This module has been a tricky one for me as it is there were times when I really struggled and times when I felt more comfortable with modelling.
For Floating City I was very unsure about modelling, especially with the more organic bone structure we created. Looking back, I probably should have looked at z-brush to create a more bone look to the world- to create one closer to our designs. We also were very rushed in this project, due to the intense New Narrative’s Vogler project running at the same time (worth the same amount of points). I found the research in this project very interesting and glad it was changed to Rome, rather than Belfast. It allowed for a bit more cultural understanding and a totally different outlook on which things would influence the world itself (the culture, architecture, religion etc). This project allowed for us to go a bit insane too, allowing for me to introduce some of my own science research into the creation of energy in the body and how this could be applied in our world itself. If I was to go back and redo this project I would familiarise myself with lighting a bit better as the final outcome was definitely not what was anticipated in how it was show to the audience.
The head model, for me, was very enjoyable and something I would definitely try again, with other people as references, to see how different face shapes effect the topology and the skin folds. It taught me a lot of simple modelling techniques and how in animation a lot of the topology is created with science in mind- in this case, following the facial muscles. I found it a lot to match my face with the correct topology that create the floating city, which is strange as one is a lot more complicated. I found the research for this model very interesting as well- looking into some of the face models with such high detail and good shape with very little topology or being low poly. I tried to follow this in my own face. Modelling the head also allowed me to have a bit more confidence in the modelling itself. Areas like the neck where my tutorials did not cover I found myself having to improvise and create my own model based on several topology flows I had found online.
When modelling the eye I wanted to add a level of realism to it. I know the human eye itself has a lot of layers to it- for the function of sight and stability. Although we are not marked on the modelling of the eye itself, I want to go back and make it more realistic, like that in the one Conánn modelled.
The eye diagram. (S-media-cache-ak0.pinimg.com, 2016).
In my own model, I didn’t include the extrusion of the cornea, maybe this is something I could do over the summer.
Below is the video I used to complete the eye model.
The eye tutorial. (YouTube, 2016).
The wire un-smoothed eye.
The eye model.
The eyes placed into the model itself.
S-media-cache-ak0.pinimg.com. (2016). [online] Available at: https://s-media-cache-ak0.pinimg.com/736x/a2/eb/42/a2eb42182e448038473975202c74de07.jpg [Accessed 28 Apr. 2016].
YouTube. (2016). Eye modeling Texture Like Pixar And Dreamwork Autodesk Maya. [online] Available at: https://www.youtube.com/watch?v=pY0yyGsGmzY [Accessed 28 Apr. 2016].
I tried to move my Maya file onto another computer (one of our Macs) and this happened. On one hand, I made beautiful abstract art work. On the other- what the heck.
I see General Grievous, a butterfly or an elephant with huge ears.
The neck was a bit of a stumbling block for me- simply the tutorial did not cover it.
That, and my original reference photos showed I had no neck (I stupidly wore a scarf which covered my neck completely).
I took the below photos to help look at my neck when modelling it. They made me realise how much of a scrawny neck I actually have.
When looking into the actual topology of the neck I found the reference below very helpful. I noted the pole under the neck, like I would expect to be, where the jawline meets the neck, where the masseter muscle meets the splenius and thyrohyoid muscles.
The Head by By Germán Zambrano Córdoba. (3dtotal.com, 2016).
Some of the muscles in the neck helped me to understand the topology and the flow of the neckline itself.
Muscles in the Neck. (Philschatz.com, 2016).
3dtotal.com. (2016). // Create stylized character scenes by Germán Zamorano Córdoba (page 1 of 2) / 3ds Max Photoshop ZBrush Digital Painting Project Overview tutorial from 3dtotal.com. [online] Available at: http://www.3dtotal.com/tutorial/2029-create-stylized-character-scenes-3ds-max-photoshop-zbrush-by-germn-zamorano-crdoba-motorbike-gas-station-cartoon [Accessed 28 Apr. 2016].
Philschatz.com. (2016). [online] Available at: http://philschatz.com/anatomy-book/resources/1111_Posterior_and_Side_Views_of_the_Neck.jpg [Accessed 28 Apr. 2016].
