You can test the spline cage 6 by moving the splines to see if they all stay connected to their cross sections. If any are not connected, then add a point to the curve that is missing one and weld it to its corresponding curve.
Splines that cross each other but are not connected by a common vertex will also create holes. Be sure to add a point to connect the two. In some rare instances, someone will make twopoint polygons that look like lines but are not true splines. You can tell the difference between a spline and a polygon by the nature of the line. Polygons have straight lines between vertices, while splines have curved ones.
If for some reason your spline cage has straight lines, then go to your polygon statistics box, select the ones that say "faces" or "polygons," and delete them. The polygon statistics box should list only curves. Sections on the spline cage that appear to have more than four vertices around them will have to be split up.
You can do this by selecting opposite points and making an open curve to connect them. After separating the polygons from the spline cage, you will most likely find that the polygon statistics box is also handy for finding polygons that have more than four sides and less than three. These may cause problems later on if you try to change your polygon mesh into a subdivision object. In your polygon statistics box, simply select the one- and twopoint polygons and delete them.
If you see polygons listed with more than four sides, select these and split them into three- and four-sided ones. This object is so simple that only one spline cage will suffice. It will not be necessary to make it utilizing separate patches. A rendered image of the spoon appears in Figure Figure shows the spline cage of the spoon.
Use a mirror tool in the top view to make a duplicate of the spline on the 0 z axis. Figure shows the two splines. The second mirrored spoon spline. Step 1. To make the third open curve, select one of the spoon splines, copy it, and paste it. Use a set value to move all the points on the third curve to 0 on the z axis.
In the front view, move the third curve down a little and drag the points for the cup part of the spoon even farther down. Figure illustrates the third open curve. Start modeling the spoon by drawing the outline with a spline in the top view or making a series of points and then connecting them with an open curve Figure In the front view move some of the points to shape it like the one in Figure The third spoon curve is shown in black.
Step 4. The first spoon spline. In order to give the spoon some thickness a fourth curve will have to be made. This will be a duplicate of the third spline that is moved down slightly in the front-view window Figure The third and fourth spoon curves are illustrated as thick black lines. To complete the spoon spline cage you can either select the curves in order and loft them or select corresponding points to make closed curves.
Figure depicts the order in which points are selected to make one of the closed connecting curves. People who have a disposition to sculpt will most likely prefer the subdivision modeling method discussed later.
Instead, one creates large blocks of shapes, segments them, and then shapes them by pulling and pushing points. The two patches will be the scoop section and the handle. Figure illustrates the completed spatula. One of the spoon cross sections. Points are selected in order to make the closed curve. All the cross sections can be viewed in Figure Artists who draw and paint often prefer this method since it is similar to sketching the outline of a form.
Figure shows the spline cage that makes up the spatula. You should notice that, as before, open curves are combined with closed ones to make the mesh.
Use a mirror tool to duplicate the first spline in the top view on the 0 x axis. The splines should now look like the ones in Figure In the top-view window, draw the outline for one side of the scoop section Figure As in previous steps you can either draw the spline or create points and connect them with an open curve.
The second mirrored spatula spline. Select one of the curves, copy it, and paste it. Use a set value on the duplicate curve to move all the points on the 0 x axis. There should be three splines, one on each end and one in the middle, as seen in the top view of Figure Select all three curves, copy them, and paste them.
Move them down slightly in the side or front view so that they resemble the illustration in Figure The first spatula spline. Connect the open curves by either lofting or selecting corresponding points in order to join them with closed curves. Figure shows the closed connecting splines of the spatula scoop.
Closed curves connect the open splines to finish the spline cage for the scoop part of the spatula. A third curve thicker black line is made with a set value of 0 on the x axis. The handle part of the spatula is next. Select the last closed curve on the narrow part of the spatula scoop Figure The last closed curve on the spatula scoop will be used to begin the handle.
Copying, pasting, and moving the three duplicate splines down completes the six open curves of the spatula scoop. Be sure to bring the points together at the front edge of the spatula; otherwise, you will have a hole there. The spatula will also look better with a sharp edge there.
