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Issue 4 M ay 2006 | Bl

e nde rart

CH AR ACTE R M O D E LING !!
blende r learning m ade e asy

Ch aracte r M ode ling
at Plum ife ros !!

M ode l
ing a Butte rfl
y

Rapid Prototyping in
Ble nde r

Bl
e nde r2Pov

Ch aracte r De sign 2d
sk e tch to 3d

Re sPow e r Supe r/Farm

M ak e H um an
CONTENTS Issue 4 M ay 2006

EDITOR/DESIGNER
GauravNaw ani gaurav@ blende rart.org
Ne w s Fl
as h - Pg5

M ANAGING EDITOR
Sandra Gil
be rt sandra@ blende rart.org
3 d W o rk s h o p
Ch aracte r m ode ling at Pl um ife ros - Pg8
W EBSITE M ode ling a natural istic Butte rfly - Pg12
Nam Ph am nam @ blende rart.org
Rapid Prototyping w ith Bl e nde r - Pg23
PROOFER Re nde ring w ith Bl e nd2Pov - Pg27
K e rnon Dil
lon
Ch aracte r De sign 2d sk e tch to 3d - Pg34
W RITERS
Ch ristian Guck e lsbe rge r
M anue lPe re z In s i d e rVi e w
Claudio Andaur
José M auricio Rodas R. M ak e H um an - Pg40
Claas Eick e K uh ne n Spl it/Fram e re nde ring on - Pg47
Rogério Pe rdiz
M anue lBastioni Re sPow e r Supe r/Farm
Ale ssandro Progl io
Antonio Di Ce cca Giovanni
Lanz a M artin R e vie w s
Ed Cick a 3d Cre ature w ork sh op - Pg52
COPYRIGH T© 3d Ph otore al
ism tool k it - Pg53
‘Ble nde rart M agaz ine ’, ‘ble nde rart’and
ble nde rart logo are copyrigh t Gaurav
Naw ani.‘Ask Bl e ntuu’and ‘bl e ntuu l
ogo’ G al
le ria - Pg54
are copyrigh t Sandra Gil be rt.
Al lproducts and com pany nam e s fe ature d Cre dits - Pg9 1
in th e publ ication are trade m ark or
re giste re d trade m ark of th e ir re spe ctive
ow ne rs. D is cl
aim e r - Pg9 2

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EDITORIAL Issue 4 M ay 2006

Ch aracte r m ode l ing h as got to be one of Ach ie ving a good m ode lth at pose s w e l l
m y favorite th ings to do in Bl e nde r. and conve ys a se nse of l ife and
Th e re is noth ing l ik e starting w ith a pe rsonal ity can be an e lusive goal .
blank scre e n and e nding up w ith l iving, Ligh ting and te xturing ofte n pl ay a big
m oving ch aracte rs.Now grante d, not al l role in h e l
ping bring a ch aracte r to life ,
m y ch aracte rs turn out as good as I as w e l
las a good unde rstanding of h ow
w oul dl ik e , but th at just k e e ps m e a ch aracte r sh ould m ove and th e tim ing
trying.And th e re are so m any th ings to invol ve d for be l
ie vable m ove m e nt.
Sandra Gilbe rt try.
M anaging Editor In th is issue , w e w il lbe look ing at a
One of th e be st th ings about ch aracte r coupl e of ch aracte rs for you to m ode l
m ode l ing is th at a ch aracte r can be and pl ay w ith , as w e llas a ve ry
anyth ing.Th e m ost com m on one s are inform ative articl e on h ow to tak e your
anim al s, alie ns, robots and h um anoids, m ode lfrom th e com pute r scre e n to a
but th ose k inds of ch aracte rs are but a re al- w orld ph ysical3D statue !
sm al lse le ction of w h at is possibl e .W ith (W oul dn’t I just l ove to h ave one of
al ittle w ork and im agination, you can th ose m ach ine s at m y h ouse . J)
turn any e ve ryday obje ct into a Additional ly, M al e fico Andaue r give s us
ch aracte r.As soon as it starts m oving a be h ind- th e - sce ne s look at som e of th e
and sh ow ing pe rsonal ity, it be com e s a de cisions m ade for th e Pl um ife ros
ch aracte r.Te l e vision com m e rcial s are Ch aracte rs.
ful lof such am using ch aracte rs. So sit back , grab a cup of coffe e and
re ad al labout it
As m uch fun as ch aracte r m ode ling can
be , it can al
so be frustrating at tim e s. - sandra@ blende rart.org

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Iz z y k now s... Issue 4 M ay 2006

• W h at k ind of ch aracte r?Fantasy, You h ave your re fe re nce im age s l oade d
M e ch anical , Anim al , H um anoid, e tc… into bl e nde r, now w h at?W e l l
, now you
• Appe arance : H ow m any arm s, l e gs, start m ode l ing.Th e re are various
e ye s, e ars, e tc… doe s it h ave any at al l
? te ch niq ue s available to com pl e te your
• H ow w il lyour ch aracte r inte ract w ith m ode l .Ch oose th e one th at be st fits
it’s e nvironm e nt?Doe s it h ave /ne e d your w ork fl ow and give s th e be st re sults
cl oth e s? for your m ode l .I pe rsonal ly pre fe r box
• H ow doe s it m ove ? m ode l ing, but I h ave be e n k now n to use
• H ow do you pl an on using your a varie ty of m e th ods to ge t m y m ode lto
ch aracte r?Stil lim age , gam e ch aracte r, look just h ow I w ant.
- Iz z y anim ation, e tc…
• W il lit spe ak , m ak e noise , bare it’s W h e n m ode l ing your ch aracte r, you w il l
te e th ?(i.e .w il lit ne e d a ful
lm outh ne e d to de cide h ow m uch de tailyou
Ch aracte r M ode l ing & se tup or can you m ode lit cl ose d?) w ant to m ode lvs.h ow m uch of it can be
D e s ign: A sh ortrun- dow n ofth ings to adde d l ate r w ith te xture s.Eve n if you
conside r be fore you start. Once you h ave de cide d on w h at you de cide th at a l ot of th e de tails can be
w ant your ch aracte r to l ook l ik e , it is adde d l ate r, you w il lstillne e d to m ak e
Just w h e re and h ow do you start tim e to ge t re fe re nce m ate rial .If you sure th at you h ave adde d e nough de tail
de signing a ch aracte r?Of course , th e re draw w e l l, you can sk e tch out front and for prope r posing/anim ation.Th e m ost
is alw ays th e “ just jum p righ t in and do side vie w s of your ch aracte r to l oad into com m on are as th at ne e d adde d de tail
it” m e th od.W h ich som e tim e s w ork s bl e nde r for re fe re nce .If you don’t draw are th e joint are as.If you don’t add
w onde rful ly, but al ltoo ofte n w il lcause w e l l, you sh oul dl ook for im age s th at e nough de tail , th e joints w on’t de form
future probl e m s de pe nding on w h at you cl ose l y re se m bl e w h at you are going for. prope rl y and your m ode lw on’t be se e n
h ad pl anne d to do w ith your ch aracte r. Th e inte rne t is a gre at re source for in it’s be st ligh t.
Be fore you ope n Bl e nde r, it is alw ays a re fe re nce im age s.Anoth e r option, (one I
good ide a to sit dow n and th ink about use a l ot), is tak ing a trip to m y l ocal Th is w raps up our run- dow n of th ings to
your ch aracte r.H e re is a l ist of q ue stions de partm e nt store and h e ading straigh t conside r be fore starting your ch aracte r.
you m igh t w ant to conside r be fore you for th e toy aisl e .Ch il dre n’s toys m ak e Now fire up Bl e nde r and ge t m ode l ing!
actual ly start m ode l ing: gre at re fe re nce obje cts for m ode l ing. Your ch aracte rs are w aiting to m ak e
Th e y are h igh l y de tail e d and com e in th e ir big de but!
• W h at styl e of ch aracte r are you going e ve ry type im aginabl e.
for?Re al istic, Se m i- re alistic, Toon.

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NEW S FLASH Issue 4 M ay 2006

Artw ork for th e D VD disc and
pack age sl e e ve h as be e n
Googl
e sum m e r ofcode 20 0 6
final iz e d and Joe ri h as be e n
h ard at w ork ge tting Once again, Bl e nde r h as dire ctions for Ble nde r.
e ve ryth ing re ady for D VD be e n invite d to tak e part in Coordination of th e Bl e nde r
production. As of April24th , th e Googl e Sum m e r of Code . SoC proje cts is again done
Proje ct O range th e m aste rs h ave be e n Googl e Sum m e r of Code is a by Ch ris W ant.
finish e d and al lfile s se nt to program sponsore d by
th e re production com pany. Googl e for stude nts to appl y Stude nts inte re ste d to w ork
Th e long aw aite d
“ Ele ph ant’s D re am ” w as for a sum m e r coding grant. on a Bl e nde r proje ct during
Th e D VD w il lincl ude not July/August can find th e
pre m ie re d M arch 24th at onl y th e film , but al lproje ct
Cine m a K e te l
h uis, Tak e n from a ne w s ite m inform ation in th e l ink s
file s and a docum e ntary for pos te d b y Ton: be l
ow .Proje ct appl ications
Am ste rdam .By al laccounts, us to droolove r and tak e
it w as a re sounding succe ss. Last ye ar ove r 400 stude nt w illstart on M ay 1 and w il l
apart for our ow n e ducation.
Th is film m ark s an im portant By tim e th is articl e com e s proje cts w e re grante d (10 e nd M ay 8 by 17:00 Pacific
ach ie ve m e nt in Ble nde r and out, m ost of us sh oul d h ave for Bl e nde r), and Googl e Dayl igh t Tim e
ope n source h istory. re ce ive d our purch ase d D VDs e xpe cts to approve th is ye ar
and th ose w h o didn’t e ve n m ore . Bl
e nde r SoC
Afte r th e pre m ie r and purch ase it can l ook forw ard inform ation:
w ork sh ops h e ld th at w e e k e nd to dow nl oading th e fil es Al th ough w e 've cre ate d a h ttp://m e diaw ik i.bl
e nde r.or
at M onte vide o (K e iz e rsgrach t sh ortl y th e re afte r. list of ide as for proje cts, w e g/inde x.ph p/Bl e nde rDe v/S
264, Am ste rdam ), th e Proje ct
Orange te am finish e d up l ast A h uge round of appl e spe cial ly invite stude nts to OC_ 2006_ ide as
ause is subm it proje cts base d on
m inute w ork and h e ade d for due for th e Orange te am and
h om e .But th e proje ct stil l past e xpe rie nce and Googl
e SoC inform ation:
allth e y h ave accom pl ish e d. com pe te nce s, or base d on h ttp://code .googl e .com /su
h ad a lot to accom pl ish , Th e ir h ard w ork h as be e n an
nam e l y, th e production of th e inspiration for us al th e ir curre nt re se arch , so m m e rofcode .h tm l
l
prom ise d D VD. th at th e y can e fficie ntly
bring in ne w de ve l opm e nt

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New s Flash Issue 4 M ay 2006

Sh arp Construct 0 1. 2
Sh arpConstruct is an 3D m ode l ing
appl ication th at al l
ow s you to w ork out
on de tail s of your pre viousl y cre ate d 3d
m ode l .You can e ve n cre ate th e m ode l s
e ntire ly in it as w e l l
.It allow s you to
w ork on an 3d m ode las if you are
w ork ing on cl ay push ing and pul ling th e
surface into pl ace to cre ate sh ape s.Th e
variations in brush e s incre ase th e l e ve l
of ope ratibil ity for th e use r.On th e fl y
w ork ing on Sub- divsurface s m ak e s it an
e xce lle nt tool , th e re sponsive ne ss le ve l s
at de ce nt e nough de nse m e sh e s m ak e s
w ork ing in it q uite pl e asurabl e. Sh arpConstruct.
Sh arp construct h ave be e n in ne w s Sh arpConstruct com e s in th e ge nre of
late ly ow ing to its spe e dy de ve l opm e nt, Z brush .Al th ough it is no w ay as
it h as be com e m uch stabl e and usabl e advance as Z brush itse l f but give n th at it
w ith th e re le ase of ve rsion .12x.Due to is ve ry young proje ct and h as sh ow n a
its nice e nough inte rope rabil ity be tw e e n lot of pote ntialup til lnow , w e can
Bl e nde r it m ak e for an pre tty use fultool e xpe ct it to be com e one of th e m ost
for Bl e nde r- h e ads, alth ough Bl e nde r pow e rfultool s Ope n- source h as to offe r.
h ave it sh are of tool s th at m im ic
functional ity of Sh arpConstruct but It is avail
abl
e for both W indow s and
none is m ore fe ature rich th an Linux ath ttp://sh arp3d.source forge .ne t

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New s Flash Issue 4 M ay 2006

Expre sso 1.11. Re l
e ase
Bl e nde r h as fe ature s
th at are sim il ar to
Sh arpConstruct, and in
th e form of tw o scripts.
One com e s w ith Fe stivalde Vide o- Portugal
Bl e nde r 2.41 and SECOND SINTRA VIDEO FESTIVAL
anoth e r m ore m ature
script, cal le d Expre sso. Afte r th e succe ss of th e first e dition, th e
Sintra City Counciland th e "Le t's M ak e
It is an e xce l le nt Te l
e vision" program m e , are once again
pyth on script w ritte n organiz ing th e Sintra Vide o Fe stival .
by M ich ae lSch ardt.It
w ork s in re al - tim e "Adve rtising" is th e th e m e of th is ye ar's
w ith in Bl e nde r. fe stival
, w h ich is aim e d at al
lyoung pe opl e
unde r 30, re siding in any part of th e country.
It's inte rface is W ork s m ay be subm itte d in th e form of spot
pre se nte d ne atl y adve rtising, docum e ntary, or vide o.
w ith in Bl e nde r's 3d Th e priz e - giving ce re m ony w il ltak e pl
ace
w indow .Expre sso h as th e m ost on April22, and w il ldistinguish th e be st
Expre sso1.1.1 inte rface fil
m , th e be st ide a, th e be st fil
m of Sintra
intuitive l y de signe d pyth on script
for Bl e nde r, e ve r. are a, th e be st actor/actre ss, and th e be st
constant annoyance w ith pyth on dire ctor.
Th e curre nt ve rsion1.1.1 w ork e d scripts
Rul e s and appl ications are avail
abl
e from
w ith out any probl e m s in Ble nde r w w w 2.cm - sintra.pt
2.41 for W indow s but on Fe dora Core You can find it h e re at
5, it crash e d e ve n be fore it starte d, a h ttp://m em bers.fortunecity.de/pytabl
et/ Ple ase note th at th e w e b site is onl
y in
Portugue se Language

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3d W ORKSH OP Issue 4 M ay 2006

ow n e xpe rie nce .
Ch aracte r M ode ling
at Pl um ife ros Anim alPl ane t
Th e Art De partm e nt not onl y m ade
by drafts of th e vie w s ne e de d to m ode lth e
M anue l“ Picasus” Pe re z and ch aracte r, th e y al so m ade drafts of th e
Claudio “ m ale fico” Andaur ch aracte r's e xpre ssions and m ove m e nts.
It's ve ry im portant to pay atte ntion to
M ode l ing a ch aracte r is al w ays th e se sk e tch e s since th e y w illbe th e
ch alle nging be cause it's al w ays difficul t k e ystone for m e sh topol ogy.
to ge t a good topol ogy in orde r to ge t W h e n th is m ate rialge ts to us m ode l e rs,
nice de form ations and e xpre ssions.For w e draw al le dge loops on top of th e m .
our fil m proje ct “ Pl um ife ros” , w e h ad to Th e n w e use diffe re nt m ode l ing
m ode lse ve ralch aracte rs am ong
h um ans, cats, diffe re nt type s of birds
and e ve n a bat! Since th e y h ave
com pl e te ly diffe re nt sh ape s and
anatom ie s, w e h ad to study e ach case
se parate l y.

