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Old 7th Sep 2008, 06:08 PM   #1
Treybor
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Default LightWave - SubPatch Modeling Tutorial (Nudity Warning)

Hello Everyone. The results of my recent poll show that most LW users here want to learn how to model using SubPatching, and most want to learn how to humans and clothes or Aliens. So over the course of the next few months (or maybe a year) I will endeavour to help everyone understand how SubPatching works and what tools can be used to best get the results you want. Now, be warned that some of this thread may include images of nude people or nude CG people. Please don’t be offended as they are only in here for reference.

The chapters I presently have planned:

1) Basic SubPatching - Why you should use it and how it works? (Basic understanding of building organic and non-organic shapes using sub-patching)
2) OMG! I'm in over my head! (or how to not panic about SubPatching) - provides reference material and concepts on various levels of detail using SubPatching; including reason why clothes are modelled the way they are.
3) Creating the human torso
4) Creating the human head
5) Creating the arms Creating the legs
6) Defining the clothing
7) Adding the little details
8) Types of hair
9) Creating & Defining Weight maps
10) Creating and using morphs

And so… On to Chapter 1…


Chapter #1
- Basic SubPatching - Why you should use it and how it works?
- ROUNDER AND SUBPATCHING - What a Combo!
- BRIDGING:

Chapter #2
- OMG! I'm in over my head! (or how to not panic about SubPatching)
- Reasons Why Clothes Are Modeled the Way They Are.
- Basic Human Modeling
- OH NO!! Wrinkles!?! Where’s my iron.

Chapter #3
- Modeling the Human Head
- The Basic “Edge Loop” Technique
- The Complex “Edge Loop” Technique
- Building an Ear
- Finishing off the head mesh

Chapter #4
- Modeling the Human Torso
- The Female Torso

Chapter #5
- Modeling Basic Male Clothing
- Modeling Major Kusanagi's Jacket
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SubPatch Modeling Tutorial (Nudity Warning)
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Last edited by Treybor : 28th Mar 2010 at 02:37 PM. Reason: fixed duplicate lines
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Old 7th Sep 2008, 06:28 PM   #3
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Basic SubPatching - Why you should use it and how it works?

WHAT IS SUBPATCHING?
This chapter will be a very basic review of what you can do with SubPatching. We’re not diving in head first here. This chapter is designed to let you wade in until you are comfortable.

Lightwave includes some very powerful tools that allow you to create soft-edged organic objects, or hard bodied objects that have organic forms. Some good examples would be humans, or sports cars, or planes. The reason for this is that most of these objects contain a majority of curved surfaces rather than flat ones. Although a set of flat surfaces can be used to create similar affects on hard bodied objects, SubPatching provides better realism for curved surfaces and organic forms.

Some examples of SubPatched objects:

Woody’s B17 pilot:


http://www.foundation3d.com/forums/s...ead.php?t=3313

My Alien Space Jockey:



Bill’s Plane model and tutorial


http://www.foundation3d.com/index.ph...2_articleid=84

Craig’s Bugatti Veyron


http://www.foundation3d.com/forums/s...ead.php?t=2277

Jullia’s Human female model


http://www.foundation3d.com/forums/s...ead.php?t=1886

The SubPatch method is a modeling mode that works with the same modeling tools and commands as standard "Normal" polygon modeling. SubPatch is a modeling mode where your modeled polygons become a cage that controls an underlying mesh of NURBS. These cages are sometimes called Metamesh objects.

Standard polygonal surfaces (Normals) need many polygons to approximate a smooth surface. Even so, a smooth surface made up of polygons will eventually reveal its inherent sharp-edged nature.

1) if it’s examined closely enough in a close-up camera shot.
2) or when it casts shadows with sharp polygonal edges.

