dictate the lighting and rendering properties of a texture and deserves careful attention. For my face texture I need to customise or acquire a good skin shader that will carry realistic properties of skin this will be aided by multiple maps assigned for different properties e.g. specular and bump levels. Ben Cloward is an example of an artist that has aided in this customisation process as he has designed and created a small set of shaders for use within 3DS Max for such key texture surfaces as skin that I may consider using to enhance the texture I will create.

References:

Available at:

http://www.bencloward.com/shaders_skin.shtml
http://www.autodesk.co.uk/adsk/servlet/index?siteID=452932&id=9898976

[accessed: 9th March 2008]

Key Points

As my character model is of a young girl there are certain artistic factors to consider when creating the texture.In addition as she is young the signs of age would be less apparent or just absent i.e. wrinkles and skin discolouring. Therefore the texturing process will be focused on accentuating the facial features to enhance a youthful look (much like make up). Also my original concept is intended to be generally cartoon like but with some real world references so I will be using a slightly off palette selection of colours instead of a more realistic skin palette.

Etude Two (2) - The Concept

In this etude I will be practising texturing techniques on the head model created in the 1st etude as well as simple geometric shapes that will be slightly edited e.g. eyeballs, small metal objects, tables etc.

Techniques I'm aware of include normal and displacement mapping as well as other software that aids in creating more detailed surfaces on models such as Z brush or Mudbox. However I will utilise custom mapping purely within 3DS Max and Photoshop to create the desired effect with focus on visually enhancing the head model and eyes.

Below is an example of an unwrapped model that has been textured in several formats to enhance details once reapplied.

Above image - Available at:http://www.cgarena.com/freestuff/tutorials/zbrush/wolverine/image037.jpg

[accessed 4 March 2008]

A key element of texturing is to recreate real world elements in 3D or enhance the realism of a 3D piece. This essential technique in 3D art is fundamentally a hybrid of design elements, for example the taking of photographs of a wall and applying it to a 3d model of a wall which can be further enhanced in its realism with correct lighting and additional texture enhancements e.g. displacement and bump maps.

In 3DS Max there is also a plugin available called Deep UV which is supposed to aid in the texturing process, therefore I may explore the use of this in my texturing process.

Technique Evaluation

Although techniques such as Normal mapping are very important in modelling its key area is gaming and the simulating of a high res model on a low polygon model, which is achieved through careful material map editing that will be used to manipulate the manner in which light reacts to the models surface. A good technique but ultimately not required for my piece as I aiming to create a simple 3D character model that is close to the original concept in 3D and doesn't require too much intricate details which normal mapping could provide. Displacement mapping may be more of use which is essentially the same as normal mapping but serves the purpose of creating greater detail on an already detailed model i.e. similar to a bump map which creates the illusion of depth e.g. spots and lumps.

References:

Ahern, L., 2006. "3D Game Textures: Create Professional Game Art Using Photoshop". Focal Press Publishing

http://www.mudbox3d.com [accessed 4 March 2008]

http://www.pixologic.com/ [accessed 4 March 2008]

Etude Two (2) - Introduction

Etude Title:

Texturing: a hybrid of elements

For the 2nd etude I have decided to explore the areas around texturing in 3D. This is a natural creative progression from my first etude. Fundamentally texturing techniques are a key creative skill I have yet to learn. During this etude I hope to create a piece that further demonstrates the hybrid of real world images and a 3D model/artwork. For the etude I will be using 3DS Max and Photoshop to create texture and apply it to a model. During this etude I expect to primarily focus on the use of UV unwrapping to create detailed and essentially accurately placed textures on a 3D model using real world references to help achieve an accurate depiction of my original concept. Lighting techniques will be and essential factor during this process. This will further improve my skills as an artist and help develop my multimedia talents to help mix real world and design elements with 3D.

Etude One (1) - Process

I initially attempted to utilise the spline method which seemed promising but the result was unfavourable as to further editing and wasn't as efficient as I thought it would be.

Method Evaluation

I may have caused an error in the splines but when overlooking other examples of this process it seems that its quite inefficient for full form modelling. In addition I'm attempting to keep the model's poly count low and one of the main attributes of spline modelling mentioned in the tutorials was that the model would be smooth and hence a higher poly count. Also the cleaning up and poly editing process after the spline editing seems extensive and inefficient and therefore straightforward polygon editing is preferable.

I then found tutorials on different forms of modelling in 3D for various software as the general techniques involved in the modelling process are generally easily translatable across 3D software platforms. I found a tutorial that demonstrates the method of creating and fleshing out the polygons for each of the facial features and then stitching them together.

Above image - Available at: http://www.3dtotal.com/team/tutorials/juliandobby/julian_dobby_01.asp
[accessed 29 February 2008]

I then went back re analysed my references and utilised this method. This meant continual use of the Extrusion and Weld tools within 3DS Max.

The forming of polygons helped me to economise my polygon count but also the process felt slightly daunting with the process encouraging the maintaining of the models form and thus more polygons were used than intended in some points. This made the stitching process more arduous despite the ease of 3D Max's Weld and Target weld tools.

The lips and nose on the model were created separately using a plane converted to an Editable Poly and formed to fit the mouth area and match the polygon flow or help redirect it.
For the hair I used the same method and created them in seperate chunks that reposition around the head, I then applied the shell modifier to them to add volume.

I'm relatively pleased with the end result but in certain areas during the process when joining the polygons the slightly unstructured process seemed quite daunting and the model lost some of the smooth flow of polygons during the process. An important factor constantly reiterated through tutorials is the importance of the edge flow on the model. I believe the etude was effective in helping evaluate modelling techniques and the final result was an accurate model based on my design and thus showing the translation from 2d to 3d and is thus a hybrid of design. I feel that although the other modelling processes have their benefits they still seem to fall short of simple base box modelling and subdivision in preserving the models continuity and keeping the poly count low.