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ART
383 Digital Modeling
FALL
2015
CSULA
Professor
Jim Ovelmen
jim@jimovelmen.com
Jim.Ovelmen@calstatela.edu
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LAB
HOURS (for
working labs outside of class)
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CAL
icon for all DUE DATES
PINK
icon for all assignment formatting
TRICOLOR icon
to return to ovelmen syllabi
Department
of Public Safety/Security 323-343-3700
OfficeFA
227,Office Hours (see
syllabi page), PhoneExt. 3-4033,
Course Length10 weeks + finals day, Meeting
TimeTUES 4:20-9:30pm,Class LocationFA
225, Term/YearFALL 2015 |
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*if
you would like to meet with me during my Office Hours, Please make an
Appointment in the Art Office |
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COURSE
DESCRIPTION
This
course introduces aspects and methods for achieving high-quality 3D models
both organic and inorganic. Major emphasis of this class will be put on
the creative output of the student via the tools learned and projects
assigned. Moreover, the course aims toward the comprehensive use of techniques
in Maya to create meaningful 3D sculptures and environments with expressive
content. The class will be structured around increasingly challenging
projects around practical topics, and a final focusing on the human head.
Lectures will focus on the tools and principles of surface construction
as well as characteristics involving materials, textures, lighting, and
more. Related topics may include intro to rendering: HDRI rendering, Final
Gather, ambient occlusion, radiocity, and 2D rendering techniques.
PREREQUISITES:ART
380, Computer Graphics I
INSTRUCTIONAL
METHODS
Class
lectures, in-class assignments, and project related demonstrations will
be provided from original or researched content. Supplemental homework
assignments, specific tutorials from published sources will be given.
Most of these assignments are, of course, to be done exclusively outside
the hours of class time.
The
expecation is 3 to 6 hours per week working outside of class on project
assignments and homework. Lab hours will be posted.
There are numerous books and online tutorials on 3D modeling. I have listed
recommendations of texts and URLs for further study. I will also distribute,
handouts, images, and other reference materials to supplement your studies.
STUDENT OUTCOMES.
-be
able to think, plan and work creatively and comfortably with 3D modeling
tools, and display expressive choices and technical proficiency.
-apply
industry standard modeling techniques of correct quad-based topology
-posses
a versatility in different modeling strategies including Polygon, NURBS,
and Subdivisional
-create
high quality texture maps with UV layout coordinates with precision on
models
-create
both high quality inorganic and organic referenced models, including the
ability to create anatomical models based on reference which are "on-model".
-predict
and build the topology (muscle)flow for characters which anticipate future
pipeline events such as blend shape animation.
-obtain
a comfort with the node-based structure and inter-dependancy in Maya;
and have a strong knowledge of its context and workflow for creating models.
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STUDENT
RESOURCES
MODELING
MUDBOX,
ZBRUSH
Kittleson, Joan of Arc, Stop Staring,
Ear layout, Box modeling, Spline Method, etc..
SURFACING
NORMAL
MAPPING:
Ben
Cloward, Cody
Sargent, BAAAAM!
tutorial, Game-Artists.net
TEXTURES,
MUDBOX:
some
texture, more textures
what
is Mudbox?
MudboxandMaya?,
MudboxBasicsAndWacomPen,
NORMALMAPSinMudbox,
MUDBOX_1of_4,
MUDBOX_2_of4,
MUDBOX_3_of_4,
MUDBOX_4_of_4,
RETOPPINGdetailinMUDBOX
FREE RIGS
http://www.meshfactory.com,
http://www.turbosquid.com, http://www.3dcafe.com,
http://www.linefour.com
ie:
McCainModel.zip,
McCainMode.mb
PROFESSIONAL CG SITES:
http://highend3d.com
(Creative Crash)
http://www.awn.com
www.cgchannel.com
RIGGING (ANZOVIN)
http://www.anzovin.com/products/tsm2maya.html
MEL SCRIPTING
basic
MEL
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SUGGESTED
TEXTS AND SUPPLIES.