Copy, paste, and move this closed curve to start the handle. Keep making duplicates and moving them so that they are distributed along the length of the handle Figure Scale certain curves to define the shape of the handle.
The last one should be quite a bit smaller than the others since it will close up the handle. This lesson will use similar methods to make the frying pan handle and lathing for the pan part. Figure shows the rendered frying pan. The wire mesh can be viewed in Figure Copies of the first handle closed curve are distributed accordingly. Step 8. Connect the closed curves with open ones.
Figure shows the handle splines after they have been joined. Since they share the same curve, as seen in Step 6, they should make a seamless patch model. Be sure to Fig. The spatula handle after connecting the closed curves with open ones. In the side view, create an open curve that follows the contours of the outside and inside of the frying pan Figure Since this spline will be lathed, you only need to make half a width size of the pan.
Lathe the spline degrees on the y axis. If you want a smoother-looking pan, use a higher setting for the number of sides. You should now have the pan part like the one seen in Figure Creating the first open curve for the handle.
The first open curve for the frying pan. Use a mirror tool to duplicate the curve in the topview window. Figure shows the second pan handle curve. The first handle curve is duplicated by mirroring it in the top view. Now you will begin the handle. With the pan part placed in a background layer, draw a spline in the top view outlining the shape of the handle Figure Make sure the beginning of the spline starts a little inside the pan.
Shape the curve somewhat in the front window. Select one of the handle splines, duplicate it, and paste it. Use a set value to move all its points to the 0 z axis. In the front view, move all the points except the one at the far right above the other two curves Figure You can now connect the five handle splines by either lofting or selecting corresponding points in a clockwise or counterclockwise order and creating closed curves.
Figure shows the connecting closed curves as black lines. The third spline black is made from a duplicate whose points are moved to the 0 z axis. In the top-view window, select the first spline and its mirror copy. Copy the two curves and paste them. In the front view, move the two duplicates down on the y axis. Pay attention to the depth of your frying pan since this is how much you want to move the two bottom handle splines.
Figure illustrates the five open handle curves. Either the five open curves are lofted or corresponding points are selected and connected to make closed curves. Check the wide end of the handle to make sure the closed curve is sitting somewhat within the wall of the round pan. If you are working with polygons then surface the spline cage and separate the polygon mesh from the curves. Close up the end of the handle to get rid of the hole. Place both the handle and the pan in one layer, and you are done.
Two top splines are duplicated and moved down on the y axis to make a total of five open curves. For those of you who are not familiar with the process of painting, a palette knife is an instrument used to mix oil or acrylic paint on a palette.
Some artists use the palette knife in place of a brush to create bad paintings. Figure depicts a rendered version of the palette knife. The color image can be viewed in the 13 Step 2. Select the first palette knife curve and mirror-duplicate it in the top view. The two splines should look like the ones in Figure The second curve is made by mirroring the first in the top view. The wireframe model can be seen in Figure In the top-view window draw a spline similar to the one in Figure Some of you may decide to make the spline by creating points and connecting them with an open curve.
Use the front view to bend the spline Figure The first open curve for the palette knife. Use a set value to move all its points to the 0 z axis Figure In the front view, move the vertices on the stem part above the two previous splines. The third curve has its points moved to the 0 z axis with a Set Value command. Make a duplicate curve from the third one and move the points on the stem part down a little Figure All four curves should now resemble the ones in Figure The four open curves are connected with closed ones.
The fourth curve is made by duplicating the third one and moving some of the points down. In another layer, start making the handle of the palette knife. In the top view, draw a spline outlining the shape of the handle Figure Check the layer with the blade portion to make sure the handle spline overlaps it somewhat. The first open curve for the handle of the palette knife. Step 7. Select the first handle curve and make a mirror duplicate of it in the top view. Figure shows the two curves.
