Jay Carpenter's Games Art and Design Project Blog: Unit: BA3: Project 1: Digital Modelling

This project focuses on a large section of the production 'pipeline', as practised within both the film and video game industries. The specific task was to model a doorway (within the software package, Autodesk Maya) using non-destructive processes and,--once having established the final geometry and evenly spaced the polygons accordingly--creating a 'UV map' of the low-polygon model, to be exported and subsequently imported into Autodesk Mud Box; from here, detail is then added in the form of textured and painted layers. The detail established within Mud Box is then transferred to the user's desired 'map' choice (in this case, 'Normal maps' were the priority) through a process known as 'Baking'. The Normal map (and Diffuse map for the painted colour) is then applied to the original Low-polygon model, creating the final 'asset', ready to be used within a game engine. The Normal maps, essentially, allow for information concerning the refraction of light onto the high-resolution version of the model, to be recorded and 'stored' onto a two-dimensional plane, this gives the affect of three-dimensionality upon areas of the model to which it doesn't exist. This technique deployed used throughout the industry as a method of retaining high-quality artwork and the game's desired 'aesthetics', without sacrificing performance (balancing the limited amount of information that is available when creating a video game or 'special effects' for a move.) The term 'UV' is simply to denote the position that the object comprises within a a virtual space/environment (the result of the Cartisian 'points' of 'x', 'y' and 'z' being already within use, for a similar purpose.) 'UV maps' are simply three-dimensional objects that have been 'flattened' on to a two-dimensional plane; for the purpose of adding two-dimensional arwork and detail in an efficient and consistant manor. The difference between a 'Bump map' and 'Normal map' is also worth noting, with the former deploying actual deformation to the surface of the model (projecting the detail outwards) whilst the Normal map attempts only to emulate this information/detail, within a single two-dimensional plane 'wrapped around', or 'mapped' to the underlying, low-polygon model.

Early Observational Sketches and an Initial Concept (Orthographic Drawing)

I began the project by looking for inspired, architectural decision-making, found within and around some of Norwich's most historic sites. Producing a number of quick sketches (albeit very crudely) I began to collect a visual catalogue of studies, whilst simultaneously establishing and understanding within my own mind, of the types and nuances of certain architectural styles that I have perhaps taken for granted within the past. Styles such as the Romanesque designs of the Norwich Castle 'portals' (beneath) or the Gothic entranceways of Norwich Cathedral and St. Andrews Hall, an architectural design made popular during the late Medieval period.

A sketch of the main-entranceway, leading into Norwich Castle (built as a Romanesque construct, though within the Norman style, as can be seen in several of the design choices displayed, very roughly, in what can be seen of the buildings main facade (above.)

The Gothic architecure of late Medieval Europe (above right) contrasted with the Romanesque tradition that preceeded it, popular within Normandy during the invasion of William the Conqueror (top right.) The former is of the main entranceway to Norwich Cathedral, whilst the latter is the doorway to what was originally the king's throne room.

A further sketch as observed from St Andrew's Hall, In Norwich (above.) The style, again, is Gothic in its design. The intricate, hand-carved detail of the facade (from the side of the building) is of a particular interest to me and something that I will consider myself when constructing my first ever attempt at modelling within Maya (note also that architecture, even the most detailed, comprises almost entirely of a series of repeating shapes and patterns; in the case of buildings of Christian worship, throughout the Medieval period of Europe, the 'square', the 'circle' and the 'triangle' were shapes of a significant religous importance, which architectural designers were quick to 'exploit'.)

The image (above) is an extremely primitive orthographic drawing, based on the quick sketch that I had produced from observation, of the Norwich Castle main entranceway. The design was of course far too simplistic but it does emphasise the importance of having 'clean', accurate lines, when executing a drawing that you intend to sculpt from as a source of reference within Maya. The more accurate the perspective (and with a variety of different perspectives available) the user can establish a series of perspective 'planes' within Maya (assigning an image of reference to each) from which great detail of an object can be established, very quickly.

I would have liked very much to pursue my own design (of which I will most definitely be doing within future projects) though due to time-constraints, I decided on a Portuguese gothic portal as a source of reference for the door that I would be creating (the source of image cane be found by following this link http://www.ask.com/wiki/Portuguese_Gothic_architecture.)

Establishing the Scene - Initial 'Set-Up'

Constructing the door is a fairly simple (though as I would find) also fairly time-consuming process, for just as I had located and fixed an issue concerning one aspect of its geometry, I would soon encounter two more, within the object, as a result. The process, however, began in earnest by first establishing the project (whilst setting up your image from which you will be referencing.) The project is initially set, by first clicking on 'File', then 'Project' and then 'New..'; I personally used the default settings for this particular project, although you do have a variety of other options available to you (though often the Maya's default settings are perfectly adequete, well, at least from my limited experience, this being my second attempt at using Maya and first at modelling within Maya.)

