# Essential LightWave 3D- P9

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## Essential LightWave 3D- P9

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Essential LightWave 3D- P9: What you have in your hands is, quite simply, a collection of tools and techniques that many professional LightWave artists use every single day doing what we do in our various fields. The tools and techniques explored in this book are essential to creating the caliber of imagery that you see on film and television and in print and video games.

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## Nội dung Text: Essential LightWave 3D- P9

1. Chapter 9 · · · · · · · · · · · · · · · · · · · · · · · · Figure 9-36 12. Smooth shift and then move the two tucking the new polys inside the pant sets of symmetrical polys down to leg, with the new points lying along begin to form the shape of the legs. the same plane as defined by the calf 13. Continue smooth shifting and moving segment. to create the rest of the geometry for 14. On a new layer, create a box that is 2 the legs. You should have a segment at segments in Y, 2 segments in X, and 4 the knee and where the calf muscle segments in Z. Position this box on the (Gastrocnemius) bulges. Terminate the positive side of X=0 where the charac- pants similarly to what we did for the ter’s foot should be. end of the cuff — smooth shifting and Figure 9-37 Figure 9-38 228
2. · · · · · · · · O r g a n i c M o d e l i n g E xe r c i s e 2 : C h a r a c t e r B o d y Note Here’s where drawing training comes into play helpful book on getting someone from square in a huge way. How do you know what propor- one to having their work look like a master fig- tions are right for a body unless you’ve trained urative artist in simple, understandable, yourself to see and understand what is right? achievable steps. (While working at Disney, I Drawing is the cheapest, quickest, most porta- took Glen’s life drawing classes and was ble way to train your eye to see what is right. dumbstruck when he was able to get produc- (If you look at drawing simply as a training tion assistants to create life drawings that exercise for something you really enjoy doing, looked as good as a full-on animator’s draw- you’ll get really good really fast and not even ings in a matter of a couple of months!) To put know you’re doing it.) it bluntly: If you want to learn how to draw fig- Drawing is just understanding mathematical ures well, get his book, read it, and do the relationships. (Hello? What is modeling?) Any- exercises. It’s as simple as that. one — and I mean anyone — can learn to However, even if you’re not a master figura- draw and learn to draw well! It’s just a matter tive artist, you can still make sure your of doing whatever it takes to trust that you will character’s proportions are correct by loading see from your own drawings the same quality into your backdrops images of characters in of mathematical relationships that you see in similar poses that you know are correctly pro- “good” drawings. portioned. By working from something that is The Vilppu Drawing Manual by Glen Vilppu correct, you are training yourself to expect to (available through the Animation World Net- see those same correct proportions in your work, http:www.awn.com) is the single most own work. Pretty neat, huh? Figure 9-39 Figure 9-40 15. Select Activate Sub-Patches for the 16. In a Top viewport, drag the points box, and move the points of its middle around so the box begins looking like a Y segment down to indicate the thick- shoe. ness of the shoe’s sole. 229
3. Chapter 9 · · · · · · · · · · · · · · · · · · · · · · · · Figure 9-41 17. Having applied a surface that is “shoe- 18. Select the four polys that make up the like,” select the points of the shoe’s top rear of the shoe’s top and smooth shift and stretch them inward, so the shoe them. Then move them up just a bit to becomes less “boxy” when viewed start creating the ankle. from the sides. Then, grab the center 19. Smooth shift and move the polys again, point for the toe area of the shoe, and making the lower part of the calf and move it upward to give us the good ol’ fitting it inside the pant leg. “cartoon-shoe look,” as shown in Fig- ure 9-42. Figure 9-42 Figure 9-43 230
4. · · · · · · · · O r g a n i c M o d e l i n g E xe r c i s e 2 : C h a r a c t e r B o d y Figure 9-44 20. Now, select only the polys you’ve just Apply a “sock-like” surface to them, created in making the calf/ankle (in- and you’ve got some “loafer action” cluding the ones you’ve been smooth going on. shifting, now at the top of the calf’s 22. Start pushing points until you’ve got a “spike”). nice cartoony form for the shoe/foot/ 21. Smooth shift them. Then move them ankle. down to set them inside the shoe. Figure 9-45 Figure 9-46 231