At M anos Digital e s Anim ation Studio, w e
w ork our m ode l s starting from a ve ry te ch niq ue s.Som e of us pre fe r th e face -
sol id ch aracte r anal ysis m ade in to- face (or pol y2pol y) approach w h e re
col laboration w ith th e Art De partm e nt. w e cre ate th e face s of th e m ain
De signe rs h ave l ong- h our tal k ings w ith e dge loops first, and th e n join th e m .
th e Dire ctor untila l ook th at re fl e cts th e
ch aracte r's pe rsonal ity is ach ie ve d. And, som e of us use subdivision
H ow e ve r, som e tim e s a look th at is m ode l ing (or box m ode l ing) w h ich is
appe al ing for de signe rs w il lnot w ork in starting from a cube and subdividing
3D or it w il ltak e too m uch tim e to and conform ing th e m e sh .In any case ,
sk in/de form corre ctl y.In th e se case s, w e w e start our w ork as if th e ch aracte rs
sugge st m odifications according to our w e re com pl e te l
y sym m e trical.

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3d W ORKSH OP Issue 4 M ay 2006

Th is spe e ds up th e proce ss.W e m ode l w ith th is in m ind m ade it e asy to m e aning ch aracte rs m ade out of
onl y one h al f using a “ M irror M odifie r” im agine .W h e n be ak s are too l ong, w e diffe re nt m e sh obje cts w ork ing toge th e r,
to ge t th e w h ole picture as m ost pe opl e ch ange topol ogy and k e e p th e usual but ne ve r joine d.Th is approach h as th e
do.W h e n th e m ode lis finish e d, th e se loops ne ar th e h e ad. follow ing advantage s:
m odifie rs are “ bak e d” and non- De ntalparts of non- bird ch aracte rs are
sym m e tricalde tail s are adde d. m ode le d as se parate obje cts and th e n * W e can h ave m ore th an 16 m ate rials pe r
ch aracte r.
* W e can re use som e parts (w e igh tpainting
and sh ape k e ys include d) for oth e r ch aracte rs.
* From an inte rface point- of- vie w , w e can ge t
diffe re ntdraw m ode s for diffe re ntparts ofa
ch aracte r, spe e ding up th e anim ation proce ss
w ith outsacrificing de tail.
* M osttools w ork be tte r w ith less ve rtice s or
m e sh se ctors, lik e m irroring.
* It's m ore suitable for te am w ork .
* W e can ch ange parts ofth e ch aracte r for
diffe re ntsce ne s e asily (e ve r trie d to join tw o
m e sh e s w ith sh ape k e ys?).e g: dre ss ch ange s

Th e onl y draw back s of such a de cision is
Illustration 3: Th ree ch aracters w ith differentanatom y: H um an, Pigeon, Bat.Edgeloops are pretty sim ilar in th e end. th e m ore com pl icate d sk inning
w ork flow (you ne e d to sk in e ve ry part
One of th e first probl e m s w e h ad w as to joine d to th e re st of th e inne r parts of se parate ly and th e n “ stitch ” th e parts in
figure out h ow to de alw ith th e bird th e m outh . som e w ay).For al lth e se draw back s,
ch aracte r's m outh , since birds h ave no Pyth on cam e to re scue .Th e re is a ve ry
lips nor nose .Afte r som e e xpe rim e nts, it Ch aracte rs are m ade of parts h andy pyth on script, w ritte n by
w as cl e ar th at th e bird's be ak coul d be Ch aracte rs are usual ly m ade of a uniq ue Cam pbe l lBarton, th at w e use d a l ot:
tre ate d just as if it w as a “ com bo” of continuous m e sh .W e de cide d to use M e sh W e igh t Copy.
m outh and nose .Cre ating e dge l oops m ulti- m e sh ch aracte rs for Pl
um ife ros,

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3d W ORKSH OP Issue 4 M ay 2006

Lord of th e W ings body.Th e se fe ath e rs
For our bird ch aracte rs, w e de cide d to w illbe anim ate d,
m ode la “ basic w ing” m e sh and from for instance , w h e n
th at, build th e w ings for al lch aracte rs th e ch aracte r
w ith onl y m inor m e sh e diting.Since w e spre ads its w ings or
are using m ul ti- m e sh ch aracte rs, w e sh uts th e m .
coul d add w ings at any tim e w h il e
anim ators are w ork ing on corporalor Th e w ing fe ath e rs
faciale xpre ssion.For th is basic w ing to patte rn is a ve ry
pe rfe ctl
y fit oth e r ch aracte rs, w e h ad to com pl e x and
de sign a prope r “ w ing- body” inte rface im portant de tail .
th at w ould w ork for al lch aracte rs. W e use d se ve ral

Im g4

re fe re nce s from al l w ing.Allof th e se fe ath e rs w e re joine d
k ind of source s into one m e sh .
incl uding vide os
film e d by Be side s th e se “ functional ” fe ath e rs
Illustration 5: "Basic w ing" for allbird ch aracte rs ourse l ve s.Fe ath e rs w e re m e sh e s, anoth e r m e sh re pre se nting th e
m ode l e d and pl ace d by h and as m ain part of th e w ing w as m ode l e d.In
W h e n re fe rring to fe ath e rs, I m e an th e se parate d obje cts.Diffe re nt pl ain col our th is m e sh , e dge l
oops w e re im portant
m ain fe ath e rs th at are use d in th e bird's m ate rial s w e re appl ie d in orde r to be tte r since th is part w oul d act l ik e a re alw ing,
fl
igh t, not th e fe ath e rs cove ring th e ide ntify th e type s of fe ath e rs in th e and w oul d be de form e d h e avil y.

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3d W ORKSH OP Issue 4 M ay 2006

Th e bat ch aracte r re q uire d a com pl e te l
y ch aracte r is ach ie ve d, th e m e sh suffe rs conditions are OK , som e tim e s a m e sh
diffe re nt approach .Parts of th e w ing furth e r m odifications in th e just h as a l ack of e dge l oops.Som e tim e s
sh oul d be h ave com pl e te l
y el astic sk inning/rigging proce ss.H e re al l m ode l e rs, se e k ing a m inim alam ount of
allow ing th e ch aracte r to e xpand it or topol ogy probl e m s, th at w e re n't ve rtice s, forge t to add e nough e dge l oops
com pre ss it al m ost lik e cl oth , and oth e r fore se e n, sh ow up in a sort of painful to guarante e prope r de form ations.
parts sh oul dl ook fle xibl elik e th e rays of w ay.Th e w orst part is th at th e m e sh
an um bre l la.For th e m e m brane parts, ne e ds to be corre cte d w ith out ch anging W e te st th e m e sh e s in diffe re nt actions
w e trie d to stay on th e bare m inim um its e xte rnalsh ape .So, as a re fe re nce , w e and se e h ow th e y be h ave .In th is stage of
ve rte x count, trying al so to k e e p cle an use d orth ogonalre nde rs of th e original th e proce ss, w e use d to m ode lcl oth
line s of de form ation to avoid artifacts on m e sh e s. w rink le s, or ch ange e dge l oops
w ing be nding. dire ctions untilw e got th e nice
If a m e sh de form s poorl y, it coul d be de form ation w e w ante d.For th is k ind of
M ode l ing and R igging cause d by poor rigging, bad sk inning, or job, w e e dit th e m e sh in its “ re st” state ,
Once th e basic l
ook and fe e lof a bad topol ogy.Eve n w h e n allth e se or if ne e de d, use th e arm ature 's
de form ate d state (th e so- cal led
“ Craz y Space ” ).

FinalW ords
I w ish w e h ad m ore spare tim e to
w rite a m ore de taile d articl e but, our
production sch e dul e is ve ry tigh t.:(

W e w oul dl ik e to say Th ank You to al l
th e Ble nde rh e ads around th e gl obe
w h o are supporting our proje ct and
h elping us in m any w ays, to Ton and
th e Orange Te am for th e ir inval uable
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m ak ing Bl e nde r bigge r and bigge r

h ttp://w w w .pl
um ife ros.com /

Ch aracte r m ode ling atPlum ife ros w w w .bl
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3d W ORKSH OP Issue 4 M ay 2006

de taile d, but not too de tail e d be cause of a side pe rspe ctive as w e l las a
M ode l
ing a natural
istic th e long anim ation re nde ring tim e s.You pe rspe ctive of th e h al
f- front h e ad.
butte rfl
y w illne e d to trade off th e de tailof your
by m ode lfor yourse l f, w atch ing it's final Le t's s tart. Th e abdom e n.
Ch ristian Guck e lsbe rge r de stination. As you sh oul
d do w ith al
m ost e ve ry
Le ve l
: Inte rm e diate Pre parations
I de cide d to m ode la natural istic
Introdu ction butte rfl y.Be cause I h ad not re al ly h ad
Be cause of th e re l ative l y h igh any cl ue about th is sort of anim alat al l
,I
com pl e xity of th e m ode l ing proce ss, I succe ssful l
y re nte d a sh ow case and a
de cide d to w rite th is tutorialfor th e book about butte rfl ie s from sch ool .
inte rm e diate bl e nde r artists.Th e re w il l Trust m e , th e book did a good job afte r
be passage s, w h e re you ne e d to continue all , th e butte rfl
ie s in th e sh ow case w e re
w ork ing on yourse l f on th e m ode luntil too sm al lto use th e m as a m ode l ing
th e ne xt im portant ste p is be ing re fe re nce .So be fore starting, you sh oul d
e xpl aine d.At al l, th is is not a ste p- by- h ave a re fe re nce , tak e a look into th e
ste p instruction guide ;it is an atte m pt to library or th e Inte rne t.(Fig.1 and 2)
sh ow you h ow to cre ate organic m ode l s sh ow th e re fe re nce s th at I use d.Th e re is Fig2
base d on a butte rfl y w ith h igh ligh ts on
th e m ost im portant parts of th e anim al . organic m ode l , first m ak e a
Do not forge t th at a m ode l ing proce ss is sim pl e construction out of
a proce ss of continuous de tail ing and prim itive s and re fine it l ate r.I
re fining. did not use a re fe re nce picture
in th e back ground, but you can
W h at is th e m ode lbe ing m ade for? do so if you lik e .
I de cide d to m ak e a film for a portfol io
pre se ntation, in w h ich th e butte rfl y Use Vie w >>Back ground
pl ays th e role of a guide .In th at case , Im age >>Im age to add an im age
th e re w il
lbe m any cl ose - up and to your back ground.
anim ation sh ots.Since th e sh ots w il lbe
close , I m ade th e butte rfl y re l
ative l
y Fig1

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3d W ORKSH OP Issue 4 M ay 2006

Fine .Le t's do th e th ing from th e back on be tw e e n th e sh e l
lse gm e nts, as w e llas to
Fig4
and start w ith th e abdom e n.I use d a re fine th e back - e nd of th e inse ct.
cube from th e side pe rspe ctive [Num 3] Now it is tim e to de fine th e diffe re nt
and e xtrude d it 4 tim e s.Th e n, I inse rte d sh e llse gm e nts th e first tim e .Se le ct th e
tw o ve rte x row s by e nte ring [K ] in e dit m iddl e of th e 3 row s w h ich indicate a
m ode [TAB], using a l oop cut.As an sh e lldivision and scal e it a bit sm al ler
alte rnative , you can al so use norm alcuts [s] (Fig.6).You sh oul d re pe at th is w ith
[K ] or m ul ticuts [K ] or subdivide it tw ice e ve ry row , th e n continue w ith th e ne xt
or se ve raltim e s, but w ith th e last
m e th od, you w il lprobabl y h ave to de al Fig6
w ith unw ante d ve rtice row s at th e e nd. can al so al
re ady use Subsurfs
(Fig.3) sh ow s h ow th e e xtrude d cube (Editing>>M odifie rs>>Subsurf>>Le ve l s)
look s afte r aligning it on th e sim pl e to se e h ow th e m ode llook s sm ooth e d.
sh ape of th e butte rfl y abdom e n. (Fig.5) Pay atte ntion to th e h igh l igh te d
ve rte x row in (Fig.5).Late r, it sh oul d
Fig3 be com e th e borde r be tw e e n th e uppe r-
body (inse ct sh e ll
) and th e l ow e r body.
As you can se e in (Fig.5) too, I al so
alre ady adde d 2 cuts to e ve ry ve rtical ste p.
one to indicate th e l ate r borde rs Ok ay, now w e w il lcontinue de fining th e
diffe re nt se gm e nts of th e abdom e n.To
de fine th e uppe r sh e l l
, use th e face -
se le ct m ode and se l e ct allface s th at are
Now you w il lne e d to continue e xtruding low e r th an th e borde r l ine be tw e e n th e
th e m e sh righ t to th e th orax part (Fig.4). sh e lland th e l ow e r- body (Fig.7).
Afte r al igning th e prim itive m e sh to th e
butte rfl y sh ape from th e side
pe rspe ctive , you w il lalso h ave to do th e
sam e from th e top one [Num 7].Try to
Fig5
m ak e th e m ode lsm ooth and round.You

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3d W ORKSH OP Issue 4 M ay 2006

borde r l ine anym ore .Use th e scal e - tool de taile d h alf- sph e re from th e side
[S+ M M B] again and just scal e th e low e r pe rspe ctive .Use th e m ove - tool s [G] to
part h oriz ontal l
y th is tim e , untile ach ach ie ve th is by e asil y m oving th e
ve rtice appe ars unde r its ne igh bor ve rtice s w h ich w e al re ady got due to our
again.You can al so use th e m ove - tool[G] form e r cuts (Fig.10).(Fig.11) sh ow s an
for th is, but it de finite l
y w il lne e d m ore im age of th e m ode lw e got so far w ith
Fig7
tim e be cause you w il lne e d to m ove Subsurface turne d on (l e ve l2).
e ve ry pair of ve rtice s on th e ir ow n.
Now w e use [E] to e xtrude th e l ow e r part
and inse rt one m ore row of face s and th e Th e Th orax + H e ad Fig10
scal e - tool[S] to scal e th e w h olelow e r Proce e d e xtruding th e m e sh righ t to th e
part just a bit sm al l
e r.Le t's m ove th e h e ad and al ign it to th e inse ct sh ape
w h ol e th ing [G+ M M B] ve rtical ly until again.Do not forge t to al ign it al so from
both l ine s (th e uppe r l
ine of th e se le cte d th e top pe rspe ctive ! :) For th e h e ad, w e
se gm e nt and th e sh e l lborde r l ine ) can use a sim pl e box subdivide d by th e
ne arl y cove r e ach oth e r (Fig.8). line s w e alre ady got, so just e xtrude th e
th orax again a l ittl
e bit.Look on (Fig.9 )
to se e th e w h ol
e proce ss so far.You
sh oul d al so pay atte ntion to th e
Fig11
Fig9

Fig8

As you can se e , th e ve rtice s of th e uppe r re fine m e nt of th e back - e nd w h ich I
row of th e se l
e cte d se gm e nt do not al re ady did.Now continue to m ak e th e
stand dire ctly unde r th e one s of th e h e ad sm ooth e r, m ak ing it l ook l ik e a l
ow -

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3d W ORKSH OP Issue 4 M ay 2006