Exploring
3D Modeling with Maya 7 , by P. Beckman
and S. Wells Thompson Delmar LearningISBN 1-4180-1612-8-
Learning
Maya 7, The Modeling & Animation Handbook,
Alias Systems Corp.ISBN: 1-894893-873-
Digital
Lighting and Rendering, by Jeremy Birn
New Riders Press ISBN: 0-321-31631-2
ANIMATION
TEXTS
-Timing
for Animation,
by Harold Whitaker and John Halas, Focal Press ISBN 0-240-51714-8
-The
Illusion of Life,
Disney Animation Walt Disney Productions ISBN 0-7868-6070-7
-The
Animator’s Reference Book
, Les Pardew & Ross WolfleyThompson Course Technology, USBN 1-59200-675-2
-The
Animators Survival Kit, by Richard Williams, Faber, ISBN 0-571-20228-4
-Cartoon
Animation, by Preston Blair, Walter Foster, ISBN 1-56010-084-2
-Understanding
Comics, Scott McCould, ISBN 0-06-097625-X
-Character
Animation in 3D, Steve Roberts, Focal Press Visual Effects and Animation
ISBN 0-240-51665-6
REQUIRED
SUPPLIES.
USB
Flash Drive (1 GIG recommended)
External Hard
Drive, (mac formatted). At least 80 gigs
Large Sketchbook,
graph paper, pencils, markers, and other drawing
materials,
Sculpting material
(optional) may include: formable wire, clay or "sculpy"
GRADING
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COURSE
OUTLINE (SUBJECT TO CHANGE) |
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TUES,
September 29th
samples
from last 383
heads
from 480
Maya
Basics
·
Interface layout, and logic (images here are not
latest Maya version):
grid,
interface, channel
box, attribute editor, commandline,
helpline, modules
, hotbox, layer
editor, manipulators, outliner,
panel layout, pivot,
quicklayout, shelf,
statusline, toolbox,
move tools, shortcuts,
·See
through the 3D camera space and the orthogonal views.
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Cartesian properties (xyz)
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Navigating around the virtual world and camera control
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Manipulating objects. (move, rotate, scale)
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Displaying object wire, shadeModeling basics
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Maya
Basics (cont.)
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Primitive geometry and pre-defined content
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Moving an object’s pivot
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Polygon intro
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Selecting order, and duplicationHierarchy
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Understanding hierarchy, dependency and the workflow of Maya
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grouping, parenting, and the Hypergraph
·
Class Exercise: Model and Navigate
·
Class Exercise: Create a Tree, Extrude face/edge of a box,
Extrusion on a curve
watch and
do this tutorial! (very simple) model
a polygon hammer
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TUES,
October 6th
Maya
Basics (cont.)
·
Object and component mode
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Manipulating polygon surface components (vertex, edge, face)
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Extruding a face, edge, etc. (keep faces together, or not)
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NURBS objects and their components (hulls, lines, CVs)
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NURBS and Polygon comparison, show tesselation differences.
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Trimming NURBS, and use of Make Live
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Pick masks: prioritizing and masking· The Outliner:
Watch
intro to Mudbox Tutorial (take good notes on all the hotkeys menus
and concepts!)
Over this
course, watch the remaining tutorials in this series by Digital
Tutorials called "Artist Guide to Mudbox".
It is a 17-part tutorial, each is fairly short, beginner-oriented, and
clear. It is your obligation to watch these totrials outside of
class! You may watch these at your own pace throught this class.
HOMEWORK:
watch Parts 1-4!!
Prt1
2min
intro to Mudbox 2012
prt2(interface)
prt3(sculpting
tools) prt4(stencils)
prt5(sculpt
layers)
prt6(VctrDsplMaps)
prt7(MaterialsPtlrs)
prt8(OnTargetPrsnt)
prt9(PaintingTex)
prt10(MltplPntLyrs)
prt11(AdjstngPntLyrs)
prt12(P-TEX)
prt13(MudboxPhotoshp)
prt 14(MapExtrction)
prt 15(TrsfrDtlBtwnMshs)
prt16(PoseTools)
prt 17(ntegration)
"..let's
go ahead and.."
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Maya
Basics (cont.)
