Now i know that i have already created my own lamp, and it looks really good in my opinion. However, as the weeks have developed and as my skills and knowledge grows stronger, i have noticed some errors i created will making the desk lamp.
One major error being the fact that i placed objects within objects to create the shape of the object from my reference image. This meant that i kept parts of the objects inside other parts and i didn’t take them out. Now, I’ve been taught to make an object with no other parts inside others because this helps with other parts of the process like the UV layouts. This was the one major error.
So i decided no to solve and fix the desk lamp, but create a brand new one and i used a new reference image instead of the one i used before.
I managed to get my model to look identical to this one except for the I phone, i decided to leave that part out as that’s a whole model on it’s own.
Now before i can start to make a cage for my barrier and barrel which is required for texturing in substance painter, i needed to sort out my UV layouts. The UV layouts help with the baking and and texturing within Substance painter 2. This process is straight forward and doesn’t take too long. However, depending on your object and the shape, it can be difficult to know which face belongs on which part and side, especially if you use Z brush of which i have learnt.
To start, i had to open my objects up in UV editor to see what the objects was currently like. As seen, it has not been edited at all and needed work done before going in to Substance painter 2.
Now this process has a few buttons and commands in a certain order that has be done in this process. I have taken screenshots to visual show this process as it is easier than explaining it in my own opinion.
But to also write about it, what i first did was press the automatic button on the UV editor to automatically adjust the objects in to the basic faces of the objects like front, back and side etc… After that, i pressed planar which allows me to take the chosen faces i have selected from the object, and form a new face (my own face and not the one the computer made as you can’t count on the computer as i made the shape and i know whats correct and wrong. This is the case for the barrier). After that, i needed to adjust some of the settings of the objects on the right hand side of the screen. Apparently a rule for the rotation is to set it to the closets 0 ,90, 180 etc… And then change the projection width and height to a decent number where the face is at a reasonable size and keep that size/ number for the width and all other faces. Then unfold the object at it’s orientation and done. Repeat for the rest of the sides.
Lastly, once all piece are done, compact the sides into the top right box but don’t resize them or let them over lap, only resize them together and make it fit it nicely and tidy. This will help when it comes to texturing in Substance Painter 2.
With my decimated mesh from Z Brush now in Maya, i was then taught how to make a LP (Low Polly) model version of the Z brush model which I would then use for baking the model in Substance Painter 2 along with the decimated mesh (High Polly Model) and a cage duplicate of the LP model mesh. But to start with, i need to Quad Warp/Draw my decimated mesh of the Barrier.
The reason i was told why we always create a LP version of our models is because usually, our original smoothed models have a high amount of triangles which would make it look high quality but too much for the engine to handle in game. This is why we make a LP version of the model and use that instead of the HP so that it will run better in the engine. That’s where baking and the cage comes into play which comes later after the Quad Warp/Drawing. But back to the Quad Warp/Drawing for now.
Now from the experience i got from this part of the process, i would say that i had an easier time Quad warp/drawing my model than some of my other fellow students which found it tough and challenging. I don’t know if it was because of our models and how we had detailed them differently or if it was just easier for me as i could predict where certain points were going to be and how the model was going to shape. I just know that i didn’t mind this part of the process unlike some other students.
Quad warp/drawing is actually pretty easy and straight forward when you think about it. All you’r doing is adding on points to you decimated mesh and linking 4 points together to create a face. Of course before hand, you need to magneties your cursor to you decimated mesh so that you points always snap on to the surface of the objects. While doing this, it’s important to keep the shape of the object so in certain areas of high detail, there are more faces than other places where there is a lack of detail. Also bends and dips have to be noted and new faces made when the shape bends to another angel like the near the bottom of the barrier where it gets wider. Once i had the entire barrier Quad warped/drew, i then also started to take away certain faces that were no longer necessary to the model, this would save space and lower the triangles of the barrier. I had to get the barrier under 3000 triangles and i managed to do it.
With it complete, i now had a LP and a HP model version of the Barrier. This is necessary for the baking process next which helps texture the model in Substance Painter 2. But before that, I needed to UV the layout of my Barrier which was my next task.
After looking at cracks and damaged around Norwich, I went on to create my Z brush Jersey Barrier model. I was taught the main features from Chris and gained a basic understanding and knowledge of how to use the software.
I will say that i didn’t like the controls for Z brush as I found them annoying and just a pain to use. The controls for Maya are simpler and takes less time to grasp. Moving the screen around is a challenge in Z brush.
Anyway, my first time using Z brush went alright. Getting use to the way it works will take some time but I understand what it’s used for and how to use it. When it came to Z brushing my Jersey barrier, I went for less detail and tried to get some damaged on to the structure. I didn’t want to go big and mental with it because i didn’t know how it would effect the next step and because it’s my first time using this software and I prefer to take it slow, rather then go head first and bold when i may get many things wrong and then fall behind others in my course. While i’m learning, i believe it’s best to think small and stick to the instructions and lead of Chris until i known how to properly make them. Then’ i’ll go big and make something that i know will be a challenge but I’ll still be able to make it.
These are screenshots of my Barrier after Z brush. Like I said, it is safer to stick with thinking small for now but once I know what i’m doing, i’ll try to go bigger by adding in more damage and more design to the 3D model.
Before going in to Zbrush with my barrier. I went around Norwich and had a look at some of the buildings, walls and paths for some insight on the style and the look of real life acid corrosion, impact of damage and age.
Looking at them allowed me to focus more clearly on the way cracks and damaged are formed on environmental surfaces but it mainly depends on what created the damage. Most damage seen on statues and buildings is usually caused by acid rain which corrodes the rock used to make the structures.
I believe that this has helped me get a better understanding of damaged surfaces and i’ll definitely look at more again when design a damaged environmental objects or anything that is suppose to look damaged.
Making the Barrier in Maya was simple and didn’t take too much time. From the get go, i saw a simple way to make it and get it done but i followed Chris’s example in the work shop in case i got something wrong and i would have gotten the sizes wrong if i hadn’t followed him.
The object as a whole was very basic, similar to the Oil Drum but that would all change once it gets added in to Z brush. I had a go with Z brush in the Monday Workshop and i liked the effect that it would get but i found the controls to be annoying when moving around the screen.
Unfortunately, Z brush cost around £700 to buy which is a lot of money for one piece of software. Which would mean that I would have to find it another way, or just use the computers in Uni which is annoying as i live far away and the computers are always being used. Not to mention the Library computers are macs which doesn’t help. So as of now, I only have the Maya version of my model.
After having a long and relaxing Christmas brake, I’ve come back to Uni for a new term and a new project with 3D. This new projects is to make a 3D Barrier in Maya and then export it to Z brush where I’m suppose to make the barrier look more damaged.
I looked online to see what Barrier’s would look like and i got a similar look and style of Barrier’s from my search. This gave a strong impression that they all look the same but with the detail added on in Z brush, you can make a Barrier look different or unique as well as show history and age.