D e tail s of th e h e ad th e h e ad [V] as you can se e in (Fig.12).I 3]) to pre ve nt an unw ante d sh ifting of th e
As you can se e , th e butte rfl y on th e first did th e e xtrusion w ith one or tw o ve rtice s.In both l ast Fig., I al re ady be nt
re fe re nce picture h as got ante nnas on h is face s, th e n inse rte d som e m ore row s in it
th e ante nnas a bit to th e l e ft and righ t
h e ad.Th e re are diffe re nt, bre e d- spe cific and scal e d th e m a bit (se e n from th e front) by se l e cting som e of
ante nnas but w e w il ltry to im itate th e se ve rtical ly/h oriz ontal ly from th e top vie w
th e uppe r ve rtice s, turning Proportional
one s.Se l e ct tw o face s w h ich are l arge to m ak e th e ante nnas a bit sm ooth e r, not Edit Fal l
off on [O], se l e cting a give n fal l
off
e nough to be com e th e ante nnas on th e th at cubic.Try to give th e se parts of th e m e th od (h e re I use d a com bination of
uppe r h e ad from th e top vie w and body th e ir spe cific l ook by e xtruding sm ooth and root fal loff) and m oving th e
e xtrude th e m by [E>>IndividualFace s] th e straigh t, e xtruding and siz ing, e xtruding w h ol e th ing w ith th e
w ay it is sh ow n in (Fig.12).If you ne e d to and siz ing again and th e n e xtruding m ove - tool[G].
se le ct tw o or m ore face s on e ach side of straigh t again...al so try to m ak e th e Probabl y you w ill
th e h e ad (e ach side sh oul d be e q ual, as individualse gm e nts diffe re nt from e ach ne e d to e xpe rim e nt a
m irrore d if you did e ve ryth ing righ t so oth e r to give th e m ode la random l ook . bit w ith th e righ t
far), you ne e d to e xtrude th e ante nnas fal loff m e th od to
se parate l y. As you can se e on th e re fe re nce im age , re ach satisfying
th e ante nnas be com e large r at th e top, so re sul ts.Try it on your
If you le t's do ow n.If th e re are al so
ne e d so, th e m as unw ante d ve rtice s,
do it sh ow n in e .g.from th e
w ith (Fig.13). ne igh bor ante nna
one , You sh ifte d w ith , try to
th e n sh oul d m ove th e oth e r
copy it al so ante nna far aw ay
and al w ays w ith Proportional
conne ct tak e a l ook Edit Fal loff off and
th e on th e sh ift th e m back l ate r
low e r oth e r (Fig.14 sh ow s th e
face s pe rspe ctiv w h ol e , finish e d
w ith e s (front ante nna of m y m ode l ).
th e [Num 1],
Fig12 face s of Fig13 side [Num Fig14

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3d W ORKSH OP Issue 4 M ay 2006

Fine .Le t's m ak e th e h e ad a bit m ore fram e for th e inse ct e ye s (Fig.15).As a th ing a bit m ore com pl e x to give it a bit
com pl e x now .I adde d face t- e ye s to th e furth e r e ffe ct, th is re ve al
s th e of structure as you can se e in (Fig.17).
h e ad by adding an Icosph e re (4 unattractive are a w h e re th e Icosph e re Th e re is al so a "m outh " (or be tte r: h ol e)
Subdivisions), m oving it to th e corre ct h its th e H e ad's Surface . sh ow n w h e re th e be ak com e s out.I took
pl ace from th e front and side Afte r appl th is scre e nsh ot w ith Subsurface s turne d
ying th e e ye s, w e w il
l
pe rspe ctive and e rasing th e part of it continue w ith th e se cond instrum e nt off, so you h ave a be tte r insigh t into th e
th at protrude s into th e inse cts h e ad.I th e se anim al s h ave on th e ir h e ad.As youm ode l ing structure .As you can se e
use d to cre ate th e Icosph e re s out of th e can se e on (Fig.15), th e y start out as above th e be ak (or m outh , se e n from th e
e dit m ode [TAB] to h ave th e m as a singl e ne arl y as unde r th e e ye and l ong until top or front pe rspe ctive ), I h ad to m ak e
m e sh and on th at w ay, se parate l y for th e th e uppe r e nd of it.Th e ir structure is som e m ore cuts to de fine th e m .Do not
late r te xturing proce ss.Final ly I got a bit re lative ly e q ualto th e one of th e use l oop cuts [K ] al lth e tim e .Inste ad of
m ore th an a h al f Icosph e re on e ach side ante nnas, so use th e sam e te ch niq ue to th is, use norm alcuts [K ] to incre ase just
w h ich I fitte d on th e h e ad by using th e cre ate th e m . th e part of ge om e try you re al ly w ant to
ProportionalEdit Fal loff Tool s [O] again. incre ase in de tailand avoid probl em s
Th is action coul d ne e d som e tim e until As you can se e in (Fig.16), I al so cre ate d w ith too m any face s or probl e m s w ith
th e w h ol e e ye fits (ne arly) pe rfe ctly to a be ak w h ich h oists spiralunde r th e too ch ise l e d e dge s (Th is occurs w h e n too
th e h e ad.So tak e som e coffe e and be h e ad.You can e asil y cre ate th is by m any e dge s com e too cl ose toge th e r on
patie nt.:) In addition, I al so adde d a e xtruding oth e r re gions of th e m e sh , e .g.) w h e n
ring, one face turning Subsurf on again.
Fig15 m ade by from th e
e xtruding uppe r
a circl e m iddl e
se ve ral h e ad and
tim e s continuing
(using th e e xtruding
scal e - tool [E] and
[S]) and rotating
fitte d it [R] it until
on th e you h ave a
h e ad as spiral .I
wel l, as a did th e
k ind of Fig16 w h ole Fig17

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3d W ORKSH OP Issue 4 M ay 2006

Th e l e gs and th e ir conne ction to th e se e n on (Fig.18).I starte d out w ith a
body. circl e (about 5- 7 ve rtice s) from th e top
As se e n on th e re fe re nce im age , th e vie w and e xtrude d it untilI re ach e d a
butte rfl y h as a sh e llaround it's l e gs as m ode las sh ow n in th e figure .To cre ate
wel las on th e part w h ich final ly th e individualsh e l lse gm e nts, you can
conne cts to th e re st of th e body.Th is use th e sam e te ch niq ue as al re ady done
part l ook s re lative ly com pl e x w h ich w ith th e abdom e n or th e ante nnas.To
w oul d ne e d a l ot of additionalve rtice s in m ak e th e individualsh e l lparts sh ifting
th e th orax ge om e try and on th at w ay unde r e ach oth e r, m ove [G] and scal e [S]
coul d probabl y disturb th e Subsurf th e m untilth e y re ach a bit unde r th e
functional ity or e asily incre ase th e ne igh bor sh e l lse gm e nt, as se e n in (Fig.
ve rte x count unne ce ssaril y.Be cause of 19 ).
th is, I did th e se e l
e m e nts as w e l las th e Th e re is al so th e l ow e st part of
le gs se parate l y.So - l e t's ge t of e dit- th e inse ct, its claw s, sh ow n.M ode l ing Fig19
m ode [TAB] and first cre ate tw o l e gs as th e m h igh ly de tail e d incre ase s th e visual
com pl e xity of out w ith th e
Fig18 your finalm ode l . conne ctions
W e w il luse th e to th e body.I
te ch niq ue sh ow n did a cube at
h e re to re fine th e first, fl atte ne d
abdom e n l ate r in it a bit
th e de tail s [S+ M M B],
se ction.Now w e e rase d th e
sh oul d h ave bottom face
m ode l s as in (Fig. and th e n
20) and in (Fig. inse rte d som e
18, th e oth e r loop cuts [K ].
le gs).

Now w e w il
lstart Fig20

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3d W ORKSH OP Issue 4 M ay 2006

I continue d m oving th e ve rtice s untilI m ak e 2
re ach e d a form as in th e re fe re nce variations of
im age s.Th e n, I fitte d th e m on th e th is form for
th orax by using th e ProportionalEdit th e oth e r 2
Fal l
off tool s from th e 3d- and side - pairs of l e gs.
pe rspe ctive [Num 3] and e xtrude d one You can al so
e dge untilth e y re ach e d th e uppe r cre ate som e
m iddl e of th e th orax.As a l ast ste p, I de e p-
m irrore d th e part and joine d th e tw o structure by
m e sh e s by h itting [J].Now I conne cte d m ak ing 3
th e parts I e xtrude d be fore to th e uppe r ve rticalcuts
m iddl e of th e th orax toge th e r (Use [V]- again and
k e y w h il
e h aving 2, 3 or 4 unconne cte d m oving th e
ve rtice s se le cte d to cre ate a l
ine , a tri, or m iddl e of Fig22
a q uad).Th at's it.Now you just ne e d to th e m al ong
th e z - axis of R e fining th e m ain body
Fig21 th e m ode l .You Ok ay...th e m ode lisn't l ook ing bad, but
can se e th is in th e re are stil
lth ings th at ne e d to be
(Fig.21).Look m ore inte nsive , e xpre ssive to l ook
for (Fig.18) to natural istic.For e xam pl e : Th e sh e ll
se e th e se gm e nts (again! ;) ).W e w il luse th e
conne ction sam e m e th od of m oving one sh e l l
parts from th e se gm e nt unde r its ne igh bor as w e
side alre ady did w ith th e cl aw s.Se l e ct one
pe rspe ctive . row of face s in face - se le ct- m ode , scal e
th e m a bit sm alle r [S] and m ove [G]
th e m unde r th e oth e r face row .(Fig.22)

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3d W ORKSH OP Issue 4 M ay 2006

Now w e w il lfinish - up th e back - part of th e inse ct.As se e n
Fig24
in th e re fe re nce again, th e re is a k ind of incision in th e
sh e llw h e re anoth e r part of th e body is visibl e be tw e e n
th e uppe r and l ow e r sh e ll.You m ay al so m ode lth is th e
fol low ing w ay: First e l ongate th e uppe r part a bit and
de le te th e face s be tw e e n th e uppe r and l ow e r part.Afte r
th is, e xtrude th e borde r face s of th e ope n l ow e r part to
th e m iddl e and se condl y to th e inne rm ost part of th e
inse ct.Th e n, I e xtrude d it again out of th e m e sh and
form e d th e body part w h ich is m ark e d in (Fig.23).Final l
y,
do not forge t to cl ose th e ope n m e sh by se l e cting 4
ve rtice s and h itting [V].

As a th ird de tail
, you can e xtrude som e ch ose n face s
of th e top th orax and e xtrude th e m too, to cre ate
also som e sh e llse gm e nts on th is pl
ace .Se e (Fig.24)
for th is

Fig23

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3d W ORKSH OP Issue 4 M ay 2006

Th e w ings do it as you l ik e :).Do not forge t to m ak e
As you can al so se e in (Fig.24 and Fig. th e se gm e nts a bit th inne r at th e e nd,
25), I se le cte d 2 pairs of face s and using th e scal e - tool[S] again.Pl e ase do
e xtrude d th e m on both side s of th e body th is w h ole action for just one side at
in th e top pe rspe ctive [Num 7].You can first.Now se l e ct your one - side
use th e scal e - tool[S] in th at case to construction, m irror it, and attach it to
e xtrude th e m aw ay from th e m idpoint th e oth e r e xtrude d e nds on th e oth e r
afte r h itting [E] for e xtrude .Now , start side by [V]- k e y (Fig.26).
to buil d a construct of m uscl e s and/or Ok ay.
ve ins w h ich start at th e body and
be com e sm al le r and sm al le r in th e w ings Le t's start w ith th e w ings surface s.Th e re
re gion.Th e l ook of th e se m uscl e s/ve ins are se ve ralm e th ods to ach ie ve th is, e .g.
diffe rs from e ach butte rfl y too, so tak e a 3d spl ine s, polygonalsurface s… e tc. For
look at your pe rsonalre fe re nce or e asil y now , w e w il lcontinue w ith our
Fig26
te ch niq
Fig25 ue w e
use d so
far: Go w ith a sim pl e cube again and fl atte n it
out of so it be com e s ve ry th in (but don't forge t
e dit- th at it probabl y be com e s e ve n th inne r
m ode w h e n Subsurfs are turne d on).Try to
[TAB] cre ate tw o sh ape s (Fig.27) by e xtrusion
to [E] and re fining ([K ] for l oop cuts or
m ak e it norm alcuts e tc.) w h e re as th e uppe r one
e asie r (as se e n in (Fig.28)) ove rl aps th e l ow e r
to one just a l ittle bit.
te xture
late r.
Now
start

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3d W ORKSH OP Issue 4 M ay 2006

Now , turn subsurface s on and m ak e th e e xam pl e.
Fig28
w ings in de pth a bit irre gul ar.For th is, Now com e s th e l ast ste p w e ne e d to do:
w e can al so use th e ProportionalEdit W e w il lne e d to tak e a look to se e if th e
Falloff- Tool[O] de spite w e coul d al so use m uscl e s or ve ins w e did just som e ste ps
lattice s, e tc.But for now , w e w illtry to be fore are stil lvisibl y conne cte d to th e
m inim iz e th e assortm e nt of tool s use d w ings in top [Num 7] and bottom
and tak e th e first one .You sh oul d pay pe rspe ctive .If th e y are not, try to
som e atte ntion to th e w ings th at stil l ach ie ve th is by m oving or w e l ding th e m
ove rl ap, but ne arl y conne ct to e ach w ith th e ProportionalEditing Tool s [O]
oth e r w ith th e ir l
ow e r and uppe r and/or th e m ove - tool[G].
surface .In (Fig.29 ), th e de pth s of th e
surface I use d h e re are m ark e d, just for Ok ay - now re cl ine and be h ol d your
m ode l- did you e ve r im agine th at a
butte rfl yl ook s l ik e th at?Ch e ck your
re fe re nce - if it's ide ntical, you did a ve ry
good job.

Fig29

Fig27

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3d W ORKSH OP Issue 4 M ay 2006

Th e final , ye t unte xture d
and unrigge d re sul t can be
se e n be l
ow .I h ope I h ave
succe ssful ly cove re d al
l
aspe cts of th e m ode land
h ave w ritte n a
com pre h e nsibl e tutorial

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3d W ORKSH OP Issue 4 M ay 2006

e xport 3D ge om e try into th e STL(Ste re o incl
ude traditionaland com pute r- aide d
Rapid Prototyping w ith Bl e nde r Lith ograph y) form at to transcribe to 3D approach e s to e xpl
ore , de ve l
op, and
for Je w e l
ry/M e talArtists printe rs. construct m y art obje cts.
By It is im portant to k e e p one l im itation in Th is proce ss be gins w ith fe w q uick
Cl
aas Eick e K uh ne n m ind about Bl e nde r: Ble nde r doe s not sk e tch e s to capture th e m ost im portant
support advance d NURBS tool s.And ide as of th e proje ct.H and sk e tch ing
Th e M ak ing of Spe cialPEZ NURBS tool s are e sse ntialw h e n allow s one to q uick l y e xplore m any ide as
D ispe nse rs de signing sh ape s and e l e m e nts th at in a ve ry rough w ay.H ow e ve r sk e tch e s,
In m y re ce nt M FA Th e sis Exh ibition, I re q uire a h igh am ount of pre cision.And
pre se nte d PEZ dispe nse rs w h ich w e re pol ygons do not offe r th at pre cision
constructe d w ith found obje cts, h and e ith e r.H ow e ve r, w h e n a NURBS obje ct is
fabricate d and com pute r ge ne rate d e xporte d into th e STLform at, th e surface
ele m e nts.In th is articl e I w illfocus on is te sse l late d and save d as a pol ygon
th e te ch nicalpossibil itie s th at Bl e nde r m e sh . Good re sul ts w il
l re q uire a h igh
provide s artists in cre ating CAD te sse l l
ation of th e NURBS obje cts.Th is is
ge ne rate d e le m e nts. sim ilar to w ork ing w ith Pol ygons.W h il e
pol ygons cannot re pl ace NURBS, th e y
Toge th e r, Ble nde r and Yafray are a ve ry h ave th e ir ow n advantage s.Organic
strong tool se t w h ich provide al lne e de d m ode l ing is today’s stre ngth of Pol ygons.
m ode l ing and re nde ring tool s to visual iz e Toge th e r w ith Subdivide d Surface s, you
ide as and e xpl ore variations in a sh ort not onl y h ave th e e asy m ode l ing tool s to
pe riod of tim e .W ith it’s e xce l le nt q uick ly cre ate your de sire d sh ape s, but by nature , h ave a h abit of be ing tw o-
m ode l ing and anim ation tool s, Bl e nde r al so Subdivide d Surface s th at are ne e de d dim e nsional , static, and
all ow s th e de signe r to virtual ly cre ate h is for fine te sse l lation to gain sm ooth STL disproportionate .Th is is w h e n Bl e nde r
obje ct and proof m e ch anicale l e m e nts. file s. be com e s an e sse ntialtool .Afte r th e m ain
Yafray tak e s core for a ph otore al istic ele m e nts are w ork e d out, Ble nde r is use d
re nde ring. During th e past th re e se m e ste rs at to construct ide as in a th re e - dim e nsional
H ow e ve r, in te rm s of m ode l ing, Bow l ing Gre e n State Unive rsity, I h ave space and to re fine th e obje cts.
Bl e nde r also offe rs th e possibil ity to e xpl ore d a de sign proce ss in w h ich I

