SYLLABUS

ART 480 Computer Graphics II (modeling in 3D)

CALIFORNIA STATE UNIVERSITY LOS ANGELES

Professor Jim Ovelmen

jim@jimovelmen.com

Jim.Ovelmen@calstatela.edu

FOR LAB TIMES: CHECK OUTSIDE THE DOOR OF FA225 for schedule

COURSE DESCRIPTION

This course introduces aspects and methods for achieving high-quality 3D models both organic and inorganic in reference. Major emphasis of this class will be put on the creative output of the student via the tools learned. Moreover, the course aims toward the comprehensive use of techniques in Maya to create 3D objects, characters, and environments toward meaningful and expressive content. The class will be structured around increasingly challenging projects around practical topics, and a final project of the student’s choice. Lectures will focus on the tools and principles of surface construction as well as characteristics involving materials, textures, lighting, and more. Related topics for further study includes: NURBS patch modeling, HDRI image based lighting, photo-realistic rendering, combining 2D and 3D techniques, Toon and vector rendering, and Paint Effects in Maya

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.

TEXTBOOK (s)

URL(s)

Assignments may be given out of these selected texts

-Exploring 3D Modeling with Maya 7 , by P. Beckman and S. WellsThompson 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

Stop Staring: Facial Modeling and Animation done Right, by Jason Osipa

The "Joan of Arc" tutorial: http://www.3dtotal.com/tutorials/max/joanofarc/joanmenu.asp

Dave K's method: http://www.highend3d.com/maya/tutorials/modeling/polygon/303.html

Kevin Hudson's, Modeling the Human Head: http://www.thegnomonworkshop.com/dvds/khu01.html

modeling tutorial: http://www.digitaltutors.com/store/product.php?productid=3273

Modeling The Ear:http://www.tutorialized.com/view/tutorial/Modeling-a-Polygon-Head/4065

http://highend3d.com

http://www.awn.com

www.cgchannel.com

Model A Figure (quickly with Poly Box/ Blocking)

OTHER URLS

and TEXTS

click for related resources and links

click for animation related texts (Word File)

EDUCATIONAL OUTCOMES

upon completing this course the student should be able to:

-apply industry standard modeling techniques of low poly-count and quad-based topology often called for in video-game production.

-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.

PHYSICAL SUPPLIES

USB Flash Drive (1 GIG recommended)

Large sketchbook, graph paper, pencils, markers, and other drawing materials,

Sculpting material (optional) may include: formable wire, clay or "sculpy"

Maya Basics

· Interface layout, and logic

·See through the 3D camera space and the orthogonal views.

· Cartesian properties (xyz)

· Navigating around the virtual world and camera control

· Manipulating objects. (move, rotate, scale)

· displaying object wire, shadeModeling basics

· Primitive geometry and pre-defined content

· Moving an object’s pivot

· Polygon intro

· Selecting order, and duplicationHierarchy

· Understanding hierarchy, dependency and the workflow of Maya

· grouping, parenting, and the Hypergraph

Modeling basics (cont.)

· Object and component mode

· Manipulating polygon surface components (vertex, edge, face)

· Extruding a face, edge, etc. (keep faces together, or not)

· NURBS objects and their components (hulls, lines, CVs)

· NURBS and Polygon comparison, show tesselation differences.

· Trimming NURBS, and use of Make Live

· Pick masks: prioritizing and masking· The Outliner:

· Drawing and manipulating NURBS curves

· Using simple curves to create custom objects (extrude, loft, etc)Rendering Basics

· Lighting intro (point, directional, spotlight, etc)

· Hypershade and Shading intro

Modeling and Materials

· Intro to 3D typology: Further surface construction via curves to create NURBS surfaces

· shading and lighting continued: materials, different types of lights, and aspects of surface appearance.

· Lighting and the properties of rendering, tesselation, raytracing. Depthmap and raytraced shadows. Emulating realistic lighting without using Raytracing.

· More Poly tools: split polygon, split edge ring, cut faces, merging, etc.

· Polygons, Collapse edges, Merging Verticies

· Subdivision modeling· Polys to subD conversions

· New features in 2008: when you hit 1,2,3 on a selected polygon, acts like a SubD.

