3-D Human Modeling and Animation, Second Edition

343 Pages·2003·47 MB·English

by  Peter Ratner

3-D HUMAN MODELING
AND ANIMATION
2nd Edition
3-D HUMAN MODELING
AND ANIMATION
2nd Edition
I lustrations and Text
by
Peter Ratner
CONTENTS
Preface xiii
About the CD-ROM xv
Chapter 1: Beginning Modeling Techniques 1
MODELING SIMPLE OBJECTS WITH SPLINES/NURBS 2
MODELING A KNIFE 2
TROUBLESHOOTING 6
MODELING A SPOON 6
MODELING A SPATULA 8
MODELING A FRYING PAN 11
MODELING A PALETTE KNIFE 13
MODELING SIMPLE OBJECTS WITH SUBDIVISION SURFACES 16
MODELING A HAMMER 17
MODELING AN ARMCHAIR 21
Chapter 2: Intermediate Modeling Techniques 25
CREATING A CARTOON COW WITH SUBDIVISION MODELING 25
THE COW HEAD 27
THE COW BODY 33
CREATING A CARTOON CHICKEN WITH PATCH SPLINE/NURBS MODELING 41
MAKING THE 3-D TEMPLATE WITH BOX MODELING 42
PATCH MODELING THE CHICKEN 47
Chapter 3: Anatomy of the Human Figure 55
PROPORTION 55
THE SKELETON 58
THE SKULL 60
THE SKELETON OF THE TORSO 61
THE BONES OF THE ARM 65
THE BONES OF THE LEG 68
THE MUSCLES 70
THE MUSCLES OF THE HEAD 70
THE MUSCLES OF THE NECK 71
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THE MUSCLES OF THE TORSO 73
THE MUSCLES OF THE ARM 76
THE MUSCLES OF THE LEG 77
Chapter 4: Advanced Modeling Techniques, Part 1 81
PATCH MODELING THE HEAD WITH SPLINES/NURBS 81
ADVANTAGES OF PATCH MODELING 81
RULES FOR PATCH MODELING 81
PREPARATION FOR MODELING 82
SPLINES/NURBS PATCH MODELING PROCEDURE 83
THE FEMALE HEAD 83
THE MALE HEAD 87
SUBDIVISION MODELING THE HEAD WITH POLYGONS 88
Chapter 5: Advanced Modeling Techniques, Part 2 97
MODELING THE TORSO WITH SPLINES/NURBS 97
THE FEMALE TORSO 97
THE MALE TORSO 102
SUBDIVISION MODELING THE TORSO WITH POLYGONS 106
HELPFUL HINTS FOR MODELING DETAILS 107
COMPLETING THE SUBDIVISION TORSO 109
Chapter 6: Advanced Modeling Techniques, Part 3 111
MODELING THE ARM AND HAND WITH SPLINES/NURBS 111
THE FEMALE ARM 111
THE HAND 114
THE MALE ARM 119
MODELING THE ARM AND HAND WITH SUBDIVISION SURFACE POLYGONS 124
Chapter 7: Advanced Modeling Techniques, Part 4 131
MODELING THE LEG WITH SPLINES/NURBS 131
THE FEMALE LEG 131
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THE MALE LEG 139
CONVERTING A SPLINE/NURBS MODEL FOR SUBDIVISION SURFACE RENDERING 142
MODELING THE LEG WITH SUBDIVISION SURFACE POLYGONS 144
Chapter 8: Advanced Modeling Techniques, Part 5 151
THE EYE : 151
THE EYELASHES 154
THE EYEBROWS 155
THE INSIDE OF THE MOUTH 155
THE TEETH 157
THE GUMS 157
THE TONGUE 158
THE HAIR 159
METHOD 1: HELMET HAIR 160
METHOD 2: USING A HAIR GENERATOR 161
HAIR GENERATOR SETTINGS 171
SOFT-BODY DYNAMICS 179
SURFACE SETTINGS 179
Chapter 9: Setting Up the Human Model for Animation 183
SETTING UP A SKELETON 183
MAKING A SKELETON 183
ASSIGNING WEIGHT MAPS 187
ADJUSTING WEIGHT MAPS 189
SETTING UP AN INVERSE KINEMATICS SKELETON 189
SETTING UP FACIAL EXPRESSIONS 192
MUSCLE GROUPS OF THE FACE 192
EXPRESSING EMOTION 193
CREATING MORPH TARGETS FOR THE FACE 198
CHEEKS 198
EYEBROWS 200
EYES 202
JAW 204
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MOUTH 205
NECK 210
NOSE 211
SPEECH 211
Chapter 10: Surfacing and Lighting Details 215
SURFACING DETAILS 215
VARIOUS IMAGE-MAPPING METHODS 215
PROCEDURAL TEXTURES 218
SURFACE FACTORS 219
SURFACING A HUMAN CHARACTER 221
TEXTURING THE EYES 222
THE CORNEA 222
THE EYEBALL 222
THE IRIS 223
THE LENS 224
TEXTURING THE BODY 225
TEXTURING THE FACE 226
METHOD 1: UV-MAPPING A FACE IN SECTIONS 227
METHOD 2: UV-MAPPING AN ENTIRE FACE 233
USING A TEXTURE GUIDE 234
WORKING WITH A 3-D PAINT PROGRAM 235
LIGHTING THE HUMAN MODEL 236
TYPES OF LIGHTS 237
AMBIENT 237
KEY LIGHT 239
FILL LIGHT 239
RIM OR BACK LIGHT 239
KICKER LIGHT 239
TOP LIGHT 240
SPECIAL LIGHTS 240
BOUNCE LIGHTS 240
CONTACT LIGHTS 240
GOBOS OR CUCALORIS LIGHTS 240
Chapter 11: Fundamentals of Human Animation 243
SOME ANIMATION POINTERS 243
X
ANIMATING IN STAGES 246
DIALOGUE 248
DIALOGUE ESSENTIALS 248
WAYS OF MAKING THEM TALK 250
USING AN EXPOSURE SHEET 250
IMPORTING AUDIO INTO THE ANIMATION PROGRAM 251
IMPORTING VIDEO INTO THE ANIMATION PROGRAM 252
COMPLETING THE DIALOGUE 253
STORYBOARDING 253
ROTOSCOPING 255
THE GRAPH EDITOR 257
CLEANING UP AN ANIMATION WITH THE GRAPH EDITOR 258
ANIMATING WITHIN THE GRAPH EDITOR 260
USING THE GRAPH EDITOR FOR CYCLING ACTIONS 261
WALKING 261
RUNNING 267
Chapter 12: Human Animation Principles 271
THE 12 PRINCIPLES OF ANIMATION 271
1. SQUASH AND STRETCH (WEIGHT AND RECOIL) 272