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w h e n you are incorporating rapid
prototype d obje cts into your art.For
e xam pl e , if it is too th in, th e obje ct m igh t
crack .

file d, be nt, and/or sol de re d toge th e r.
Th e advantage of sw itch ing to Bl e nde r H ow e ve r, cre ating a re al istic h e ad out of
afte r th is be ginning stage is th at th e a sh e e t of m e talis not so e asy.Th is task
m ain and im portant ide as are e xpl ore d re q uire s a diffe re nt approach .
and a sol id foundation is cre ate d on
w h ich Bl e nde r can re st.Afte r an initial Th ank s to Bl e nde r’s STLe xport fe ature ,
m ode l ing se ssion (w h ich ofte n re q uire s th e natural istical ly m ode l e d h e ad could
q uite som e tim e ), appl ying ch ange s to be se nt to a z Core 3D printe r to cre ate
th e de sign, adding sm al le le m e nts, or At th is point, al lof th e im portant aspe cts m ul tipl e , re alth re e - dim e nsional
ch anging th e point of vie w onl y re q uire of th e de sign’s de ve l opm e nt are re pl ications. During th is proce ss it w as
fe w cl ick s of th e m ouse .It is during th is com pl e te .In th e fol l
ow ing ste p, im portant to w ork w ith cl ose d surface s.
stage th at de cisions conce rning m ate rial orth ograph ic vie w s of th e 3D m ode lare Th e z Core softw are ne e ds cl ose d solids,
th ick ne ss, scal e and proportions are printe d out in 1:1 and use d as a re fe re nce or cl ose d surface s w ith a m ode l ed
m ade .Spe cifical ly, w h e n m e ch anical to start constructing th e m e tale l e m e nts. th ick ne ss to cal cul ate w h e re it h as to
el e m e nts are invol ve d in th e de sign, th e ir gl ue th e starch pow de r toge th e r, w h ich
inte raction w il lbe e xpl ore d and re fine d. Th e m ajority of th e m e talw ork can be at th e e nd w il lturn into th e de sire d
W ork ing w ith th e corre ct constructe d using fl at sh e e ts of m e tal. obj e ct.
m ate rialth ick ne ss is ve ry im portant Th e te m pl ate s ne e d to be saw e d out,

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Th e z Core 3D pre ve nt any dam age .Th is proce ss w ork s
Printe r w ork s be st w h e n th e 3D prints are place d in an
lik e a re gul ar ove n to w arm th e m up.Th e te m pe rature
printe r, but w illm ak e th e e poxy gl ue sink de e p into
inste ad of using th e surface w h e n appl ie d.Th is pre ve nts
ink it use s gl ue . any gl ue re m aining on top of th e surface
Th e printe r and cove ring any structuralde tail .Tw o
starts by l aying coats of gl ue are e nough to cre ate a ve ry
dow n a ve ry th in sol id plastic h ul lor surface .
laye r of starch
ove r w h ich th e
printe r h e ad
puts dow n gl ue Th e onl y re m aining ste p is to
drops w h e re th e El e ctroform th e pie ce s.To e l e ctroform
3D m ode lre q uire s it.Afte r th at th e m e ans th at you are grow ing m e talonto
printe r brush e s anoth e r th in l aye r of your pie ce . In th is case , coppe r is use d.
starch pow de r ove r th e first one and To pre ve nt any dam age to th e sol id
again gl ue dropl e ts are appl ie d. obje ct or th e e le ctroform e r, th e starch
Th rough th is proce ss th e z Core Printe r pow de r inside th e 3D print sh oul d be
cre ate s your 3D re pl ication l aye r by laye r. w ash e d out w h e n th e 3D print onl y h as a
ve ry th in e poxy gl ue se aling.It coul d
Th e se h appe n, th at som e w ate r w il lfl ow
fragil e 3D th rough th e porous e poxy sk in and m ak e
prints th e starch e xpand w h e n pl ace d into th e
sh oul d be ele ctroform e r.Th is w il lre sul t in crack e d
se aled surface s w h ich , h ow e ve r, also can re sul t
w ith a into be autifulcrack de tail s w h e n de sire d.
spe cial Afte r appl ying e l e ctrodag (a coppe r
and fast- paint) to th e h e ad and se al ing th e inside
drying w ith w ax and attach ing a coppe r w ire to
e poxy it, th e 3D h e ad can be pl ace d into th e
gl ue to ele ctroform e r.

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ele ctrodag, w h il e th e righ t side onl y re ce ive d one ve ry th in
laye r.Th is re sul te d in th e le ft side be ing strong and sol id and
th e le ft side be ing th in, fragil e and onl y partial l
y ele ctropl ate d.
Th rough a l onge r pl ating proce ss w ith a l ow am p se tting, a
sol id and e ve n coppe r surface w as cre ate d.Tow ards th e e nd of
th e proce ss, th e am ps w e re incre ase d to cre ate a strong
nodul ation on th e righ t side of th e face .Th e nodul ation turne d
into an e ffe ct, w h ich l ook s l ik e th e h e ad is de caye d.

Th e finalstage of th e de sign proce ss is re ach e d.W h il e m ost
im portant e l e m e nts w e re finaliz e d w ith th e first sk e tch se ssion
and l ate r in Bl e nde r, during th e proce ss of asse m bl ing al l
ele m e nts, th e de sign is tw e ak e d and ch ange d furth e rm ore .Th e
printe d de sign pl ans are a pe rfe ct pl ayground for som e m ore
re fine d sk e tch ing.Quite ofte n is it th e case th at th e probl em
sol ving re q uire s you to go forw ard and back w ards be tw e e n
For th e finalh e ad, th e l
e ft side of th e face got th re e coatings of th e se tw o approach e s untilth e finalre sul t is re ach e d

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Povray.You m ay al so w ant to install
Re nde ring w ith Povray from M e gapov, as it is com patible to Povray
Ble nde r and h as additionalfe ature s l ik e H DRI
support and Fil m Exposure .
By
José M auricio and Rodas R."M orfe us" Righ t now , th e re is no e xe cutabl e
instal l
ation for Bl e nd2pov, so you h ave to
unz ip th e rar arch ive of bl e nd2povinto a
Al th ough Povray is an e xce l le nt ray- fol de r and re nam e th e bl e nde r.e xe to
tracing softw are , Bl e nde r use rs did not som e th ing l ik e ble nde r2pov.e xe and copy
h ave m any w ays of using it cl e anl y until it to th e de faul t Bl e nde r instal lation
th e re le ase of Bl e nd2Pov.Al th ough fol de r.You m ay al so w ant to cre ate a
Bl e nd2Povw as born as a script, just l ik e sh ortcut to it for your de sk top.
th e JM S Bl e nde r- to- POVe xporte r, th e Fig1.Povray as re nde ring e ngine .
script e xporte d th e XM Lge ne rate d by Be fore going any furth e r, e xe cute th e
Bl e nde r for Yafray to a POVform at.Now Bl 'Re nde r buttons w indow '
e nd2Povprogram to m ak e sure it l oads
in th e ir late st ve rsion (0.0.6a at th e corre ctl y.If it give s som e m issing fil e
m om e nt of w riting th is articl e ), Ram on e rrors, m ak e sure th at you pl ace d th e
Carl os Ruiz (RC Ruiz , th e script auth or) re nam e d Bl e nd2Povfil e in your Bl e nde r
h as succe ssful l y inte grate d it as th e instal l
ation fol de r.
re nde r UI w ith in Bl e nde r (Figure 1).Th is
provide s al m ost se am l e ss inte gration for Afte r th e succe ssfulinstal lation of
PovRay, base d on cl e ve r usage of th e Bl e nd2Povand Povray, you'l lbe abl e to
Yafray code .Th is articl e w illte ach you acce ss it dire ctl y from Bl e nde r's Re nde r
h ow to use Bl e nd2Pov. button just as you do w ith Yafray (Figure
1).
Instal lation
To m ak e it w ork , you w illne e d to instal l Fe atu re s
th e Bl
e nd2Povbinary w h ich you can find Now w e w il lde scribe e ach one of th e
at Elysiun, and al so th e ne w e st ve rsion of buttons for th e Bl
e nde r2PovGUI in th e Fig2.Th e Povray GUI

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Bak e R adio& Ph ot Radiosity
Th e purpose of th is is to save th e
radiosity* and ph otons data in "e xp.rad" Radios ity is a te ch niq ue us e d for th e
and "e xp.ph " fil e s th at are store d in th e cal cul ation of Gl obalIl l um ination.
de faul t Yafray path .If you w ant to Illum ination is done by e m itting l igh t
re nde r an anim ation w ith PovRay, it is from e ach obje ct in th e s ce ne .
re com m e nde d th at you re nde r th e O bje cts abs orb ce rtain q uantitie s of
FIRST fram e w ith th is button activate d. th e e ne rgy and al s o re fle ct s om e
Th e n, disabl e 'Bak e Radio& Ph ot' and part, for w h at can be cons ide re d as
e nable 'Load Pre vious Bak e '.Final ly, ligh t e m is s ion by re fl
e ction. It is done
re nde r th e anim ation.Doing th is w il l in s uch a w ay th at al lth e s urface s in
th e s ce ne act as am bie nt l igh ts , and
save you som e tim e on radiosity
Fig3.Radiosity se lector th e re fore e ach one affe cts th e
cal culations. ill
um ination of th e oth e r s urface s
(w e ll-k now n ph e nom e non as D iffus e
Load Pre viou s Bak e Inte r-re fle ction of th e l igh t ).
Th is button is use d afte r you h ave save d
th e Radiosity and or Ph oton data in th e Th e cal cul ation of Radios ity is bas e d
first fram e of your anim ation.It save s on m ath e m aticalm e th ods th at are
tim e during th e re nde ring by using th e de pe nde nt on Raytrace rs . Povray
save d data from th e "e xp.rad" and us e s th e Gre g W ard M e th od for
"e xp.ph " fil
e s. radios ity cal cul ation. Th is provide s a
form of re pl acing th e ol d calcul ations
(cons tant val ue of am bie nce ) w ith a
Th e quality ofth e radiosity is configure d by
val ue of l igh t bas e d on th e
de faultpre se ts in Blen2Pov, w h ich tak e s
inte raction of l igh t in th e ne igh boring
advantage ofth e store d value s in th e s urface s .
"rad_ de f.inc" files.

Fig4.Radiosity Options

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Now w e w il lgo th rough th e avail abl e
radiosity type options.
No Radios ity: W h e n se l e cting th is
option Bl e nd2Povdoe sn't cal culate
radiosity.
Radios ity D e faul t: As th e nam e
indicate s it l oads th e de faul t radiosity
param e te rs, th e re sul ts m ay be bad
de pe nding on th e sce ne , but it is good
e nough to m ak e te st re nde rs w ith out
sacrificing re nde r tim e .
Radios ity Fas t: Th is m ak e s a q uick
cal cul ation for radiosity, th us is of l ow De fault(20 Se c) Fast(38 Se c)
q ual ity but supe rior to th e De faul t.
Radios ity Norm al : Th is use s typical
val ue s of radiosity for sce ne s w h e re
ge ne ral ly a good re nde r is re q uire d, but
not sacrificing too m uch on re nde ring
tim e (for e xam pl e , anim ations).
Radios ity 2Bounce : Th is use s val ue s of
'Radiosity Norm al ' but m ak e s a doubl e
bounce of l igh t, im proving th e sce ne .
Th is is ach ie ve d by al te ring a spe cial
Povray param e te r cal le d 'th e
re cursion_ l im it'.Th is param e te r control s
th e q uantity of tim e s th at th e l igh t
inte racts w ith an obje ct.Th e re is
m axim um of 20.In th is case , th e val ue of Norm al(1 50 Se c) 2Bounce ( 5M in 50 Se c)
th e re cursion_ l im it is at 2.Th is al so
incre ase s th e re nde r tim e . Above com paris on of th e q ual
ity and re nde r tim e s w ith diffe re nt radios ity on th e s am e s ce ne :

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: As
Radios ity Final th e nam e indicate s,
it is use d for h igh q ual ity re nde rs and as
you gue sse d w ith e ve n h igh e r re nde r
tim e s.
Radios ity O utdoorLQ: Th e l ow - q uality
radiosity re nde ring for outdoor sce ne s.It
w illbe spe e die r.It is use d to sim ul ate
radiosity in e xte rnalsce ne s in w h ich th e
ligh t com e s from a source of punctual
ligh t.Th e re nde r is of l ow q ual ity and is
ide alfor te sting due to th e l ow re nde r
tim e s.
Radios ity O utdoorH Q: Th is is th e Final(13 M in 37 Se c) Outdoor LQ (32Se c)
opposite of th e pre vious se tting and is
use d for h igh - q uality re nde rings of
outdoor sce ne s.
Radios ity O utdoorLigh t: Th is is use d
to sim ul ate radiosity in e xte rnalsce ne s
w ith th e sun as a prim ary source of l igh t.
H ow e ve r, th e q ual
ity is sim ilar to
OutdoorLQ.
Radios ity IndoorLQ: Th is is use d to
sim ul ate radiosity in inte rior sce ne s.It
use s a 're cursion l im it' val ue of 2.
Radios ity IndoorH Q: Th is is use d to
sim ul ate radiosity in inte rior sce ne s
using a 're cursion_ l im it' value of 3.Th e
re nde r tim e is h igh so, th is is be st use d Outdoor H Q (12 M in 11 Se c) Outdoor Ligh t(20 Se c)
for your finalre nde rs.
Above com paris on of th e q ual
ity and re nde r tim e s w ith diffe re nt radios ity on th e s am e s ce ne :

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You can ach ie ve be tte r radiosity
configurations by m odifying th e radiosity
param e te rs inside Povray or, by m odifying
th e PovGl obal Rad val ue from w ith in Bl
e nde r.
Re m e m be r, w h e ne ve r you m odify Radiosity
param e te rs in Bl e nd2POVyou w il lh ave to
ge ne rate ne w Bak e Radio& Ph ot.

Ph otons
Th is button e nabl e s th e ge ne ration of
caustics in your sce ne .If not activate d by
de faul t, fak e caustics are ge ne rate d, w h ose
re sul ts can som e tim e s be good.Th e Indoor LQ (46 Se c) Indoor H Q (25 M in 36 Se c)
param e te rs of th e ph otons for caustics are
store d in th e "e xp.ph " fil e .Th e ph otons are
use d as h e l pe rs for Radiosity cal cul ations.
Al th ough th e fak e caustic re sul ts are W ith Ph otons W ith outPh otons
not so gre at, th e se can be use fulin sce ne s
w ith l arge q uantitie s of w ate r (for e xam pl e,
unde rw ate r in a se a or a pool ).In th e se type
of e nvironm e nts, re nde ring th e caustics w ith
ph otons w il ltak e a ve ry, ve ry l ong tim e .So,
it is sugge ste d to use fak e caustics h e re .Th is
can be dire ctl y adjuste d from Povray using
th e k e yw ord caustics pow e r, th is com m and
can h ave a val ue be tw e e n 0.0 and 1.0.Note
th at caustics are not sim ul ate d w h e n th e
val ue is se t to 0.0.Th e val ue of caustics
pow e r is introduce d as an Inte rior param e te r
of th e m ate rial s. Radiosity 2bounce (11 M in 34 Se c) Radiosity 2bounce (4 M in 47 Se c)

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Jitte r W ith Jitte r W ith outJitte r
Th is is a condition for th e are a l igh t th at
m ak e s it ge ne rate a random sam pl ing of
th e are a ligh t, th e re by sm ooth ing th e
laye rs of l igh t & sh adow sam pl e s.Th is,
h ow e ve r, cause s probl e m s in anim ations as
it ge ne rate s random sam pl e s of th e
sm ooth ne ss and se e m s to jum p in th e
anim ations.Se e th e e xam pl e im age s for a
be tte r unde rstanding of its e ffe ct.

