WEEK5_Creating Study Room Model

Posted on 13th June 2021 by Jianyu Yin

This week, I began working on the collaboration project’s study. Based on Yufei’s scenario design, I can see that a computer, a chair, an electric fan, a roof vent, and a door are the elements that need to be produced in the study so far. This week I’m going to create a model by combining design drawings with reference drawings.

Yufei and I discussed many design details in the scene, and he gave me some pictures for reference. This helps me better think about the details of the model I need to create.

This is a detailed picture of the scene model for reference:

First, I’ll construct the roof exhaust duct. I will make a cube model and use [Boolean] to make a fan outlet with exhaust, which is quite similar to the decorating model I made last week.

I have created a basic exhaust duct model:

Choose [Difference] in [Mesh] of [Booleans] when the Cube is built, then Combine, choose the base model of the exhaust duct, and then select the combined Cube.

The model is currently one piece, and I need to choose the exhaust fan model and split it from the base model. Select [Detach] and then [Separate] after selecting the face you want to separate.

I started to prepare the computer model. This is a reference drawing of the computer model design sent by Yufei:

I found a computer model that was very similar to this reference drawing, but it had too many faces and I needed to reduce the number of faces.

I tried three ways of reducing the number of faces.

The first method: using Zbrush to reduce the number of faces

1. Click on zplugin in the menu bar and find Decimation Master

2. Click on Freeze borders: this means that you can check this when decimating to prevent the outer contours of the model from being distorted.

3. Click on Pre-process Current: The software has to calculate the model before starting to reduce the surface. This is also a must. This is also a must. You may get stuck after clicking on budget processing. Just be patient.

4.% of decimating, (k Polys) polygons, (k Points) vertices, reduce the number of faces of the model, mainly set these commands on the line.

5. Adjust to the number of faces you want and click Decimate Current.

6. Complete the decimate operation of the model. The high-precision model will become a low-precision model after the decimate operation, but the details will not differ from the original model.

Second method: Use the ZRemesher function of Zbrush directly (thanks to Lucy and Yann for sharing this method with me)

The third technique is to use the MAYA plug-in to minimize the model’s number of faces.

I eventually settled on this solution, in which you enter the required number of faces and Maya minimizes the number of faces automatically. However, even after reducing the number of faces, there are still certain issues with the faces or the number of faces is still excessive. I’d make the adjustments myself at this point.

Finally, the effect of reducing the number of computer model faces:

Make the study shelves, computer desk, books, and other finishing touches.

(Because these objects have already been made before as identical furniture and decorations, the process isn’t as painful.)

Next, make the sci-fi chair and door.

Chair design drawing:

Created the chair model:

I also made models of doors and pipes to add to the scene’s realism.

My scene model’s second layer is nearly finished. Crystal and I reviewed the model’s viability, and I currently have a total of 61,066 faces, which she approves.  So I gave the model to Crystal first, who will put it through its paces in augmented reality.

Study room:

Sleep cabin:

Preview of the second level scene model:

Yufei advised that I enlarge the computer on the study desk and make the other decorations smaller or less during the group discussion. I think his suggestion is excellent; it would better highlight the study’s technology and allow for more lighting effects to be created.

When Kay is in charge of it is finished, we’ll change some of the models again. Thank you for all of the suggestions and assistance from the rest of the group.

Summary of this week:

This week, I thought it would be fun to increase the number of faces on the model. I tried several ways, including ZBrush. However, ZBrush tends to create uneven planes while reducing the model’s number of faces. I also attempted to decrease all of the faces manually, but this proved to be too time-consuming and slowed the model’s growth. I ended up using the plug-in and manually limiting the number of faces, which helped me avoid many model issues. Later, when I approached Yann about it, he stated it was a good approach for my working model. I consider myself quite fortunate to have had the opportunity to experiment with this way and save a significant amount of time in the production process. (Actually, it didn’t save that much time because the model had many issues through the process, which took time as well.)

At this time, I’ve completed all of the models for the joint projects for which I’m responsible. This is the first time I’ve built a set in the cyberpunk style. Throughout the process of making the models, I frequently asked my classmates questions about how to make them, and they were all very helpful in advising me on how to address the challenges. I’ve been quite fortunate in the collaborative project process, and the model is looking very nice so far. After Kay finishes creating the first-floor model and materials, I’ll create Arnold lights for the scene.

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WEEK4_ Create Sleep Cabin

Posted on 13th June 2021 by Jianyu Yin

This week I will continue to create sleep cabin model.

Create the basic model of the bed in the sleep Cabin:

Create decorative model of the wall of the sleeping cabin:

Select the cylindrical model after selecting the wall model. Under the [Mesh] panel, select the square to the right of [Difference] in [Booleans]. In [Open Surface Settings], set the [Intersection Classification] value to [Normal]. At this time, select [Apply and Close]. This phase removes the overlapping model’s effect from the wall model, resulting in depression in the wall.

Using the same technique, create a second wall recess and tidy up the line layout.

Add details to the trim and change the line layout of the wall model on the left side of the sleeping area.