Although you can create such polygon-heavy objects, it is often difficult to manipulate and manage them. Memory consumption for editing polygon heavy meshes can be slow and tedious. A “SubPatch,” an abbreviation for subdivision patch, is a model with a surface that is smoothed on the fly. The idea behind SubPatching is to repeatedly refine the control mesh until you achieve a smooth surface. In layman's terms, SubPatching uses the original Normals control mesh and calculates curves using the control mesh as a template. These curves are recalculated every time a change is made to the polygonal mesh, and allows the Camera to see the SubPatched mesh as a truly curved object. Better yet, shadows cast from SubPatched objects do not show polygonal edges.

SubPatch modeling mode is not unlike a real-time Metaform command. In Lightwave 8 and earlier, SubPatching required your control mesh to consist of only 3-point (triangle) or 4-point (quad) polygons. In Lightwave 9, Newtek implemented "Catmull-Clarke" SubPatching which allows for SubPatching of N-gons (polygons of 5 points or more). This is a handy tool, but can suck down resources pretty quickly. And if you want your mesh to be backwards compatible with older versions of Lightwave, you should stick to basic SubPatching using quads and triangles.

Now there are a few laws governing SubPatching and some pitfalls you should be warned about.

1) SubPatching takes a set of polygons and creates curves that follow the polygonal cage flow. A single polygon will not curve across the planar suface of the polygon, but will around the edges.



2) A set of polygons will create a curved surface only if they are non-planar (ie: each polygon follows a different plane.)

3) Curves are calculated by the positions and angles of adjacent polygons. The more polygons you have, the more detail and control can be maintained. The following cross-section views show this concept.


The SubPatching basically creates a syne wave calculated off the angles of the adjacent polygons. The more extreme the angle, the less control you have for fine detail. However, objects with fewer polygons will have less chance of unwanted distortion during animation when fewer polygons are used. But joints end up needing more polygons so they deform properly.

4) A SubPatched can be distorted using a morph map. Which allows for amazing effects using minimal amounts of processor power. A pillar of smoke or mountainous terrain can be achieved quickly using this method.

5) The larger the space between sets of polygon edges the larger the curve.

6) The more acute the angle of the polygons, the more extreme the SubPatch distortion.

7) If you have a single polygon or set of polygons selected when you activate SubPatching, only those polyons will be activated. The rest of the mesh remains as Normals. This can be handy for some projects, but should be avoided when creating an orgainc shape and you could en up with holes in your mesh.

BASIC SUBPATCHING:
Your starting control mesh should begin with an object consisting of three- and/or four-point polygons. A good place to start is to make a simple box and then use Metaform (Subdivide/Metaform) once or twice depending. This gives you a nice cage made only of quads (4-point polygons).



You activate SubPatch mode by pressing the TAB key. This will SubPatch the entire object. If only certain polygons are selected, only those will have the SubPatch mode turned on.


Now you have a nifty little sphere that can be modified, distorted or animated and the basic mesh retains a fairly low memory usage.

A SubPatched mesh can then be manipulated in the same way as a normal mesh; the difference being that Lightwave dynamically recalculates the curve after every modification. When you use SubPatch, you often manipulate the polygons into what would normally be non-planar polygons. Since the polygonal cage is merely a reference for the SubPatch object, this is perfectly acceptable. SubPatch calculated the curves as if they were made up of planar polygons

EDGE AND CURVE CONTROL:
SubPatching a basic object is fairly easy, but the more complex the object more you have to work at manipulating the Control Mesh. As I stated before, a SubPatch will calculate the curve between adjacent polygons.

First create the following two polygons.


If you press "Tab" to active the SubPatches you will see that the polygons have now taken on a curved shape.


Note that you end up with a curve on the outer edge as well as on the planar surfaces. Note also the extreme size of the curve. This is because the calculations are being made between only two polygons, and SubPatch creates a cuve based on the distance between the polygon edges.

Press "Tab" again to de-active the SubPatches. Then subdivide the polygons using the faceted subdivide.



If you press "Tab" to active the SubPatches again you will see that the polygons have now taken on a curved shape where the curve is less dramatic. This is because the SubPatching is now calculating the curve from the inner set of polygons rather than the whole object.


