Inspired 3D: Constructing the Inspired
Character — Part 1(continued
from page 4)
Two guidelines should be adhered to
when optimizing polygonal models:
[Figures 15 & 16]
When areas that have different geometric complexity run into each
other, a transition will occur. These areas will require triangles to
get the transition to work.
1. Try to avoid triangles. Sometimes reducing geometric complexity in a
particular region will cause a transition to another, more detailed
area. In cases like this, the low-resolution rows of polygons will run
into higher-resolution rows of polygons. The transition has to be a
series of triangles that get the two areas to smoothly flow into each
other (Figures 15 and 16). This is an unavoidable circumstance, unless
the polygonal model is not optimized at all after converting the model
from NURBS surfaces. Certain problems will arise, however, if the model
has too many triangles. Models that are all triangles are almost
unusable for subdivision modeling techniques. Although triangles are
sometimes a necessary evil, they should be avoided.
2. Try to maintain an even distribution of geometry if possible. There
will be areas that will require fine detail, but the quadrangles on the
cheek should maintain relatively the same size as the quadrangles on
the top of the head. This will allow the textures to map more evenly to
the geometry and will facilitate the use of subdivision modeling much
easier than if there is a dramatic change in size between the polygons
in different areas of the model.
To learn more about character
modeling and other topics of
interest to animators, check out Inspired 3D Modeling and Texture
Mapping
by Tom Capizzi; series edited by Kyle Clark and Michael Ford: Premier
Press, 2002. 266 pages with illustrations. ISBN 1-931841-49-7. ($59.99)
Tom Capizzi
Tom Capizzi is a technical director
at Rhythm & Hues Studios. He has teaching experience at such
respected schools as Center for Creative Studies in Detroit, Academy of
Art in San Francisco and Art Center College of Design in Pasadena. He
has been in film production in L.A. as a modeling and lighting
technical director on many feature productions including Dr.
Doolittle 2, The Flintstones: Viva Rock Vegas, Stuart
Little, Mystery Men, Babe 2: Pig in the City and Mouse
Hunt.