D e fau l t Am bie nt
Th is produce s th e sam e e ffe ct as th at of
Ble nde r's 'Em it' function. Radiosity 2bounce (5 M in 14 Se c) Radiosity 2bounce (7 M in 55 Se c)

Exe c. PovR ay w il
lal l
ow you to h ave m anualcontrolove r
Th e function of th is button is ve ry sim pl e, anti- al
iasing.
to run PovRay for re nde ring as soon as
re nde r button is pre sse d.If Exe c.PovRay is Th e AA Sam pl e s is use d w h e n using DOF
activate d, th e sce ne ge ts e xporte d to th e (De pth of Fie ld).AA Passe s is th e q uantity
Povray form at and th e im age is re nde re d of passe s th at are use d in th e re nde r for
dire ctly w ith in Povray. aliasing.Th r (AA Th re sh ol d) is th e
se paration val ue of th e pixe lre gion to anti-
Au to AA alias.
If th is button is pre sse d, th e re nde r is Anti-
aliase d in Povray.It is ide alfor a te st
re nde r.It is pre sse d by de faul t.If you
de se le ct th is button, th re e ne w options Fig5.Antialiasing options
w illappe ar: AA Sam pl e s, AA Passe s and
Th r (AA Th re sh ol d).Th e se ne w options

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R ayde pth raytrace r from w ith in Bl e nde r.And, of
Th is is th e num be r of bounce s of th e ray course , as Bl e nd2Povde ve l ops, you w il
l
and is im portant for gl ass and m irrors. be abl e to use e ve n m ore pow e rful
H igh e r num be rs e q ualbe tte r re sul ts.Th is fe ature s of PovRay w ith m inim um fuss
also w il le ffe ct th e re nde ring tim e . from w ith in Bl e nde r

Proce ssors
Th is option is curre ntl
y not active in th is blende 2povray dow nl oad.
ve rsion of Ble nd2Pov. h ttp://w w w .graph icall
.org/builds/builds
/sh ow build.ph p?action=sh ow & id=116& PH
Gam a PSESSID=b4c1a7c0379 5db2af8e fe 72e 0349 6
Gam m a is re late d to th e OSA proce dure , 217
th e ove rsam pl ing of pixe ls th at are m ixe d Code r: RCRuiz
to ge ne rate th e finalre nde r.Th e
conve ntionalre nde ring h as a Gam m a of
1.00. Im portant
Exposu re To use Exposure you w il lne e d to h ave
Th is addition sim ul ate s a de cre ase of M e gapovinstal l
e d, since Povray
re active ch e m icals in fil m e m ul sion doe sn't support th is function.If you
during e xposure .Th e are as th at h ave use it w h il
e re nde ring, M e gapovw il l
re ce ive d m ore ligh t re act le ss th an oth e r be e xe cute d autom atical ly.
are as.Use fulfor h igh contrast sce ne s as
it brings out th e dark are as and l im its
brigh t are as.

Concl u sion
I h ope th is basic e xpl
anation of th e
Bl e nde r2Povparam e te rs w il lge t you
starte d w ith using th e aw e som e PovRay

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difficul t to lose w h ile 3D m ode l ing. th e com pl e tion of a production- re ady
Ch aracte r D e sign Oth e rw ise , w e m igh t turn our ch aracte r draw ing.It al so include s th e sce ne de tail
s
2D Sk e tch to 3D into som e k ind of de form e d al ie n, w h ich lik e e nvironm e nt styl e , ch aracte r
m ay onl y be h e lpfulif w e do inte nd to spe cial tie s, ligh ting and m ood of th e
by - Rogério Pe rdiz m ak e one .;) Above , you can se e one good- sce ne and th e te xture styl e as w e l
l.
look ing ch aracte r sk e tch but, it is not
ve ry h e l
pfulw h il e 3D m ode ling.So, Th e 2D Sk e tch is a singl e part of th e
for th at re ason I h ave de cide d to do a Conce pt De sign proce ss.It give s you th e
littl
e sk e tch tutorialabout w h at goe s into basic form and h ape to h e l p m ate rial iz e
m ak ing a succe ssful3D ch aracte r starting th e ide a th at w illgain, ove r tim e , a m ore
from th e 2D Sk e tch ph ase . organic sh ape on th e pape r.It can al so be
cal le d a rough pre - visual iz ation of th e
Th e Ch aracte r finalide al iz e d draw ing.
Th e styl iz e d fictitious guy in th e picture
is Orion.H e vol unte e re d h im se lf to Tim e -Saving Tips
illustrate w h at w il lbe de scribe d in Unl e ss you're a ve ry gifte d artist w ith th e
upcom ing paragraph s.For th is, you w il l abil ity to draw q ual ity sk e tch e s l
igh tning
ne e d a digitaltabl e t or th e traditional fast, you w il lne e d lots of tim e and a
pape r and pe ncil . fle xibl e de adline .Re m e m be r, since th is is
Introdu ction a sk e tch for pre - visualiz ation of a 3D
Th is articl e focuse s on a ve ry im portant Conce pt D e sign vs 2D Sk e tch m ode l , you m ay ch oose to be l e ss
part of 3D Ch aracte r M ode l ing k now n as Som e tim e s, th e gap be tw e e n th e se tw o de scriptive on th e pape r.
th e 2D Sk e tch ( or Conce pt De sign).Th e te rm s is bl urre d, th us e asily
sk e tch artw ork is th e basis for th e m isunde rstood.Conce pt De sign re fe rs to If you are draw ing th e sk e tch digital ly,
succe ssful3D ch aracte r th at e ve ryone th e actualcre ative proce ss of th ough t or use Laye rs in your favorite paint
h ope s to h ave in th e ir anim ation.It's ide a and th e de sign proce ss th at suits th e program .Use e ach Laye r for se parate
during th e Conce pt De sign ph ase th at w e finaloutcom e .It is usual ly re pre se nte d th ings.For instance , put th e h e ad in
de fine e ve ry aspe ct of th e ch aracte r; visual ly th rough continuousl y im prove d Laye r 1, th e h air in 2, body in 3, cl
oth e s
providing a w e l l- structure d form and sk e tch e s or draw ings of som e obje ct or in 4 and so on.
ide a w h ich , if prope rly follow e d, is ch aracte r from th e ve ry first ide a until

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Using Laye rs can som e tim e s be trick y m ode land w ork w ith th e ch aracte r's 3D bl ock m ode lm ade in Bl e nde r as m y
but, in th e e nd it w il
lbe ne fit you q uite pose . re fe re nce for th e pe rspe ctive
substantial ly, saving you pre cious tim e . pose s.It give s a naturalcam e ra vie w fe e l
For th e m ain ch aracte r sk e tch , your goal to th e pe rspe ctive draw ings and it´s
Th e Sh e e t sh oul d be a 3- side d ch aracte r sh e e t re al ly e asy to
Th e first th ing you ne e d to re m e m be r is (Front, Side and Back ).Th is is a ve ry de fine th e vol um e of th e ch aracte r.
th at w h e n you finish th e 3D m ode l , you'll crucialste p for th e 3D m ode l ing ph ase of
also ne e d to Rig(*) it so th e ch aracte r can your ch aracte r.You ne e d to de fine th e 3- Sk e tch ing Up
be pose d in th e sce ne .It is h igh l y dim e nsionalfe ature s of th e ch aracte r in W h e n I use d to se e draw ings m ade by
re com m e nde d th at you pose your th e sk e tch l ik e m uscul ar vol um e and th e profe ssional s, I th ough t to m yse l f
ch aracte r w ith th e arm s and l e gs sl igh tl
y strik ing contours.Afte r th at, if it's "W h ooo!! I’l lne ve r be abl e to m ak e th at,
spre ad apart.You w ant to do th is possibl e , you can de fine m ore de tailon a th e se guys are gods and sim pl e m ortal s
be cause , for instance , if th e righ t le g is clay m ode l , but for now your 3- side d lik e m e w il lne ve r re ach th e m ." W e ll,
ve ry close to th e le ft it w il
lbe a m ad job ch aracte r sh e e t sh oul d give you an w h at h appe ns is th at w e usual ly onl y se e
assigning th e ve rtice s to th e bone s.Th is acce ptabl e 2D fl atte ne d re fe re nce .Th is th e finaldraw ing, and ignore th e ste ps
type of pose facil itate s th e arm ature bone sh oul d be e nough to ge t you going.In th at th e y’ve use d to ge t th e re .You can
positioning and m ak e s it a l ot e asie r to addition, if you w ish , you m ay al so do com pare draw ing to th e construction of a
som e h ouse or a buil ding.In th e e nd, it l ook s
pe rspe ctive pre tty.But w h il e th e artists are w ork ing,
sk e tch e s of it’s just a l ot of dirt, trash and individual
your parts.
ch aracte r
w ith re l axe d Rigging
pose s.I use
th e Pl acing an arm ature or bone inside
pe rspe ctive th e m e sh to e nabl e th e
draw ings for m anipul ation of th e ch aracte r's
additional pose .
re fe re nce .I
al w ays use a

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Th e Golde n R u le of 2D I’m not going to de scribe ste p- by- ste p e xam pl e , th e h air on top of th e h e ad.
Ch aracte r Sk e tch ing h ow to draw , but if you find m y sk e tch e s W h e n you're done , scan e ve ryth ing and
gre at th e n you re al ly are in troubl e and I join th e m in th e com pute r.
Ne ve r forge t th at th e re is a h e ad unde r re com m e nd th e fol low ing site s th at h ave
th e h air and a body unde r th e cl oth e s.If q uick tutorial s on 2D ch aracte r de sign. Lik e in 3D, th e first th ing you ne e d is a
som e th ing is w rong, you w il l Th e y are focuse d m ainl y on th e Japane se bl ock m ode l , in th is case a bl ock oval iz e d
instinctive l y k now it.You m ay not k now anim e styl e but, th e te ch niq ue s de scribe d draw ing.Th is w ay you can de fine th e
e xactl y w h at's w rong but, you w il lk now are fl e xibl e and e asil y adaptabl e to any are a and position of your ch aracte r on
th at som e th ing isn't q uite righ t.You’l lbe styl e (de dicate d draw ing book s are th e pape r and avoid boring th ings l ik e ,
fine if you k e e p th at in m ind. pre fe rabl e but, if th e y are out of your afte r alm ost com pl e ting th e ch aracte r,
re ach , th e se site s are good one s and not h aving e nough room l e ft on th e
cove r w e l lth e basics): pape r to draw th e fe e t.

h ttp://w w w .h ow todraw m anga.com Using sim pl e circl
e s and oval s is
h ttp://w w w .bak ane k o.com ge ne ral ly a good m e th od to de fine th e
h ttp://w w w .pol yk arbon.com body proportions, but is far from be ing
th e onl y m e th od.Use circl e s to re pre se nt
Th e Front Vie w th e h e ad and th e joints lik e sh oul de rs,
Now th is is w h e re al lth e fun be gins! el bow s and k ne e s.Use oval s to conne ct
Ladie s and Ge ntl e m e n! Start th e GIM P (or th e m .
w h ate ve r your favorite 2D im age e ditor
h appe ns to be ) or just grab a bunch of Ne xt, draw th e h e ad h airl e ss, add th e
pape r and your favorite pe ncil .Th e m ost h air, draw th e body and final ly cove r h im
im portant th ing, if you're using an im age w ith som e Coth e s.Ne ve r forge t to put
e ditor, is to USE LAYERS, SEPARATE e ach th ing on a diffe re nt l aye r.
TH INGS, and DON'T DELETE ANYTH ING.

If you’re using pe nciland pape r, al so
m aintain th e th ings se parate d.Use a
ligh t tabl
e or ce llpape r to draw , for

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(Im age l e ft bottom ).
Now h e re , som e tim e s th ings can be com e trick y.W h at h appe ns
is th at th e Front vie w m ust coincide , as pe rfe ctl y as possibl
e,
w ith th e Side vie w .Th at’s cal le d Fore sh orte ning.

Fore sh orte ning
Fore sh orte ning isn’t e asy to say th e l
e ast.W h ate ve r you’re
using, th e GIM P or pape r, you’l lne e d to draw h oriz ontall ine s
from k e y parts of th e Front vie w and use th e m to draw your
ch aracte r from th e Side vie w .In th e GIM P, you can just activate
th e Vie w Grid function but, it’s a l ot h arde r, tim e - consum ing
and e rror- propitious.

Pre ss th e [sh ift] k e y w h il
e ch oosing tw o points in th e GIM P or
Th e Side Vie w use a rul e r on pape r.
W h e n you finish th e Front vie w , it's tim e to m ak e th e Side vie w

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O h M y! So M any Line s!!! Pe rfe ction h e re is th e k e y.Th e m ore it's al ldow nh il lfrom th e re .But, th at is
pe rfe ctly you can do it, th e e asie r it w il
ljust m e , fe e lfre e to start w h e re ve r you
Don’t panic just ye t.Its just l ik e a h ouse , be to m ode lth e ch aracte r in 3D.I th ink lik e .).Start by just se l e cting your h airl e ss
e ve ryth ing is m ade progre ssive l y.I’ve th at’s w h y I alw ays h ave so m uch troubl e
h e ad's l aye r and m ak e e ve ryth ing e l se
m ade th e im age be l ow to sh ow you th e in th e m ode l ing ph ase . invisibl e .Save th e im age to som e th ing
ste ps I’ve tak e n and th at it’s e ve n use ful lik e h e adGuide .jpg and, using Bl e nde r,
w ith a diffe re nt pose . Th e Back Vie w ope n it in th e Front and Side vie w ports
To cre ate th e Back vie w you use a fusion (in th e 3D vie w port h e ade r, pre ss
First, you onl y trace line s from th e k e y of th e m e th ods you’ve al re ady use d in th e Vie w |Back ground Im age ...and th e n cl ick
parts of th e bl ock m ode ll ik e th e h e ad, Front and Side vie w s.Th e re ’s noth ing th e Use Back ground Im age button) .You
m ore to it th an th at.Afte r finish ing th e can adjust th e position to focus onl y on
Back vie w , you’re re ady to fire up th e th e one th at m atte rs.Se tup th e Front
Bl e nde r th ruste rs! vie w port to use th e Front vie w sk e tch
and th e Side vie w port to use th e Side
R e ady to Bl e nd vie w sk e tch as back ground im age s.
W h e n you finish draw ing, it's tim e to
save th e picture s to JPEG
file s.Th is save s space and is
Bl e nde r- frie ndl
y.Any oth e r
file type you pre fe r is OK as
wel l, as l
ong as Bl e nde r can
re cognise it (don't go w ith
BM P's).

H e re is w h e re th e Laye r
w aist, k ne e s, fe e t (1) th e n, you trace som e division proce ss pays off.Th e
m ore to re fine th e h e ad (2) and so first th ing you’l lw ant to do is
on… draw h air, draw th e body (3) and m ode lth e h e ad (I al w ays
dre ss h im (4) just l ik e th e Front vie w . pre fe r to start w ith th e
Don’t forge t to use Laye rs. h arde st th ing be cause th e n,

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Afte r you m ode lth e h e ad, you’l lw ant to coolw ays to do 3D ch aracte r m ode l ing
do th e body.So, se l e ct th e Front, Side and th at are in th is e dition of bl e nde rart
Back body l aye r and m ak e sure th at m agaz ine ...I’m in fl e as to re ad th e m .H o!
e ve ryth ing e l
se is invisibl e .Save th e About Orion...w e l l, pe rh aps you'l lse e
im age to som e th ing l ik e bodyGuide .jpg h im again som e day.Untilne xt tim e ...
and bl e nd on.For th e cl oth e s, you also
can and sh oul d use th e sam e proce ss.

