Graphics Reference
In-Depth Information
A Hard Break
Another problem that occurs is the hard
break.
Figure 9.37
shows the character
bending to the side. Notice the sharp
line that occurs on the inside of the
bend, near the waist. It would be better
if the mesh kind of compressed here, as
opposed to the top half entirely follow-
ing the upper spine bone and lower half
staying completely put. When working
on this situation, it is best to return the
bones to their rest positions. While it's
easy to paint on an expanded surface,
painting on a pinched surface is a lot
tougher. The best way to paint a graded
weighting is to set the
Weight
control
to full power (either 1.0 or 0.0, depend-
ing on whether you want to add or
subtract weight), but to drop the brush
strength way down to around 0.1.
Figure 9.37
The transition at the midriff is too abrupt.
This allows you to build up the weight-
ing with multiple strokes, giving you a more natural result.
Figure 9.38
shows a before and after for the
weight of the mesh around the midriff for the upper spine bone.
Figure 9.38
Midriff weight before and after painting.
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