Press "Tab" again to de-active the SubPatches. Then knife the polygons like this.


If you press "Tab" to active the SubPatches again you will see that the polygons have now taken on a curved shape where the curve is even less dramatic on the upper potion. This is because the SubPatching is now calculating the curve from the smaller inner set of polygons rather than the whole object.


To explain how this works on a non-organic form, let's work on creating a Enterprise-A type nacelle arm. Let's start with a cylinder like this (24 sides. No segments)


Select and delete the end cap polygons. Now use the knife tool and cut the cylinder near the ends.


Use the stretch and move tools tool to distort the end sections of the cylinder


Select the edge polygons and Smoothshift or Vertibevel them in twice


Now de-select any selected polygons, and press Tab and activate the SubPatches. You should end up with something like this:


See, simple…..
At this point you could go on to build more of the ship or freeze the mesh. Freezing the mesh changes the SubPatch object into Normal Polygons. This will allow for quicker rendering times, but the curve renders will be a fixed plane-by-plane render rather than a dynamic curve. To freeze a SubPatched object press CTRL-D.

Now, to explain how this works on an organic form, let's work on creating a human arm.
Let's start with a cylinder like this (10 sides - 6 segments)



Now select and delete the end cap polygons. Now use the knife tool and cut the cylinder in these locations


Use the stretch and magnet tools to distort these sections of the cylinder


When you activate the SubPatches you should end up with something like this.


You can then add bones and have a fully animatable arm. Keep in mind that SubPatched objects don't always need lots of polygons. Here are some examples:

SubPatched wheel and tire (90 Polygons)


A barrel from a segmented box (56 Polygons)


A coffee mug (84 Polygons)


Arm (100 Polygons)
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Old 7th Sep 2008, 06:31 PM   #4
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ROUNDER AND SUBPATCHING - What a Combo!
I wanted to point out a great concept about Rounder and SubPatching.
The Rounder tool (Multiply > Extend: Rounder) will bevel, smooth edges and generally round off geometry in a variety of ways. It rounds based on Point selection or Polygon selection.
If points are selected, Rounder will create a curve on the edge between the two selected points. If no points are selected, Rounder will assume all the points have been selected (and hence round all edges/points). If there is a non-selected point betweet two selected points, rounde will simply create a curve around the corners of the selected points.
If you select a polygon, Rounder will round the edges of the selected polygon as it interacts with adjacent polygons. An important part of not generating errors with Rounder is to ensure the geometry is clean:
1.Rounding edges must be shared by exactly two polygons. Rounder will not work if a polygon or point is on an open edge.
2.Polygons containing rounded edges must be planar.
3.Make sure no isolated points or two-point polygons are selected

To demonstrate, let’s create a box.



If you SubPatch it now, you get a sphere like blob.



If you deactivate the SubPatching and then create a new box with rounded edges…


Or use Rounder to round the edges



The use SubPatching again and the edges are sharper. This is called “Hardening the edges” and comes in useful when creating hard bodies objects using SubPatching.



This can be used on more detailed meshes to achive a mechanical look with smoothed edges. For example, let's create a quick frame for an airplane wing. You can lay out a set of polygons like this:



If you SubPatch it, this is what you get:



As you can see, the SubPatching creates curves between the points, and you end up with a tube like frame work that is not very realistic. But if you de-SubPatch it and them apply a one-side Rounding...You might have to triple some of the polygons.


You can then SubPatch it and the framework has a much squarer look.



BEVEL AND EDGE BEVEL WITH SUBPATCHING
Another lovely tool to use with SubPatching is Edge Bevel. Edge Bevel is a tool introduced in Lightwave 9.0. Edge Bevel is a tool for rounding or splitting edges. It can be used in either point, edge or poly mode. In point or edge mode, the edges, or the edges that are defined by selected points, will be split (beveled). In poly mode, only the outer edge of the selection will be split.
Select Edge Bevel (Multiply> Extend: Edge Bevel) to Bevel selected polygons or edges (by point selection). The Bevel can be adjusted by mosue click in the interface or by using the numeric window.
Edge Bevel is extremely useful when adding detail to clothing or facial features.