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Drawing and manipulating NURBS curves
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Using simple curves to create custom objects (extrude, loft, etc)Rendering
Basics
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Lighting intro (point, directional, spotlight, etc)
lighting explained
types
of lighting
low
key/high key
three
point lighting
shader
examples
· Hypershade
and Shading intro
basic UV texture
intro:
Watch and
do Maya UV map toturial! (very simple) UV
maping a crate
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TUES,
November 13th
MIDTERM PROJECT
: MENAGERIE! is assigned
DUE:
Beginning
of class,Week 6
me·nag·er·ie
A menagerie is a form of keeping common and exotic
animals in captivity that preceded the modern zoological garden. The
term was first used in seventeenth century France in reference to the
management of household or domestic stock. Later, it came to be used
primarily in reference to aristocratic or royal animal collections.
The French-language "Methodical Encyclopaedia" of 1782 defines
a menagerie as an "establishment of luxury and curiosity."
Later on, the term referred also to travelling animal collections that
exhibited wild animals at fairs across Europe and the Americas.
I
want you to start collecting and researching different reference on
animals and/or insects that you will model, sculpt, paint, texture and
render into final images.
HERE
ARE THE STEPS FOR THIS PROJECT
1)
Research all of the animals and/or insects in your menagerie
you
can choose anykind of an animal or insect, but you must find clear reference
photgraphs to use. You also must reasearch texture, color, and other
physical properties. You will present you research and drawings along
with your final rendered menagerie at due date.
2)
Research about 4-6 different animals or insects that you would like
to model. Show your research (photos drawings, etc.)
3)
Choose at least TWO animals or insects for your menagerie,
that you will choose to create in 3D. One should be SIMPLPE, and more
more COMPLEX. look for "unusual" and visually engaging animals.
No cartoon characters or fantasy characters, and no
using or copying preexisting designs or other people's artwork. Original
reseach only! photos and/or your own drawings. Before you start working,
please approve your final two animals thought me.
4)
There are many textures online, and on the "Mudbox Community"
you can use and share. You may also DIRECTLY SCAN some of the flat surface
and texture of your object. You are to not only to model these objects
with detail and accuracy, you will contribute color, bump, tranparency,
and any other texture maps needed to give full richest and similitude
to your subjects. Using efficient quad-polygon you are expected to make
professinal level models as with believable textures, high quality lighting
and sculptiing.
5)
After you model the poly cage in Maya, you must do
your UV's in Maya!! and only then, bring your model into MUDBOX
to sculpt details, and add paitning layers (diffuse, specular). These
ordered steps are crucial.
6)
render a final TURNTABLE MOVIE in mudbox of each of your animals.
Turtable should be HD sized and 200 frames. You don't need to "pose'
the animals, but as a bonus you can easliy put them into a temporary
pose using Mudbox's pose tools.
You
may add extra features to make your animals more "fantasy"
later , but MUST be based on real animal research. I will inform
you at the time of your presentation whether I think your proposal
is too ambitious(or too lazy)....or just right.
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Modeling
and Materials
·
Intro to 3D typology: Further surface construction via curves to create
NURBS surfaces
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shading and lighting continued: materials, different types of lights,
and aspects of surface appearance.
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Lighting and the properties of rendering, tesselation, raytracing. Depthmap
and raytraced shadows. Emulating realistic lighting without using Raytracing.
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More Poly tools: split polygon, split edge ring, cut faces, merging,
etc.
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Polygons, Collapse edges, Merging Verticies
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Subdivision modeling· Polys to subD conversions
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New features since 2008: when you hit 1,2,3 on a selected polygon, acts
like a SubD.
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Materials further: 2D and 3D textures
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texture maps further: color, bump, displace, transparency, etc.
other
assigments similar to this one
Super
Fast 3DAnim Overview
Watch this Tutorial! on Modeling,
UV texturing, Lighting and Rendering an Oil Barrel
HOMEWORK:
watch parts 5-10!!
prt2(interface)
prt3(sculpting
tools) prt4(stencils)
prt5(sculpt
layers)
prt6(VctrDsplMaps)
prt7(MaterialsPtlrs)
prt8(OnTargetPrsnt)
prt9(PaintingTex)
prt10(MltplPntLyrs)
prt11(AdjstngPntLyrs)
prt12(P-TEX)
prt13(MudboxPhotoshp)
prt 14(MapExtrction)
prt 15(TrsfrDtlBtwnMshs)
prt16(PoseTools)
prt 17(ntegration)
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TUES,
October 20th
UV
texture creation and placement
Laying
out UVs on polygon figure
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Box modeling techniques: begin with half of a Poly cube (open).
