Sculpting other facial features
You can now optionally add other facial features. Consider these tips:
For facial features such as the chin, cheeks, and forehead, use a Radius(U) larger than 1 and
start with a Maximum Displacement between 0.5 and 1.
Insert isoparms wherever you want to add extra detail with the Sculpt Geometry Tool.
To create eyeballs for the sockets, create a sphere and scale it as necessary to fit the socket.
You might want to increase the eyeball's Scale X value to make it oblong. To duplicate the
eyeball, and make a mirrored copy of the original you'll first need to set the pivot point for the
eyeball to be at the origin 0, 0, 0 using the following steps. With the sphere selected, press the
Insert (Windows and Linux) or Home (Mac OS X) key so that the sphere's pivot point is displayed.
Next move the pivot point to the origin using the X hotkey so that the pivot snaps to the grid at
0, 0, 0. Select Insert (Home) to turn off the pivot point display. Finally, use Edit > Duplicate >
and set the Scale setting to -1, 1, 1. This makes the new eyeball a mirrored duplicate of the
original on the opposite side of Egghead's face. Position the eyeballs in the sockets. Parent the
eyeballs to Egghead.
To create simple, unadorned ears, you can create, scale, and squash a sphere. Create ridges and
valleys by pulling CVs or by using the Sculpt Geometry Tool. Duplicate the ear by first setting its
pivot point to the origin and with the Scale option set to -1, 1, 1. Parent the ears to Egghead.
To import existing models into your scene:
If you saved the Eggholder scene in the prior lesson, you can import the egg holder into this Egghead
scene, then position Egghead into the egg holder.
1. To import the egg holder into the Egghead scene, use File > Import and select the name of the
scene that contains Eggholder.
Importing a scene imports all objects from that scene.
2. Increase (or decrease) the scale of the egg holder (or Egghead) as necessary for a snug fit.
NURBS Lesson 2: Beyond the lesson
In this lesson you were introduced to a few basic techniques related to sculpting surfaces:
The Sculpt Geometry Tool is indispensable for quickly shaping a variety of surfaces. As you do
your own projects, pay special attention to the position and density of isoparms before you begin
sculpting.
Isoparms converge at a single point (the pole). Pole regions of a primitive or surface are hard to
sculpt so it's best to avoid using the Sculpt Geometry Tool there. For example, when you created
the original sphere in this lesson, you rotated it 90 degrees around its Z-axis. Because of the
rotation, ears for the head would need to be modeled via a different technique (for example, you
could model a pair of ears and parent them to the head).
The density and orientation of isoparms on a surface affects the results with the Sculpt Geometry
Tool. As you gain NURBS modeling experience, you'll learn how to use the density and orientation
of isoparms to your advantage.
Primitive objects are useful objects for sculpting in many cases. After you create a primitive, you
typically sculpt, scale, trim, or otherwise alter the object into a more complex shape. Though most
primitives are surfaces rather than curves, they still derive their shape from curves.
In general, a sphere makes a convenient foundation for creating a simple head, but it's not ideal if
you plan to animate an expressive, talking head. Many 3D artists start with a cylinder or a lofted
surface. The procedures for doing this are more complex than starting with a sphere and are
beyond the scope of this lesson.
NURBS Lesson 3: Introduction
Another method for creating NURBS surfaces is to loft a series of curves that define the cross section of
your desired surface form. Lofting a surface works like stretching a skin over each of the cross sections
to create the final surface.
In this lesson, you learn additional NURBS surfacing techniques by using the Loft tool to create the body
of a salt shaker. You will also create the cap for the salt shaker by modifying the shape of a primitive
sphere.
In this lesson you learn how to:
Modify the outline of a circle primitive by editing the position of its CVs.
Use the magnet snap feature.
Loft cross section curves to create a NURBS surface using the Loft tool.
Edit the form of an existing primitive object by moving its CVs.
Parent one object to another using the Outliner.
Creating profile curves for a surface
You begin the lesson by creating a pair of profile curves. You then create several copies of these curves
to form the skeletal contours of the salt shaker's surface.
To create profile curves for the salt shaker's body
1. Make sure you've done the steps in NURBS Lessons: Preparing for the lessons.
2. Select Create > NURBS Primitives > Circle > . In the options window, select Edit > Reset
Settings, enter the following values, then click the Apply button:
o Radius: 4
o Number of Sections: 24
The Radius sets the size of the circle in grid units. A value of 4 creates a circle with enough size
so that you can use the grid for convenient size comparison.
The Number of Sections sets the number of CVs in the circle. By using 24 CVs, you can create a
circle with the subtle contours required in this lesson. Display the CVs of the circle to see the 24
CVs.
A circle is a curve that loops back on itself. The CVs work the same way as for any other curve.
The more CVs you create for a curve or surface, the more detail you can give its shape.
The drawback to using many CVs is that you'll have a harder time making smooth shape changes
to broad regions. Also, more CVs means slower processing time as you work with the curve. It's
best to make curves with as few CVs as necessary. With experience, you'll learn how many CVs to
use in a situation.
3. Create another circle, this time with these options:
o Radius: 2
o Number of Sections: 24
This creates a smaller circle inside the first circle as shown below.
4. Change the scene view so you can see the circles from the top view.
5. Right-click the inner circle and select Control Vertex from the marking menu. Repeat for the outer
circle.
6. Turn on Snap to Points (below the menu bar).
7. As shown in the following figure, move CVs from the outer circle to the corresponding inner circle
positions. As you drag a CV near its destination, the Snap to Points mode causes the CV to jump
to the exact CV position.
8. Turn off Snap to Points. Turn off the display of CVs for both circles by right-clicking on the circles
and selecting Object Mode from the marking menu.
