Learning 3D Modeling on Your Own: 2013

Wednesday, May 1, 2013

Interview with Piotr Glabinski

Velociraptor for Method - © 2013 | Piotr Glabinski - All right reserved.
Could you give a brief introduction of who you are and what you create?

Hi, my name is Piotr Glabinski. I am a modeler of characters, props and environments.

How did you get into 3D Modeling/Animation? And how long have you been doing it?

I have been working in 3d for eight years now. I started as an intern and soon I got my first freelance gig.

Did you acquire your skills through a formal education such as a college/university, and/or are you self taught?

I graduated from Jagielonian University in Poland, but I didn’t study 3D there. I taught myself Maya, and during breaks between projects I have been taking a few courses in human anatomy, Mental Ray etc.

What software(s) do you use? Which is your favorite one and why?

I use Maya for modeling and Zbrush for sculpting. Most companies use these programs in production.

What type of modeling do you prefer and why?

I love organic modeling, such as characters, because you can use your imagination, and you have more freedom than with hard surface modeling where you usually need to strictly follow reference photos.

What do you like most about your job and why?

I love my work because it doesn't feel like a regular office job; it's more like playing.

What process do you go through for your personal modeling/animation projects?

Finding great concept art is very important.

What was your first major project?And how did you feel about it?

My first big project, at RhinoFX, was for Radio City Music Hall's 75th Christmas show. We built half of New York city, which was projected on a screen behind the Rockettes.

Is there any certain model that you have created that has been your favorite?Why?

I don’t think I have a favorite. I like the whole modeling process- adding extra details, skin, wrinkles etc. is fun.

What is/was the most challenging part of modeling/Animation for you?

Usually it's the time pressure. Often you have a cool concept to work with but there is not enough time to model it they way you'd like, so you need to decide how many details you can include, and plan your work to avoid mistakes.

What are some important lessons you have learned through your experience? And what are some typical mistakes to avoid while producing a good 3D Model?

You always need to plan your model well, starting with good topology.

Keep your scene clean and organized.

What inspires you? And/or who inspires you?

I like to go to the Metropolitan Museum. Checking out the art there can give you lots of new ideas and inspiration.

If you had the chance, what company or artist would you like to work with on a project?

There are a lot of great artists I would be honored to work with, the guys from ILM or Blur for example.

How do you stay motivated/focused?

I love to check online galleries like CG HUB or Zbrush Central. Most of the artists on these sites are amazing.

What advice do you have for people who want to get into Modeling/Animation?

Be positive, keep working hard, practice and don’t give up your dreams.

Do you have any other hobbies besides 3D Modeling/Animation that affects your style?

I like playing sports and doing traditional sculpting.

Is there anything else about Modeling that would be helpful for beginners to know?

Good topology is important. When you are working in production, remember that models for animation need to be very clean, and try to avoid triangles.

What can we expect to see from you in the future?

I am moving to LA very soon, so I hope I will work on some creature and monsters projects; that would be fun.

Thank you to Piotr Glabinski for taking the time to do an interview with me. I hope to see more from you soon.

ALL IMAGES BELONG TO PIOTR GLABINKSI!!

Resources

Glabinski, Piotr. "Screamer." Screamer. N.p., n.d. Web. 20 Apr. 2013. <http://screamerfx.blogspot.com/>

Merging of Two Worlds | alucinarae

alucinarae is a 2D artist that works with Photoshop quite often and does a lot of digital painting. He also likes to discuss the less popular branded creative soft-wares and bring them to others attention as to what they can do. Please visit his blog if you are interested in his work or learning about other creative works.

There are many uses for 3D models in the creative industry. Most of the time, the world of three-dimensional modeling and rendering are considered separate from the realm of two-dimensional graphic design and illustration. But as the creative industry continues advancing with new developments to the tools and technology available in digital creative software, the boundaries that separate 3D and 2D work are slowly becoming irrelevant.