As an example, let’s create a box with these settings:


If you SubPatch the object you get a cute squared off blob.


Let’s mess around with the cube a bit by moving some of the points. You can do yours however you like.


Now when you SubPatch it you can see that the object has changed in accordance with the control mesh. Play with it in and out of SubPatch mode to se how the mesh reacts.



Now, select a few points on the mesh, along linear edges.



You can now use Egde bevel to add some extra polygons along the selected edge. As you can see the mouse drag in the active window can create a thin set of polygons or wide set.



You can also see that this has created a hole in the mesh. This is because the edge bevel tool has created an N-Gon (Polygon with more that four points) at either end of the beveled area. This can be fixed by either:
1) Going back to the control mesh and tripling the end polgons
2) Changing to Catmull-Clarke SubPatch

Bevel is also a powerful tool and can be used in SubPatch mode. It tends to be a little harder to control in SubPatch mode, but will allow you to experiment with the effects that can be achieved.

Now press CTRL/Z to revert back to the mesh before edge bevel. Deactivate Subpatch and select a polygon on the control mesh and bevel it out.



If you deselect the polygon and activate SubPatch, you will see that you have created another rounded bump on you model



If you want a more controlled curve you can bevel out in multiple sections. Or you can continue to bevel out until you blob has a long appendage.


On my mesh I made 5 bevels, starting with a very shallow one. This first bevel hardened the edge where the appendage met the rest of the mesh; and so created a shallower curve from the body to the appendage.



The point here being: You can control the edges of your SubPatched object by adding a few more control polygons. The edges of these polygons can then themselves be manipulated to get the desired effect.


BANDSAW/BANDSAW PRO AND SUBPATCHING:
Another way to "Harden" SubPatch edges is to use the Bandsaw tool.
BandSaw will slice through a contiguous band of four-point polygons (or subpatches). To use the BandSaw tool, just select a polygon and activate the BandSaw tool (Multiply > Subdivide: More > Bandsaw).
Let’s create a new object. A simple box.



Then use polygon select and select the side polygons.



Now open the bandsaw tool. Click on the “Delete” button and click on the brown stripe in the center. The stripe should disapper. Click on the “Mirror” button and then the “Add” button. Click on the white field and create a stripe as shown.



Click OK and you should see some slices along the top and bottom of the Box. Bandsaw has created these by cutting linearly along the polygon flow. If you had also selcted the top polygons, Bandsaw wouyl have cut horizontally and vertically.



Now deselect the polygons and activate SubPatching. You can see that the Bandsaw tool has hardened the edge somewhat. But only along the top edge.



If you allow the tool to cut both horizontally and vertically, the SubPatched mesh becomes more box-like.



Bandsaw Pro has a similar interface, but it allows you to adjust and view the cuts as they occur.
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Old 7th Sep 2008, 06:34 PM   #5
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BRIDGING:
Bridging is a nifty way to get quick and basic organic shapes done quickly. A good place to start with a simple Metaformed box. Create a Box in modeler and choose Sub-divide it using Metaform.


You activate SubPatch mode by pressing the TAB key. This will SubPatch the entire object. You will end up with a fairly round sphere with few polygons:


Select all the polygons in the object and copy and paste it here


Then copy and paste again, this time resizing the SubPatch object. Move it here.


Copy and paste again and move it here


Now, deselect all the polygons, and select the inner set of four quads which are facing each other


Now go to Construct/Bridge. As you can see the objects have been connected at their center. Neat! Keep in mind that Bridge only works well on opposite facing polygons of the same poly count.


Repeat the process with all objects and you can get an organic shape fairly quickly.