Connect the four open curves with closed ones by either selecting matching points or lofting the splines Figure Select both handle curves, copy them, and paste them. Rotate the two duplicate curves 90 degrees on the x 15 Fig. A mirror duplicate of the first curve makes the second one. The four open handle curves are connected with closed ones. You should now have a better understanding of how to model by outlining the contours of objects.
The experience you have gained here will act as a foundation for the more complex 3-D sculpting discussed in later chapters. Two duplicates of the handle curves are rotated 90 degrees. Their points are brought closer together to improve their shapes. In the front view, drag points down from the top spline and drag points up from the bottom spline to give the handle a better shape Figure Step 9.
It is time now to connect the four palette knife handle curves. Figure shows the closed connecting curves black against the four open curves gray.
Close the ends of the palette knife by welding their points or bringing them closer together. This is because many times one starts with a box shape, which gradually becomes more complex. Obviously, in order to implement subdivision modeling one has to use software that supports it. This system requires modeling a low-polygon control mesh and then applying a smoothing algorithm to subdivide the polygons.
Even though the polygon count appears to be low, the Subdivide command makes the object appear smooth. The quality of the model can usually be set by the amount of patch division that is applied to the subdivided object.
Higher values result in smoother surfaces since the polygons are divided into smaller and greater amounts. Your graphics card, processor capabilities, and random-access memory RAM are the final determining factors for the amount of patch division that will be used. Normally, when an object is in subdivision mode, a cage will surround the polygon mesh. Points on the cage are moved in order to affect the object within it.
During the modeling stage, one usually switches back and forth between the low-polygon version and the smooth subdivision surface. In low-polygon mode, it is often easier to pick out specific points for editing.
It is also the preferred state for beveling polygons in or out as well as slicing them into smaller ones. When the model is in the smooth-subdivision state, it is easier to see what the final result will look like.
Once the object becomes more complex, you may want to find and select points with the model in lowpolygon mode, then switch to subdivision mode to shape the object by moving the selected vertices. As you toggle back and forth between the smooth and rough versions, you will most likely find that most of your time is spent pushing and pulling points.
The following tutorial will have you model simple subdivision objects. Beveling will be used as well as slicing of poly- gons. Even though values are given for the amount to bevel, the measurement could vary among different software packages. Figure shows the rendered hammer. The gray lines indicate the subdivision cage around the model.
Bevel the back polygon back straight with the following settings Figure : Shift: 65 cm Inset: 0 Edges: Inner Fig. Creating a simple box for the hammer. Most subdivision modeling starts with a box. Bevel the back polygon in with the following settings Figure : Shift: 15 cm Inset: Beveling back the first section. The third section is beveled back. Bevel the back polygon out with the following settings Figure : Shift: 15 cm Inset: Beveling out the fourth section.
Bevel the back polygon straight with the following settings Figure : Step 7. Bevel the back polygon in with the following settings Figure : Fig. The rear polygon is beveled straight back. Bevel the bottom back polygon down and in with the following settings Figure : Shift: Beveling the bottom polygon down and in.
The rear polygon is beveled in. Use the knife tool on the back polygon to split it vertically down the center Figure Split the resulting five-sided top and bottom adjoining polygons into three-sided ones. The arrows point to the rear polygon that is split vertically. Bevel the back two polygons in with the following settings and scale and move them down so they are narrower on the y axis Figure Shift: 1. Bevel the bottom middle polygon straight down with the following settings Figure : Shift: 8 m Inset: 0 Fig.
The rear polygons are beveled back and in. The two newly beveled rear polygons are scaled and moved down on the y axis. Step Use the knife tool to split the back fork part of the hammer vertically twice Figure The handle is made by beveling the bottom polygon straight down.
The arrows point to the split in the back fork part. This will make it possible to bend the hammer's fork. Select points or polygons on the handle and use the stretch tool to increase or decrease their size for shaping the handle Figure Turn on subdivision surfaces and continue refining the hammer. Splitting the handle polygons horizontally makes it possible to alter its width at key points. In this tutorial you will have to weld points and delete polygons that are located inside the model.
