Columbus College of Art & Design 1 Charlotte Belland

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1 Reference Images Always line- up in PhotoShop and make the image Square (this avoids distortions) Create and/or Find reference images that distill the planes of volume (image credit: Animal Anatomy for Artists by Eliot Goldfinger) Modeling Tips Cubes and Six/Eight- Sided Cylinders (with the poles removed) are your best friends (Eight sided for body, Six sided for legs, and Cubes for Feet and Head) Set your Perspective Camera Focal Length to: 90 (degrees). This removes distortion. If you need to add an edge, place the edge and don t worry about creating an edge- loop (you can always do this later) Less is More do not add detail at the start of modeling (remember Freshmen Year mantra: paint with your biggest brush first) Holding the D key and V will allow you to interactively move and snap the pivot point of objects and components (note: objects will retain the move after deselect, components will not) Modeling Stage One: rough- in the model using Cubes and Six/Eight- Sided Cylinders Remember: don t fret over the details Columbus College of Art & Design 1 Charlotte Belland

2 Columbus College of Art & Design 2 Charlotte Belland

3 Modeling Stage Two: Divide the Model in Half (it is easier to layout UVs on half a model) Go to: Edit Mesh> Insert Edge Loop Tool Draw a centerline on the head Columbus College of Art & Design 3 Charlotte Belland

4 Select one side and delete Tip: to create center- mirror edge, select by edge, double click on the interior edge and use the Scale Tool to scale the edge loop into a 2D plane Stage Three: Attach Pieces Select all of the parts in object mode and go to: Mesh> Combine Delete the top face of the feet and add an Edge Loop Use the Merge Vertex Tool (Edit Mesh> Merge Vertex Tool) to weld verts Columbus College of Art & Design 4 Charlotte Belland

5 Use Append to Polygon Tool (Edit Mesh> Append to Poly) to fill- in holes UV Mapping: Split the view into 2 Panes Side by Side (one side Perspective, the other UV Editor) Select the model and go to Create UVs> Planar Map options Project from: pick the axis that is perpendicular to the model Toggle on: Keep Image Width Height Ratio In the Perspective window, select by edge and select the edges that start at the base of the paw and travel up to the mirror line (on the interior of the body). In the UV Editor Window, go to: Polygons> Split UVs Repeat this for the other leg Next, select the Smooth UV Tool (in UV Editor) LMB click and drag on Unfold Columbus College of Art & Design 5 Charlotte Belland

6 Adjust any overlapping UVs (note: you cannot have overlapping UVs for FUR) Modeling Stage Three: Mirror Select the Model and go to: Mesh> Mirror (pick the axis group that does NOT contain the perpendicular axis). In the UV Editor, pick just one UV (don t drag/select just pick) RMB Hold and pick: Select> Select Shell Move this shell off the copy Flip the copy shell (UV Texture Editor> Polygons> Flip) Move the UV shells so that the back overlaps just a bit Columbus College of Art & Design 6 Charlotte Belland

7 Stitch the shells together by selecting an edge in the UV editor and going to: Polygons> Sew UV Edges Tip: Every once and a while, Edit> Delete By Type> History FUR: Tip: Edge Normals will influence the look of fur. Always set to Soft (Normals> Soften Edge) or Smooth Select the model and in the Rendering Menu Set, go to: Fur> Add Fur Description> New Select the FUR and in the Attribute Editor, go to the Fur Description # Tab Note: When adjusting fur, it is wise to only change one attribute and render (otherwise, it will be difficult to discern what actually changed) Fur assumes that your character is scaled to world measurement (each square on the grid is one centimeter). If not, reduce (or increase) the Global Scale Next, increase the Density Columbus College of Art & Design 7 Charlotte Belland

8 Next, adjust the Base and Tip Colors (remember, you can map images) To settle the fur along the surface, you need to adjust two to three variables: Inclination (0=fur standing up, 1=fur against surface) Roll (rotates the fur like a rolling pin)à Use sparingly Polar (rotates the fur like the hands of a clock) Adding Variance to FUR: In the attribute editor Fur Description #, scroll down to: Details Use the Details Sections to add noise and natural variance Tip: Even though only a couple options at the top of the Fur Description attributes show the Image Map icon, you can map an image to ANY attribute. Simply RMB hold on the name and select: Create New Texture Rendering Fur: Select the default Directional Light (that is created when the fur is created it is always placed in the center of the scene) Toggle On: Depth Map Shadows Attributes> Use Depth Map Shadows Then, scroll down to: Caustic and Global Illumination: Shadows Columbus College of Art & Design 8 Charlotte Belland

9 Change the Shadow Map Format to: Detail Shadow Map Next, open Render Settings and Switch the Render Using: to Mental Ray Quality Tab: Quality Presets: Production: Rapid Fur (this turns on under Features: Primary Renderer to : Rasterizer (Rapid Motion) Tip: if you want to add another light to the scene, you have to add it to the fur. Select the light and go to: Fur> Fur Shadowing Attributes> Add Selected Light Columbus College of Art & Design 9 Charlotte Belland

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