Y1S2 Design Computing - 3D Modelling & Fabrication (Rendering Journal and Final Poster)

A4 JOURNAL Aura

Leong Jin Ling (Riley) - jleo2231

Pre-rendering Planning Planning of Poster Paper and Pen Before properly rendering the model, planning of the poster was needed to present a rough gauge for the final poster, and was a good guide to my process.

General Breakdown of the Poster 1. The 3 different modes to be displayed - calm, neutral and focused. Because the neutral mode is the default mode, it can arranged slightly differently from the other two.

2. The open-facing towers of the model shows the technical and mechanical capabilities of the device.

3. Through personal assessment, it was concluded that the Part, Material and Finish of the model will be showcased. This is alike catalogues for Industrial Design products, where such information should ideally be relayed to consumers and manufacturers.

4. The different functions of the towers - housing touch screens - will be explained briefly in a less obvious colour.

Stage 1: Creating a Background Wall

1. Creating a plane for models to be placed on Object Mode > Add > Mesh > Plane A simple plane was made so that texturing can be added later to mock a surface that the model will be placed on.

2. Loop Cut the plane (to extrude later) Edit Mode > Edge Selection > Loop Cut > Change Factor to 0.400 This creates two sections of the face - the smaller to be extruded later as the back of the wall.

3. Extrude Face to Create Wall Edit Mode > Face Selection > Select Face > E-Z The smaller section of the face is now extruded in the Z-direction to create a height for the wall.

4. Change Material and Colour of the Wall Edit Mode > Material Properties Panel (On right) The material and colour of the wall is changed. A black colour is chosen because I wanted to emphasise the illuminating model later. Hence, this is better matched with a darker background.

Stage 2: Rendering the Bottom

5. Smart UV Project and Create New Material Slot Edit Mode > Face Select > Click Select > All > Click UV > Smart UV Project Material Properties Panel > Click on ‘+’ Sign then ‘New’ UV Mapping of texture onto bottom piece was going to be executed. This first requires the unwrapping of the model’s faces using Smart UV Project, then adding a new material slot.

6. Searching and Saving of Cherry Wood Texture Google > Search “Cherry Wood Texture imagesize: 2056 x 2056 > Open image in New Tab > Save Image As The image to be mapped onto the bottom piece should have a resolution of a number that is a power of 2. In this case, a higher resolution was desired, hence 2056 x 2056. It was also noted that the image should be saved as JPEG or PNG for better quality mapping.

7. Opening the “Cherry Wood Texture” Saved in Blender Material Properties Panel > Base Colour > Click on the Dot > Click ‘Open’ > Select the Cherry Wood Texture > Open Image This step is used to bring in the cherry wood texture into the base colour settings. Instead of pure RGB colours, textures and images can be imported.

8. Scaling Down the UV Map and Rotating Relevant Parts UV Editing Tab > Click and Drag to Select All Faces > R-90 Select Relevant Faces > Rotate and/or Move Once the image is opened, there are some disreptancies in the flow of the wood material. A horizontal flow for the wood lines and different textures were desired for the top surface and the rod holders. They were selected, moved and isolated to the right side (observe in Blender file).

9. Selecting the Faces for the Rod Holders Edit Mode > Select Faces > Material Properties Panel (Extra) Access UV Editing Tab > Observe Current Faces Selected > Isolate by Moving to the Right of the Entire UV Map The material of the rod holders were to be rendered a different colour and material from the majority of the bottom piece. Because they were unioned before, the rod holders’ exterior faces had to be selected manually.

10. Isolation of Faces of Rod Holders and Top Surface Edit Mode > Select Faces > Material Properties Panel (Extra) Access UV Editing Tab > Observe Current Isolated Faces The final rendering of the bottom piece is shown above. The rod holders are changed to a black matte finish, and the top surface has a glow to mimic a bright touch screen. Observe that the four rod holders and the cross top surface are isolated in UV Editing.

Stage 3: Rendering the Towers

12. Opening the “American Oakwood Texture” 11. Searching and Saving American Oakwood Texture Google > Search “American Oakwood Texture imagesize: 2056 x Material Properties Panel > Base Colour > Click on the Dot > Click ‘Open’ > Select the American Oakwood 2056 > Open image in New Tab > Save Image As Texture > Open Image Similar to Step 6 in Stage 2, an ”American Oakwood” texture was sourced from online. This was to be used for the exterior of the four towers.

