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ilm on avengers:endgame

3dworld.creativebloq.com August 2019 #249

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FEATURE

PokĂŠmon GO to the Movies

PokĂŠmon G O

Trevor Hogg uncovers the secrets behind bringing the iconic Japanese

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Feature

PokĂŠmon GO to the Movies

to the Movies pocket monsters to the big screen in PokĂŠmon: Detective Pikachu

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FEATURE

Snap decisions

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decisions 3D World speaks with ILM’s Dan Snape and Michael Lum about the studio’s environment and character creation for the landmark movie, Avengers: Endgame

very few years, a film seems to come along that galvanises audiences and, in doing so, proves a useful reminder of the visual power and emotional impact that a film spectacle first experienced on the big screen can have. In spring 2019, Avengers: Endgame satisfied this tradition and, appropriately enough, the movie

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showcases the work of a studio that is synonymous with science fiction and fantasy movies: Industrial Light and Magic. ILM’s work for Endgame was hubbed at their studio in San Francisco, with ILM’s other studio sites also aiding on the project. Environment, lighting, animation, texturing and compositing all synthesised to create the worlds, characters and drama of the movie.

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Tutorials Kitbash on the go

KITBASH PIECE 1: GIRDER

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Create a new project by selecting the Start Designing option in the top right. You can navigate with your finger to rotate the 3D view, but let’s start by switching to a top-down view. Select the view cube in the top right-hand corner, then choose Top. From this angle, I want to draw out a plan for the silhouette of our shape. Here I’m going to make a basic girder. At this stage I’m not concerned with scale.

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Using the sketch tool, slice lines through the shape, then select Trim from the tools button, and select all the offcut edges to delete them. Then select Offset from the tools section. Now with your pencil drag it away from the edge of each of your divided sections; in this example, I’m going to drag it -0.7mm (I’m making a note of this measurement as I want all my offsets to be the same).

Mirror the detail All the detail we have added until this point has been on one side. To replicate this to the back side, all you need to do is select Mirror from the transform tools. You highlight your mesh and then select the face you wish to mirror from (in this case, the underside). It will flip the mesh to the base, to create top and bottom detail. You will need to unify these two shapes, using the Union function in the tools menu.

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Using the pencil, select the outer ring of each section. I’m also going to select the inner polygon of my final section, so it will extrude at the same time (you’ll see why in a minute) when we drag this into a 3D shape. Using your finger rotate the viewport to a perspective angle. You should now see a white arrow on the surface. Drag it up to create a 3D relief.

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I’m now going to take that one section I didn't extrude from the base, and using the transform tools, I'm going to select my sealed shape drawing, and translate it above my 3D extrusion using the Move/Rotate/ Scale function. Then from a ¾ view

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03 above my geo, I'm going to select this shape, and pull it in towards my mesh to create a subtraction. In Shapr3D, when you extrude a sealed shape outwards, it creates 3D geo, but if you extrude into an existing 3D shape, it will subtract that form.

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Now that we have our base shape, I'm going to bevel all the outer edges. One by one select the edges you want to bevel – as you do so the little white arrow will appear again. Pushing the arrow into the shape makes it produce a chamfer, pulling it out causes a bevel. In this case I'm going to bevel all the edges 0.6mm. I'm also going to select the edges on the inside of my mesh 0.3mm – these inner edges are closer, so I have to reduce my bevel amount.

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I would like to create a lip to my girder, so I'm going to have to create a new shape to subtract from my main mesh. Using the Offset tool, I can drag away from the edge of the main surface and create a shape that is 0.2mm away from my edge. This will be highlighted blue/green. When I select this shape, I can push into my mesh, subtracting an area from the centre of my geo, which will then create the lip along an edge of my shape.

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Before we wrap this shape up, I want to make some screw holes. On the top surface of the geo, I draw a circle. In this example my circle is .25mm. I'm going to duplicate my circle shape using the transform tools. Select Move/ Rotate/Scale and then highlight the


Tutorials

Kitbash on the go

circle. In the top left-hand corner, turn the Copy option on – any time you move the shape, it will now create a duplicate. You’ll need to be careful not to leave Copy on though, as any movement at all will create a duplicate.

