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Blender 3D Cookbook - Sample Chapter

Aug 15, 2015

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  1. 1. Blender 3D Cookbook Enrico Valenza Blender 3D Cookbook What this book will do for you... Create a basic mesh depicting the character's overall shape and mood in a few simple steps Use your sculpting skills to carve the character features from the mesh Find the best possible ow for your edge-loops to enhance the character features and for the best possible range of deformation Paint your character to enhance the surface's details Mix both the Blender Internal and Cycles rendering engines in order to render materials as quickly as possible $ 54.99 US 34.99 UK Prices do not include local sales tax or VAT where applicable Inside the Cookbook... A straightforward and easy-to-follow format A selection of the most important tasks and problems Carefully organized instructions to solve problems efciently Clear explanations of what you did Apply solutions to other real-world situations Quick answers to common problems This book will take you on a journey to understand the workow normally used to create characters, from the modeling to the rendering stages using the tools of the last ofcial release of Blender exclusively. This book helps you create a character mesh and sculpt features, using tools and techniques such as the Skin modier and polygon merging. You will also get a detailed, step-by-step overview of how to rig and skin your character for animation, how to paint textures and create shaders, and how to perform rendering and compositing. With the help of this book, you will be making production-quality 3D models and characters quickly and efciently, which will be ready to be added to your very own animated feature or game. EnricoValenzaBlender3DCookbook Build your very own stunning characters in Blender from scratch P U B L I S H I N GP U B L I S H I N G community experience distilled PUBLISHINGPUBLISHING Visit www.PacktPub.com for books, eBooks, code, downloads, and PacktLib. Free Sam ple
  2. 2. In this package, you will find: The author biography A preview chapter from the book, Chapter 1 'Modeling the Character's Base Mesh' A synopsis of the books content More information on Blender 3D Cookbook
  3. 3. About the Author Enrico Valenza, also known as "EnV" on the Web, is an Italian freelance illustrator, mainly collaborating with publishers such as Mondadori Ragazzi and Giunti as a cover artist for sci- and fantasy books. He graduated from Liceo Artistico Statale in Verona (Italy) and was later a student of illustrator and painter Giorgio Scarato. When he started to work, computers weren't that much in use among normal people, and he spent the rst 15 years of his career doing illustration with traditional media, usually on cardboard; he specialized in the use of the air-graph, a technique particularly esteemed for advertisement work. When the movie Jurassic Park came to theaters, he decided to buy a computer and try this "computer graphic" everyone was talking about. When it comes to the many aspects of CG, he has been totally self-taught; it has been his encounter with the open source philosophy that actually opened a brand new world of possibilities, Blender in particular. In 2005, he won the Suzanne Award for "Best Animation, Original Idea and Story" with the animation "New Penguoen 2.38." In 2006, he joined the Orange Team in Amsterdam for the 2 last weeks of production to help in nalizing the shots of the rst open source cg animated short movie produced by the Blender Foundation, Elephants Dream. From 2007 to 2008, he has been a lead artist in the Peach Project team for the production of Big Buck Bunny, the second Blender Foundation's open movie. From 2010 to 2011, he has been an art director at CINECA (Bologna, Italy) for the "Museo della Citt di Bologna" project, which is the production of a stereoscopic CG-animated documentary made in Blender and which explains the history of the city of Bologna.
  4. 4. Also, being a Blender Certied Trainer, he often collaborates as a cg artist with production studios that have decided to switch their pipeline to open source. Enrico uses Blender almost on a daily basis for his illustration jobs, rarely to have the illustration rendered straight by the 3D package and more often as a starting point for painting over with other open source applications. He has conducted several presentations and workshops about Blender and its use in productions.