METHODS FOR CREATING SQUASH AND STRETCH 274
METHOD 1: SOFT BODY DYNAMICS 274
METHOD 2: MANUAL ADJUSTMENTS 274
2. ANTICIPATION 274
3. STAGING 279
4. STRAIGHT-AHEAD VERSUS POSE-TO-POSE ACTION 281
5. FOLLOW-THROUGH AND OVERLAPPING ACTION 285
6. SLOW IN AND SLOW OUT 289
7. ARCS 291
8. SECONDARY ACTIONS 293
9. TIMING 295
10. EXAGGERATION 297
11. SOLID DRAWING 299
12. APPEAL 300
THE ELEMENTS OF ANIMATION 302
1. PACING AND IMPACT 302
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2. ACTION REACTION 302
3. RHYTHM AND LINES OF ACTION 302
4. PATHS OF ACTION 303
5. SPATIAL RELATIONSHIPS 303
6. ACCENTS 303
7. CYCLES 304
8. POSTURES 304
9. THE TAKE 304
10. EMOTIONS 304
11. BALANCE/IMBALANCE 305
12. WEIGHT, MASS, AND GRAVITY 305
CONCLUSION 306
Lesson Plans 307
ANIMATION 1 LESSON PLANS 308
ANIMATION 2 LESSON PLANS 309
ANIMATION 3 LESSON PLANS 310
Bibliography 311
Index 313
About the Author 317
xii
PREFACE
S
ince most of us are used to seeing other hu- presence of lifelike textures elicit reactions of awe.
mans more often than anything else, it be- Artists are encouraged to rush headlong toward the
comes quite a challenge to create digital ones goal of greater realism.
realistically. At the time of this writing no one has Interesting as it may seem to make a flawless replica
been able to make computer graphics humans that of humans with digital media, one can easily fail to
have been mistaken for real ones in movies and pho- observe that the closer a character becomes to an every-
tos when viewed at close range. Until technology day human, the more ordinary it will appear. This may
evolves to the point that this becomes possible, creat- work fine for practical commercial uses such as digital
ing an artistic representation of a human is still a stunt performers, crowd scenes, or game characters, but
worthwhile goal. it falls short as an expression of the artistic ideal.
Throughout history artists have depicted human Synthetic humans most often lack personality.
subjects in a great variety of styles. No matter how Computer characters that try to mimic human move-
skillful the artist, the materials determined the final ment through unedited motion capture techniques
appearance of the human subjects. Take a look at the generally look like puppets or store mannequins that
incredible sculptures of Bernini—perhaps the greatest have come to life. Subtleties of human behavior are
marble sculptor. One can marvel at the awesome often lost when a computer artist slavishly tries to
detail, expression, and faithful representation of the emulate them. As contradictory as it sounds, when
human form. As remarkable as his sculptures are, they animators exaggerate the movements and expressions
can never be mistaken for real humans. This does not of their characters, they appear more lifelike and real-
lessen their value but makes them even more unique istic. This fact was discovered years ago by Disney
since it elevates them beyond the mundane everyday animators when the art of animation was still in its
experience. infancy.
Art has more often been about man's quest to find This book can be used as a guide for learning how
order in the visible and invisible world. Imagination to model and animate a variety of characters. It does
was the instrument for expressing the ideal. A specific not encourage any particular style of expression but is
style often emerged that artists and the public found intended to direct the aspiring 3-D artist by teaching
so satisfying that it often lasted for centuries. What fundamentals of modeling and animation. The lessons
started out as a unique form of expression became an start with simple modeling, which then evolve into
autocratic system, which was later overthrown by a intermediate techniques for creating characters. Be-
handful of adventurous artists. Thus, they gave birth fore embarking on the challenging task of modeling
to a new style of art. humans, a brief overview of human anatomy is pre-
Today, in computer graphics, a number of artists sented in order to teach the basic principles of propor-
cherish the belief that the more realistic they can tion and structure. The sections on modeling humans
make their characters, the greater their worth. Anima- are broken up according to various body parts. After
tions that depict the realistic movement of hair or the completing the human model, texturing and lighting,
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