By Peter Ratner
The entire instruments and knowledge to create electronic characters that could stream, exhibit feelings, and speak three-D Human Modeling and Animation demonstrates how one can use your creative abilities in determine drawing, portray, and sculpture to create lively human figures utilizing the most recent machine expertise. This easy-to-follow e-book courses you thru all of the worthy steps to create and animate electronic people. scholars 3-D artists will locate this ebook to be a useful source. This moment version combines specific, useful information regarding growing and animating three-D human types. greater than four hundred photographs, interactive documents, and fascinating animations integrated at the CD-ROM aspect the modeling and animation procedures for either female and male figures. bankruptcy targets and routines are tied to the CD-ROM, which additionally presents colour instance photographs, pattern types, modeling templates, textures, lesson plans, and appropriate animation video clips that let you begin modeling and animating instantaneously!
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Additional info for 3-D Human Modeling and Animation, Second Edition
8 cm Inset: -2 cm Adjust the location and width of the selected polygon. Fig. 2-28 Step 24. Beveling the bottom polygon again (arrow). 33 Step 25. Bevel the selected polygon back toward the middle of the stomach (Figure 2-29). Shift: 12 cm Inset: -2 cm Adjust the position of the polygon so it ends in the middle of the stomach. Work in subdivision mode to adjust the half torso according to your template. Fig. 2-30 Step 26. Another bevel of the back polygon (arrows). Step 27. In low-polygon mode, bevel the last polygon back some more to end just after the back legs (Figure 2-31).
Once all the patches have been made, they can be copied and pasted into one layer and their adjoining points merged either on the polygon or on the spline mesh. Some software packages require that you stitch adjoining points to avoid gaps and tears in the mesh when it is deformed during animation. Whether you are working with polygons, splines, or NURBS, the final object will have to be made seamless. You can do this by either merging or stitching all the points that share space with each other.
To finalize the chair, you may decide to continue splitting polygons so as to bevel them out in specific parts. For example, the sides of the armrests could be beveled out to give them a rounder shape. The back of the chair could also be split near the top and beveled out a little (Figure 1-78). Remember that if you plan to bevel a number of polygons up, out, or down at the 24 same time, you should merge them first. After beveling you can split the polygon again into four-sided ones. Work in both low-polygon and subdivision modes to shape the chair.