Most modelers are familiar with the concept of “texturing”, which is effectively the process of wrapping a specialized 2D image around a 3D model to complete the final product. 3D models by themselves are usually quite plain, a monotonous assemblage of uniform, muted gray constructions that appear to have been all carved out of the same material.

"plain, monotonous" 3D model

It is the textures of a model that usually lends to the complete look of any construction; the details and colors that work together with lighting lend to the believability of the created concept. To best understand what texturing is, the idea is similar to painting the colors onto the surface of a colorless sculpture in real life. In 3D rendering, the textures are much more detailed than just color; you also have other options such as normal maps that interact with lighting to simulate wrinkles in cloth, scars on flesh, or intricate engravings on smooth surfaces. Most texture maps are done in a 2D environment, such as Photoshop, and later applied onto the model itself. The result is a finished construction that, if done well enough, looks lifelike and believable.

Texturing seems to be the most well-known method of using both two-dimensional and three-dimensional workspaces; the process is basically applying 2D resources to enhance a 3D artwork. However, there are processes in which the workflow is reversed; using 3D resources to enhance 2D artwork. The concept isn’t as foreign as some might think it to be; it’s actually quite a common application that is sometimes not as recognized or respected due to the particular stigma of “using shortcuts” in the 2D creative industry community.

Same plain model after being textured

The negative opinion I’m referring to is not a universal opinion, so perhaps I need to explain.

In the 2D creative industry—especially in the painting and illustration community, which I am a part of—many individuals take great pride in the “do everything by hand” mentality; all concepts and artwork should be done entirely by the artist alone, and any non-traditional use of resources or aids are heavily discouraged, sometimes even being labeled as “cheating”. I personally find this kind of thinking to be limited and unconstructive, as it is counter-productive to the opportunities and potential innovations our industry could benefit from by bringing 2D and 3D work styles together.

Many graphic designers already implement 3D-rendered images into their 2D arrangements. In illustration, the same principle can be applied to help cut down the time spent doing tedious or time-consuming steps of composing an image, or just be used as an aid to further enhance a piece. One of the most classic examples are how some of the recent comics graphic novels use three-dimensional rendering to composite a background setting, saving artists from redrawing a background repeatedly over multiple panels and keeping the intricate details of the setting consistent.

A popular Korean webtoon, Noblesse, uses this method extensively. The artist, Lee Gwang Su, draws his characters in a clean and refined style. According to the Noblesse blog run by the webtoon’s author, he utilizes GoogleSketchUp to build a believable and consistent 3D environment, then takes screenshots from different angles as backgrounds for different panels. After the backgrounds are established from the 3D environment renderings, he draws the characters in separately; the result is a smooth blend of both 2D and 3D elements that create a completed scene which helps Lee Gwang Su tell his stories cleanly and efficiently.

Example of the Noblesse webcomic

Another artist noted for using such a method is Wenqing Yan, better known as Yuumei. Her most recent storytelling endeavor, Fisheye Placebo, is also a webtoon-styled graphic story set in a highly-detailed, meticulously-constructed world. In order to capture the feeling of the story she was aiming for, Yuumei adopted and practiced the methodology of constructing artistic, yet intricate and precise backgrounds using a combination of various 3D modeling software and 2D graphics software. In fact, Yuumei provided a quick tutorial on her deviantART account which overviewed her preferred methods when it came to constructing such 3D-based backgrounds for illustrations. Yuumei often uses SketchUp to build her scene, similar to Lee Gwang Su’s technique, but goes further in using V-Ray to flesh out the scene with high-quality rendering and effects. Other programs she has made use of include 3DSMax and ghostTown (for generating random cityscapes), so her array of resources is quite large. After building and rendering the 3D background, she takes the images and subjects them to further post-processing in 2D software, namely Photoshop and SAI. The entire process results in an image that blends almost seamlessly with organic art; working together to create a uniform illustration that has depth, yet did not require tedious work that consumed a lengthy amount of time.

A gif created by Yuumei to show off a 3D modeled background blended with 2D illustration.