PATCH LEVEL AND CONVERSION TO POLYGONS:
Although you can use a SubPatch model or Meta-primitives as is, occasionally you may want to convert it into a normal polygon mesh. As I stated before, to convert to a polygons mesh, use the Freeze command (Construct/Convert/Freeze) or "CTRL-D".


Once frozen, the control mesh no longer exists. Just to be safe, you should save the object before you perform a freeze just in case you later decide you want to modify its shape.

YOU DO NOT HAVE TO FREEZE A SUBPATCHED OBJECT!!!!!!!!
SubPatched objects loaded into layout will use more memory, but will hhave much more realistically rendered ccurves! When a SubPatch object is frozen with the Freeze command, it is converted into a polygonal object. The Patch Division setting determines the level of subdivision detail used in the resulting object. (Edit Menu/General Options)


The number entered in the Patch Division field must be 1 or greater and is restricted to whole numbers. The number of resulting polygons per SubPatch surface will be equal to the square of the Patch Division number. For example:
If set to 2, each SubPatch surface will be converted into 4 polygons, arranged in a 2 by 2 array.
If set to 4: each SubPatch surface will be converted into 16 polygons, arranged in a 4 by 4 array.

The higher the setting, the higher the number of polygons will be created. As you might have already figured out, this can create a huge number of polygons, which will make rendering and editing more time consuming. Because of Lightwave’s surface smoothing capabilities, you can often get away with a setting of 2 or 1; which will keep the polygon count of your objects to a minimum. Many modelers today will leave the mesh in SubPatch mode for rendering and animation. This allows for better bump displacement, smooth curves when rendering shadows, and better morphing for animation of facial features.

EDGE-LOOPING & SPIN QUADS:
Edge-Looping. Now this is a term I had never heard of until I attended an animation seminar. (MANY thanks to Larry Schultz and Timothy Albee!)

Although good Polygon flow is important, Edge-Loops a just as essential. Edge-Loops are the foundation for character modeling, if you try model a character without a good Edge-Loop and PolyFlow goal in mind, you'll find it very difficult if not impossible to model and animate. Edge-Loops that we use in Lightwave are based on actual physical features and follow natural lines of Bone and Muscle.

When you start off each modeling phase with a good underlying Edge-Loop and PolyFlow, all subsequent changes to the mesh will conform to the structure of the model. There are Primary Edge-Loops that should usually be laid out when building a standard human head. There can be slight variations depending on the style and character of a heads. Here is a very simplified example:


When building your mesh with (proper PolyFlow and Edge-Loops) the polygons of your mesh will form what appear to be flows at right-angles to the Edge-Loops. Sometimes you'll be working with a mesh and the polygon flow in one spot with cause a defect or crease in the mesh -- as you see I have left a set of polygons on the face in just such a position… : D



This can be quickly corrected with Spin Quads. The Spin Quads command (Detail > Polygons: Spin Quads) can be applied to adjacent four-point polygons (i.e., quads) that share an edge. It merges the two polygons together and then splits them using a different set of opposing polygons. If you apply Spin Quads three times, you’ll be right back where you started.



This is an easy way to manage both your PolyFlow and Edge-Loops. We will discuss this further in upcoming chapters.

SPLINE PATCHING:
Modeler’s feature for spline patching lets you model with curves and then smoothly spread a mesh of polygons over them. Spline patching has a similar effect to Freezing SubPatches; only it uses a set of splines instead of a polygon cage. To use spline patching:

Make three or four curves that create one or more fully enclosed areas. Note that the curves share end points.



In the Polygon Selection mode, select the curves that surround the enclosed area. Do this in a clockwise or counter-clockwise fashion. Remember which curve you selected first! It is okay if you also select some polygons in addition to the curves, they will be ignored in the patching operation.

Choose the Choose Construct > Patches: Patch. The fields for Perpendicular and Parallel refer to the number of polygons to put along the side that is perpendicular or parallel to the first curve you selected. Knots and Length let you choose to space your polygons equally according to the overall length or relative to the knots or points on the splines.



