3-D Human Modeling and Animation

Table of Contents:
Preface viii About the DVD xi CHAPTER 1: BEGINNING MODELING TECHNIQUES 1 CREATIVITY AND ANIMATION 1 MODELING SIMPLE OBJECTS WITH POLYGONS 2 THE BASIC MODELING TOOL SET 2 MODELING A HAMMER 4 MODELING AN EASY CHAIR 9 MODELING A SOFA 12 MODELING A BOOKSHELF 15 MODELING A CABINET ONWHEELS 17 MODELING SIMPLE OBJECTS WITH SPLINES OR NURBS 22 MODELING A NURBS FLOOR LAMP 23 MODELING A NURBS END TABLE 24 MODELING A NURBS OFFICE CHAIR 26 CHAPTER 2: INTERMEDIATE MODELING TECHNIQUES 31 CREATIVITY AND ANIMATION 31 NURBS PATCH MODELING: A SIMPLE EXERCISE 32 INTERMEDIATE NURBS MODELING: CREATING A CARTOON CHICKEN 34 INTERMEDIATE POLYGON MODELING: CREATING A CARTOON CHICKEN 40 CREATING A CARTOON COW WITH POLYGONS 45 INTERMEDIATE LEVEL POLYGON MODELING 2: CREATING A CARTOON PERSON 56 CHAPTER 3: ANATOMY OF THE HUMAN FIGURE 79 SOME ANATOMICAL CONSIDERATIONS 79 PROPORTION 79 THE SKELETON 81 THE SKULL 83 THE SKELETON OF THE TORSO 85 THE BONES OF THE ARM 88 THE BONES OF THE LEG 89 THE MUSCLES 92 The MUSCLES OF THE HEAD 92 THE MUSCLES OF THE NECK 92 THE MUSCLES OF THE TORSO 94 THE MUSCLES OF THE ARM 97 THE MUSCLES OF THE LEG 99 CHAPTER 4: ADVANCED MODELING TECHNIQUES, PART 1 101 THE CREATIVE PROCESS OF 3-D MODELING AND ANIMATION 101 MODELING THE HEAD WITH POLYGONS 102 TOPOLOGY CONSIDERATIONS 103 PREPARATION FORMODELING 104 GETTING STARTED 104 ADDING A FEW EDGES TO THE MALE HEAD 138 SUMMARY 138 CHAPTER 5: ADVANCED MODELING TECHNIQUES, PART 2: THE TORSO 139 MODELING THE FEMALE TORSO 140 MODELING THE MALE TORSO 160 CHAPTER 6: ADVANCED MODELING TECHNIQUES, PART 3: THE ARM AND HAND 175 MODELING THE FEMALE ARM 175 MODELING THE MALE ARM 178 MODELING THE HAND 183 CHAPTER 7: ADVANCED MODELING TECHNIQUES, PART 4: THE LEG AND FOOT 201 ANIMATION AND CONFIDENCE 201 MODELING THE FEMALE LEG 203 MODELING THE MALE LEG 207 MODELING THE FEMALE AND MALE FOOT 212 CONCLUSION 224 CHAPTER 8: ADVANCED MODELING TECHNIQUES, PART 5: FINAL PARTS 231 DIRECTED IMAGINATION 231 THE FINAL PARTS OF THE 3-D HUMAN 231 MODELING AND TEXTURING THE EYEBALL 232 MODELING EYELASHES 234 MODELING TEETH, GUMS, AND A TONGUE 238 POLYGON HAIR VS HAIR GENERATOR SYSTEM 240 MODELING AND TEXTURING POLYGON HAIR 241 USING A DYNAMIC HAIR SYSTEM 245 LOFTING THE CURVES 247 CREATING THE REMAINING HAIR CURVES 249 MIRRORING HAIR 251 CREATING STRAY HAIRS 251 MAKING A PONYTAIL SECTION 251 RANDOMIZING POINTS ON THE WIG 253 CONVERTING NURBS CURVES TO HAIR SYSTEMS 253 TURNING OFF HAIR DYNAMICS 254 SETTING THE HAIR ATTRIBUTES 255 CLUMP AND HAIR SHAPE 255 DYNAMICS 256 CONCLUSION 260 CHAPTER 9: SURFACING AND LIGHTING DETAILS 261 UV-MAPPING A HUMAN HEAD 261 IMPORTANT SHADED UV VIEW ALTERNATIVE TO THE WIREFRAME UV SNAPSHOT 266 CREATING THE TEXTURES IN AN IMAGE EDITING PROGRAM 267 APPLYING THE TEXTURES IN MAYA 268 USING THE MENTAL RAY FAST SKIN SHADER 269 ADJUSTING THE IMAGE MAPS 270 UV-MAPPING AN ENTIRE BODY 270 VERTEX PAINTING: AN ALTERNATIVE TO UV MAPPING 272 ADDING THE MISSS_FAST_SKIN_MAYA SUBSURFACE SCATTERING MENTAL RAY NODE 274 LIGHTING CHARACTERS AND SCENES 275 LIGHT TYPES 275 LIGHTING ARRANGEMENTS 276 MOOD LIGHTING 279 CHAPTER 10: SETTING UP THE HUMAN MODEL FOR ANIMATION 281 THE WORKFLOW 281 MAKING BLEND SHAPES FOR FACIAL EXPRESSIONS 282 CREATING THE BLEND SHAPES FOR THE BROWS, EYELIDS, NOSE, AND CHEEKS 287 PART 1: WORKING WITH AN FBIK RIG 289 PART 2: SETTING UP YOUR OWN FBIK RIG 291 PARENTING THE TEETH, TONGUE, AND EYEBALLS TO THE HEAD JOINT 295 CONTROLLING THE MOVEMENT OF THE EYES 296 CREATING AND EDITING EYELASH CLUSTER WEIGHTS 297 USING