Yuumei has answered to criticism from other illustrators and comic artists for employing this methodology of using 3D software to “speed up” her process, or using it as a “crutch”. This is the stigma of the graphic design and illustration community I mentioned earlier; some individuals condemn this strategy, considering it even worse than tracing. Yuumei herself has addressed these criticisms on her own blog, stating her reasoning and justification for employing this technique.

Whether this technique is loved or hated, it cannot be denied that the usage of three-dimensional imaging to supplement traditional two-dimensional illustrations is becoming increasingly common. The artists who wish to remain traditional may be adamant about using only self-made art, but the ever-growing creative industry itself has provided the means for progress through innovation, even if it is at the cost of traditional methods.

Either way, the bridges between the two worlds of our creative industry do exist; the distance between 3D modeling and 2D illustration is not quite as far as it used to be anymore.

Resources:

Łyczkowski, P (2009) Artblog. Plyczkowski.com. Retrieved from http://plyczkowski.com/wp/
손제호 / 이광수 (2010) “everywhen blog”. Naver.com. Retrieved from http://blog.naver.com/everywhen/150089993668
손제호 / 이광수 (2007) Noblesse. Naver.com. Retrieved from http://comic.naver.com/webtoon/list.nhn?titleId=25455
Yuumei (2012) “Work progress gif for ‘Leave it Broken’”. Maid-en-china. Retrieved from http://maid-en-china.tumblr.com/post/33149233247
Yuumei (2012) 3D background Tutorial (sic). deviantART.com. Retrieved from http://fav.me/d58fpqc

Friday, April 19, 2013

Interview with Dan Fine

Example of commercial work as a 3-D Artist.

Could you give a brief introduction of who you are and what you create?

My name is Dan Fine. I work in the commercial industry as a freelance 3-D modeler in NYC.

How did you get into 3-D Modeling/Animation? And how long have you been doing it?

I started using 3-D packages my Junior / Senior year at Windsor High School. We didn't have access to any top tier 3-D software so it was mostly Bryce 3-D and Animation Master. The teachers in my art department were very supportive of my interest in computer art and were a big part of my decision to pursue some sort of 3-D related career at SCAD. I didn't decide to specialize in modeling until I had worked in the industry for a couple years.

Did you acquire your skills through a formal education such as a college/university, and/or are you self taught?

Bachelors degree from Savannah College of Art and Design.

What software(s) do you use? Which is your favorite one and why?

Most of the work I do is in Maya but there are jobs where I'll dip into XSI or Zbrush. I can't say I have a favorite, I appreciate certain aspects of each package. I really like Maya's modeling tools, XSI has really solid curve and extrusion tools and a lot of other great strengths like ICE and Arnold that I'd like to explore more. Occasionally a job requires enough detail where displacement maps are needed and Zbrush has been my go-to for that, even though it's interface is pretty lack luster.

What type of modeling do you prefer and why?

Character modeling. It's a really fun technical and artistic challenge to make an efficient, accurate, workable character from a design or concept.

What do you like most about your job and why?

The people I work with really make my job enjoyable. It's great feeling to be part of very a talented group of artists who get to make dope commercials everyday. Many bonds have been formed over long hours and bottles of whiskey.

The other best part about my job, is that I get paid to make the weirdest stuff!

What process do you go through for your personal modeling/animation projects?

I don't do personal projects. I love what I do as a career but don't feel the need to go home and do more of it. Staring at a computer screen in my spare time is something I try to avoid.

What was your first major project?And how did you feel about it?

It's hard to say what my first major project was… Everything felt pretty major coming right out of school! Probably any of my first jobs at Psyop, maybe Milk or Michelin. I'd never worked with a team of people that size before and they had a proper pipeline, which was fairly foreign to me coming from smaller studios. Being around so many senior artists and knowing the expectations of the studio was very stressful. I was overwhelmed and found it really hard to relax until my booking was over.

Is there any certain model that you have created that has been your favorite?Why?

MiO - Naked Mole Rat. It's a simple / hilarious character, and there's a pretty great reason why his crotch is pixelated…

What is/was the most challenging part of modeling/Animation for you?