Use [Ctrl + G] to form a group and [Ctrl + Shift + D] to copy the right wall model after selecting the left wall model. Make some alterations to the decor.

In the sleep pod, I’m making some decorations for the ceiling. I love utilizing the [Booleans] function in [Mesh], and I can make a lot of unique decorations by combining different [Booleans] properties. I created a modest exhaust fan, for example.

The next step is to add the details to the sleep pod’s exterior border: (This means creating a number of the different cube, then using [Extrude] and [Booleans] to edit the shapes, and finally adjusting some Vertex and Edge.)

Window installation for the sleeping cabin:

Making the TV and wall stickers entails the following steps: ( I like the attention to detail that Yufei has put into the decorations; it gives the area a more genuine feel. It allows me to picture our characters living in this location.)

Stretch the model after [Extrude] with a column to make the pipes next to the sleeping chamber. Using [Union] in [Booleans], some of the overlapping pipes are overlapped. A circle and a Cube were used to make the brackets that keep the pipes in place.

Create bed, pillow, quilt:

The sleep cabin model currently created:

After I spoke to Crystal, she felt that the base model of the sleeping cabin was usable. So I will start working on the study room model after a few more simple modifications to my model.

Yes, I have a critical task. My scene models need to be renamed. (Please make it a practice to name your models as you make them.) At present, the titles of these models are extremely perplexing.

After selecting all models in [Edit], I need to pick [Delete by Type] and then [History] before renaming (so that the history of changes to the model will all be deleted). Otherwise, the model’s data from prior edits will be lost. Then, in [Modify], choose [Freeze Transformations] (to freeze the model’s data transformations and zero out the model’s values). Then, to reset the model’s center of gravity, select [Center Pivot]. These will be quite beneficial in the subsequent production.Select all the models in [Outline] with [Shift], then [Hierarchy] in [Select]. In this manner, I can ensure that all of the models in the group are chosen.

I’ve finally renamed these models! I’ll make sure to modify the file names in advance next time.

This week’s summary:

I’ve discovered that using [Booleans] in model construction produces a variety of intriguing results. This week, I finished building a sleeping pod model. I initially felt overwhelmed by the amount of detail in the model and didn’t know where to begin, but as I worked on it, I realized that by refining the base model and then adding additional detail, I could build the model I desired. This time, I was reminded to ensure that the model’s name was changed during the creation process. Changing the names after the models have been produced will add to my workload.

Speaking with the group about the creation’s details this week has given me a lot of ideas. Because this is my first time designing a cyberpunk setting, I keep telling Crystal about my progress. Fortunately, so far, my model creation has gone smoothly.

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WEEK3_ Create The Basic Scene Model Of The Collaborating Project

Posted on 13th June 2021 by Jianyu Yin

This week we started to create a scene model.

Yufei shared with us his reference picture of scene design in the group.

I decided to start by creating the scene’s basic model, which includes the floor and walls, so Kay and I can build our scene models based on the basic model’s specifications.

Basic model:

Then I started working on basic second-layer models:

This week, I’ll construct a bedroom model. Yufei shared this design with us. I noticed that the bedroom needed interior space details, such as the sleeping cabin’s frame and the exhaust fan inside the sleeping cabin.

Because I’ve built the foundational scene model. As a result, I’ll modify and create based on the basic model. First and foremost, I’d like to create the sleeping cabin’s interior space, as the basic model’s space appears to be smaller than that of the design drawing. So I’ll start by selecting the faces, then separating them from the base model and compressing them.

First, I select the faces to be separated, and in [Edit Mesh], select [Deatch]. The selected face is now separated from the base model. But I need to select [Separate] in [Mesh] to complete this step before the surface of the model is completely separated from the original model. If the separation is not carried out, the selected face is not an independent individual after [Separate] and will still be a whole with the original model.

Select [Freeze Transformations] in [Modify] and then [Center Pivot] after you’ve separated the model faces. The model’s data transformations will be frozen, and the model’s values will be zeroed. Then, in [Edit], select [Delete by Type] and then [History].

I’m going to start with the sides of the sleep pod. I need to Extrude a circle of faces to create a thick border for the sleep pod because the outer wall of the sleep pod only has one face. Hold down [Shift+Right Mouse Button] and select [Extrude Edge] to extrude the desired shape after selecting the line directly. It will take longer if you use Multi-Cut, so Extrude Edge is a good option for this step.

To extrude directly to the desired thickness, select the face of the sleep pod border, hold down [Shift + right mouse button], select [Extrude Face], and then hold down the shortcut key [W].

Remove the sleeping compartment’s border from the original model. This makes it easier to make changes to the model in the future.

Creating a base model for the sleeping compartment border ornament：

To separate the walls near the windows, use [Deatch] and [Separate]. And I hid the wall and window models.

The creation of the sleep module model will be improved further next week.

Summary of this week:

This week, I began building the basic model of the scene and sleep cabin and conducting some research into the model scene’s wiring. I spent a long time adjusting the scale of the reference image when I first created the model. Perhaps, in the future, I’ll need to adjust the scale in order to create other furniture models.