The tutorials I used for modelling the head were Duylinh Nguyen. I found them very easy to follow and easy to adapt the topology to fit with my own features (such as reducing the height at which the ear is modeled.
The tutorials I followed. (YouTube, 2016).
My Process (in photos- when I remembered to take them..)
Step one- blocking the face as a plane. I had to form the basic outline for the front of the face, starting with a plane on the eye and then forming the ring structure. I then had to form the shape of the nose and mouth. It is clear to see that even in these early stages, there is some form to the face in the way the edges flow.
Step two- matching the vertices to the side view. I then had to work with the formed topology and pull the vertices to fit the side view. This was quite difficult for me, and took a few goes, but I got there eventually.
Step three- blocking the chin. The next step was to form the shape of the chin and begin to block out the the side of the face, placing the topology in a way to make it easy for me to match with the ear when I reached that stage.
Step four- adding more detailing in the mouth and nose. In this step I also started to block out the cheek area and side of the face.
Step 5- The ear. I started by mapping out the ear with rough topology in a flat plane and then started to extrude the geometry to create the wrinkles in the cartilage. The tutorial I watched offered a few ways in creating the topology on the lobe, however I went with the one shown as it was a lot neater and created no triangles.
Step 6- Closing up the ear (above three photos). This was the hardest part for me as I originally merged two points to the wrong place, creating an N-gon. Thankfully, I had saved not long before and was able to pick up from the place again,
Step 6- Attaching the ear to the head geometry. This was the bit of the model that I enjoyed the most as it didn’t require a lot of fiddling. This was because my ear was already attached and didn’t need me to do much work to fix it. The flow of my head matched pretty well and I was able to pull the last inner edges of the ear back with ease.
Step 7- The back of the head. This required me to get inventive and feel my head a lot to understand its overall shape. I then drew over my reference photo as a guide when creating the final thing.
Step 7- Duplication. I then duplicated the geometry and tweaked the RHS to match my face. I also pulled the ears back more, as I though they were sticking out a little too much.
YouTube. (2016). Duylinh Nguyen. [online] Available at: https://www.youtube.com/channel/UCTU-FQtFbqjCqI6giU_uA-w [Accessed 14 Apr. 2016].
One of the things both Conánn and Michael told us to research for the facial modelling was the muscles in the face. The inner ex-science student in me sprung immediately forward-one of my dreams jobs had been working in Forensic Pathology with the aspect of Facial Reconstruction as a masters. Oh how times have changed.
I started by having a look at some of the resources Mike has made available to us- he shared quite a few muscle maps/ diagrams.
Front view.(InnerBody, 2016).
Posterior head muscles as shared by Michael Bass. (InnerBody, 2016).
I found the posterior view very helpful- specifically the neck area. I thought it was important to note the obvious flow of the muscles here and how the topology would reflect these. The muscles follow three ‘flows’ or patterns in my eyes.
The first is the circular flow of the eyes’ orbicularis oculi muscles. The second is the triangular downward flow of the nasalis muscles. The final is that of the circular flow around the mouth, effected by the following muscles: orbicularis oris, depressor angulioris and the mentalis on the chin.
The flow on the face is evident even in the above diagrams. (Eleopra, 2003).
I also found looking into the actual tissue markers themselves helped. I was struggling to understand the thickness in my cheek facial muscles and around the jawline- as mentioned previously, mine is rather thick.
Facial tissue markers are used to reconstruct skeletal faces. This example, by Jeff Nichols, is of a murder victim.(Anon, 2016).
Looking at the original skull, it is easier to see where the build up of tissue and muscle gives the most shape- around the jawline. This is something I’ll have to work at more in my own model.
InnerBody. (2016). Muscles of the Head and Neck. [online] Available at:http://www.innerbody.com/anatomy/muscular/head-neck [Accessed 14 Apr. 2016].
Anon, (2016). [online] Available at: http://www.themaneater.com/stories/2010/3/19/cpds-jeff-nichols-draws-out-leads/ [Accessed 14 Apr. 2016].
Eleopra, R. (2003). Meccanismo d’azione delle neurotossine botuliniche / Valeria Tugnoli . L’uso della tossina botulinica nel trattamento delle iperattività ghiandolari. Torino: Scienza medica.