Speed and efficiency. To me, the difference between someone who is a decent modeler and one who's really good, is being able to quickly and accurately interpret a design into a clean / workable mesh for production.

What are some important lessons you have learned through your experience? And what are some typical mistakes to avoid while producing a good 3-D Model?

Modeling is pretty straight forward when you have the basic concepts down. It would be a mistake to not have a good handle on the other parts of the production. How you choose to model something for a job is determined by what people are going to do with it later in the pipeline.

What inspires you? And/or who inspires you?

The Natural History Museum is a very inspiring place to be, especially the animal halls…I also look at a lot of photography and illustrations…I tend to gravitate towards the natural world for inspiration because it's so amazingly complex and came from such humble beginnings.

If you had the chance, what company or artist would you like to work with on a project?

I'm very happy to be working at some of the best studios in NYC. For right now, I'm exactly where I'd like to be.

How do you stay motivated/focused?

Coffee and Fu-Schnickens

What advice do you have for people who want to get into Modeling/Animation?

It's a really good idea to have a strong generalist background even if you decide you want to specialize in something.

Do you have any other hobbies besides 3-D Modeling/Animation that affects your style?

Rock climbing, fishing, camping, taxidermy, stupid cat gifs…

Is there anything else about Modeling that would be helpful for beginners to know?

Always use references… Unless you have a photographic memory, chance are it's not gonna look like what's in your head.

What can we expect to see from you in the future?

More weird characters, and probably a couple tampon commercials to pay the bills.

Thank you to Dan Fine for taking the time to do an interview with me. I hope to see more from you soon.

Resources

Vimeo, Your Videos Belong Here. Dan Fine on Vimeo.Retrieved April 15, 2013, from http://vimeo.com/dansofine

Dan Fine. WORK OF THE DAN. Retrieved April 15, 2013, from http://www.danjfine.com/

Interview with Ricardo Orellana

Please visit Ricardo Orellana!!

Could you give a brief introduction of who you are and what you create?

My name is Ricardo Orellana, 3-D Artist with primary focus in 3-D modeling and Digital Sculpting and Texture paint as a secondary skill.

How did you get into 3-D Modeling/Animation? And how long have you been doing it?

My 1st contact with 3-D as back in 2006 when I took a Cinema 4D course. I was in an architectural school at the time and I took it mostly to improve the quality of my 3-D perspectives for arch viz, which I was doing with VectorWorks and Art.Lantis. I was really enjoying more doing perspectives than drawing floor plans. When I saw everything the C4D could do, I got so excited I kept working on architecture during the week and during weekends I would do some 3-D on my own. Then I decided I enjoyed more creating spaceships and monsters than living rooms so I decided to go to the entertainment industry.

Did you acquire your skills through a formal education such as a college/university, and/or are you self taught?

A little of both. When I did the course of Cinema4D, they didn’t really teach us how to model or texture. It was a brief overview of all the basic features, pretty intensive course. When I started taking Todd’s class, I learned about proper topoly and mesh flow. And even Farrar’s basic texture and lighting class helped me to get acquainted with Maya. But I never took any advanced modeling or texturing. Most was by my own; with the aid of Google, 3-D magazines and books I use to buy. Even Gnomon school had some free tutorials explaining advanced Maya concepts. During my 1st internship here I also got to learn Zbrush, which I asked for some tips from my work peers until I was pretty much set to be on my own. Even today I still keep learning new features. It never stops. But things like Digital Tutors make it a lot easier.

I noticed you got a Master's degree in Fine Arts, Does that help with your ability to do models/Animation? Or is it more of an interest/side hobby for you?

The Master is when I did the ATEC program at UTDallas. The undergrad degree was the Architectural school back in Brazil.

What software(s) do you use? Which is your favorite one and why?