I believe that the initial modeling logic is critical in the model creation process. The subsequent model creation will be much more convenient if the basic model is created correctly. I make a model while changing the points and lines of the model, and I keep changing it in creating models process. I have some design ideas for subsequent model creation after I finish the basic model.

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WEEK2_Confirming The Group Division Of Labor And Discussing Design Concepts

Posted on 13th June 2021 by Jianyu Yin

This week, our group discussed the division of tasks for the collaborative project and clarified more specific design elements for the character models and scene models.

Task division:

Character and scene design: Yufei

Character model creation: Crystal

Scene model creation: Kay, Yu

Post-production with game expertise: Zhijian

As we had already shared some ideas about background design in the group before the talk session this week, we searched for more specific reference images this week.

The reference images we shared during the group discussion:

This scene was initially set to have two rooms, an upstairs and downstairs. The upstairs was the character’s living room and study and the downstairs being the character’s laboratory. Initially, we also discussed how to connect the upstairs and downstairs spaces. The initial idea was to create a staircase, but this would take up some of the space in the scene. In the end, it was agreed to have a conveyor belt similar to a lift. And our character was set up as a dentist who loves to experiment.

After discussing the division of labor for the project, I was assigned to create the living room and study on the second floor.

I also found some reference drawings for the set design:

Summary of this week:

This week, we discussed some design concepts for this collaboration project. Many of the design elements are novel and intriguing to me. Different types of projects suit different people. I learned some new creation methods as a result of this cooperation seminar. Every time we work on a cooperative project, we will gain a lot of knowledge from the classmates’ sharing. I can feel our knowledge expanding as we teamwork together on projects and share information.

This is the first time I have been involved in creating a cyberpunk style model of a scene and I am looking forward to this collaborative project.

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WEEK1_Research And Find Team Members For The Collaborative Project

Posted on 13th June 2021 by Jianyu Yin

For this term’s collaborative project, I will be working on something related to scenic modeling. So when Crystal and I were talking about creating a cyberpunk-style scenic display for the collaborative project, I was very interested in her idea and wanted to join this collaboration project.

Membership:

3D Computer Animation: Crystal, Kay, Yufei, Yu

Game Design: Zhijian

After we created our collaborative project team, we started to discuss the direction of the project and the final presentation. Our group is planning to create an isometric cyberpunk animation that can be displayed using AR. Our initial plan is to create one character and two scenes and create some character animations. In the final AR display, the model will allow the viewer to rotate, scale and move the scene model. We hope to use a mobile phone or computer as a medium to allow the viewer to see the open cyberpunk room in AR form.

The process of discussion:

Every student in our group was very active during the discussion, and we shared many valuable suggestions. For example, the use of cyberpunk style elements in the model. We also discussed the rendering of the model in AR and the techniques associated with AR.

The panelists shared pictures of their inspirations during the discussion:

In fact, because of the covid-19, we basically communicate online during the group discussions, so relying only on verbal descriptions maybe easily lead to some misunderstanding of concepts. The reference images shared in the discussion groups can help us better understand what the other group members are trying to achieve or what they are trying to design.

We found the scene of the scene named ‘isometric room’ style is really suitable as a reference for our project, so we also looked for many reference images:

This time was my first attempt at creating a cyberpunk-style project. In the process of exploring, I gathered some definitions of cyberpunk. Knowing the definition of cyberpunk helped me create models that were more in line with the design context.

Cyberpunk is a combination of ‘cybernetics, neuromechanics’, and ‘punk’.

The setting of Cyberpunk is mostly based on the ‘combination of low life and high technology’, usually with advanced science and technology contrasted with a somewhat collapsed social structure. With a variety of visual effects, such as neon lights on the streets, street rows of iconic advertisements and tall buildings, usually with The colors are usually black, purple, green, blue and red.

The plot of Cyberpunk usually revolves around the conflicts between hackers, artificial intelligence and large corporations. It is set on an anti-utopian Earth in the near future, rather than the outer space of early Cyberpunk. The story’s framework is based on the idea that a government or a consortium highly controls the social order or a secret organization. The protagonist uses the loopholes to make some breakthroughs.

Summary of this week:

This collaboration project is a new design direction for me. I hope to improve some modeling skills in this cooperation project. At the moment, we tentatively need to create a character and two scenarios, but the background setting for the character and the room setting still need clear design direction. Next week we will be discussing the exact division of tasks for the collaborative project and defining more specific elements of the character model and scene model design.

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FMP Proposal Presentation

Posted on 9th June 2021 by Jianyu Yin

Hello, I’m Jianyu. In this presentation, I’ll share my research direction in FMP and thesis. My discussion will be divided into six parts. The first part is my idea overview. In the second part, I will choose the lighting rendering technology of stained glass in MAYA as the theme. The third part is to discuss the areas that need to be investigated in the project, and the fourth part is the differences between my FMP and thesis. Finally, I’ll describe the resources I plan to use and my expected goals.