BLEND SHAPES TO DRIVE THE ROTATION OF THE TEETH AND TONGUE 297 BINDING THE MODEL TO THE RIG 301 SMOOTH BINDING A HUMAN MODEL TO THE RIG 302 SMOOTH BINDING THE MESH 302 USING THE PAINT SKIN WEIGHTS TOOL 302 USING THE COMPONENT EDITOR TO FIX WEIGHTS 305 ADDINGWEIGHTS AND SUBTRACTING WEIGHTS IN THE COMPONENT EDITOR 306 CONCLUSION 307 USING BLEND SHAPES TO FIX DEFORMATIONS 307 CREATING IN-BETWEEN BLEND SHAPES 312 MAKING MUSCLE DEFORMATIONS WITH SET DRIVEN KEYS DRIVING CLUSTER DEFORMERS 313 ADJUSTING THE CONTROLLER 314 RIGID BINDING A HUMAN MODEL TO THE RIG 314 ADDING FLEXORS 314 HIP AND SHOULDER PROBLEMS 315 PAINT SET MEMBERSHIP 315 CONCLUSION 316 CHAPTER 11: FUNDAMENTALS OF HUMAN ANIMATION 317 SOME ANIMATION POINTERS 317 ANIMATING IN STAGES 319 USING THE GRAPH EDITOR TO ALTER A CLIP 320 ANIMATING A BALL THROUGH THE GRAPH EDITOR 320 USING THE GRAPH EDITOR TO ALTER A DIGITAL HUMAN’S MOTION 322 ANIMATING THE ARM 322 ALTERING THE HAND WAVE IN THE GRAPH EDITOR 324 CREATING A WALK CYCLE USING CHARACTER SETS 325 CREATING A WALK ANIMATION 329 USING THE TRAX EDITOR TO REPEAT THE WALK CYCLE 334 REDIRECTING A WALK ANIMATION 337 MAKING A CLIP OF THE HANDWAVE ANIMATION 338 ADDING THE HANDWAVE AND HEAD TURN CLIPS TO THE WALK CYCLE ANIMATION 339 ENTERING THE GRAPH EDITOR FROM TRAX TO ALTER A CLIP 341 CONCLUSION 341 CHAPTER 12: HUMAN ANIMATION PRINCIPLES 345 DIALOGUE 345 DIALOGUE ESSENTIALS 345 WAYS OF MAKING THEM TALK 346 USING AN EXPOSURE SHEET 346 WORKING WITH DIALOGUE AND SOUND CLIPS IN THE TRAX EDITOR 347 STORYBOARDING 355 ROTOSCOPING 356 THE 12 PRINCIPLES OF ANIMATION 358 1 SQUASH AND STRETCH (WEIGHT AND RECOIL) 358 2 ANTICIPATION 359 3 STAGING 359 4 STRAIGHT- AHEAD VERSUS POSE- TO- POSE ACTION 360 5 FOLLOW- THROUGH AND OVERLAPPING ACTION 361 6 SLOW IN AND SLOW OUT 361 7 ARCS 362 8 SECONDARY ACTIONS 362 9 TIMING 363 10 EXAGGERATION 364 11 SOLID DRAWING 364 12 APPEAL 365 THE ELEMENTS OF ANIMATION 365 1 PACING AND IMPACT 365 2 ACTION REACTION 366 3 RHYTHM AND LINES OF ACTION 366 4 PATHS OF ACTION 366 5 SPATIAL RELATIONSHIPS 367 6 ACCENTS 367 7 CYCLES 367 8 POSTURES 367 9 THE TAKE 368 10 EMOTIONS 368 11 BALANCE/IMBALANCE 368 12 WEIGHT, MASS, ANDGRAVITY 368 USING CLOTH DYNAMICS FOR FOLLOW- THROUGH AND OVERLAPPING ACTION 369 MODELING THE CLOTHES 369 CONVERTING THE DRESS INTO AN NCLOTH OBJECT 373 CREATING A COLLISION OR PASSIVE OBJECT 374 CONSTRAINING CLOTHES TO MOVE ALONG WITH A CHARACTER 375 RENDERING 376 TERMINALWINDOW RENDERING 376 MAC OS X INSTRUCTIONS 378 WINDOWS INSTRUCTIONS 378 CONCLUSION 378 Bibliography 379 Index 381

About the Author :
Peter Ratner is a professor of 3-D computer animation in the School of Art and Art History at James Madison University. He is the founder of the computer animation program at the university and started the first animation concentration in the state of Virginia. In addition to teaching, writing and illustrating five books, and authoring articles for HDRI 3D magazine, he has exhibited his oil paintings, animations, and computer graphics in numerous national and international juried exhibitions. Peter Ratner is a professor of 3-D computer animation in the School of Art and Art History at James Madison University. He is the founder of the computer animation program at the university and started the first animation concentration in the state of Virginia. In addition to teaching, writing and illustrating five books, and authoring articles for HDRI 3D magazine, he has exhibited his oil paintings, animations, and computer graphics in numerous national and international juried exhibitions.