You can now optionally add other facial features. Consider these tips:
For facial features such as the chin, cheeks, and forehead, use a Radius(U) larger than 1 and
start with a Maximum Displacement between 0.5 and 1.
Insert isoparms wherever you want to add extra detail with the Sculpt Geometry Tool.
To create eyeballs for the sockets, create a sphere and scale it as necessary to fit the socket.
You might want to increase the eyeball's Scale X value to make it oblong. To duplicate the
eyeball, and make a mirrored copy of the original you'll first need to set the pivot point for the
eyeball to be at the origin 0, 0, 0 using the following steps. With the sphere selected, press the
Insert (Windows and Linux) or Home (Mac OS X) key so that the sphere's pivot point is displayed.
Next move the pivot point to the origin using the X hotkey so that the pivot snaps to the grid at
0, 0, 0. Select Insert (Home) to turn off the pivot point display. Finally, use Edit > Duplicate >
and set the Scale setting to -1, 1, 1. This makes the new eyeball a mirrored duplicate of the
original on the opposite side of Egghead's face. Position the eyeballs in the sockets. Parent the
eyeballs to Egghead.
To create simple, unadorned ears, you can create, scale, and squash a sphere. Create ridges and
valleys by pulling CVs or by using the Sculpt Geometry Tool. Duplicate the ear by first setting its
pivot point to the origin and with the Scale option set to -1, 1, 1. Parent the ears to Egghead.
To import existing models into your scene:
If you saved the Eggholder scene in the prior lesson, you can import the egg holder into this Egghead
scene, then position Egghead into the egg holder.
1. To import the egg holder into the Egghead scene, use File > Import and select the name of the
scene that contains Eggholder.
Importing a scene imports all objects from that scene.
2. Increase (or decrease) the scale of the egg holder (or Egghead) as necessary for a snug fit.
NURBS Lesson 2: Beyond the lesson
In this lesson you were introduced to a few basic techniques related to sculpting surfaces:
The Sculpt Geometry Tool is indispensable for quickly shaping a variety of surfaces. As you do
your own projects, pay special attention to the position and density of isoparms before you begin
sculpting.
Isoparms converge at a single point (the pole). Pole regions of a primitive or surface are hard to
sculpt so it's best to avoid using the Sculpt Geometry Tool there. For example, when you created
the original sphere in this lesson, you rotated it 90 degrees around its Z-axis. Because of the
rotation, ears for the head would need to be modeled via a different technique (for example, you
could model a pair of ears and parent them to the head).
The density and orientation of isoparms on a surface affects the results with the Sculpt Geometry
Tool. As you gain NURBS modeling experience, you'll learn how to use the density and orientation
of isoparms to your advantage.
Primitive objects are useful objects for sculpting in many cases. After you create a primitive, you
typically sculpt, scale, trim, or otherwise alter the object into a more complex shape. Though most
primitives are surfaces rather than curves, they still derive their shape from curves.
In general, a sphere makes a convenient foundation for creating a simple head, but it's not ideal if
you plan to animate an expressive, talking head. Many 3D artists start with a cylinder or a lofted
surface. The procedures for doing this are more complex than starting with a sphere and are
beyond the scope of this lesson.
NURBS Lesson 3: Introduction
Another method for creating NURBS surfaces is to loft a series of curves that define the cross section of
your desired surface form. Lofting a surface works like stretching a skin over each of the cross sections
to create the final surface.
In this lesson, you learn additional NURBS surfacing techniques by using the Loft tool to create the body
of a salt shaker. You will also create the cap for the salt shaker by modifying the shape of a primitive
sphere.
In this lesson you learn how to:
Modify the outline of a circle primitive by editing the position of its CVs.
Use the magnet snap feature.
Loft cross section curves to create a NURBS surface using the Loft tool.
Edit the form of an existing primitive object by moving its CVs.
Parent one object to another using the Outliner.
Creating profile curves for a surface
You begin the lesson by creating a pair of profile curves. You then create several copies of these curves
to form the skeletal contours of the salt shaker's surface.
To create profile curves for the salt shaker's body
1. Make sure you've done the steps in NURBS Lessons: Preparing for the lessons.
2. Select Create > NURBS Primitives > Circle > . In the options window, select Edit > Reset
Settings, enter the following values, then click the Apply button:
o Radius: 4
o Number of Sections: 24
The Radius sets the size of the circle in grid units. A value of 4 creates a circle with enough size
so that you can use the grid for convenient size comparison.
The Number of Sections sets the number of CVs in the circle. By using 24 CVs, you can create a
circle with the subtle contours required in this lesson. Display the CVs of the circle to see the 24
CVs.
A circle is a curve that loops back on itself. The CVs work the same way as for any other curve.
The more CVs you create for a curve or surface, the more detail you can give its shape.
The drawback to using many CVs is that you'll have a harder time making smooth shape changes
to broad regions. Also, more CVs means slower processing time as you work with the curve. It's
best to make curves with as few CVs as necessary. With experience, you'll learn how many CVs to
use in a situation.
3. Create another circle, this time with these options:
o Radius: 2
o Number of Sections: 24
This creates a smaller circle inside the first circle as shown below.
4. Change the scene view so you can see the circles from the top view.
5. Right-click the inner circle and select Control Vertex from the marking menu. Repeat for the outer
circle.
6. Turn on Snap to Points (below the menu bar).
7. As shown in the following figure, move CVs from the outer circle to the corresponding inner circle
positions. As you drag a CV near its destination, the Snap to Points mode causes the CV to jump
to the exact CV position.
8. Turn off Snap to Points. Turn off the display of CVs for both circles by right-clicking on the circles
and selecting Object Mode from the marking menu.
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