Making glass effect and other transparent, reflective and refracting materials similar to real physical conditions by MAYA is known as an important part of animation creation and industrial output. At the same time, lighting is known as a complex phenomenon, therefore, it’s a challenging task to perform replication with computer graphics. The theme I plan to explore the similar effect of stained glass buildings in reality by adopting optical principles in MAYA. Then carry out a number of visual effects experiments on indoor and outdoor models under different lighting conditions. After the creation of the model and lighting in MAYA, I may choose layered rendering and adopt NUKE to perform the beautification and testing of the final rendering.

When I was in TERM1, I wrote an essay about The Research of Lighting in 3D Children’s Animation. In the analysis of 3D animation movie “frozen”, I found that the current animation market has positive support and feedback for lighting rendering with transparent materials. After recent research, it can be found that the academic research of glass scene rendering in MAYA is very lacking, and the information on glass environment rendering in indoor and outdoor scenes is even scarce. Therefore, it’s great value for 3D animation and the film industry to explore the light rendering of stained glass, and it can provide reference for the research of stained glass scene rendering in 3D animation field. At the same time, the research in the field of animation lighting has aroused my interest. As far as my employment direction is concerned, I prefer to devote myself to the work in University. Therefore, I am also eager to write the thesis of the academic research on the visual effect of stained glass rendering in MAYA through this project.

Because the scene created this time is set as the exterior and bedroom of the modern town, the lighting position of the current real scene will be used as the main reference, and the detail light among objects will also be added. I will carry out the analysis and research on the visual effect of color glass buildings in reality, and test the material, lighting arrangement and parameter setting of stained glass in MAYA. Making real glass effects and creating virtual lighting and environment in MAYA can be regarded as an indispensable link. Because the scene may be affected by other objects and light sources in the rendering model. If the number of lights in the scene is increased, the corresponding rendering time will be longer. Therefore, considering the actual rendering situation, too much parameter setting will cause rendering pressure on the machine.

I will consider weakening the effect of partially reflected light to save the time of testing model materials and scene lights. In order to ensure high-quality rendering, I will consider reducing and weaken the ambient light among some objects. At present, the research on MAYA rendering of multiple colorful glass objects in the same scene is lacking, and the data available are limited to a large extent. The stained glass scenes in real life will be investigated, thus conducting the comparison and simulation of light sources.

In terms of FMP, I will mainly carry out the research and test of rendering effect of stained glass objects in indoor and outdoor scenes. In the production process, the test of stained glass material is carried out to make it conform to the corresponding physical characteristics. In addition, the NUKE will be adopted to adjust the scene model after layered rendering, and then the reflection effect between the ambient light and the glass object, in reality, can be simulated.

In terms of thesis, I would like to write some academic technical application literature, such as the application of lighting rendering technology of stained glass scene model in MAYA. I also plan to study how to increase the artistic beautification effect in the thesis based on the simulation rendering of colorful glass scenes. Of course, the most important thing is comparison and analysis of the tests based on surveys to test the rendering effect of objects in stained glass scenes in indoor and outdoor scenes.

In terms of literature and data, I will use google scholar and YouTube to conduct research and read some blogs or interviews online and books to stimulate my inspiration and find some materials. Of course, some resources from other websites will be also used, then more research can be conducted.

In terms of software, I will use MAYA and NUKE. MAYA will be used to create models, make lights, and test renderings. NUKE may be used to carry out some artistic processing after MAYA layered rendering.

In terms of the final major project, my purpose is to create colorful glass models with different lighting in MAYA to achieve beautiful and realistic rendering effects. The purpose of the thesis is to analyze and compare how different lighting influences the rendering effect of stained glass and the extent to which different indoor and outdoor lighting conditions influence the glass scene.

The knowledge about lighting rendering technology of stained glass in MAYA is abundant. I am very eager to continue to carry out in-depth discussions and research of relevant materials of lighting design in 3D animation in the follow-up study time. At present, in the field of 3D animation, there is still a lack of academic literature and rendering video related to the research of stained glass scene rendering. I think this research can supplement the samples of light rendering effect of stained glass scene for the market. That’s all. Thanks for listening to my presentation.

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Application of light rendering technology in stained glass scene model based on MAYA_Proposal

Posted on 9th June 2021 by Jianyu Yin

Abstract

Making glass effect and other transparent, reflective and refracting materials similar to real physical conditions by MAYA is known as an important part of animation creation and industrial output (The Design Technology of Glass Material Based on Maya Software, 2017). In this proposal, the research plan of creating scene model based on stained glass elements in MAYA is mainly introduced, and the rendering effect of stained glass under different indoor and outdoor lighting conditions is explored. At present, there is a lack of literature related to the research of stained glass scene rendering in the field of 3D animation, this research can supplement the samples of stained glass scene lighting rendering effect for the market.

Introduction

In this proposal, the research direction of creating scene model with stained glass as material in MAYA is mainly introduced, and the lighting rendering effect under different indoor and outdoor lighting conditions is analyzed. Making glass effect and other transparent, reflective and refracting materials similar to real physical conditions by MAYA is known as an important part of animation creation and industrial output (including but not limited to film, game, advertising and animation) (The Design Technology of Glass Material Based on Maya Software, 2017). The main problem of this research is to conduct exploration of the similar effect of stained glass buildings in reality by adopting optical principles in MAYA, and to carry out a number of visual effects experiments on indoor and outdoor models under different lighting conditions. For the second problem, it aims to explore how to improve the visual effect of art beautification based on the rendering effect of stained glass scene simulation (Contemporary stained glass Inlay Murals lend emotional power to spaces, 2017). At present, there are limitations in the research plan, that is, the glass objects placed together in reality can interact with each other due to the light and shadow among objects under the action of light source. Therefore, in the production process, different light sources and material maps may need to be used to assist the simulation of ambient light.

