Graphics Programs Reference
In-Depth Information
budding CG artists. You most often start a CG scene by creating the objects you need to
occupy your space. It can end up taking the majority of the time in your process. This
is why downloading or purchasing models from the Internet can often cut down the
amount of time you spend on your project. This, of course, assumes you're not a fan of
modeling and prefer to spend your time animating or working on texturing and lighting.
There are many modeling techniques, and each could be the subject of its own series of
topics. The choice of which technique to use usually depends on the modeler's taste and
preferred workflow. The choices are among polygonal modeling (Chapter 4, “Beginning
Polygonal Modeling”), NURBS modeling, and subdivision surface (SubD) modeling
(Chapter 5, “Modeling with NURBS, Subdivisions, and Deformers”). Knowing how an
object is used in a scene gives you its criteria for modeling. You never want to spend more
time on a model than is needed. Creating a highly detailed model for a faraway shot will
waste your time and expand rendering times needlessly. If you need to see a park bench
in a wide shot from far away, the model doesn't need abundant detail or complicated sur-
facing. You can usually create any required details for it by just adding textures. However,
if that park bench is featured prominently in a close-up, it needs as much detail as pos-
sible because viewers will see more of the bench. You'll learn more about this aspect of
modeling in Chapter 4.
The more you use models in scenes, the better you'll develop your eye for exactly how
much detail to provide. When you're starting out, however, it's a good idea to lavish as
much attention on detail as you can; this can teach you perhaps 70 percent of what you
can learn about modeling, which in turn will benefit your overall speed and technique.
As you gain more experience, you'll be able to discern exactly how much detail to add to
a scene and not go overboard.
Character Modeling
Character modeling usually involves organic forms, such as animals, humans, aliens,
and such. Practically anything that is animated and portrays a character in a scene can
be referred to as a
character model
. You need to create these with animation techniques in
mind, as well as accuracy of form.
Some
organic
characters (for example, critters and people, as opposed to robots with
mechanical parts and hard edges) are built with patches of surfaces stitched together or
as single objects that are stretched and pulled into shape. Character models need to look
seamless because most character animation requires the model to deform in some way—
to bend and warp at certain areas such as the joints.
A character modeler needs to keep the future of the character in mind to allow for
particular character animation methods that will be used. Quite frequently, you'll create
several models for a character to account for different uses of that character and to keep
the scene efficient and workable. You may create one character with fine facial detail for