5. Chapter 9 · · · · · · · · · · · · · · · · · · · · · · · · Figure 9-47 23. Apply a sole-like surface to the bottom You’ve given this guy some neat feet! layer of the shoe, rotate the whole (When you’re done, cut and paste them thing outward a bit, and mirror on the onto the main layer for your character.) X axis. Finishing Touches This section describes a few finishing touches you can make to your character. Figure 9-49 2. Select Deactivate Sub-Patches for Figure 9-48 the polys, and push their points so 1. Select the four polygons that make up you’ve got something more discoid the neck area at the top of your charac- than the rectangle they originally ter’s torso. formed. 232
6. · · · · · · · · O r g a n i c M o d e l i n g E xe r c i s e 2 : C h a r a c t e r B o d y Figure 9-50 3. Continuing to view your selection as 4. Smooth shift, and then move and polygons, smooth shift and then stretch stretch those polys in and down to them to create a bit of a “lip” for what become the inside of the shirt’s neck, will become the shirt’s neck. returning all your polys to sub-patches. (See Figure 9-51.) 5. Go back through your model and adjust Note anything that needs tweaking. You now I find that when working in a Perspective have a base you can use as is or, using viewport, LightWave’s tools conform to a plane described by the viewport’s “point of Smooth Shift and BandSaw, you can view.” So, to scale something that doesn’t lie add as much detail as you’d like, mak- along a simple X, Y, or Z plane, you can ing nearly any kind of humanoid angle your Perspective viewport so you’re character imaginable. looking “directly down” at your selection. Working from this angle, your tools will work more or less as they do when manipulating something in an isometric view lying “flat” on an X, Y, or Z plane. Figure 9-51 233
7. Chapter 9 · · · · · · · · · · · · · · · · · · · · · · · · Figure 9-52 Note If you’d like to load the character I modeled vehicles, I found that when you use Align to for this exercise, he can be found in Path in Layout, the object gets aligned with Objects\Chapter09\Character_F.lwo. its “front” being whatever is facing down the If you load him in, you’ll notice that he’s +Z axis. (It didn’t take more than a couple facing along the positive Z axis (versus of times of mucking about with parenting my “looking” along the negative Z axis, as he already-surfaced-the-way-I-wanted model was while modeling him). When I’m model- to a null and having the null Align to Path ing, I don’t get all concerned with which way before I started just modeling things “right” my character is facing — I’m all about get- to begin with.) ting the job done well and quickly. However, Then when I started getting into rigging when I’m animating a character, I always some complex character setups, I found that have him facing along the positive Z axis (as I could “trust” IK more readily for what I was do 98% of all other technical directors). So, doing if I had the character facing along +Z. for Character_F.lwo, I’ve already rotated him With the improvements to how LW handles 180 degrees around his Y axis at X=0, Z=0, rotations and pivots, this isn’t quite as so he’s still perfectly symmetrical but facing important as it was then, but I stick with the the “proper” way. convention because it has come to make How did this convention of characters fac- sense to me — I don’t have to think about it ing along +Z get started? I can only speak when I’m working; I expect things to be a for myself, but when I started animating certain way. 234
8. · · · · · · · · O r g a n i c M o d e l i n g E xe r c i s e 2 : C h a r a c t e r B o d y ... Nearly all character modeling follows the know the proportions are good, I can lose same basic steps that we followed here. myself in the details for days, knowing that When building my own characters, I always what gnarly stuff I’ve done won’t have to be start with a base like this — something that scrapped because I wasn’t paying attention has only as many segments as needed to to the rest of the character. hold the geometry in place. Often, I’ll save I suppose what we’re doing here could my base for later, just in case I want to have be called “deductive modeling” — modeling a “stand-in” model if my scene becomes so from the general to the specific, just like thick with objects that animating slows to a Sherlock Holmes’ reasoning to solve a crawl. mystery. Because we’ve created such gen- For making my final, “super-mega-ultra” eral forms to work with, with only a few high-res models, I take this base, whose more hours of working, you can quickly proportions I know are correct, and start turn this base into nearly any bipedal, working at it like a sculptor chiseling away humanoid character imaginable! at a rough-hewn marble likeness. Because I 235