Cl osu re Note s
Re m e m be r, it’s alw ays pre fe rable to do a
sk e tch be fore going to 3D, e ve n if you’re
draw ing sk il ls are not ve ry de ve lope d.
You’l lfind a l ot of draw back s, anatom ical
issue s and annoying com pl ications in
your ch aracte r de sign during th e 2D
sk e tch ph ase th at you, for sure , don’t
w ant to find w h il e m ode ling in 3D.

Note th at I´ve onl y sh ow n you h ow to
draw a ful lch aracte r.Som e tim e s it's
e nough but, if you re al ly w ant to spe cify
de tails, it's be tte r, or is e ve n re q uire d, to
do sk e tch e s of onl y th e h e ad, th e fe e t,
som e spe cific articl e of cl oth ing, e tc.th at
occupie s an e ntire page .H ow e ve r,
th e m e th od is pre tty m uch th e sam e .

Wel l
, it's th e e nd of th e journe y w ith m e .
I h ope th is tutorialw as som e h ow use ful
to you and pre pare s you w e l lfor al lth e 3D Vie w s of Orion

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re al
istic ch aracte rs, re ady for use in a m ode l ing an e ntire ch aracte r, from h e ad
M ak e H um an varie ty of profe ssionalgraph ics to foot.Oth e rs l ik e d th e ide a, and afte r
"M ak ing" H um anoids Since 20 0 0 ! appl ications. about four m onth s of de ve l opm e nt,
th ank s to th e first group of
M anue lBastioni (English ve rsion) Sh ort H istory program m e rs, in particul ar, Filippo di
Alessandro Proglio Natal e and M ario Latronico, th e first
Antonio Di Ce cca Th e ance s tor alph a ve rsion w as finish e d and
Giovanni Lanza M ak e H um an w as born, ne ar th e e nd of im m e diate ly re le ase d unde r th e GPL
th e ye ar 2000 in an Ital ian com m unity of lice nse .
M artin M ack inlay
ope n source graph ic softw are de ve l ope rs.
M anue lBastioni h ad pre viousl y
W h at is M H ? de ve l ope d som e th ing sim il ar: a pyth on
M ak e H um an is a softw are pack age , script for Bl e nde r, w h ich m ode l e d onl y
w ritte n com pl e te l
y in C+ + and avail
abl e th e ch aracte rs' h e ad.It w as a sim pl e tool
for al lth e m ain pl atform s (W indow s, cal le d "M ak e H e ad", and base d on
OSX, Linux, e tc..).Its aim is th e m ode l ing Bl e nde r's ve rte x k e ys, w h ich can be
of th re e dim e nsionalh um anoids. conside re d, in e ve ry re spe ct,
M ak e H um an's ance stor.
Use rs can se t up th e age , w e igh t, se x,
race , siz e of th e nose , sh ape of th e face ,
proportions of arm s and l e gs, and a
w h ole se rie s of oth e r w e l
lde fine d Oth e rs w e re re sponsibl
e for th e
param e te rs, so w e can say th at M H is an transl ations (Fabriz io Cal i', Lore nz o
artistic/para m e tricalm ode l ing tool . Dave ri), for l ogos and oth e r aspe cts
re l
ating to th e m ate rial's publ ication.
Eve ry fe ature is de fine d by ch oosing it's
pe rce ntage , and al lth e fe ature s are
"adde d" to e ach oth e r to obtain e ndl e ss Firs t s cript for Bl
e nde r
com binations of form s.Th is al low s th e M anue l 's ne w proposalw as to do
cre ation, w ith a fe w click s, of e xtre m e ly som e th ing m ore fl
e xibl
e , w h ich al
low e d

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First m ode l se e .Afte r som e tim e , th e proje ct w as Afte r th is re l
e ase , th e participation of th e
Eve n if th e GUI w as de fine d, and th e official ly re cogniz e d by th e Bl e nde r e arlie r de ve l
ope rs, w ith th e e xce ption of
m orph ing code w as m ostl y re ady, th e re Foundation, by suppl ying im portant ne w th e adm inistrator and a fe w oth e rs
w as anoth e r de l icate and im portant tool s, l
ik e a m ail
ing l ist, a spe cific forum , (Lore nz o Dave ri and Cicca), w as re duce d
probl e m : th e re al iz ation of base bug track e r, and w as incl ude d in drastical ly, and th e proje ct se riousl y
h um anoid, w h ich h ad al lth e ne ce ssary Bl e nde r's proje ct page . slow e d dow n.Fortunate l y, it w as onl ya
ch aracte ristics for it to be transform e d pe riod of transition in w h ich
into any ch aracte r, and w h ich w as al so an Unfortunate l y, due to inte rnal M ak e H um an w as going to adopt a m ore
optim iz e d m e sh , from w h ich coul d be disagre e m e nts, th e col laboration w as inte rnationall ook th ank s to th e
cre ate d th e ch aracte r of a m ovie or a l ow re duce d conside rabl y, and th e officialsite contribution of Craig Sm ith on m ode l ing,
re solution ch aracte r suitabl e for vide o w as m ove d to de dal o- 3d.Afte r a sh ort to th e contributions of Ol ivie r Saraja, to
gam e s. pe riod tim e , M ak e H um an h ad an th e code of M ich ae lSch ardt (im port-
Furth e rm ore th e basic m e sh h ad im portant m odification.Th e passage e xport ve rts group) and to th e syste m of
to be se xl e ss, age l e ss and race - le ss, just to from an ol d com pl e x GUI to a l igh te r one bone s from Andre w K ator.
m ak e th ings a l ittl e m ore com pl e x.Afte r w as final ly com pl e te d, base d on th e input
m uch discussion, it w as final ly m ode l ed from a consol e w ritte n in pyth on by th e Th ank s to th e se ne w aids and num e rous
by Enrico Val e nz a.Th is w as th e first proje ct adm inistrator.Th is m ade w ay for ne w fe ature s, a ne w ve rsion w as re l e ase d
ve rsion of th e m ode l , w h ich w as be use d th e re l
e ase of ve rsion 1.6. w h ich jum pe d dire ctl y from ve rsion 1.6
up untiltw o ye ars ago, as w e sh al lsoon to 1.8 in a sh ort pe riod of tim e .

Ve rsion 1.6 and th e Blende r Foundation Th e stable ve rsion in Pyth on 1.6

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FACS vide o cards. re q uire m e nts w h ich w as th e re sult of
Due to th e succe ss of th is ne w ve rsion as studie s of m ore w e l l
- k now n m e sh e s.In th e
wel las to th e m e diation of Craig and Th e ne w m e s h fol low ing im age s th e m ain diffe re nce s
Lore nz o, th e proje ct re ce ive d an im portant Ve rsion 2.0 of th e script w as conce ive d in a be tw e e n th e tw o m e sh e s are ill
ustrate d (th e
donation w h ich consiste d of an e ntire ne w m anne r th at w as optim iz e d for "critical " points of th e ol d m e sh are m ark e d
docum e ntation of 20 ye ars of re se arch of profe ssionaluse and ne ve r succe e de d in in re d).
th e dott k now n as FACS.Th is so- cal le d FACS m oving be yond th e unstabl e ph ase .Eve n
(FacialActions Coding Syste m ), al low e d for th ough it w asn't ful ly usabl e,
study of an e ntire syste m of coding of facial it did h ave a ve ry im portant
e xpre ssions.Th e donation cam e from Paul ne w fe ature th at re taine d
Ek m an, w h o w as a psych ol ogy te ach e r in afte r m onth s of w ork : a ne w
th e de partm e nt of psych iatry at th e basic m e sh .Th e first ve rsion
Unive rsity of San Francisco. h ad in fact be gun to sh ow it's
lim itations as m e sh e s th at
Ve rs ion 2.0 in pyth on, unstabl e w e re too optim iz e d (about
At th is point w ith ve rsion 1.8, th e 7000 ve rte x), did not succe e d
de ve lopm e nt of th e pyth on script in cove ring al lth e re q uire d
substantial ly stoppe d.Tw o oth e r ve rsions m orph ings, and w as l ack ing
h ad com e out and w as w ritte n al m ost in som e fundam e ntale dge
e ntire ly by a ne w de ve l ope r, nam e d Paol o loops for th e facialand
Col om bo, th at introduce d an innovative m uscul ar anim ation.For th is
GUI, be tte r th an th e pre vious one .But th at re ason, a ne w m ode l e r,
unfortunate l y re m aine d in th e K aush ik Pal , alre ady auth or
e xpe rim e ntalph ase due to som e of e xce ptionalh um anoid
com patibil ity probl e m s w ith Bl e nde r, m ode l s for Bl e nde r and M aya
Ope nGL, and vide o cards.Th e se draw back s (CGtal k th re ad), cre ate d a
cause d se ve re de l ays th at Paol o h ad to ne w m e sh .W h il e not using
re w rite th e GUI se ve raltim e s in orde r to an e xce ssive num be r of ve rts
adapt it to th e ch ange s of th e pyth on API of (about 11000), th e m ode lk e pt
Bl e nde r and to avoid probl e m s w ith th e up w ith al lth e profe ssional

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De spite th e fact th at K aush ik 's m e sh w e re discussion. M ak e H um an com ple te l
y in C, m ul
ti-
alre ady h igh le ve l
, th e M ak e H um an te am platform , and w ith an innovative inte rface .
w ante d to pre se nt th e m ode lal so to th e At th e e nd of th e w ork , w e h ave coll
e cte d
atte ntion of fam ous m ode l e rs.Am ong th e se som e e xpl anatory im age s, particul arly W e 'd lik e to m e ntion in particul ar th e
artists, of w orld- w ide re putation Ste ve n conce rning th e facialtopol ogy, and in "slide r- im age s", a ne w button w h ich auto
Stah lbe rg and e xpe rt subdivide m ode l ing w h ich th e so- called l
ine s of action h ave z oom s on m ouse - ove rs (w ork ing as a
Tam às Varga just to nam e a fe w . be e n h igh l
igh te d. pre vie w of th e targe t) w h ich pe rm its
h olding th e m ouse button to se t th e
H e re w e q uote th e w ords of M r.Stah l
be rg, Th e turning point: th e s tandal
one pe rce ntage of m orph ing.Since th is w as a
of w h ich w e are particul arly proud, ve rs ion in C com pl e te l
y diffe re nt ve rsion from th e
answ e ring to our post (by Tom M usgrove ): H ow e ve r, e ve n w ith th e ne w m e sh , ve rsion pyth on script and w e h ad re w ritte n it from
2.0 of th e script w as stil llim ite d by th e scratch , th e standal one ve rsion h ad a l ow e r
"Tom , th at's a gre atre source for artists w h o probl e m s de scribe d above .Final l
y we ve rsion num be r: 0.8a.
w antto study topology.No re alcrits, e xce pt re al iz e d th at th e functions, pe rform ance ,
m aybe you could ch ange th e dire ction ofe dge s and stabil ity w e w ante d to ach ie ve w e re n't
dow n th e ch e e k , to e asie r incorporate th e possibl e w ith
infraorbitalfold (w h ich is one ofth ose th ings M ak e H um an as a pyth on
th ate ve ryone h as, alth ough it's ve ry subtle w ith script.It w as ne ce ssary
som e ).To com m e ntth e face , I th ink th e re d and to "m ove " it outside
blue loops are re ally im portant, butth e brow n Bl e nde r, and to re w rite it
and gre e n one s don'tre ally ne e d to be pe rfe ct from scratch in h igh -
loops.Th e y can be , butth e re 's no pre ssing ne e d pe rform ance l anguage s,
im o" such as C or C+ + .Th e first
ste p of th is m ajor
Originalth re ad transform ation w as
possibl e th ank s to a
Fe w w ords, but ve ry gratifying for th e te am . m ajor contribution from
Obviousl y th e n th e infraorbitall ine h as Paol o, w h o al one , and in
since be e n put into pl ace , as w e l
las th e ve ry l ittle tim e h ad
oth e r sugge stions th at cam e out during th e w ritte n a ne w

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curre ntl y avail abl e on Source Forge is h um anoid base d on targe ts l
ik e
stillPaul 's ve rsion, but w ith som e M ak e H um an, but al
so on use r input
additions and bug fixe s due carrie d out m e asure m e nts.
by oth e r program m e rs (OBJe xporte r
by Andre as Vol tz , OSX porting by Tan Andre as h ad gotte n in touch w ith th e te am ,
M e ng Yue ).End use rs found th e announcing th at afte r re ce iving h is de gre e ,
program to be q uite usabl e , but h e w oul d m ak e h is librarie s avail abl e unde r
program m e rs continual ly w ork e d to th e GPL.Th is w as gre at ne w s;th e l ibrarie s
furth e r advance th e code , in h ope s of w e re w e l
lw ritte n, h igh ly obje ct orie nte d,
significantl y im proving th e usabil ity and w ritte n to be e asil y e xte nsibl e and
for th e e nd use r.W e th e n arrive d at a m odul ar.Th e C ve rsion on th e oth e r h and,
ne w ve rsion th at's going to be re l e ase d. w as de ve lope d in a proce duralstyl e , and
w asn't so e asy to update and ch ange .Th e
passage from C to C+ + m e ant offe ring th e
use rs a stillbe tte r product, w ith a m ore
Dow nl oading of th e standal
one ve rsion of Ne xt ve rs ion: M ak e H um an 1.0 (b e ta), standard and com pre h e nsibl e code , w ritte n
M ak e H um an can be found using h osting in C+ + ve ry profe ssional ly and incorporating al l
provide d by Source Forge . Anim orph s possibl e cautions to satisfy th e rul e s of OOP
W h ile w e w e re w ork ing on M ak e H um an program m ing.Ce rtainl y, th is w ould h ave
In th is w ay, th e pyth on ve rsion h oste d by ve rsion 0.8, Andre as Vol tz , a stude nt of cause d som e de l ays be cause , once again, w e
th e Ble nde r Foundation, re m ains se parate Appl ie d Com pute r Scie nce s at th e sh oul d h ave re w ritte n th e code from
from th e ve rsion w ritte n in C.Th e ve rsion Unive rsity of Ful da, in Ge rm any, w as scratch .Th ough , it w as w orth th e troubl e
de ve loping som e conce pts of th e pyth on since subse q ue nt de ve l opm e nt of th e
ve rsion in orde r to construct a ne w , appl ication w oul d h ave be e n m ore sl e nde r,
m ore fl e xibl e ,l
ibrary th at w as pl atform profe ssionaland re l iabl e.
inde pe nde nt and w ritte n e ntire l y in C+ + .
H is aim w as to use it for th e softw are M H GUI
th at h e w as pre paring for h is bach e l or Once it w as de cide d to use Andre as' l ibrary,
th e sis cal le d "M e asure H um an".H e w h ich h e dubbe d "Anim orph ", w e ne e de d
w ante d to not onl y m odify aspe cts of 3D to w rite a sim pl e and stabl e GUI.

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In line w ith th e ph il osoph y of th e proje ct, be ta ve rsion untilit is ful ly stable and h as im prove d to be com e e ve n m ore intuitive ,
w e avoide d th e use of l arge e xisting th e ne ce ssary fe ature s to to be conside re d w e are stil lgoing to be pre paring ade q uate
librarie s.W e w ante d M ak e H um an to be "com pl e te ".Th e fol
low ing im age s are a docum e ntation.Th is is possibl e th ank s to a
com pact and an e xtre m e l y re l iable tool pre vie w of th e w ork th at w e are carrying te am e xcl usive l
y assigne d to th e
w ith fe w de pe nde ncie s, and w ith w e l l forw ard. production of docum e nts, th e ir transl ation
de fine d fe ature s.Afte r h aving re vie w e d a and l ogicalorganiz ation.A spe cialth ank s
large num be r of e xisting l ibrarie s, w e goe s to Al e ssandro Progl io for transl ating
final ly de cide d th at, for th e spe cial th e docum e ntation and adm inistrating th e
inte rface of M ak e H um an, th e be st th ing W ik i (stil
lin ph ase of de ve lopm e nt), to
w oul d be to w rite th e ne ce ssary cl asse s M artin M ack inl ay for th e finalre vision of
ourse l ve s.Sim pl e = Re liabl e , Sim ple = Easy th e ITA- ENG transl ation, and to Antonio Di
to m anage and update .For th e se re asons, Ce cca and Giovanni Lanz a, w h o active l y
th e GUI contains onl y w h at is ne ce ssary to contribute to th e ITA- ENG transl ation.
us and w e are doing e ve ryth ing to te st it
th orough l y.Th e core h as be e n w ritte n w ith
th e h e lp of Ninibe Labs.A particul ar th ank s
goe s to Sim one Re and M anue lw h o
toge th e r h ave de ve l ope d th e first sk e tch of
th e GUI.Subse q ue ntl y, e ve ryth ing h as be e n
re vie w e d by anoth e r program m e r, H ans
Pe te r Duse l , w h o h as al so w ork e d on th e
porting for OSX.