Literature Review

The rendering effect of glass material depends on the basic physical properties, light energy conservation and environmental impact. Glass with high reflection characteristics has no fixed color and it material observed by human mainly comes from the light reflection or refraction of the surrounding environment on the glass. Therefore, light and environment are regarded as factors in glass manufacturing, which can play a very important role (The Design Technology of Glass Material Based on Maya Software, 2017).

Making real glass effect and creating virtual lighting and environment in MAYA can be regarded as an indispensable link. Because the scene may be affected by other objects and light sources in the rendering model. If the number of lights in the scene is increased, the corresponding rendering time will be longer (Comparison of Ray Tracing and Shadow Mapping Execution Times for Shadow Rendering, 2003). Therefore, considering the actual rendering situation, author will consider to reduce and weaken the ambient light among some objects to ensure high quality and clear rendering. At present, the research on MAYA rendering of multiple stained glass objects in the same scene is very lacking, and the data available are limited to a large extent. The stained glass scenes in real life will be investigated, thus conducting the comparison and imitation of light sources.

Research Design and Methods

In the FMP project, the author will carry out the creation of indoor and outdoor scene models. Then test the stained glass material data and lighting settings of different parameters for the model. Through the comparison of rendering effect under different values, the lighting effect closest to real life scene is simulated. Author will explore how to create the lighting value and position with a sense of design and atmosphere in the stained glass scene. For the design of the research, the author will consider creating scene models first, and giving them different colors of basic glass materials. After using global light illumination, the material effect of the scene and adjust the attribute parameters will be observed. The final expected glass material is similar to the texture of church stained glass, but the transparency and light transmittance of the material itself will be selectively increased or decreased.

Secondly, testing the lighting effect of different positions and values. Because the setting of the created scene belongs to the modern town exterior and bedroom, the lighting position of the scene in reality will be used as the main reference content, and the detailed light among objects will be added. The main program used is MAYA, and the glass scene model will draw on the real scene materials and some details will be modified to make it more suitable for the project requirements. A mount of parameter setting will cause rendering pressure on the machine. Therefore, author will consider weakening the effect of partially reflected light, thus saving the time of testing model materials and scene lights.

Conclusion

Lighting is known as a complex phenomenon in nature. Therefore, it is a challenging task to perform replication with computer graphics (CREATING CONVINCING AND DRAMATIC LIGHT TRANSITIONS FOR COMPUTER ANIMATION, 2007). In this research, the visual effect of rendering stained glass scene model under different indoor and outdoor lighting conditions in MAYA is mainly explored. At present, there is a lack of literature and video on the rendering of stained glass scenes in the field of computer animation. This research can supplement the database of glass materials and lighting rendering effect for the market. At the same time, it can not only provide more convenient research samples for the animation industry or rendering teaching, but also provide innovative 3D computer animation rendering materials. In this research, combining the MAYA software rendering principle and optical and other physical principles, more realistic 3D animation rendering visual effect will be explored.

Words:992

References

He, Y. and Liu, Z. Y. (2017) ‘Contemporary stained glass Inlay Murals lend emotional power to spaces’, Fine Art Education Research, 000(005), pp. 31-32.

Michele, O., (2003) ‘Comparison of Ray Tracing and Shadow Mapping Execution Times for Shadow Rendering’, Winona Computer Science: Undergraduate Research Symposium, Winona, MN, 23-24 April. Available at: https://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.471.8305&rep=rep1&type=pdf#page=9

Parekh, R. (2007) CREATING CONVINCING AND DRAMATIC LIGHT TRANSITIONS FOR COMPUTER ANIMATION. MFA thesis. Clemson University.

Available at: https://tigerprints.clemson.edu/all_theses/144/ (Accessed: 3 June 2021).

Song, L. X., and D. O. Science. (2017) ‘The Design Technology of Glass Material Based on Maya Software’, Journal of Gansu Normal Colleges, 22(06), pp. 39-41.

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Week 9: Production of Showcase Videos and Summary for Collaborative Project

Posted on 23rd March 2021 by Jianyu Yin

This week’s main task was to create a video and summary of a collaborative project presentation. Lucy created this poster for our group in the same style as the Tom Eckersley poster [The Exhibition of Tom Eckersley], which was created exclusively for our collaborative project group.

My current collaborative project was to create a 3D Gallery and poster model, which my team members would present in VR. When the player enters the Gallery, they can complete the model puzzles and interact with the 3D poster models.