  5. 5. Preface This cookbook is based on the ultimate 2.7 series of Blender and illustrates the workow to create from scratch the monster creature Gidiosaurus, a ctional humanoid biped reptilian warrior, almost 2 meters tall, with scaled skin and wearing a sort of simple medieval armor. So, by the use of recipes in this book, we'll see all the stages that a character's creation workow usually undergoes in a production pipeline based on the open source software Blender; starting from concept sketches used as reference templates for the modeling and sculpting; going through the re-topology, UDIM unwrapping, rigging, texturing, and shading stages; and nally ending with the lighting, the rendering of a simple walk cycle animation, and also a bit of compositing. You will nd quite a lot of stuff in the industry usually solved through the use of different applications, but that can be almost completely tackled just in Blender! The order of all the stages of such a workow is mandatory for most of them; for example, all the stages from Chapter 1, Modeling the Character's Base Mesh, to Chapter 4, Re-topology of the High Resolution Sculpted Character's Mesh, but can also be subjective in others. In fact, stages such as the rigging and the skinning, the unwrapping of the mesh, the creation of the shaders, and the textures painting are often, at least in my experience, simultaneous or interchangeable. I usually build the rig and make a quick skinning of the mesh to verify that the deformations work correctly and then, if it's the case, I modify the mesh, x the unwrap, tweak the vertex groups weights, modify the rig, and so on. That's why in this book, after the unwrapping stage (Chapter 5, Unwrapping the Low Resolution Mesh), there are chapters about the rigging, skinning, and animation, and only later there are the chapters about the shaders and the textures creation, which ideally would have been the natural followers. While we are rigging a character, sometimes the need for some modications in the mesh topology or even in the geometry turns up, usually to allow for better deformation in certain areas; this is the kind of corrections that we prefer to have before the unwrapping and the complex texture painting stages are done.
  6. 6. Preface Because the different stages must be kept separated and explained one by one through recipes, it would be difcult to keep this kind of simultaneity in the cookbook. That's why, in very few cases, you'll nd blank steps linking to other recipes and some images showing the future effect of the involved processes; for example, in Chapter 2, Sculpting the Character's Base Mesh, there are recipes about the different ways to obtain the mesh subdivision that at a certain step link to a later recipe, or in Chapter 6, Rigging the Low Resolution Mesh, there are examples of the deformation effects that the rig will have on the already skinned mesh even if the reader hasn't approached the skinning stage yet and so on. If this is the case, it is claried at the time. If you are not a total beginner in Blender, you are probably already using your customized version of the User Interface, with your personal preferences as add-ons, modied screens, and whatever else already set in the User Preferences panel. In this cookbook, by the way, we'll presume to start our workow with the Factory Settings, which is the basic interface and the preferences situation we have at the very rst time we start Blender just after to have downloaded the zip and uncompressed it to some location on our hard drive. If this the case, in the Getting ready section of the recipes, instructions about any required add-on and/or particular settings to be enabled are provided. In the making of this cookbook, I've used versions of Blender from 2.71 to 2.73a. So, besides the version number that you'll see in the images written in the main header, you can sometimes nd a screenshot showing buttons or features not appearing in the other images; such as, for example, for the Node Editor toolbar between versions 2.71 and 2.72, as shown in the following screenshot (only relevant to Cycles):
  7. 7. Preface In no case, things like these should be an issue because there aren't many differences in these versions, only improvements, and the provided les have been tested under all of them. Obviously, new features or bug xes introduced in version 2.73a are not available in the previous ones, so always use the latest ofcial Blender release (also, the new versions 2.74 and 2.75a, although not debated in the cookbook, are OK). A list of the new features available in the new versions can be found at http://wiki. blender.org/index.php/Dev:Ref/Release_Notes/2.73, http://wiki.blender. org/index.php/Dev:Ref/Release_Notes/2.74, and http://wiki.blender.org/ index.php/Dev:Ref/Release_Notes/2.75. I want to assure you that no Gidiosaurus has been harmed in the making of this cookbook. Moreover, the Gidiosaurus is totally a ctional character and any reference to extinct or still living creatures is totally coincidental and fortuitous. Even more, the name Gidiosaurus (from Gidio = Gidio and saurus = lizard) is copyrighted; the Gidiosaurus character has been designed, sculpted, and modeled by Enrico Valenza and is released under the Creative Commons license CC BY-NC-ND 4.0 (http://creativecommons.org/licenses/by-nc- nd/4.0/). This means that any version of the Gidiosaurus model or the character's textures provided through blend les with this cookbook, besides special distribution permission granted by the auth

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