When you have hidden polygons on the inside of an object, they can pull on the mesh, creating undesirable gaps, holes, and creases.
Figure shows the rendered armchair. Select the top polygon of the square and bevel it up and in with these settings Figure : Shift: 1 cm Inset: 2 cm Edges: Inner Fig. Beveling the polygon straight up. Subdivide the polygons in the front and side views with a knife tool so that they now look like Figure Beveling the top polygon in and up slightly.
Select the top polygon and bevel it up and out with these settings: Shift: 1 cm Inset: -2 cm Edges: Inner Fig. Splitting the object with a knife tool white arrows. The top shows the four newly created squares in the corners.
Select the top polygon and bevel it straight up with these settings Figure : In the top view, select all the back and side polygons and merge them into one Figure Merging polygons will ensure that when you bevel the polygon you will not have gaps between beveled objects. After beveling, the merged polygon is usually split into four-sided polygons. Shift: 24 cm Inset: 0 Edges: Inner 22 sides Figure This is the splitting process that occurs after merging and beveling up a polygon. Hiding all the polygons except for the one that will be split makes the process easier.
The polygons on the top are merged patterned area. Bevel up the merged horseshoe-shaped polygon with the following settings Figure : Shift: 44 cm Inset: 0 Edges: Inner Fig. Select the points at the top and split them across arrows. You w i l l n o w have a top back polygon that can be beveled up for the back.
Bevel up only the top back polygon to make the backrest. The merged top polygon is beveled straight up to make the sides and back. Select the top horseshoe-shaped polygon and split it into three polygons: one for the back and two for the Fig. The back rest is beveled straight up.
After beveling up the top backrest polygon, split it up so that each section has only four-sided polygons. Select the four corner polygons on the bottom of the chair and bevel them down with the following settings Figure : Shift: 36 cm Inset: 6 cm Edges: Inner Fig. The four corner polygons along the bottom are beveled down to make the legs. To finalize the chair, you may decide to continue splitting polygons so as to bevel them out in specific parts.
For example, the sides of the armrests could be beveled out to give them a rounder shape. The back of the chair could also be split near the top and beveled out a little Figure Remember that if you plan to bevel a number of polygons up, out, or down at the 24 same time, you should merge them first. After beveling you can split the polygon again into four-sided ones. Work in both low-polygon and subdivision modes to shape the chair.
When you are done, select and name the various surfaces for texturing. The same methods will be used, but there will be more steps and, of course, more curves and polygons that will have to be dealt with. I f you have followed all the previous exercises, then you should be ready to work at an intermediate level. The next lesson has you modeling two cartoon characters that are neither simple nor complex.
The first lesson shows how to model a cartoon cow using subdivison modeling. The second lesson makes use of patch modeling methods to create a cartoon chicken. It is advantageous to have modeling skills in at least both areas. Too many 3-D artists limit themselves by choosing one or the other and often disparage all methods besides the one they choose. Specific modeling and animation techniques often become fads. When this happens, some artists judge them to be superior to all other solutions.
This bias is similar to that of the "art fascists" who claim that anything done on the computer is inferior to art made with traditional materials. If your software has spline or NURBS as well as polygon modeling tools and supports subdivision surfaces, then you have the flexibility to combine both. You can use curves to outline the shapes of models by following the contours of drawings or photos. When it becomes difficult to visualize the template as a three-dimensional object, then switch to box modeling and create a quick primitive of your model.
Turn on subdivision mode to see a smooth version of the model. Pull and push points to fine-tune the object. The most important thing to remember about 3-D modeling is not to limit oneself. Experiment with different methods and tools. The mind is an excellent tool, but unfortunately it loves habits. Its tendency is to run in grooves, especially when it finds something it enjoys. Like a broken record player, it will keep playing the same song over and over again unless it is jogged out of its routine.
