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Michael Introduces The Human Head Section
Focus On 2 Main Topics
- Mesh topology.
- Material creation.
- Drawn or photos are both OK.
- They’re going to define your model.
- Guide and Influence your character.
- Just following along or without reference material will lead to frustration and a lot of wasted time.
- Drawn or photos are both OK.
- They’re going to define your model.
- Guide and Influence your character.
- Just following along or without reference material will lead to frustration and a lot of wasted time.
- 2 Objects can have the same shape, yet a different mesh construction.
- Use quads wherever possible. nGons and Triangles will cause pinching in your model.
- Topology can determine how easy it is to edit or animate an object.
- Topology defines a faces key shapes.
- Edge/Face loops will follow features.
- Loops will help with editing.
- Loops will help with deformation / animation.
- Box Modelling: Building up the model from a primitive, adding detail as we go.
- Poly to Poly: Building up your model one polygon at a time.
- Sculpting and then Re-Topologising: Can be very time consuming
- You have probably already done it to some degree.
- Remaking a mesh so that the arrangement of polygons is uniform and often all quads.
- Can significantly lower the polygon count.
- Planning can help avoid doing much of it.
- Start low LOD and working up can help avoid it too.
- It is time consuming.
Do you Need to Retopologise?
- Almost always.
- Planning can help avoid it.
- If sculpting the original model it will be necessary.
- Leads to a clean and well defined mesh.
- Others can then work with your mesh too.
- It enables animation possibilities.
- Allows you to refine and easily edit your mesh.
- You can Add Images as planes, this allows you to see the image all the time in the viewport.
- Adding images as background images will only show the images when looking Top/bottom, Left/Right, Front Back and in orthographic view.
- Create a base Mesh to start with and SaveAs when you reach a point where you can branch to make different models.
- Making notes on your model.
- Sketching and planning ideas.
- Roughing out Shapes
- Converted to edges
- It can be use to create 2D Animations
- You'll learn how to use the knife tool.
- See that it gives you many opportunities to craft and re-craft your model.
- Understand that it can both ruin and fix your topology.
- You'll learn how to use the Rip tool.
- You’ll learn how to use the Rip Fill tool too!
- Useful when you wish to add detail that otherwise would be difficult or time consuming to construct.
- You'll learn about edge and vertex sliding.
- See that it is a useful way of refining your model without having to create or remove existing geometry.
- You'll learn more about where poles are really useful.
- How to use a pole to terminate edge/face loops.
- How they can guide and redirect edge/face loops.
- Remember a edge/face loop doesn’t have to link back to itself.
- Define the 5 main face groups that make up the face.
- Expect to make mistakes. Go with it and remember to Save often, and be prepared to start over from the base head.
- Create the Nose
- There aren’t any right settings
- Skin is a complex surface.
- It has more than one tone.
- It’s shiny in some places, dry in others
- Skin can be thin or thick letting some light through or blocking it all.
- My Scene Contains no direct lighting as of yet.
- Lighting can change the feel and look of a scene.
- A lot can be learnt from photo/videography.
- When using Cycles lighting should be setup as it would be in the real world for best results.
- 3 point lighting is a common lighting method.
- 3 Lights: Key Light, Fill Light and Backlight.
- Light penetrates the surface of an object
- Scattered in the material
- Some light leaves the surface at a different point.
- The more distance the light travels before exiting, the more it will be absorbed
- Thicker areas will absorb more than thinner ones.
- Most shaders we have used so far are direct surface scattering
- Usually used for controlling the weighting of shaders via the mix shader node.
- The Fresnel output has a very sharp fall off.
- The Facing output blends from one shader to the other more linearly.
- Both depend on the angle of incidence of the surface in relation to the viewer/camera.
- Render Time PBR is necessary for creating anything realistic.
- Getting something looking like it does in the real world is critical to a lot of work.
- Cycles is almost there, but is misses a few points
- It doesn’t calculate Fresnel automatically and roughness can be tweaked to be more useable.
- The ColorRamp node is used for mapping values to colours with the use of a gradient.
- It can be customised to produce interesting results.
- We will be using it to control a single value so can stick with Grey scale.
- Used to graphically control values.
- Gain a better understanding of how light works in the real world and how that transfers into cycles.
- Look at 6 ways that light and surfaces interact.
- Gain some understanding about the physics behind how our materials are working.
- We’re not going to get too deep into the math behind it!
- Makes things more physically accurate.
- Everything has a fresnel effect in the real world
- Cycles doesn’t do it by default.
- Low Roughness > High amount of Fresnel
- High Roughness > Low amount of Fresnel
- Updated (18/06/2018)
- No longer will you have to keep making the same basic shaders again and again.
- You’ll learn how to start your own library of shaders and materials.
- Gives you the ability to continually improve your shaders and materials.
- We’ll use it to mix 2 colours together.
- See that it can be used to mix more that just colours together.
- It accepts 6 channels in through 2 colour inputs and 3 channels out- mixing together the 2 colour inputs together based up a Blend type and factor.
- Use this node to take control of an object's normals.
- You’ll see the vector coordinates we will observe are represented as WORLD Space normals
- We shall use this node to control the amount of fresnel based upon the amount of roughness.
- We’ll get to grips with what Hue Saturation and Value mean.
- A HSV Value is a cylindrical representation of a point in RGB colour space.
- Hue simply means colour/shade.
- Saturation is how much there is of that colour.
- Value can be considered like brightness.
- We’re getting back to modelling.
- We cannot fully texture our model until the modelling stage is complete.
- We’ll take a look at the ear. - With all the folds it can be a challenge!
- There are 2 main loops for the ear, the inner and outer one.
- We’re going to make it separately in order to focus on the model.
- Isolation can be a good and bad thing.
- We will join the 2 meshes together forming one mesh object
- There is more than one way to do this.
- It is likely to involve some re-topology.
- We’ll see that detail can be added in various ways
- Use the multiresolution modifier to create derived data.
- Sculpt the rest of the facial detail we need.
Other Options?
- Manually move the vertices about.
- Add more vertices (ill advised)
- An accomplished artist could potentially paint the detail straight away.
- Think about your seams.
- Try and leave the face intact -without seams.
- Discover any parts that need their own island
- We’ll make sure our seams are in the right place.
- Connect our texture to the model.
- Test to make sure it is working as expected
- We will take an objective look at our model and see what is missing.
- First : Any Improvements to modelling
- Second: Any improvements that need to be made to texturing.
- Finally: Lighting and Environment