Diseño mediante regularización

The secret to nicely contoured eyes is to prepare a good beginning shape. De-pending on the style of eye you want to end up with, you can start with circles, rectangles, or the octagon-like shape used here. Move some points into a starting position like those shown in Figures 8-14 and 8-15.

Step 1 Choose the Polygon tool and select the four polys of the basic eye shape shown in Figures 8-14 and 8-15.

Figure 8-11 Polygon for Outer Nostril (Isoline Editing on).

Figure 8-12 Outer Nostril Extruded.

Figure 8-13 Refining the Nose Shape.

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Before you start moving the eye points around too much, take time to make some set selections of points to use later when you animate expressions. Selections like All Eye Points, Top Lid Points, Bottom Lid Points, and Eye Corners could be used later to streamline the modeling or animation processes.

When focusing on a specific facial feature, it helps to get all the parts you are not working on out of the way. Select the polygons you want to work with and choose Hide Unselected from the Selection menu. Choose Unhide All when you are ready to bring all the polygons back into view.

Step 2 Turn the HyperNURBS off. Press I for Extrude Inner and drag the mouse from right to left three or four times (depending on the amount of detail

U

Tips: As you work, use the Q key to toggle the HyperNURBS on or off so you can easily view the smoothed or unsmoothed polygons.

Figure 8-14 Starting Eye Shape Isolated.

and polygon count you have in mind) to create skinny polys around the eye shape. Create one last section of even slimmer polygons with Extrude Inner. (Take care when using Extrude Inner that you don’t drag so far that any of the points cross over each other.) While the four inner-most polys inside the eye are still selected, delete them since they won’t be seen.

Step 3 Highlight the polygons shown in Figure 8-16 and Knife across them as shown in Figure 8-17. The smaller set of polys created by the cut can be used later to create a tear duct for a realistic eye. (The Instructional Figure 8-15 Position of Starting Eye Shape.

Figure 8-16 Polygons for Knifing Tear Duct.

Figure 8-17 Knife Cut, Polygons for Tear Duct.

Those Elusive Points

When you are modeling your first heads, it seems like points are forever dipping beneath the surface, tangling around each other, and careening off into space. You can save a lot of frustration by setting up views so you can see exactly what you’re doing. Set your display to Lines and Isoparm. Use the 2 key and drag the mouse to place your-self close to the surface. Then go to Window>New View Panel and set its display to Gouraud. In this view panel, keep a critical eye on how the point pushes are affecting the mesh. You can work in either view, and when you can’t see points beneath the surface, just click on a neigh-

boring point you can see and then check the Isoparm view to trace the connecting line back to the hidden point. When working in Isoparm view, it can sometimes be hard to be sure that you have selected the right point when it is surrounded by a sea of points in the 3D space.

Tumbling the view with the 3 key around a selected point lets you see better where the point lies in space.

When facing a point, edge, or poly, using the Command key and the Move tool to drag the element away from or toward the screen can be an intuitive way to work.

Dragging the mouse with the right mouse button depressed does the same thing and is much more natu-ral, so a two- or three-button mouse is a must-have accessory for Mac users who plan to spend a lot of time modeling. However, it can be tricky to judge the amount of movement when pushing points toward and away from you. Nudging the green, red, and blue Move handles of the point is often more accurate, and you can easily comprehend a point’s direction from almost any angle.

Figure 8-19 Working in Two Windows.

Movie on the DVD shows you how.) For now, make a set selection from those polys and name it Tear Duct.

Step 4 To create a raised rim around the eye opening, select the polygons shown in Figure 8-18. Perform a slight Extrude to raise the rim.

Step 5 Push and pull points to create the eye shape you want. Once you have the basic form, the Magnet and Brush tools can be used to sculpt mul-tiple points and fine-tune the surface. If you choose to use spherical models for eyeballs, insert a sphere now so you can push the surface of the eye to wrap around it correctly.

Figure 8-18 Polygons for Eye Rim.

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Step 6 Either apply the eyeball material in GOODIES>MATERIALS>Character Materials to a sphere, or use the eyeball model in Chapter 08>EXAM-PLES. (For cartoon-style heads, you could also move the four center eye polys back slightly and pull the center point forward to create an eye surface that remains part of the mesh.)

In document Universidad Politécnica de Cartagena (página 120-127)