You can see this with some people who have strong likes and dislikes. They are often very narrow-minded and have difficulty thinking out of the box. Figure shows the same cow in subdivision mesh mode. Before starting, you may want to use templates. Figures and illustrate the 2-D templates available. Once you start modeling your own characters, it is recommended that you draw your own template sketches. Beveling the polygon back and in. Bevel the back polygon back and in again with the following settings Figure : Shift: 11cm Inset: 2.
A box to make the cow head. Bevel the back polygon back and in with the following settings Figure : Shift: 9 cm Inset: 2. The polygon is beveled back once again.
Select the bottom polygon of the middle section and bevel it down Figure Shift: 15 cm Inset: 2 cm Fig. The knife tool is used to slice across the neck. Select the top front neck polygon and bevel it forward for the chin Figure Shift: 9 cm Inset: 1. Reposition the bottom polygon to the right location for the bottom of the neck.
Use the knife tool to split the neck polygon in half Figure The top front neck polygon is beveled forward. Move points to refine the shape of the head. Work in both low-polygon and subdivision modes Figure Refining the shape of the head in subdivision mode. Select the bottom chin polygon and bevel it down Figure The front of the nose polygon is split in half. Notice that the arrows point to the polygons that are split so they will not have five points around them.
The right image shows the head in subdivision mode. Bevel the nose forward and in Figure Shift: 3 cm Inset: 2 cm Shift: 7. Use the knife tool to slice across the chin for extra points to pull and push. The chin is beveled down and shaped in subdivision mode. Split the front nose polygon down the middle. Make sure the top and bottom adjoining polygons don't have more than four points by splitting them into three-sided ones Figure The two front nose polygons are beveled forward and in.
Refine the shape of the nose. Select the top polygon of the head right behind the nose and bevel it up Figure Bevel the two polygons from the side of the head again to form the ears Figure Shift: 10 cm Inset: 2. The top polygon beh i nd the nose is beveled up for the head. Both side polygons are beveled again to make the ears arrows.
Refine the shape of the head in subdivision mode. Select the two polygons on both sides of the head and bevel them out Figure Shift: 3 cm Inset: 2 cm Step Bevel the two selected ear polygons again to make the tip of the ear Figure Shift: 5 cm Inset: 2 cm In subdivision mode, refine the shape of the ear. The two polygons on both sides of the head are beveled outward arrows.
One more bevel on the ear completes the form. Select the ear polygons and rotate them forward so the wide parts of the ears are facing forward.
Continue refining the head. Select the two polygons on the side of the head above the ears and bevel them out for the horns Figure Split the side of the nose polygons vertically with the knife tool and refine the shape of the nose. Scale the front of the nose down to taper it more Figure Shift: 2 cm Inset: -7 mm Fig.
The black arrows indicate where the side of the nose is split and the two front polygons are made smaller. Notice the right subdivision view now shows the nose with a more rounded look. Both arrows indicate the bevel direction of the top two head polygons that will start the horns. Select the polygons at the end of the nose and bevel them back and in for the nostrils Figure Shift: 10 cm Inset: 2 cm Refine the shape of the horns.
Nostrils are made by beveling in the front nose polygons arrows. One more bevel for the horns makes the tips arrows. Bevel the nostrils back and in some more Figure Shift: The two front teeth arrows. Step 2 1. The nostrils are beveled back and in one more time. Add some teeth by modeling them. A quick way is to make a box with the following dimensions Figure : Add eyeballs and pupils by flattening spheres.
You might also want to make eyelids from a half sphere. You can improve the cow by making eyebrows, a tongue, and maybe even a ring for the nose. Try to make the forms on the head as round as possible.
Unfortunately, box modeling can result in boxy models if the polygons are left too large and sections are not tapered. Figure shows the completed cow head. Move the box for the teeth and mirror it. The complete cow head with folderol. Select the bottom neck polygon and bevel it down Figure Shift: 31 cm Inset: Adjust the width of the polygon. Sobranie Sochineni V 6-i Apple Macos And Ios Machine Learning And Knowledge Build Chatbot Interactions: Responsive, Pci Dss: An Integrated Please create a new list with a new name; move some items to a new or existing list; or delete some items.
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