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add mesh detail where its needed. Often, youll find that
adding the mesh detail after youve started modeling can
be quite cumbersome and annoying. The flat mesh method
simplifies this process, allowing you to plan out your mesh
detail before you start tweaking the model.
Before we begin modeling our creature well need to examine its biography. You cant properly model a creature
until youve walked in its shoes so lets take a close look at
the prehistoric creature were about to model.
Once the files are extracted, load Modeler and import the
dino.iff file as the background image for the Z axis.
This will be our modeling template. OK, now for the tricky
stuff. The goal is to create a basic mesh over the template
image that includes the details well need for the major
features. This usually takes some experimentation to get
it just right. You should have something like the mesh in
Figure 2 when you are finished.
You should make an effort to always use quad polygons.
There will be spots where youll have to use triple polygons, but keep them to a minimum. We will be using
Metaform to shape the mesh, and quads always work
best when translating Adjoining Angles. Remember, never
use anything in excess of 4 point polygons or the
Metaform function wont work properly. While you can Metaform polygons greater than 4 points, the result may be rather sloppy. To make
things easier, you can load the
template.lwo object that was included in the support files. This is
the basic mesh shown in Figure 2.
The next step is to give this mesh
some depth.
We are now starting to see the body take shape. The best
part about this method is that it will form the bone ridge
along the spine and jaw automatically. Its a real timesaver! Now we need to switch to point mode. Select the
points shown in Figure 4, and drag them forward as we
did previously.
We now have the depth for the tail complete, but we
need to make the body thicker. Select the points shown
in Figure 5 and drag them forward, even farther than
the last time.
Great! Were really starting to see it take shape. The only
body part needing more depth is the head. We need to
pull the jaw line farther out. Select the points shown in
Figure 6 and pull them forward as
shown in the image.
Adding the
Details
Adding the details is
rather simple. Well
be using Smooth
Shift a great deal to
add the polygons we
need. We will always
use an Offset value
of 0 when we
Smooth Shift. If we
Now we need to move the back points of the eye forward, so the eye socket tapers towards the front. Select
the two sets of
points shown in
Figure 11 and
move them forward,
until they match the
image.
Before we complete
the eye, lets outline
it a bit better by creating the bony ridge
over the eye. Select
the four polygons
over the eye. Smooth Shift, scale and move them up and
forward a bit as shown in Figure 12.
Now repeat the same steps to create the fold of skin under the lower
jaw line shown in Figure 23.
Great, were almost done with the
jaw. Now we need to strengthen the
back of the jaw where it meets the
neck. To do this, select the polygons
at the back of the jaw and move
Figure 23 Creating the fold of skin under the
lower jaw.
can use it to compare with your model, or as a replacement in case you missed a step.
The next step is to create the teeth and gums. This is a
relatively simple job, but a bit repetitive. Lets get started.
but those are easy to add. Simply use the same technique
of Smooth Shifting that we used to create the ridge of
the jaw line. It should take about 2 hours of tweaking to
fully detail this little critter with those killer skin folds.
Wrap Up
There you have it prehistoric creature modeling with
LightWave 5.5. While the flat modeling method takes a
bit of getting used to, it really simplifies the process of
adding detail to your models. Before you begin your next
creation, think about going flat.
Bill Fleming is President of Komodo Studio, the
leading studio specializing in photorealistic 3D
creatures and characters for broadcast and film.
Bill is the author of many 3D books including
The 3D Creature Workshop, published by
Charles River Media, Inc. Hes also a contributing editor for several magazines including Animation World, Visual Magic and Keyframe. In
addition to being a 3D artist, Bill is a biologist
and herpetologist, which has given him a solid
background for photorealistic creature design.