· Materials further: 2D and 3D textures

· texture maps further: color, bump, displace, transparency, etc.

PROJECT #1 find an image of a simple interior photographed by a known photographer. Model it using the techniques taught thus far. Pay attention to lighting. Do not use color. Try to radically change the mood of your image by altering the model and the light. Render this final result and place side by side the original photo.

ASSIGNED: 2nd class of WEEK 3

DUE: 2nd class of WEEK 4

full description and specs for assignment

see past student examples of this assignment

file tree for assignments

UV texture creation and placement

· Box modeling techniques: begin with half of a Poly cube (open).

· 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)

· UV Texture Editor, very basic intro

· Simple demo of painting a face in Photoshop to follow UVoutput.

· Use of Photoshop in texture map creation, import UVout into a layer in PS, painting on above layers with less% of Fill.

· Basic approaches to customized Photoshop textures for Polygonal Models

· Outputting UV maps· Mapping methods for geometryPaint EffectsCamera Properties

· Film format/aspect ratio, composing the camera

· Film format/aspect ratio, composing the camera· Changing lenses, focal length, and Action Safe/Title safe areas· Depth of field

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PROJECT #1 is due

· look over due assignments (project#1)

· basic projection/normal mapping, 2D/3D placement node. 2D/3D map descriptions

· more on Box Modeling, modeling to reference.

· basic demo of the "Soft Modification Tool"

· choose a good front and side photo of a Helmet, ie Viking Helmet.

· importing and using image planes for reference

· 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.

· 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

· Organic Modeling Concepts: Muscle Flow, Uniformity, Quad Topology

· Customize your Marking Menu

PROJECT #2: (MIDTERM PROJECT) Find images, references, photos of a medieval helmet or headdress, which was actually in existence in that era. Model it as closely as possible, yet simplify where necessary. Then add new elements and/or details, which can only have come from our own age. The use of Color, reflectivity, texture and bump mapping is encouraged (due week 6)

full description and specs for assignment

see past student examples of this assignment

file tree for assignments

-finish looking over finished Project 1 (model an interior)

-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

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revisitng TEXTURES and their 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..

-More on UV texture mapping, redo the demo once again of facial layout.

· Lighting: realistic sources, multiple sources, soft shadows

· Raytracing, reflection, and refraction· Qualities of light, mental ray materials and photons: Cuastics

· Basic Special Effects on surfaces, Paint Effects, particles,

· Building a Face (Poly-to-Poly method), online tutorial

· Point layout and Edge Loops, with Z-brush

· Making Normals Soft or Hard: Edit Polygons>Normals>Soften/Harden*

*also can "conform" Normals if the are not homogenous

· Ear layout, Ear Model Tutorial

PROJECT #2 (MIDTERM) is due

FINAL PROJECT is assigned: it will be comprised of sketches, designs, 3D model(s) and renders of a subject of the students choosing. (due Finals Week)Proposal and sketches for FINAL PROJECT assigned (due Week 7)

Look Over Midterm Projects, Class Critique

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)

2)The film should reflect a SINCERE ATTEMPT BY THE STUDENT TO COMMUNICATE an idea, expression, or story (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, 2K 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 advanced and 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

-Sketches for your Final Project is due: Class 1, of week7

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this special topic will by demonstrated for interested students

· Caustics and Global Illumination · HDRI and image-based lighting

· Proposal and sketches for FINAL PROJECT are due

this special topic will by demonstrated for interested students:

· NURBS patch modeling (facial model), direct conversion to SubD’s

this special topic will by demonstrated for interested students:

· Toon Shaders, Ramp Shaders, vector Renders, and otherwise 2D-looks

· Basic Character Rigging: getting your model into different poses

· 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.

Homework assignments will be given points based on accurate completion of assigned readings, assignments and tutorials.

Projects 1, 2(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 convenience.

Class Participation: % 10

Homework %10

Project #1 %15

Project #2 (Midterm) %25

Final Project %40

GRADE SCALE: A 90%-100%B 80%-89%C 70%-79%D 60%-69%F Below 60%

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 will be considered absent one class period for every three tardies. (more than five minutes late)

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.

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