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Outputting UV maps· Mapping methods for geometryPaint EffectsCamera
Properties
box
modeling, (subdiv Proxy) instance setup
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Box model a basic head, using edge loops, and Instance duplicate; upon
finish Mirror Geometry and merge both parts. (all edge verts. flush
to the "0" line, before mirror,) (trans tools settings set
to WORLD, retain component spacing OFF, discreet move OFF)
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UV
texture creation and placement (cont.)
·
Basic approaches to customized Photoshop textures for Polygonal Models
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Film format/aspect ratio, composing the camera
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Film format/aspect ratio, composing the camera· Changing lenses,
focal length, and Action Safe/Title safe areas· Depth of field
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basic projection/normal mapping, 2D/3D placement node. 2D/3D map descriptions
HOMEWORK:
watch parts 11-13!!
prt2(interface)
prt3(sculpting
tools) prt4(stencils)
prt5(sculpt
layers)
prt6(VctrDsplMaps)
prt7(MaterialsPtlrs)
prt8(OnTargetPrsnt)
prt9(PaintingTex)
prt10(MltplPntLyrs)
prt11(AdjstngPntLyrs)
prt12(P-TEX)
prt13(MudboxPhotoshp)
prt 14(MapExtrction)
prt 15(TrsfrDtlBtwnMshs)
prt16(PoseTools)
prt 17(ntegration)
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TUES,
October 27th
Other modeling
methods:
Duplicate
Special for quick complexity, but be careful..
bump/displacement
mapping
normal
mapping:
MudboxandMaya?,
MudboxBasicsAndWacomPen,
NORMALMAPSinMudbox,
MUDBOX_1of_4,
MUDBOX_2_of4,
MUDBOX_3_of_4,
MUDBOX_4_of_4,
RETOPPINGdetailinMUDBOX
intro
to render layers in Maya
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TEXTURES
some
texture
more
textures
-in Animation
Menu, try using Deformers
-Animation>Deform>Non-Linear
Deformers: bend, flare, sine, squash, twist, wave, etc.
-----------------------------------------------------------------
use front/side/top
view images for accuracy, i.e:
revisiting
TEXTURES and their UV placement:
-Projection,
Normal, Procedural: a 2D or 3D placement node is created.
-the variety
of maps you can create: color, transparency, bump, displacement, diffuse,
specular, incandescent, normal map, and on and on..
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Digital
Tutorials "Artist Guide to Mudbox". REMINDER:
It is your obligation to watch these totrials outside of class! You
may watch these at your own pace throught this class, but you must be
up to speed with these. Watch! and take good notes!
HOMEWORK:
watch parts 14-17!!
prt2(interface)
prt3(sculpting
tools) prt4(stencils)
prt5(sculpt
layers) prt6(VctrDsplMaps)
prt7(MaterialsPtlrs)
prt8(OnTargetPrsnt)
prt9(PaintingTex)
prt10(MltplPntLyrs)
prt11(AdjstngPntLyrs)
prt12(P-TEX)
prt13(MudboxPhotoshp)
prt 14(MapExtrction)
prt 15(TrsfrDtlBtwnMshs)
prt16(PoseTools)
prt 17(ntegration)
"..let's
go ahead and.." |
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TUES,
November 3rd
MIDTERM
PROJECT (Virtual Mobile) is DUE today
FINAL PROJECT
: SELF PORTRAIT / ALTER EGO is assigned
DUE:
on Finals Day
-More on
UV texture mapping, redo the demo once again of facial layout.
·
Lighting: realistic sources, multiple sources, soft shadows
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Raytracing, reflection, and refraction· Qualities of light, mental
ray materials and photons: Cuastics
·
Basic Special Effects on surfaces, Paint Effects, particles,
·
more on Box Modeling, modeling to reference.
·
basic demo of the "Soft Modification Tool"
·
importing and using image planes for reference
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setting up and using refererence, the importants of good flat reference,
good line-art often is the most useful, ie: line
art example, but you can use photos too if you manipulate them well
in PS.
