Graphics Programs Reference
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Figure 5-10: The rest of the stone blocks in the scene were modeled in
the same way as the walls.
Figure 5-11: The statue model exploded into its con-
stituent parts. Most are derived from simple cubes or
cylinders.
allowed me to add tight creases to the model with-
out using more polygons than necessary. Adding an
Edge Split modifier after the Subsurf modifier then
gave a nice smooth mesh with sharp transitions at
the creased edges.
With the carvings complete, I moved on to plac-
ing them in my scene by replacing some of the rows
of stone blocks in the walls with rows of the glyphs.
To do this, I lined up all six glyphs in a row and then
used an Array modifier to repeat the design to fill
the length of the wall (see Figure 5-13).
Stone Carvings
For the stone glyphs, I used my concept art as a
single orthographic reference, loading it as a back-
ground image, as discussed in Chapter 3. Then,
beginning with a plane, I traced each piece of the
designs, sticking primarily to quads where possible.
Next, I extruded the whole design downward to give
it some thickness and deleted the new faces after-
ward to leave just the sides and front of the design.
By placing edges along the forms of the design's
interior elements, I could move the grooves in the
design downward to create the details.
To clean up the design, I used creasing (see
Figure 5-12). By adding a Subsurf modifier and tag-
ging edges as creased, you can create smooth objects
with sharp creases along the tagged edges. Creasing
Tagging Edges
The edges of a mesh can be tagged or marked in a
variety of ways, each of which tells different Blender
operators and modifiers how to perform operations
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