M ak e H um an Th e ne w inte rface , alth ough it use s th e
Now th at final ly both Anim orph and ide as from ve rsion 0.8, h as be e n care ful ly
M H GUI h ave re ach e d a satisfactory l e ve l planne d to h ave a sim pl e and intuitive
(e ve n if is our inte ntion to continue to de sign.Each e l e m e nt h as be e n care ful
ly
pe rfe ct th e m ), th e onl
y th ing th at re m ains studie d to be e asy to unde rstand and use .
is to com bine th e m into a singl e
appl ication, M ak e H um an 1.0.Th is w il lbe a Eve n if th e GUI w il
lcontinue to be

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O utput be abl e to provide ph otore al istic re nde rings H el
p from th e com m u nity
M ak e H um an is inte nde d to be a ve ry of th e subje ct.On one h and, it can se rve as a M ode l
e rs
spe cific tool ,l im ite d to a pre cise fie l d: to pre vie w of an e ve ntualpre - production (of Any capabl e m ode l e r th at k now s th e basic
rapidl y m ode lprofe ssional3D ch aracte rs gam e s, m ovie s, e tc...), ye t on th e oth e r, can fe ature s of Bl e nde r are invite d to join and
w ith al lne ce ssary fe ature s for anim ation be use d by th e artist to produce final h elp us.Buil ding a ne w m orph is ve ry
w ith th e use of suitabl e softw are (M aya, im age s (poste rs, gal le ry, e tc...).Th e re fore , sim pl e and doe s not re q uire any
M ax, Bl e nde r, e tc...).Th e re fore it is a tool in concl usion, th e output of M ak e H um an program m ing k now l e dge . It is onl y if you
th at finds itse l f ide al l
y positione d in th e can be divide d in tw o l arge cate gorie s: w ant to e xport a ".targe t" fil e .For
profe ssionalpipe l ine s, and th at doe s not e xam pl e , try it dire ctl y in M ak e H um an.A
w ant or h ave to be an e nd in itse l f. 1) Exporting in th e m ost com m on form ats, spe cialscript for Bl e nde r, cal led
com patibl e w ith th e w ide st range of "M ak e Targe t", is re q uire d and m ay be
softw are . dow nl oade d from th e Bl e nde r Foundation's
2) Ph otore al istic (but static) re nde ring of proje ct site .
th e ch aracte rs in pose , com pl e te w ith h air It's a ve ry inte re sting toolbe cause it
and cl oth ing, suitabl e for pre vie w ing and al l
ow s you to al so m anipul ate th e ".bs"
th e production of im age s. form ats.A sh ort introduction to its
util iz ation can be dow nl oade d h e re .
Curre ntl y onl y e xport in O BJform at is
supporte d, ye t e ve n th ough O BJh as be com e Program m e rs
a standard, w e h ave inte ntions to add H el p on th e de ve l ope r's part is al so
additionalform ats.M any fe ature s h ave wel com e e ve n th ough , obviousl y, th e
alre ady prototype d in pyth on, for e xam pl e participation is bound to spe cific rul e s and
†œ h air†, w h ich only ne e ds to be al l
ocations of th e task s by th e
transl ate d into C+ + and ade q uate l y adm inistrator.At th e m om e nt, w e ne e d an
incorporate d in th e GUI.W ith re gards to e xpe rt W indow s program m e r as m ost of
re nde ring, w e are w ork ing on a sk in sh ade r th e de ve l ope rs w ork w ith Linux, and
e ngine th ats Re nde rm an com pl iant.H e re th e re fore , th e W indow s ve rsion re q uire s a
Additional ly, to a lim ite d e xte nt, w e w ant are som e im age s m ade w ith Pixie . m aintaine r to m onitor optim iz ations,
M ak e H um an to re ach an e q ual l
y porting of th e l ibrarie s, and ch e ck ing of th e
profe ssionall e ve lw ith static pose s and to instal le r, e tc

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stil
lfram e im age s. re nde ring w ith Bl e nde r?
Split/Fram e re nde ring on Th e Bl e nde r Pyth on API h as facil itie s to
Re sPow e r Supe r/Farm . Th e basic ide a be h ind Spl it/Fram e pe rform a "Borde r Re nde r." Th is
re nde ring is to bre ak a singl e fram e into basical ly m e ans th at a re ctangul ar
by - Cory K ing and Earl y Eh linge r m ul tiple ch unk s cal le d "buck e ts". Each se ction of pixe l s from any im age can be
buck e t is th e n re nde re d on a se parate se le cte d and th e re nde r e ngine w il lonl y
com pute r so th at se ve ral(possibl y one re nde r th e pixe l s w ith in th at re ctangl e,
O utl ine : h undre d or m ore ) ch unk s can be run in le aving e ve ryth ing e l se bl ack . Using th is
I - W h atis Split/Fram e re nde ring? paral l
el. Th is spe e dup is l ine ar in th e ory, m e th od, Re sPow e r can spl it an im age
II - H ow doe s Re sPow e r accom plish m e aning th at a fram e spl it into 100 into any arbitrary num be r of buck e ts,
Split/Fram e re nde ring w ith Blende r? buck e ts sh oul d re nde r 100 tim e s faste r and re nde r e ach buck e t on a se parate
III - W h ataboutre - asse m bly? th an th e sam e fram e re nde re d as 1 com pute r.Th e n, using anoth e r ope n
IV- H ow m uch spe e dup doe s Split/Fram e buck e t. Unfortunate l y, be cause of source softw are pack age cal led
provide ? Am dah l 's Law , th is is not th e case , Im age M agick , th e fram e is autom atical ly
V- Re alw orld e xam ples. alth ough th e spe e dup can stillbe q uite croppe d to re m ov e all th e e xtra bl ack
VI - Know n Issue s. re m ark abl e . Ch e ck th e side bar for m ore space . Each individualbuck e t's output is
inform ation on Am dah l . save d as a se parate im age in th e use r's
I - W h at is Spl it/Fram e Re nde rs fol de r.
re nde ring? Spl it/Fram e re nde ring is not a ne w
Re sPow e r is constantl y se arch ing for conce pt and h as be e n avail abl e for m any Th e abil ity to re nde r se parate portions of
w ays to spe e d up th e proce ss of 3D 3D re nde ring e ngine s for ye ars. a singl e fram e in paral l e lal l
ow s 3D
conte nt cre ation, spe cifical ly in th e are a Profe ssional3D pack age s such as artists w h o w ork w ith stil lfram e s to tak e
of re nde ring. Spe e ding up th e re nde r 3DStudio and Ligh tw ave support ful ladvantage of a re nde r farm . W ith
tim e s of anim ations w ith h undre ds or Spl it/Fram e native l y, but e ve n w ith one th is te ch niq ue , a singl e fram e can be
th ousands of fram e s is fairl y of th e se pack age s th e advantage s of re nde re d at ful lre sol ution in a m atte r of
straigh tforw ard;sim pl y re nde r e ach Spl it/Fram e are onl y se e n w h e n using a m inute s at Re sPow e r w h e re it m igh t tak e
fram e on a diffe re nt com pute r so th at re nde r farm l ik e Re sPow e r. h ours, or e ve n days, to re nde r at th e
m ul tiple fram e s run in paral lel
. sam e siz e and q ual ity on a singl e
Spl it/Fram e re nde ring is basical ly II - H ow doe s R e sPow e r com pute r.
th e sam e proce ss, onl y it is de signe d for accom pl ish Spl it/Fram e

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On top of th at, an artist can continue to com pl e te l
y elim inate d. Th is m e ans m ore in th e range of 16 buck e ts al lth e w ay up
tw e ak h is sce ne , or w ork on som e th ing re source s are avail able to de vote to th e to 400 buck e ts. Unfortunate l y th e re are
com pl e te l
y diffe re nt w h il
e h is fram e is proce ss of re stitch ing, and th at m e ans m any factors invol ve d in de te rm ining
re nde ring be cause h is m ach ine w on't be custom e rs ge t th e finish e d product faste r. th e be st split, and trialand e rror is
bogge d dow n w ith th e arduous task of Anoth e r advantage of Im age M agick ge ne rally th e be st w ay to find th e
re nde ring. running from th e com m and l ine is th at optim alspl it.
re stitch ing can be al m ost com pl e te l
y
III - W h at abou t re -asse m bl y? autom ate d. W ith a singl e com m and, th e Be cause Bl e nde r is only usable on th e
Re sPow e r h as re ce ntl y introduce d th e farm w il lfe tch e ve ry im age re q uire d, Re sPow e r Supe r/Farm by purch asing a
abil ity to re - asse m bl e al lth e buck e ts give th e m to Im age M agick , and w ait for subscription, custom e rs don't h ave to
from a Spl it/Fram e re nde r w ith a proce ss th e finaloutput. w orry about pick ing th e w rong spl it. If a
w e cal l"stitch ing". For fram e s subm itte d 2 x 2 split isn't fast e nough , you can try a
as Spl it/Fram e , th e re is a com m and on Th is abil ity is vastl y supe rior to th e ol d 4 x 4. If you start w ith 10x10, and you've
th e jobs page cal l
e d Stitch . Stitch ing w ay of re - asse m bl ing buck e t im age s passe d th e point of dim inish ing re turns,
once again use s Im age M agick to w h e re use rs h ad to use ph oto e diting you can back it up for a 8x8 spl it.
program m atical ly pul lal lof th e softw are such as Ph otosh op and
individualbuck e t im age s toge th e r and m anual ly put al lth e im age s toge th e r to V- R e alw orl d e xam pl e s.
appe nd th e m into one ful l
- siz e im age . Al
l ge t th e finish e d product. Th e file use d for de te rm ining th e se tim e s
of th e individualbuck e t im age s re m ain can be found h e re . It is provide d so you
avail abl e for dow nl oad if th e use r w ish e s, IV- H ow m u ch spe e du p doe s m ay re nde r on your ow n syste m to
but an additionalim age cal led Spl it/Fram e provide ? de te rm ine th e spe e dup you can e xpe ct
"fram e _ x.stitch e d.e xt" w il lappe ar in th e As I said be fore , th e th e ore ticalspe e dup w h e n using Spl it/Fram e on th e Re sPow e r
Re nde rs fol de r once th e stitch ing is for Spl it/Fram e re nde ring is l ine ar, so Supe r/Farm .
finish e d, w h e re 'x' is th e fram e num be r th at a 50 x 50 spl it sh oul d re nde r 2500
and 'e xt' is th e fil e e xte nsion, i.e .png, tim e s faste r th an no spl it. Unfortunate l y, h ttp://w w w .re spow e r.com /~ CoryK ing/sp
jpg, bm p, e tc. Re sPow e r h asn't be e n abl e to se cure any lit_ fram e _ te st/
re ale state in Th e ory (price s are
Im age M agick w ork s from th e com m and *incre dibl y* h igh th e re ), and th ings th at
line so th at ove rh e ad associate d w ith w ork in Th e ory don't al w ays w ork h e re .
starting a graph icaluse r inte rface is Th e spe e dup is conside rabl e w ith spl its

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Th e se are th e tim e s re q uire d to re nde r th is
file at diffe re nt splits using onl y th e faste st
re nde ring node s avail abl e on th e farm . Th e
re solution of e ach re nde re d fram e is
som e w h e re cl ose to 2048 pixe l s x 2048
pixe ls. Th e sl igh t ch ange s are due to th e
fact th at th e w idth and h e igh t in pixe l s
m ust be a m ul tiple of th e num be r of
buck e ts for stitch ing to w ork prope rl y. For
instance , an 800 pixe lx 600 pixe lfram e
sh oul d not be re nde re d w ith a 7 x 7 spl it
be cause 7 doe sn't divide e ve nl y into 800 or
600.

Pl e ase note th at re nde r tim e s de pe nd on
se ve ralfactors incl uding sce ne com pl e xity,
ne tw ork stre ss, th e avail ability of re nde r
node s, and m ore . Be cause of th e se factors,
th is ve ry sm allse t of data is fairl y
inconsiste nt. A m ore robust data se t w oul d
sh ow a sm ooth e r curve of progre ssion
be tw e e n data points
1 x 1 (no spl it) - 2048 pixe l
s x 2048 5 x 5 - 2050 pixe ls x 2050 pixe l
s 9 x 9 - 2052 pixe ls x 2052 pixe l
s 20 x 30 - 2040 pixe ls x 2040 pixe l
s
pixe ls re nde r 01 h rs 13 m in 21 se c re nde r 00 h rs 17 m in 17 se c re nde r 00 h rs 10 m in 10 se c
re nde r 11 h rs 06 m in 46 se c
6 x 6 - 2046 pixe ls x 2046 pixe l
s 10 x 10 - 2050 pixe ls x 2050 pixe l
s 20 x 40 - 2040 pixe l s x 2040 pixe l
s
2 x 2 - 2048 pixe ls x 2048 pixe l
s re nde r 01 h rs 01 m in 11 se c re nde r 00 h rs 27 m in 54 se c re nde r 00 h rs 9 m in 27 se c
re nde r 05 h rs 34 m in 08 se c
7 x 7 - 2051 pixe ls x 2051 pixe l
s 10 x 20 - 2040 pixe ls x 2050 pixe l
s 30 x 30 - 2040 pixe ls x 2040 pixe l
s
3 x 3 - 2048 pixe ls x 2048 pixe l
s re nde r 00 h rs 27 m in 17 se c re nde r 00 h rs 13 m in 27 se c re nde r 00 h rs 16 m in 31 se c
re nde r 01 h rs 53 m in 11 se c
8 x 8 - 2048 pixe ls x 2048 pixe l
s 20 x 20 - 2040 pixe ls x 2040 pixe l
s
4 x 4 - 2048 pixe l s x 2048 pixe l
s re nde r 00 h rs 40 m in 53 se c re nde r 00 h rs 33 m in 21 se c
re nde r 01 h rs 32 m in 55 se c