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setting up "plumb lines"
of the front and side view in Photoshop in a layer. Or, if you draw
or trace your image, use Graph Paper.
·
basic intro to "Poly-to-Poly" modeling method, using front
and side reference, · Point
layout
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Organic Modeling Concepts: Muscle Flow,
Uniformity, Quad Topology
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Customize your Marking Menu
·
UV Texture Editor, very basic intro
·
Simple demo of painting a face in Photoshop to follow UVoutput.
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Use
of Photoshop in texture map creation, import UVout into a layer in PS,
painting on above layers with less% of Fill.
-Modeling
demo, starting again with Poly-toPoly sconstruction of the eye, building
in edge rings, showing strategy of point layout
-converting
the eyes and surrounds to SudDiv, using tools to sculpt, and back to
Polys again, (make sure to set to "Verts" in conversion Options)
-benefits
in modeling in SudDivs,: slect edge(s) under eye, and inset crease (SubdivSurf>full
crease edge)
-show kinds
of errors one can get with converting Polys to SubDivs: what are nonmanifold
geometry? and lamina faces? you can correct these in Mesh>Polygon
Cleanup
-show the
usefulness of Mesh>Sculpt Geometry Tool (works with Poly or SubDivs)
-show the
SOFT MODIFICATION, red feedack shows influence: *also in: Modify>Transformation
Tools>Soft Modification Tool, OR, Animation>Deform>Soft Modification
·
Building a Face (Poly-to-Poly method),
online
tutorial
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Building a Face (another step by step), tutorial
·point
layout with
Z-brush
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Making Normals Soft or Hard: Edit Polygons>Normals>Soften/Harden*
*also can
"conform" Normals if the are not homogenous
· Ear
layout, Ear
Model Tutorial, Modeling
a Hand
FINAL PROJECT
is
assigned: CREATE A 3D MODEL OF YOUR OWN HEAD..
create a 3D head closely based on photo-references to match as closely
as possible to refererce. They modify the head, style, look, or appearance
of the head that provides an alter-ego or a much different yet perhaps
hidden side of yourself. (due Finals Week)Proposal and sketches for
FINAL PROJECT assigned (dueWeek
6)
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TUES,
November 10th
BELOW
IS THE CRITERIA FOR THE Final Project
1)The standard
and quality of model, textures, lighting must be very high (matching
the most rigorous evaluation grading cirteria (in blue below) the "head"
must have proper topology, and UV texutre maps of color, bump, specularity
maps, etc, where necessary.
2)The film
should reflect a SINCERE ATTEMPT BY THE STUDENT TO COMMUNICATE an imaginative
new identity(potential)through the model, whether that be a specialized
object, environment, world or character.
3)The piece
must have an idea of what target viewer, group, or audience would this
piece be produced for.
4)You must
have at least FOUR, 3K renders of your final model, with high-end texture,
lighting, etc. UV texture mapping is expected on at least one or more
of your surfaces. Either realistic or specialized lighting is expected
in your scene which clearly defines a strategic lighting situation.
5)You must
show efficient level of modeling skill in Polygon, NURBS and/or SubDs
6)The model
should give the impression of STYLE, a graphic or aesthetic strategy
used by the artist. The design/sketch approval phase will dictate
most of this.
7)You must
follow the file tree specifications when turning in all of the Final
Project Content
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this
special topic will by demonstrated for interested students
· Caustics
and Global Illumination · mental ray lights
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Proposal and sketches for FINAL PROJECT are due
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TUES,
November 17th
this
special topic will by demonstrated for interested students:
·
NURBS patch modeling (facial model), direct conversion to SubD’s
image lighting,
ambient occlussion, mental ray
HDRshop
shader
examples
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continue working on Final
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TUES,
November 24th
this
special topic will by demonstrated for interested students:
·
Toon Shaders, Ramp Shaders, vector Renders, and otherwise 2D-shaders
·
Basic Character Rigging: getting your model into different poses
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continue working on Final
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TUES,
December 1st
· Consultation
on last leg of production: proper format, media, specs and content delivery
FINAL PROJECT
to be completed and turned in on designated due date on Finals Day of
the 11th week. Student presentations will be prepared for Finals, where
classmate critique and discussion will end the course.