Maya, Softimage, 3-D Studio Max, Mudbox, Zbrush Cinema 4D, BodyPaint3D, Vue, Photoshop

Hard to say, as every one has its pros and cons. I still prefer to work in Maya most of the time, since it’s the one I have easier access to on my computer. 3-D Studio has some great modeling tools, but horrible interface and navigating and some of the ways it does things I find it pretty dumb. Softimage I could say is my favorite since it has some good modeling tools and has an absolutely clean and user-friendly interface. However it’s Windows only and I’m a Mac user. I have no patience in exporting the model I’m working on as an OBJ file and doing dual boot on my computer every time I need to throw that model into Zbrush. Vue I use the least since it’s mostly for background landscape and Cinema4D, I barely use it now. Mostly just for the BodyPaint feature for 3-D texturing.

What type of modeling do you prefer and why?

Cartoon. Sometimes I like the challenge of creating something realistic but I often found cartoon-like shapes more appealing to me. It’s nice to be able to make something stylized looking. And they are not necessarily easy. Because they are cartoon, they don’t behave as normal characters would. So to be able to create intricate animation, the mesh sometimes is quite challenging. It may look simple on the outside, but wire frame wise it can be quite complex.

What do you like most about your job and why?

That every day is a different day and you never know what’s going to happen. There is no chance in getting bored. And problem solving. Sometimes I may have to make something look like velvet for example. If don’t know how, I keep researching on the Internet or ask my supervisor the best way to do it and at the end of the day when you achieve it, you have that sense of victory. And even when a task it’s simple and I don’t need to be fully concentrated, I can simple put my headphones and enjoy some good music.

What process do you go through for your personal modeling/animation projects?

I don’t have an established workflow. I may start sometimes with a simple plane and keep extruding it until I get the shape. Other times I do a sculpt 1st and retopography. It really varies from case to case.

What is the average amount of time it takes for you to model?

That’s really from case to case. A character usually can take from 3 days to a full week. There were other characters that I did in one day only. Some intricate models took me about a month or two in my spare time. Professionally, it’s how much time you are given. It’s hard to keep track of the time because you may finish something, and even with the supervisor approval, you can expect some changes from the clients. If you deal with indecisive clients, your one-week model can extend to one-month model.

What was your first major project?And how did you feel about it?

It was working as an intern on The Amazing Spiderman feature. How did I felt? Pressured. It was my 1st time in Hollywood, working with the big boys and I was the only one carrying the UTDallas flag, among other interns, majority from Ringling, followed by SCAD and CalArts. But it’s nice to look back and recall I had this chance.

Is there any certain model that you have created that has been your favorite?Why?

Tough one. I usually hate my models after a month or so, hehe. I always expect to create a new model and see which one I may take it away. But the Baiana model and the Dragon still hold up for me, due to it’s complexity and how it turned out. Also I like how the helicopter I modeled. I cannot say I really have a favorite one.

What is/was the most challenging part of modeling/Animation for you?

Modeling realistic human figure. It’s easy to get away with fantastical creatures, or stylized shapes, but a realistic human figure evolve deep anatomy study and since humans are something we know how it looks like, if you make one mistake, people are going to notice. (The eyes looks weird…the lips looks odd to me…something’s strange with his feet)

What are some important lessons you have learned through your experience? And what are some typical mistakes to avoid while producing a good 3-D Model?

Knowing exactly what you are going to model and it’s primary use at 1st. From past experience I did some models and I caught myself spending too much time modeling a specific mesh to reproduce a muscle shape that works only for one pose. Whenever the character get into another pose, that mesh got completely messed up. Now I learned that a lot of things can be achieved by keeping the mesh simple as possible. It helps to plan ahead if you know how it’s going to be used. I can model a skirt with all the wrinkles in it, which may work for a stiff showcase but if it’s going to be animated, then I would just do a tube and let the animator apply a cloth sim. Things like that can help save a lot of time.

What inspires you? And/or who inspires you?

My grandpa was a really hard worker. From artist perspective, my 1st inspiration, which made me choose the art path, was Boris Vallejo. But I follow the work of other modelers like Alessandro Baldasseroni, Pascal Blanche, Andrew Hickinbottom and Carlos Ortega.