This step is used to bring in the American Oakwood texture into the base colour settings. Instead of pure RGB colours, textures and images can be imported.

13. Scaling Down the UV Map and Rotating Relevant Parts UV Editing Tab > Click and Drag to Select All Faces > R-90 Select Relevant Faces > Rotate and/or Move Similar as before, the UV map was scaled down and rotated so that the wooden lines ran horizontally.

14. Isolating and Getting Dimensions of Touch Screens Edit Mode > Measure Tool > Click and Drag from Point to Point Before creating the touch screen that will be fitted within the towers, the dimensions of indent was gathered using the Measure tool. A tower was isolated using the “/?” key on the keyboard.

15. Creating Plane and Sizing it to the Indent Object Mode > Add > Mesh > Plane > Key in 42mm > Align Length of Plane to the Surface of Tower Edit Mode > Loop Cut > Key in -0.070 > Delete Extra Face A plane was created as a starting point for the touch screen. The length was keyed in to create one side of the plane, and it was edited using Loop Cut to create its width.

16. Adding Thickness to the Plane for a Screen Edit Mode > Face Selection > Select Plane > E-Z-2.00mm After setting the width and length of the plane, it was extruded by 2mm to get the most ideal fitting thickness.

This number was derived from measuring the indent using the Measure tool.

The screen is duplicated three more times for the other three towers.

Stage 3: Rendering the Glows

17. Changing the Touch Screen Material Object Mode > Material Properties Panel > Select ‘glass’ (name used for the top surface screen) Because the touch screens and the top surface screen use the same material and perfoming similar functions, it will be viable to use the same material properties. Instead of creating a new material, these four touch screens could be Assigned the same material.

18. Changing the Material of the Top Piece Object Mode > Material Properties Panel > Click on ‘+’ and New for Material Slot > Make Changes The top piece is meant to have a frosted glass finish.

However, because it is difficult to model the frosted glass through Blender, it was decided that it will take the colour of its interior screens in different modes. This is better displayed in the final rendering of all three modes.

19. Adding Light to the Frosted Glass Object Mode > Add > Light > Area > Change Settings To further accentuate the look of frosted glass and the glowing screens, an Area light was created and housed within the top piece.

20. Duplicate the model Select All Relevant Parts > Copy and Paste > Create New Collections > Rename and Group in the New Collections Once most parts of the model are confirmed, they are duplicated. The lights and material properties of the screens are adjusted to match the different modes of the home device.

Stage 4: Export and Post Processing

21. Setting Up the Camera to Export Render Object Mode > Select Camera (or Add > Camera) > Input Resolution Sizes on the Right-Side Panel > View Tab on the Right Side > Lock > Camera to View > Make Changes Accordingly In order to render the home devices, a camera had to be set up. To make post-processing simpler, the resolutions for A4 (or ratio) was keyed in in the Right Panel under Scene. Locking ‘Camera to View’ also made manipulating the rendered image easier.

22. Post Processing of JPEG Render Photoshop The exported render in JPEG format was edited in Photoshop. Shadows were added to show a more realistic render, and a translucent black overlay was painted over the back two devices to dim their brightness. Other edits were made to adjust the lightings and floor.

22. Post Processing with Addition of Text Illustrator Additional text and Materials were added in Illustrator because there was greater control over text settings and placements.

Stage 4: Feedback and Editing 23. Feedback given by tutors

Through feedback gathered through zoom tutorials, it was mentioned that there were too much text that was happening on screen. This may distract the users from the main visuals of the rendered devices.

Hence, it was suggested that the material properties are to be removed. This also could help emphasise the importance of proper rendering through Blender - that the tutors could tell the material based on what they see.

References 1. SketchUp Textures. (2020). Red cherry fine wood texture seamless 17009. Retrieved from https://www.sketchuptextureclub.com/textures/architecture/wood/fine-wood/dark-wood/red-cherry-fine-wood-texture-seamless-17009.

2. Trademarks Floors and Finishings Canada. (2020). American Oakwood. Retrieved from https://woodfactoryfinishing.ca/wood-products/contemporary-look-flooring-2/.

3. 3D Textures. (NA). Glass Frosted 001. Retrieved from https://3dtextures.me/2020/08/27/glass-frosted-001/.

4. ipadwallpaperhd.com. (NA). Steel image. Retrieved from https://www.pinterest.com/pin/293226625713201745/.

I would like to thank my family, friends, course mates, tutors, unit coordinator (Rohann Dorabjee) and many others who have provided guidance to my journey thus far.