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FINALS
WEEK December 7-11th(week 11)
Present FINAL PROJECT on FINALS
DAY:
Tuesday December 8th, 4:30pm
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GRADING |
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ASSESSMENT
PROCEDURES
ATTENDANCE
Attendance is mandatory. Any absences
not excused by a note from a doctor or a dean will negatively affect your
participation grade (see participation below). I will take roll during
every class. If you have an illness or family emergency that prevents
you from attending class, you need to contact me as soon as possible (e-mail
is usually the surest way). If you are late for class, it is your responsibility
to make sure I don't have you recorded as absent. If you miss a class
for any reason, whether excused or unexcused, it is your responsibility
to contact someone from class to find out what you missed (do this before
the next class meeting). You are also responsible for getting copies of
any handout that was given out in your absence. After your second unexcused
absence, any additional absence will knock 30 points off of your final
grade (see Grade Scale below for the points scale for this class).
PARTICIPATION
Your participation will be evaluated
using the following criteria:
-Doing the reading assignments before we discuss them.
-Active participation in all small-group work.
-Speaking in class discussions.
-Listening (in the active sense).
Your participation grade will be negatively affected by any of the
following (this is a short list):
-Leaving on your electronic devices. All laptops, cell phones, pagers,
and other electronic devices should be turned off and put away during
class. This includes earphones and earpieces.
-Coming to class late and/or leaving class early.
-Failure to do the howmework on time.
-Absences.
-Talking about non-course-related subjects during group activities.
- Talking during video screenings and/or while someone else has the
floor.
CLASS POLICIES
The learning curve in Maya is steep, missing
even one class is enough to put you significantly behind. Regular
class attendance in mandatory. Class attendance is also part of your
class participation grade. Arriving on time is equally important.
You would be fired in a job you do not show up on time for. The expectation
here is similar. You will be considered absent one class period for
every three tardies. (more than five minutes late)
Missing 5 classes, consecutively
or not) is an AUTOMATIC FAILURE for the class.
Expect to spend from three to six hours a week
on your working outside of class. Lab hours will be available and
posted by the end of the first week.
Students are responsible for any material missed
due to tardiness or absence. Readings, and assignments, and projects
are expected at the beginning of class on their due dates.
Late submissions will be lowered one grade
per class day late.
student may be able to re-submit any assignment
for an improvement grade. The policies are specific to each assignment.
Check specific project descriptions for more details.
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METHOD OF EVALUATION
Homework assignments will be given
points based on accurate completion of assigned readings, assignments
and tutorials.
The Midterm and the Final project
will graded based on these criteria:
*Quality and Technical Competency
the Model
*Staging and Strength of the Design
*Quality of Lighting
*Appeal and treatment of Surfaces
*Creativity and Content
Each given an equal weight of 20%,
to compose your grade for each project
It is, of course, the responsibility
of each to ensure his/her work in completed an handed in on due dates
(see below)
Critical review of your work will
provide the source most assessments. Participation grade includes the
extent and quality of the participation in the critiques, presentation
of projects and positive interaction with classmates and professional
approach toward the class. Students requiring any kind of special assistance
should speak with the instructor at their earliest
ASSIGNMENTS
Attendance %
10
Homework/Participation
%10
Midterm Project %30
Final Project
% 50
GRADE SCALE:
A 90%-100%B 80%-89%C
70%-79%D 60%-69%F Below 60%
MAKE UP WORK
Late assignments, or absences due
only to emergency or illness may be granted leniency only per the instructor's
discretion.
Extra Credit:
Students may be able to re-submit
any assignment for an improvement points as long as that assignment was
turned in the original due date. The policies are specific to each assignment.
Check specific project descriptions for more details.
Other opportunities for extra credit
are possible involving visiting realted exhibits, films, museums, specific
research, attending relevant shows or conferences, or related study, etc.
Such points are limited and per the instructor's discretion
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ALL ASSIGMENTS ARE DUE AT THE BEGIINING
OF CLASS. CLICK THE CALENDAR BELOW FOR ALL DUE DATES
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