If you had the chance, what company or artist would you like to work with on a project?

As every artist dream it would be great to be part of a Disney or Pixar project. Not to discard Dreamworks. From VFX perspective, I like a lot the work from MPC and Weta Digital.

How do you stay motivated/focused?

To know that my next portfolio piece could open a brand new opportunity for me and to remember everything I went through to be where I am now.

What advice do you have for people who want to get into Modeling/Animation?

For both fields mentioned above, take at least a basic rigging class. It helps to understand how a good topology for animation works. For shapes and form, anatomy. Both human and animal. Remember, people will notice if something off with a realistic person or animal.

Do you have any other hobbies besides 3-D Modeling/Animation that affects your style(i.e. Sports, painting, etc.)?

Sometimes, I do 2D painting to distract myself from modeling. Otherwise, going to the movies or hanging out with someone. Sport wise, swimming and hiking, or just sightseeing.

Is there anything else about Modeling that would be helpful for beginners to know?

Learn about topology. Shape is really important. Anatomy as mentioned earlier. And be prepared that as a modeler you may have to learn to model everything. Realistic, Toon, vehicles, guns, assets, etc.

What can we expect to see from you in the future?

A 2D painting that I’m doing on my spare time. But since is something I’m doing without any hurry, I have no prevision on when I may finished it, hehe.

Thank you to Ricardo Orellana for taking the time to do an interview with me.

ALL IMAGES BELONG TO RICARDO ORELLANA!!

Resources

Pascal Blanché's Derelict Planet. Retrieved April 13, 2013, from http://www.3dluvr.com/pascalb/gallery.html

The Art of Ricardo Orellana. The Art of Ricardo Orellana.Retrieved April 14, 2013, from http://ricardoorellana.carbonmade.com/

Friday, April 12, 2013

Modeling a Basic Pawn Piece

Step by Step guide to modeling a Pawn Chess Piece

Start up blender. (It should begin with a new file, if not go to File > New.)
Press Numpad 5
Press Numpad 1
Press Tab (Edit mode)
Next, left click above the cube - - this will move the insertion point
Press Shift + A - - this will bring up the specials menu
Go to Mesh > UV Sphere
Press B.
Select the bottom part of the sphere.
Press X / delete key - - Delete the faces
Press Ctrl + TAB to go into Mesh Select Mode. ((Refer Pic 1.2))
Select face
Click on the top of the cube
Press X / delete key
Press B
Select Entire cube
Press W
Select Subdivide
Press A to deselect
Press Ctrl + TAB to go into Mesh Select Mode.
Select edge
Edge Loop Select (alt + right mouse click) the top edge of cube
Press E then IMMEDIATELY left click to bring up the arrows
Grab blue arrow and go upwards towards the sphere a little bit
Press S
Go towards the center to scale down
Press Middle Mouse Button and move your view so you can see the top of the cube
Move cursor over to the right until you are happy with the roundness and left click to confirm
Press numpad 1 - - Puts you back in Front view
Press A to deselect
Next press B and select the sphere
Then press R
Press Z and rotate the sphere until the lines of the sphere match up with the lines of the cube ((I rotated mine to a right a little bit))
Press A to deselect
Edge Loop Select (Alt + RMB) the bottom of the sphere
Press Shift + Alt + RMB the top edge of the cube - - This will add another edge loop selection to the already selected piece
Press W
Press A to deselect
Press the Blue arrow and move it upwards towards the bottom of the sphere
Next you can Press A to deselect
Press B
Select the bottom edge of the cube
Press S
Next Select (B) the upper edge of the cube and bring towards Sphere
Press S to scale it wide
Stretch the bottom pawn down
Next select (b) bottom edge
Press S and scale inwards
Next Alt + RMB each horizontal edge
Then round (Shift + Alt + RMB) each edge

Great! You have completed a very simple basic looking Pawn Piece for a Chess Board! If you feel like doing something a bit more challenging, add in more details and play around with your basic shape.

