Deformation Research

As I mentioned previously I am going to be conducting some further research into the aspects of 3D Modelling that I find quite difficult and that was suggested to me by my tutor to look into due to my under estimation of how long it would take to do in my proposal. 

Upon my research into Deformation I came across a very useful website that helped me understand a lot more about my modelling and future models that I wish to make through a simple, 5 points of common pitfalls of beginning modellers. This also helped me understand the basics of deformation and has given me a lot more information to carry on researching into.

Here is some useful information on the five most common pitfalls for beginner Modellers or Modellers trying something different and new techniques:

1. Too Ambitious, Too Soon

“It's tempting to aim for the stars right out of the gate, but there's a reason you see dozens of variations on the following quote so often on popular CG forums: “This is an image I've had in my head for years, but I've been waiting for my technical skills to catch up.”

CG is hard, it's technical and complex. When you're planning your projects ask yourself, “what are the technical hurdles I might run into, and can I realistically solve them at this time?” If the answer is yes, go for it! However, if a prospective project will require you to try hair, fluid, global illumination, and render passes for the first time ever, it's probably smarter to study each of those concepts individually before you try to combine them in an image. Challenge yourself, but try to know when your ambition is getting the better of you.

Uncertainty, more than anything else, is what leads to abandoned projects, and in my opinion a bad image is still better than an unfinished one.”

2. Ignoring Topology

“Topology and edge flow are incredibly important for character models that are meant for animation. For static game-meshes, and environment models, edge flow is less important, but that doesn't mean it should be ignored entirely.

Model in quads (four sided polygons) as often as possible, especially if you plan on taking a model into Zbrush or Mudbox for sculpting later on. Quads are ideal because they can be subdivided (for sculpting) or triangulated (for game-engines) very smoothly and and easily.

Topology is a vast topic, and going into detail here would be impossible. Just keep some of the basics in mind while you work:

·         Avoid N-gons (5-sided polygons or greater).

·         Keep triangles to a relative minimum.

·         Try to have evenly spaced subdivisions, and avoid elongated faces. Your polygons don't have to be perfectly square, but keep them as close as you can within reason.

·         For an animated mesh, add extra edge loops wherever there will be deformation (elbows, knees, lips, etc.).

·         Remember to clean up a topology artefacts after using Maya's bevel tool (which often creates triangles and occasionally n-gons.

·         If you smooth your model and notice “pinching” try to think about how you can re-route edges so that your mesh smooths more favourably.

·         If you notice non-manifold geometry, stop what you're doing and fix it immediately.”

 If you're not sure what non-manifold geometry is, I will be researching and posting about this shortly.

3. Too Many Subdivisions

“Subdividing your mesh too early in the modelling process will only cause pain and regret, and often contributes to the “lumpy” or irregular quality seen in a lot of novice work.

As a rule of thumb, don't add resolution until you're sure you've nailed the shape and silhouette with the polygons you already have.”

4. Always Modelling Seamless Meshes

“It's a common misconception among beginning modellers that a finished model needs to be a single seamless mesh. This isn't the case at all, and trying to model things that way will only make your life more difficult.

I remember watching a 3DMotive training series awhile back and the instructor offered a good way to think about the question of whether an element of your model should be seamless, or separate geometry; think about the way the model you're building would be constructed in the real world, and model it as close to that as possible.

Designers always say that form follows function, and that statement holds some weight here—if you run into a situation where you think it'll be easier to model something in two pieces, do it.

Now having said that, there are two exceptions to this—3d printing, and game art.

With game art, it's often preferable for the final asset to be a seamless mesh; however the final game model is usually a retopologized version of a high resolution mesh.” This is what I will be doing with my model.

5. Not Using Image Planes

“I know this one well, because I used to try to eyeball stuff all the time, or jump directly into Maya without considering design and composition, thinking “oh I'll design it as I model it.”

I've gradually developed a habit of carrying around a little 5 by 7 pad of grid paper, and when I'm not doing anything I'll pull out a page and sketch out orthographic ideas for buildings and environment assets. I throw away twice as many as I save, but if I like one I'll stick it up on some cork board above my monitor so that it's there if I ever need it. If I decide one of them fits into a project, I'll make a scan and pull it into Maya as an image plane.

Not only does it allow me to work faster, it allows me to work more accurately, and accuracy is one of the keys to efficiency. I now use image planes for every major asset that I model, especially characters or complex architectural pieces, and my work is much better for it.

And this counts double (or even triple) if you're shooting for photorealism!”

I believe that all of the above are extremely relevant for me as I have never taken on a model of this scale or difficulty before. I have also never used Mudbox before so the research here has helped me to ensure that I do not make simple mistakes when creating my model.

A key point I have learned here is about adding extra edge loops wherever there will be deformation as I have never been shown how to take deformation into account when modelling before, so this has aided me greatly. Even though my model won’t be animated at this time, I would still have to take animation into account while modelling, as if I was working in the industry, character modelling would be split into different sections of the production i.e. modellers and animators. This is a good practise to get into as when working in a group it is essential that the team works well together and understands wheat needs doing on each model and group to save each other time fixing un needed modelling and animation issues.  

Bibliography:
http://3d.about.com/od/Career-Resources/tp/5-Common-Pitfalls-Of-Beginning-Modelers.htm

Proposal Assessment

Overall I am happy with the response and grade that I received for my Proposal and I am now on my way to start the creation of my Iron Man model. 

The only issue that was raised was that I may have sightly underestimated the time it will take to accurately unwrap the UV's for this model in preparation for normal mapping, and also to prepare the mesh for clean deformation. 

I will be looking into these areas more specifically before I start modelling. I will also look further into this when it is nearer the time of completing these stages of the project.

Below you can see my adjusted timeline taking the above into account.

If need be I will be making adjustments again as I progress in making my model but I will be conducting more research into this area as well as discussing with my tutors beforehand. This is also my weaker aspect of the modelling process so I will be learning a lot upon completing my Dissertation Module.