The scene models were created in the same manner as the original reference image that we discovered:

We created a scene reference model:

Test image of the final model in game:

In this project, I was primarily in charge of Modeling, Texture, Rigging, Animation, and Narrator (Narrator: information about the exhibition hall and poster models in the VR game)

Modeling：Modeling includes a scene model, a three-dimensional poster character model, and a poster puzzle model (mainly using Maya, but also using the PS function of creating 3D models)

Texture：Material mapping of the poster model’s texture (created using PS and Substance Painter)

Rigging: Rigging is the process of creating skeletons for character models (using Maya for skeletons and weights)

Character animation: An interactive animation of the character (created using Maya)

Models of flat poster puzzles were created:

The poster puzzle model, like the blocks, is created by creating a Polygon of the same shape based on the graphics in the poster.

The Polygon on the table in the image is the one I made for the [Cat Piano] poster puzzle model:

Because the poster models required to create the jigsaw pattern must be stored in separate files. This is why, in our collaborative projects, careful model classification and naming are essential. It is my habit to ensure that the nomenclature and file organization are as logical as possible to assist my partners at the next stage of production in finding the models they require more quickly.

Poster models that I created:

Video of the project being tested by gaming and virtual reality students:

When I saw the game using the models we had created and playing interactively, I felt a great sense of accomplishment. Lucy and I have been creating and modifying models almost every week, and I feel like I now have a more concrete framework in my head for how to create models than I did previously.

Collaboration project synopsis:

1. Investigating and developing project content

In the past, I’ve spent the majority of my time exploring and animating characters. Creating bones and materials for the models I built was a difficult task for me. I attempted to create four models for this project: [Panda], [Soldier Helmet], [Cat Piano], and [Garbage Collector]. During my initial exploration, I ran into a lot of issues, such as the wiring of the models needing to be adjusted while they were being created. To avoid model reporting errors in Unity, the model bindings and weights needed to be properly designed, and the number of faces needed to be reduced as much as possible. However, as I worked on the model and made iterative changes, I understood model creation and bone binding. After finishing the models for the collaborative project, I learned some basic Zbrush operations on my own, which will help me create models in various ways in the future.

When I first started learning new things, I had to gather a lot of information and plan out how I would learn the necessary skills. I frequently had to repeat the process to ensure that I was storing the information in my memory. I found the process of discovery to be exciting, and I was pleased with the result when I had completed my new learning.

2. Production schedule planning for collaborative projects

It is critical to plan the project schedule as a collaborative team, as the models must be completed as far in advance as possible to ensure that there are no delays in testing the game by the Games and VR students. Lucy and I made sure that we had a finished model each week and that we communicated with the team members on the collaborative project about how to improve the model on time. With careful planning and efficient production, we could complete all of the models ahead of schedule. Following the creation of the project’s models, I was in charge of modifying the 3D models for the posters as well as the voiceover work for the Gallery presentations.

3. Collaboration

A.Trust in one another is required for friendly teamwork.

B. Good communication is essential for improving team efficiency.

C. consideration for each student’s creative ideas and personality.

4.Thanks

I’d like to thank all of the students on this collaborative project team for their ongoing efforts to move the project forward; our Game Design partners, Zhu Zhu and Zhijian Jiang have been working hard to design the game and create the game code, and have been active in discussing our model creation needs. Byron Wu is in charge of exploring and creating the VR design portion, and every time we see him show us the content of the project we are testing in VR, we are astounded as we have ever been. Yann, Sean, and Crystal from 3D Computer Animation generously shared their knowledge with me. Lucy and I are both majoring in the same field, and this is the first time we’ve collaborated on a project, which has been going very well so far. Lucy and I communicate about the project’s progress daily, and she is an excellent communicator! I love working with Lucy so much! We also encourage each other a lot when we face challenges, and we both have the spirit of never giving up and overcoming obstacles. This project has provided me with a wealth of new information, and I believe it has enhanced my professional skills and knowledge. Simultaneously, I gained a better understanding of 3D computer animation and games and VR professional project collaboration. This collaborative project experience, I believe, will help me to broaden my knowledge of animation and to better coordinate and participate in teamwork projects.

As I was editing the project resources to create the final video, I’m sure I will miss my collaborative project team. We have overcome many obstacles together when we have been working on the collaborative unit and have explored many new things. The times I stayed up late working on the model with Lucy are still vivid in my mind, as if we had just finished our first model yesterday. It was also fun to work on the voiceover for the project, as I could only record the audio at home now, so I had to sit in front of the computer and record my voice on my phone. I also had to be aware of the computer exhaust fan’s noise during the recording process to see if it would affect my recording. All in all, it’s been an exciting experience.

Project showcase video:

Final Collaborative Project Show Video:

Download [The Exhibition of Tom Eckersley] game：

https://zzypcoollove.itch.io/collaborate-unit-the-exhibition-of-tom-eckersley-vr-gameplay

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Week 8:Modify and Self-study [ZBrush]_2

Posted on 15th March 2021 by Jianyu Yin

The majority of my work on my collaborative project this week has been to add and change models in response to project requirements from fellow game designers.

In terms of self-study, I kept dabbling with ZBrush.

Part 1: Designing a Puzzle Game

Before the player could interact with the models in the poster, the game design for our collaborative project required them to complete a jigsaw puzzle. The jigsaw effect is that the two-dimensional pieces of the poster are stitched together to create a three-dimensional model, which enhances the interaction with the game.