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To complete this shape, I’m going to subtract the circle shape to create an indent. I will then select all the edges of my indents, and push into the shape to create a chamfer. This gives the nice look of a screw hole, and adds a level of detail that my model was previously missing.

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KITBASH PIECE 2: PISTON

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The second piece of kitbash I’m making is a piston. Start by going to the top view and drawing a circle; I’m going to set mine to 10mm. I want this shape to be hollowed out, and you can do that by selecting Shell from the tools menu. Simply select the tool, and then highlight the face you wish to hollow the shape out from (the top face). You will need to set a thickness, since our diameter is 10mm. Here I’m setting the thickness to 2mm.

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10 Autocompletion When drawing circles, Shapr3D autocompletes, so you don't need to be able to draw a perfect circle to produce one. You don't even need to draw an entire circle, as the app works out that you’re trying to draw something circular in nature and autocompletes the curve for you – even a half or ¾ circle, making it super easy to draw any circular shape you want.

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Create a second circle at 8mm diameter, and extrude it out 30mm. Double-click this geo to highlight it, and using the transform tools (Move/Rotate/Scale) move it into the newly hollowed shell of the original cylinder. Note: I have Snap To Grid turned on in the bottom right-hand side of the screen.

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Using the Copy, Move and Mirror tools we used earlier, I'm going to duplicate and flip these pieces to make the central shape of our piston. To clarify which pieces are going to move, I will use the Colour tool (it's in the tools menu, but only available in the Pro version) to highlight the moving components with a dark grey.

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To make our spring, go to the front view and draw a small circle (in this case 1.5mm). I also want to add a construction axis to the centre of my object. I do this by selecting Add and then Construction Axis. I'm going to


Tutorials

Model an original character

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Tutorials

Model an original character Quirky Sphynx cats Sculpting without a sketch is fun, but can pose a challenge too

zbrush | keyshot

Model an original character

Maya Jermy takes us through the ups and downs of working on projects with no base reference

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hen modelling a character, it won’t always be based off a sketch or a full design. Sometimes you just get an idea and want to start modelling as soon as you have a spare moment. Working in the film or games industry usually means there is a sketch, an idea ready to be explored, but there might be times when you have to make your own. Starting off with your own initial sketch or drawing can prove very helpful along the way, as it keeps you from deviating from your goal. One of the problems I face as an artist is the urge to implement a lot of changes. Once I change one thing, I find another that could be improved or replaced, and so on. In the end, my final product does not really resemble the original idea at all. That could be fatal for the project. If we cannot stick to the initial design and follow it through, we might end up being fed up with the progress and never finish it. Saying that, I do not mean we should always only work with a design and never try changing it. I actually encourage it. This freeflowing stream of ideas can lead to some fantastic pieces of art, and it can benefit creativity. Not being tied up to a fully thought-

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out plan can be very relaxing. You learn to decide when your piece is finished, and believe me, that is the hard part. It is easy to fall into a trap of polishing it off for months. You can ask any artist, and they will all tell you about that particular project in their portfolio they are not happy with or could never even finish because “it needed improving.” That can be linked to not having had a proper design in the first place. Now, let’s focus on actually creating a little piece without any design whatsoever, and see what trouble lies ahead. I start off with a general idea that popped into my head when I was preparing dinner. Completely out of nowhere I thought, “Hey, I haven’t modelled a cat before”. So, here I am making a stylised/cartoon Sphynx. I do not want to sketch it out, because my drawing skills are a bit limited. I will however use reference material if necessary, because my character is based on an existing animal. Sounds like a plan, so let’s get started.

Download your resources For all the assets you need go to www.bit.ly/3DW-249

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Author Maya Jermy Maya is a 3D artist and animator based in the UK. She started her career five years ago remaking and animating characters for Oddworld: Abe’s Oddysee – New ‘n’ Tasty. artstation.com/ mayajermy

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3D World 249 (Sampler)  

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3D World 249 (Sampler)  

You can subscribe to this magazine @ www.myfavouritemagazines.co.uk