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Am dah lvs Gus tafs on: a Paral
le lSh ow dow n
W ith anim ations, w e te nd to incre ase
rough l y th e am ount of tim e it w oul d th e siz e of th e probl e m m ore th an th e
Am dah l 's Law state s th at a paral lel tak e you to re nde r th e first fram e on 1 num be r of proce ssors. As a re sul t, you
proce ss cannot ach ie ve l ine ar scal ing com pute r. At Re sPow e r, w e routine l y se e se e a scal ing m ode w h e re 400 fram e s
be cause th e re is a portion of e ve ry th is sort of spe e dup for anim ations. finish in rough l y th e sam e am ount of
program th at m ust occur in se rial . Th is tim e as 1 fram e . You h ave n't incre ase d
portion de te rm ine s a l im it to th e But w h at about Spl it/Fram e re nde rs? th e spe e d of any individualfram e -
spe e dup one can h ope to ach ie ve by Can you divide a singl e fram e 700 w ays you've just done m ore fram e s.So, w as
adding proce ssors. If 80% of your and h ave it re nde r 700 tim e s faste r? Am dah lw rong, or Gustafson?
program 's tim e is spe nt in th is se rial Unfortunate l y, for individualfram e s, th e Re sPow e r's te sting indicate s th at
portion, th e n adding an infinite num be r se rialpe rce ntage invol ve d is th e y're both righ t, de pe nding on your
of proce ssors can e l im inate , at m ost, 20% significantl y h igh e r th an for anim ations, pe rspe ctive . If you k e e p th e probl em
of th e program 's totale xe cution tim e , and you start to se e a point of siz e constant and add proce ssors, you
and th at's assum ing th at th e dim inish ing re turns m uch soone r. As se e a ve ry logarith m ical ly- sh ape d curve ,
com m unications invol ve d com e at no th e ch arts sh ow , you se e a tre m e ndous w ith m axim um be ne fit around 100- 200
cost. boost ve ry q uick l y, but afte r about 100- com pute rs (at l e ast for th e te st sce ne w e
200 com pute rs, adding buck e ts doe sn't use d). If you ch ange th e probl e m siz e in
W ith re nde ring, th e pe rce ntage s are spe e d th ings up ve ry m uch . conjunction w ith th e num be r of
typical ly inve rte d: 1% or l e ss of a proce ssors, you se e a ne arl yl ine ar curve .
re nde r's tim e is spe nt in th e se rial W h y is th at? W e l l, Joh n Gustafson
portion, so adding proce ssors can give cre ate d a re buttalto Am dah lth at As it turns out, Dr.Yuan Sh i ove r at
you a ne arl yl ine ar spe e dup: going from e xpl ains it fairly wel l
. W ith a singl e Te m pl e Unive rsity w as abl e to prove
1 to 2 proce ssors w il lgive you ne arl y Spl it/Fram e re nde r, th e siz e of th e m ath e m atical ly th at Gustafson and
doubl e th e th rough put, and going from 1 probl e m re m ains unch ange d, and so Am dah lw e re both saying e xactl y th e
to 700 proce ssors w il lgive you ne arl y your spe e dup fol low s Am dah l 's Law . Th e sam e th ing, w h e n you account for th e
700x th e th rough put. In oth e r w ords, if sh ape of th e curve l ook s al m ost e xactl y im pre cision in th e ir re spe ctive
you w ant to re nde r 700 fram e s of lik e a graph ing of Am dah l 's e q uation: te rm inol ogie s.
anim ation, and h ave 700 com pute rs to spe e dup=1/(s+ p/N)
do it w ith , you can e xpe ct it to tak e

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Insiderview Issue 4 M ay 2006

Am dah lvs Gus tafs on: a Paral
le lSh ow dow n

Th e ir form ul ae allw ork e d out to th e sam e th ing, w ith re sul
ts th at jive w ith w h at
w e se e at Re sPow e r: a static proble m siz e yie lds dim inish ing re turns, but additional
proce ssors l e t you sol ve large r probl e m s in th e sam e am ount of tim e . So th ank s to
Dr.Sh i, w e can now se e th at th e unive rse m ak e s se nse again and pe ace h as be e n
re store d.

R e fe re nce s:
h ttp://e n.w ik ipe dia.org/w ik i/Am dah l 's_ l
aw
h ttp://joda.cis.te m pl e .e du/~ sh i/docs/am dah l/am dah l
.h tm l
h ttp://w w w .scl .am e slab.gov/Publ ications/Gus/Am dah lsLaw /Am dah l
s.h tm l

FIg2.Th e de ploy com m and/script.

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Under review Issue 4 M ay 2006

Once you h ave finish e d m ode l ing your
3D Cre ature w ork sh op cre ature of ch oice , th e re is a rath e r in
Bil
lFl
e m ing and Rich ard H .Sch rand de pth se ction cove ring te xturing.Bil l
Fle m ing sh ow s som e gre at te ch niq ue s for
In th is issue w e are doing a dualbook adding re al istic de tailto your te xture
re vie w .W e w illbe l ook ing at Bil l m aps.
Fl e m ing’s “ 3D Cre ature W ork sh op” and W h il e both e ditions are som e w h at
th e update d 2nd e dition h e co- w rote w ith ol de r, noth ing ne w h as h it th e m ark e t
Rich ard H .Sch rand.Both book s cove r th e th at can surpass or re pl ace th e am ount of
sam e gre at ste ps and te ch niq ue s, w ith inform ation avail abl e in th e se book s.If
th e 2nd e dition containing four ne w you w ant your cre ature s/ch aracte rs to be
ch apte rs h igh ligh ting fantasy cre ature re alistic and appe ar to be as l ife l
ik e as
cre ation and th e anim ation of singl e possibl e , th e n you ne e d to ch e ck at l e ast
m e sh m ode l s.A varie ty of ne w cre ature s one of th e se book s out.
are use d to il l
ustrate te ch niq ue s in th is
e dition as w e l l
. If you follow th e follow ing l
ink , you can dow nl oad a sam pl
e ch apte r
of th e 2nd e dition from Ch arle s Rive r M e dia.

W h e th e r you h ave a copy of th e first or se cond e dition, you are 3D Cre atu re W ork sh op
h olding an inval uabl e re source on cre ature /ch aracte r m ode l ing and by BillFl e m ing
cre ation.Each book starts off w ith a th orough discussion of cre ature · Pape rback : 450 page s
de sign.Th e n you w ork th rough th e e l e m e nts of cre ating a cre ature · Publish e r: Ch arle s Rive r M e dia;Bk & CD Rom e dition (M ay 19 9 8)
biograph y th at w il lh e l
p you w ith your de sign de cisions.Th e re is al so · Language : Engl ish
a gre at se ction on th e val ue of source m ate rialand h ow it fits into · ISBN: 1886801789
de signing your cre ature .
3D Cre atu re W ork sh op, Se cond Edition (Graph ics Se rie s)
Th e ne xt m ajor se ctions contain ch apte rs th at cove r m ode l ing in by BillFl e m ing and Rich ard H .Sch rand
various softw are program s.And w h il e th at m igh t put you off buying · Pape rback : 441 page s
th is book , don’t le t it.Th e tutorial
s are w e l
lw ritte n and w h ile sl
ante d · Publish e r: Ch arle s Rive r M e dia;2 e dition (Fe bruary 1, 2001)
tow ard spe cific program s, can be appl ie d ve ry e asil
y to bl
e nde r · Language : Engl ish
te ch niq ue s and tool s. · ISBN: 1584500212

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Under review Issue 4 M ay 2006

Part I is an introduction to th e e le m e nts th at to sh ow th is is incl uding a w e ld be tw e e n a
3D Ph otore al
ism tool
k it m ak e up ph otore al
ism , it is a 10,000 foot vie w fire h ydrant and its base . W ith out th e w e l d,
by Bil
lFl
e m ing of w h at w il
lbe cove re d in de tailin th e re st of e ve n w ith allof th e te xture s and ligh ting, th e
th e book . im age stil ldoe s not l ook righ t. Just th e
In th is issue addition of a fe w e xtra pol ygons and th e
w e are Part II dive s into m ode l
ing te ch niq ue s th at im age l ook s lik e a ph otograph .
re vie w ing e nh ance th e de tail s of th e m ode ls, incl
uding
“ 3D th e use of scre w s, se am s, be ve ls and fille ts, Th e book doe s h ave som e draw back s. It is
Ph otore al ism e tc. It al
so discusse s th e m e ch anics of h ow cove ring a l ot of ground in a re l ative l
y sm al l
Tool k it” by th ings are put toge th e r, as w e llas th e num be r of page s, so som e are as are not as
Bil lFl e m ing. m ate rials th at th e y are m ade of. de tail e d as one w oul dl ik e . Th e large st part
of th e book cove rs th e first th re e parts,
H ave you In Part III, Fl e m ing discusse s surfacing le aving th e l ast tw o sh ort on de tail .Final ly,
e ve r w ork e d te ch niq ue s, conce ntrating on fundam e ntals, be cause th e book is a bit ol d by com pute r
long h ours to such as aging surface s, prope r use of standards (19 9 8), som e of th e te ch niq ue s,
m ode l , rig, spe cul arity, h ow to use im age s and partial l
y for som e of th e l igh ting te ch niq ue s,
stage and proce duralm aps. fe e la bit date d. H ow e ve r, th e book is non-
ligh t your appl ication spe cific and be cause th e
sce ne , just to Part IVde al
s w ith staging te ch niq ue s to te ch niq ue s be ing taugh t are w e l lfounde d,
re nde r it and say “ som e th ing just is not q uite include h ow to plan your im age , w h at ite m s th e re ade r w illfind th at th e se ite m s are not a
righ t” ? If you w e re not abl e to figure out to incl
ude , h ow to clutte r th e stage , e tc. draw back .
w h at th at “ som e th ing” w as, th e n th is book
m ay be for you. Part Vtal
k s about using cam e ra angl
e s and Th is is a “ m ust re ad” book for be ginning and
ligh ting to th e m ost advantage . Again th e inte rm e diate CG artists and e ve n e xpe rie nce d
3D Ph otore al ism Tool k it, by BillFl e m ing, e m ph asis is on th e th e ory of h ow th is im pacts pe opl e m ay find som e ge m s th at th e y h ad not
provide s m any ide as on h ow to ach ie ve th at th e finalim age , back e d w ith e xam pl e s of h ow k now n or th ough t about be fore
cove te d “ Ph otore al
istic” l ook . Th is is not a it w ork s.
H ow - to book pe r se . Inste ad, it is a group of Nam e : 3D Ph otore al ism Toolk it
good ide as th at you can use to h e l p im prove A uniq ue ite m about th is book is th at it doe s Auth or: Bil lFl e m ing
your im age cre ating abil ity – a true Tool k it. not e m ph asis te ch niq ue as m uch as h ow Edition: 19 9 8
im portant it is to be aw are of your Pape rback : 328 page s
Th e book is divide d into five parts, e ach one e nvironm e nt. As artists w e h ave to l ook Publ ish e r: Joh n W ile y & Sons, Inc.
cove ring a spe cific are a of th e cre ation de e ply at th e w orld to find th e sm al lde tail s Language : Engl ish
proce ss. th at, w h e n l
e ft out, m ak e our sce ne s look ISBN 0- 471- 25346- 4
unnatural . A gre at e xam pl e th at Fl
e m ing use s

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GAlleria Issue 4 M ay 2006

by - Bruno O k ano - "Sam ara"

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GAlleria Issue 4 M ay 2006

by - Kadir Ce l
ik - "M oddy"

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GAlleria Issue 4 M ay 2006

by - Kadir Ce l
ik - "Robot"

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GAlleria Issue 4 M ay 2006

by - Tim o - "Africa M as k "

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GAlleria Issue 4 M ay 2006

by - Z ool
y - "Th e Prince s s 2"

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Galleria Issue 4 M ay 2006

by - Z ool
y - "Th e Prince s s "

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Galleria Issue 4 M ay 2006

by - Z ool
y - "Th e re is no l
im it"

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Galleria Issue 4 M ay 2006

by - Adre a Giro - "Dino"

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Galleria Issue 4 M ay 2006

by - Bl
ak iz - "Face s "

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GAlleria Issue 4 M ay 2006

by - Bl
e nde r ak i - "Be l
aKis s "& "Irk e n Cre w m an"

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GAlleria Issue 4 M ay 2006

by - Bl
e nde r ak i - "Robopato"& "Pl
uck y"

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GAlleria Issue 4 M ay 2006

by - Luis De l
- "Aguil
a h e ad"

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Galleria Issue 4 M ay 2006

by - Cal
e b Eph ratah - "Th e Knigh t"

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Galleria Issue 4 M ay 2006

by - Roge rio Pe rdiz - "O rion W IP"

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Galleria Issue 4 M ay 2006

by - Roge rio Pe rdiz - "O rion W IP"

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Galleria Issue 4 M ay 2006

by - Sal
vador gb Pe rdiz - "M ie ntos Ch il
m e nton"

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Galleria Issue 4 M ay 2006

by - Sim on Baudry - "Cim e tie rre "

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Galleria Issue 4 M ay 2006

by - Sim on Baudry - "M e dus e "

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Galleria Issue 4 M ay 2006

by - Rich - "M as k e d"

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Galleria Issue 4 M ay 2006

by - Z ach Gol
ds te in - "Lictor"

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Galleria Issue 4 M ay 2006

by - Tony M ul
le n - "Th e ol
d m an & th e be an"

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Galleria Issue 4 M ay 2006

by - Roja - "Gobl
in m al
e & Gobl
in fe m al
e"

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Galleria Issue 4 M ay 2006

by - Roja - "O rc m al
e & O rc fe m al
e"

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Galleria Issue 4 M ay 2006

by - Roja - "H um an fe m al
e & "Te xture bl
ock "

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Galleria Issue 4 M ay 2006

by - Roja - "Sk e l
e ton arm e d"

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Galleria Issue 4 M ay 2006

Farm e r M atrix
by - Grze gorge M ich al
ak - "Bogdh ans "

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Galleria Issue 4 M ay 2006

M atrix2 Rape r
by - Grze gorge M ich al
ak - "Bogdh ans "

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Galleria Issue 4 M ay 2006

Spide y W ade r
by - Grze gorge M ich al
ak - "Bogdh ans "

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Galleria Issue 4 M ay 2006

by - Jonath am W il
lim s on - "Bus t"

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Galleria Issue 4 M ay 2006

by - Jonath am W il
lim s on - "Bus t"

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Galleria Issue 4 M ay 2006

by - Jonath am W il
lim s on - "Bus t"

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Galleria Issue 4 M ay 2006

by - Ce k h une n - *Prototyping articl
e "As h tray"

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Galleria Issue 4 M ay 2006

by - Ce k h une n - *Prototyping articl
e "Cre am e r Se t"

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Galleria Issue 4 M ay 2006

by - Ce k h une n - *Prototyping articl
e "Sugar Ful
l"

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Galleria Issue 4 M ay 2006

by - Ce k h une n - *Prototyping articl
e "PEZ Advil
e"

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Galleria Issue 4 M ay 2006

by - Ce k h une n - *Prototyping articl
e "PEZ Exactl
y Final
e"

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Galleria Issue 4 M ay 2006

by - Ce k h une n - *Prototyping articl
e "PEZ Nicotine Final
e"

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CONTRIBUTIONS Issue 4 M ay 2006

Bl
e nde rart Staff

GauravNaw ani - Editor/De signe r
Sandra Gil be rt - M anaging e ditor/Proofe r
Nam Ph am - W e b Adm inistrator/Proofe r
K e rnon Dil
lon - Proof re ade r

Bl
e nde rart Contributors

Bu tte rfl y tu torial Bl e nde r2pov
Ch ristian Guck e l
sbe rge r José M auricio
h ttp://w w w .abyi.com / Rodas R.(M orfe us)

M ak e h u m an R apid Prototyping w ith Bl e nde r
M anue lBastioni (Engl ish Ve rsion) Claas Eick e K uh ne n (F.ip2)
Al e ssandro Proglio w w w .ck brd.de
Antonio Di Ce cca w w w .concol ori.de
Giovanni Lanz a
M artin M ack inlay Ch aracte r D e sign 2d sk e tch to 3d
h ttp://source forge .ne t/proje cts/m ak e h um an/ Rogério Pe rdiz (rogpe r)

Ch aracte r m ode l ing at Pl
u m ife ros Book R e vie w - 3D Ph otore al
ism Tool
k it
M anue lPe re z (Picasus) Ed Cick a
Cl audio Andaur (m al e fico)
h ttp://w w w .plum ife ros.com / R e spow e r
Cory K ing
Earl y Eh l
inge r
h ttp://w w w .re spow e r.com /

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Upcom ing Issue 4 M ay 2006

Is s ue 5 avail
abl
e in Jul
y 2006

Th e m e : M ode l
ing trick s and Bl
e nde r Scripts

Articl
es : Using Ble nde r for 3d gam e asse sts
Various m ode l ing approach e s
Exte nding your Bl e nde r via Scripts

Dis cl
aim e r

ble nde rart.org doe s not tak e s any re sponsibil ity both e xpre sse d or im pl ie d for th e m ate rialand its nature , or accuracy of th e
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ar
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Cre ative Com m ons ‘Attribution- NoDe rivs2.5’l ice nse .

Th e CC lice nse is available ath ttp://cre ative com m ons .org/lice nse s/by- nd/2.5/legalcode

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