Lucy and I decided to turn the two-dimensional poster into a three-dimensional poster with volume. Our Jigsaw poster design differed from the 3D posters we had previously created, and we chose to create a thicker model for the flat poster only. This is simply the equivalent of making a broken rectangle, which makes the puzzle easier and more enjoyable for the player to interact with the 3D model.

Lucy and I had different ideas about how to design the puzzle pieces; I designed the poster to be broken and then created the pieces, whereas Lucy cut out the main elements of the poster to create the pieces. We both found each other’s design concepts to be very intriguing. We discussed it as a group and decided to use Lucy’s poster stitching effect.

Yu：

Lucy：

My next task was to cut out all of the model’s material in Photoshop.

The cutting process in PS.

1. Select the area to be cut with the magic wand tool ([W] shortcut).

2. Use the lasso tool ([L] shortcut) to add or delete poster areas.

3. Copy the area in the poster layer’s selection box and paste it into a new layer.

4. Select the blank area in the new layer with the magic wand tool ([W] shortcut), then use the lasso tool ([L] shortcut) to delete or add areas to the poster.

5.Repeat steps 2–4 until you have a cut-out 2D puzzle material.

Litter picker poster：

Soldier poster：

Panda poster:

Cat piano poster:

Because the cat piano poster’s 3D model is a jigsaw puzzle with no curved curves, for the cat piano puzzle model, I’ll modify the model’s thickness to complete the model required for the puzzle game.

The 2D poster material had to be converted into a 3D model material next. Thanks to Lucy and me for showing you how to make a model in Photoshop.

To create a three-dimensional model of the approach in PS, use two-dimensional material.

1. After clicking the [right mouse button], select the layer from which you want to create a three-dimensional model and then select [New 3D model from the selected layer].

2. In the properties bar, Lucy and I decided to unify our model projection value of [5] in order to adjust the pixel value of the [projection depth].

3. In the [3D] module, select [Export 3D layers] and click [OK].

4.Change the model’s save type to [.dae].

5. At this point, the model can be imported into Maya via [import] and materials and other work can be added.

It will be more convenient and faster to use PS to create the same 3D model as the image and Maya [Multi-Cut]. The wiring of the PS-created model, on the other hand, may have uneven triangular surfaces and wiring. This is why, depending on the project’s needs, it is a good learning process to use various production methods.

Part II: Modifying and adding models of soldiers’ helmets in accordance with project specifications.

The game design team informed me that they wanted to change the soldier’s helmet.

1. 8 bullet holes should be added to the soldier’s helmet where the leaves are stitched together to help the player see where the leaf models should be placed more clearly. When the player is in the process of completing the soldier poster interactive game, the leaf model can be installed in the corresponding location of the bullet holes.

A fellow games major shared a schematic diagram：

2. Additional assembly objects are required for the back of the leaf model, similar to installing a column behind the leaf model. In terms of meta, this design would add some immediacy to the game. Students from the game also shared images from ‘Toy Story’ to help me with reference.

3. Include bullet models. A bullet will be fired at the soldier’s model if a player uses the incorrect leaf model during the game and the game mechanics detect it. After being hit by bullets, the soldier’s model will be tilted backward, and the leaves will fall off the top of his head.

To make the assembly and the bullets on the back of the leaves：

Creating helmet model：

I chose the helmet model first, then the leaf model, after copying the leaf model with the assembly object. To preserve the channel between the assembled object and the helmet on the helmet model, hold down [Shift + right mouse button] and select [Difference] in [Booleans]. Because the original foliage model would disappear after the [Booleans] operation, I copied it to keep the interspersed channels and the foliage model.

Part III: Learn to Use ZBrush

Sculpting effects created with (inset) brushes

[Curve Tube] Formalized adverbial adverb (Insert Mesh Point Brush).

The [Curve Tube] brush can be used to sculpt a pattern on an object’s surface.

Create a flat surface first, then use the Curve Tube brush to draw the pattern you want. (As you go, you can adjust the lines of the pattern you’ve created.)

After you’ve drawn the pattern, click [Delete Hidden] in the [Modify Topology] section of the [Sub Tools] property bar on the right. We can visually adjust the model’s position and shape in space at this point in the pattern.

Holding down the [W shortcut] allows us to change the shape of the model in space. Select [FFD Flexible Deformer] from the menu that appears. Then, in [FFD Flexible Deformer] mode, we select the curve on the model and begin adjusting the model pattern’s shape.

After we’ve tweaked the pattern’s shape, press and hold the [W shortcut] and select Accept in the Transform Type icon.

If you want to change the effect of the brush strokes (for example, to make a hair model with thin sides and a thick middle), go to the properties bar and look for the [Strokes] setting. Adjust the [Size] value in the [Curve Modifier] after selecting [Stroke] to achieve different stroke thicknesses.

[CurveTriFill] (insert grid point brush)：

The [CurveTriFill] brush can be used to create models with the same shape as the design shown in the image.

Tips：

There are three known methods for creating models that correspond to the shape of the image.