The project now set, we are then able to apply our reference image to the 'Image Plane' of our choosing; as I only have an image of the object from the front, however, I'll only be able to import the image with this in mind, had I created my own designs (such as the crude orthographic drawings I had created previously to this) then I would be able to establish a view from a number of different planes, which would ultimately result in a far more accurate image/model. The photograph that I have chosen to use as a reference, also, is not at all at an the ideal angle for this type of work; ideally, you want as little perspective distortion within the image as possible--with other considerations including a lack of colour and a matte 'finish' to the reference picture--. This point within the process, will see you only need to focus on the primary information of the image as pertaining to its main constructional components (all these 'pre-production' settings, if you will, can be performed within Adobe Photoshop and if in the case that you are using multiple images, lining them up in accordance to each other is also of a significant importance.)

The reference picture of your choosing, can be applied to the Image Plane by first selecting--out of the viewports available--where it is you want your reference to be established (within this example, I used the 'front' viewport perspective/camera.) Selecting first the 'Camera Attribute Editor' (under 'View') you are then able to access the 'Environment' tab, clicking this will present you with the option to create an Image Plane, click 'Create.' The 'Image Plane Attributes' box contains a list of available options, next you'll need to click on the small yello folder 'icon/symbol' next to the 'Image Name' box, you now simply choose what image you intend to use and import it from the destination that you said it to. Having established your point of reference, you can now adjust the image in relation to the grid accordingly, for this specific project, I had ensured that the image was centred directly behind the grid, allowing me to model directly infront of it. Saving the reference image to the 'sourceimages' folder within your project, will allow you to important the image directly into your viewport by clicking on the 'Image Plane' icon, towards the bottom-right of where the 'View' selection tab is (beneath 'Shading) contrary to this, however, I would still recommend the previous method.

The Construction Process - Modelling the Entrance-Way

The process of modelling itself began by first selecting a series of basic geometric (polygonal) shapes, available from the 'Polygon Primitives' box under the 'Create' tab. I began by creating a cube, forming the general shape of the main 'facade', surrounding the entrance area where the doors are positioned. It is important that you use the orthographic viewports that are available within Maya by default, this way you can command much greater accuracy over your actions than you would if attempting to do the same within the 'Perspective' viewport (though continually switching between viewports to check how your model is progressing from various perspectives, is highly recommended.) Turning 'XRay' on will allow for you to see the Image Plane behind the model as you work, you can do this by click the 'XRay' button found three buttons infrom the right (along the same panel of options that the 'Image Plane' option, mentioned previously, shares.)

The process of constructing the model can be done by either creating separate polygonal planes and using the 'Extrude' tool to construct a form, for example, or by aligning various Polygon Primitives together and forming a geenral shape (before later editing the vertices and edges that comprise the surrounding area of face and furthering altering its shape.) Holding the right mouse-click whilst over your object, will allow for you to either edit the vertices of that object (the vertex or the 'points' that join together edges) the edges (that borders that give a 'face' its shape) or the individual 'faces' of the objects itself. Through constructing the model by creating a series of simple geometric primitives, before editing them, I was able to construct the general shape of the door itself, fairly quickly (constructing only half of the model is an important step within the process, for later we will in fact mirror this selection, a much more effecitient method of working.)

The tool-bar that comprises the the various modelling tools found under the 'Polygons' menu tab (as highlighted within the green box below) is an important point of access for the variety of tools one might be using. The 'Layer Editor' (encircled in blue in the image below) again, is also an important feature on the interface and should be referred to often, during the initial stages of your constructing your model and again later on. Important hotkeys to remember include pressing 'W' for moving the selected object, 'E' for rotating it and 'R' for scaling the selected object (pressing 'Y' is also useful when needing to return to the previously selected tool.)

Naming Conventions

Despite the fact that this screen-shot was taken later on within the process, you must get into the habit of organising and individually naming the various components of your model (not only is this a good practise for simplying your model, but allows also for you to work on individual components should issues arise and revisions are needed, or for simply greater focus in key areas during the process of modelling itself.) You can organise your model into different layers by first selecting the specific object (within 'Object Mode') that you would like to be assigned to a layer and then simply click the 'create a new layer and assign the selected objects' button (which can be seen towards the top right of the smaller green box, highlighting the 'Layer Editor', within the example image below.)