Different types of Modeling - Polygonal Modeling

There are several different types of modeling. Right now I will do a quick overview of Polygonal Modeling. I intend to include more information as I find out more about the type of modeling I am experimenting and learning with.

Polygonal:

Made up of shapes called polygons

Involves points(vertices), lines(edges), and planes(faces)
Very heavy on the processing power
Is very precise in details
Takes a lot of time to create with but less adjusting time
Oldest type of modeling
Downside: everything is made of flat surfaces so if the polygons arent small then the model will appear to be edgey, especially when zoomed in

Within Polygonal Modeling there are two different techniques.
- Box Modeling
  
  Box Modeling - Steven Stahlberg © 2002-2013 | The CGSociety - All rights reserved.
  - often starts with a box/cube
  - It can be scaled and translated
  - can add more faces by adding more edges
  - Similar to sculpting clay
  - tends to make nice looking grids
  - Happens to be ideal for subdivision modeling
    - Subdivision Modeling
      - allows modeler to create hard surfaces with beveled edges and high poly count in a short amount of time
      - Very common to use
      - creates clean models
      - allows for great detail
        
        Extrusion Modeling - Nnso'n © 2007-2011 | Phung Dinh Dzung - All rights reserved
- Extrusion Modeling
  - starts with an edge or a polygon
  - extrudes new polygons from around the bounding edges
  - artists that draw a lot or are familiar with contour drawing prefer this method
  - often uses reference pictures and starts on the other edges to create a silhouette of the object, then continues to extrude inwards until the object is completed

Resources

Chopine, A. (2011). 3D art essentials: The fundamentals of 3D modeling, texturing, and animation. Oxford: Focal Press.

Kerlow, I. V. (2009). The art of 3D computer animation and effects. Hoboken, N.J: John Wiley & Sons.

Nnso'n. (n.d.). Retrieved from http://www.phungdinhdung.com/Studies_paper/Realistic_face_modeling.shtm

Stahlberg. (n.d.). Retrieved from http://wiki.cgsociety.org/index.php/Image:T_ss_maf_02.jpg

Friday, April 5, 2013

Learning the Blender Interface Part 3: Shortcuts

Shortcuts Cheat Sheet

Numpad:
1 : Front perspective view
2 : Rotates upwards in small increments
3 : Right perspective view
4 : Rotates to the right in small increments
5 : Orthographic* / Perspective views
6 : Rotates to the left in small increments
7 : Top view
8 : Rotates downwards in small increments
9 :
0 : Camera view / Perspective view
. : Centers and zooms in on the object selected
/ : Global / local view

--------------------------------------------------------
Edit Mode:
U - UV mapping
W - brings up Specials menu
R - Rotates
E - duplicates along the z axis
A - selects / deselects all
S - Scale
F - merges faces
K - cuts the object
X - Delete menu
C - Brings up a circle that adds selections to the first selection

Ctrl + E - Edges enu
Ctrl + F - Faces menu
Ctrl + V - Vertices menu
Ctrl + R - Creates a ring that will cut the object
Ctrl + I - Inverse selection(s)

Shift + A - Constructs meshes to be added
----------------------------------------------------------
Object Mode:
Shift + S - Snap
Shift + D - Duplicate
Shift + G - Select Group Menu

Ctrl + Q - Quit
Ctrl + W - Brings up a save menu
Ctrl + U - Save start up file
Ctrl + O - Open file
Ctrl+ P - Set Parent
Ctrl + A - Apply transformation menu
Ctrl + G - Group select objects
Ctrl + C - Copies
Ctrl + V - Paste
Ctrl + N - Reloads start up file

Infographic about me

Take a look at my experiences. There is barely anything with 3-D modeling. I plan to change that starting now and I will compare my changes after every 6 months as I continue to grow and become more professional. I would like to be able to show how 3-D modeling is being used in our society today, so keep an eye out for a blog post that will have that information in the near future.

By the way, take a look at Ami Yamato. She has recently sparked my creativity to try and come up with innovative ways to blog. I am sure after I have settled into this new concept, I will be able to easily present information in creative ways.