1. In Maya, use [Multi-Cut] to cut out a shape that matches the image on the [face], and then extrude the model with [Extrude].

2. In PS, use [Create 3D Model], then import the exported [.dae] 3D model file into Maya.

3. Draw the model shape directly in [ZBrush] using the [CurveTriFill] brush, and then create the model.

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Week 7:Self-study [ZBrush]_1

Posted on 8th March 2021 by Jianyu Yin

I started to teach Zbrush myself this week.

I found some tutorial videos to help me explore Zbrush better as a software program.

https://www.bilibili.com/video/BV1Ma4y1E7qP?p=2

I have chosen to install the Chinese version of Zbrush 2020 to help me understand the usefulness of the various features in the software more quickly.

This week, I’m going to document some of the basic features of Zbrush in a blog.

Create a simple model file：

Click on the [Tool] button in the right-hand toolbar and select the base model you want to create.

Once the model has been created, you need to activate the model you want to create by clicking on [Edit].

Once the model is selected, click [right mouse button] in the viewport and drag and drop to control the model creation volume.

If we want to edit the model, we need to click the [Generate Polygon Mesh Object] button in the right toolbar.

[Home]: This option allows you to view some of the consultations updated on the official website.

[Lightbox]: This tool has powerful functions for selecting reference models, brushes, and more.

[Brushes] in [Lightbox]: Create the model’s shape and effect using different brushes.

[Alpha] in [Lightbox]: can be used in combination with brushes to create details of the model, similar to the skin’s texture.

[Grid] in [Lightbox]: is beneficial in sculpting people’s head patterns.

Tips:

If you can’t rotate the view’s direction, you can unlock the locked camera in the [Draw] option.

Zbrush] is best used in conjunction with a hand drawing tablet. Hold down [Alt] in the view to pan the model view, release [Alt] to zoom in or out of the model view.

To move the model: [W] shortcut key

Zooming the model: [E] shortcut key

Rotate the model: [R] shortcut key

Quickly return to the center of the model’s view: [F] shortcut key

How to zoom in and out of the model’s viewport: Hold down [Alt], then hold down the left and right mouse buttons, then release the [Alt] key. We can then zoom in and out of the model’s viewport to preview it. (This is a little tricky, I will try to remember this operation)

To adjust the properties of the brush, press [Spacebar] to display the panel. We can adjust the size of the brush, the center, the intensity, etc.

The brush will be added to the raised model. If you want to create models recessed to the inside of the model, hold down the [Alt] key before using the brush.

If we want to smooth the model’s surface, hold [Shift] down and use the brush to complete the effect of smoothing the surface of the model.

The [Strokes] panel is designed to adjust the stroke effect of the brush.

[Dots]: The effect of drawing with dots. Similar to using a dot mode brush to increase the height of the surface of the model.

[DragRect]: Use drag and drop to add surface detail to your model. This effect is suitable for hard surface designs.

The [Alpha] brush: This property is used to adjust the brush’s specific detail and grain.

The [Material] material balls in Zbrush and Substance Painter serves a similar purpose, adding Material effects to the model.

The routing of the model surface is also essential for sculpting models. Proper routing is what helps shape the model and the export work that follows.

Adjust the wiring of the object model.

The parameters in [Geometry Edit] in [Sub Tools] can help us adjust the model’s wiring. After clicking on [Subdivide Mesh], select [Subdivide Level] to increase or decrease the wiring of the model (this can be used to round off the model or reduce the number of faces).

[ZRemesher]: The function of [ZRemesher] is equivalent to the rearrangement of the lines of the model after it has been sculpted. There are many irregular faces or lines created during the sculpting process, so selecting [ZRemesher] will automatically topology the model’s lines and faces. This helps us to refine the ring alignment. The final number of faces is controlled by adjusting [Target Polygon Count] (the smaller the value, the smaller the number of faces). The use of [ZRemesher] will also reduce the detail of the model and help a lot with the overall alignment of the model.

Dynamesh]: The number of faces of the model can be increased or reduced by adjusting the resolution value. Dynamesh] is a good command to reset the number of faces of the model. [Dynamesh] can also be used to round off the model interface after it has been merged.

Merge models:

Check [Sub Tools] in the [Toolbar] of [Zbrush], then check [Create Copy]. (Be careful with [Delete] in the toolbar, as you cannot go back and cancel the operation after deleting the layers of the model)

Once created, we see that the two models are bright and grey, respectively. This is because both models are separate entities at this point. The bright model is currently active, and only active models can be manipulated in [Zbrush]. Next, we need to merge the models. (Hold down [Alt + Left mouse] to quickly select the model you want to activate)

We can merge models in the [Merge] section of the [Toolbar] section. Click on the model layer you want to merge, and then click [Merge Down]. (Note that after using [Merge], you cannot go back to the previous step)

Although we have finished merging the models, at this point, the interface between the two models is still interspersed. There will still be a gap between the two models when sculpting the model. Selecting [Dynamesh] at this point will help to round off the model. The model will be created without the effect of the seam lines. If you want to further smooth the surface of the model, hold [Shift] down and use the brush to achieve a rounded effect.

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