Click OK. You should see a polygon mesh added to the area within the three curves you selected.



From here you can SubPatch the object and model in some finer details.

USING SUBPATCH OBJECTS IN LAYOUT:
The Subdivision Order setting controls the order in which Lightwave meshes and deforms a SubPatch object (using bones, endomorphs, displacement maps, etc.). This can have a huge impact on what the rendered object will look like. Lightwave subdivides the SubPatch object, converting it into a polygon mesh (i.e., meshing) on the fly. First is the default and should be used whenever possible since it allows any deformation to affect an object in detail.

For example, you can't add displacement wrinkles to skin with Last, since the wrinkles would affect only the low-resolution cage. Another good point is that choices other than First take twice as long. This is because Lightwave actually does the meshing computation first regardless, to get the undistorted point positions that are later used for surface texture mapping purposes. Therefore, choices other than First require a second meshing computation.

If you use a displacement map on a SubPatch object, you probably want the subdivision to occur before the displacement (using First). This will give the displacement more points to displace. If you need to choose one of the in-between settings, here is the order
in which Lightwave performs object deformations:
1 Morphing
2 Before-bones plug-in displacements
3 Bones
4 Object coordinate plug-in and built-in displacements
5 Motion (scale, rotate, move)
6 World coordinate plug-in and built-in displacements


SUBPATCH DISPLAY AND RENDER LEVEL:
SubPatch objects may be used in Layout the same as any other object. In Layout, the Object Properties panel includes two settings that are important when you use SubPatch objects. The Display SubPatch Level and Render SubPatch Level settings are used determine the level of subdivision smoothing needed for display and rendering purposes. These values, generally, have an effect similar to Modeler’s Patch Divisions setting. The SubPatch levels may be set to zero. This is similar to a level of one, except that the patches are not continually re-meshed, even if Subdivision Order is not set to First. In other words, a level of zero makes patches act like normal polygons, and this allows faster user interaction.


BUMP DISPLACEMENT:
The Bump Displacement option uses the bump texture on a polygon and vertex, and applies it as a displacement texture. The direction of the displacement is set by the vertex normal, and the amount of displacement is set by the Dist value. Bump Displacement is a great option because it creates actual geometry deformations from bump shading. (Remember, bump shading by itself does not affect the geometry; it only alters how bumpy the surface appears. Without the Displacement, the surface remains smooth.) The result is better looking bump contours, shading, and shadows.

This feature is especially good on SubPatch objects because their detailed geometry allows the displacement to more closely match the bumps and surface contours, particularly when Render SubPatch Level is set to high values.

DISPLACEMENTS, SUBPATCHING AND ANIMATION:

SubPatched objects are great for some animation effects here is a quick example:

A column of smoke
Open modeler. Create a cylinder with 8 sides. and about 8 segments (50 meters long and 5 meters wide


Delete the endcap polygons. SubPathch it. Give the column a texture and make it smooth. Save the object.


Open Layout. Load the object. Go to object properties, and select the geometry tab. set the subpatch level to 7.


Go to object properties, and select the deform tab. Click on the "T" next to displacement map.


Change the texture to procedularal- Turbulance along the x-axis. Scale should be 5-7m on all axis.


Click on the position tab. Click on the "E" button next to the Y-axis value. This is going to create a motion envelope for the texture. Go to the key menu and chose create key. Set the frame zero and value zero. Go to the key menu and chose create key. Set the frame to 60 and value to 50m. Make Pre-Behavior and Post Behavior “Linear”.


Click on the rotation tab. Click on the "E" button next to the H value. Go to the key menu and chose create key. Set the frame zero and value zero. Go to the key menu and chose create key. Set the frame to 60 and value to 360 degress. Make Pre-Behavior and Post Behavior “Linear”.


Click on the scene play button and watch the fun..... the texture shoul make the column of smoke appear to move upwards and around. This should give you an idea of the powerof this tool. You can adjust the turbulance values up and down to get a more pronounced effect. You can also add more proceduarl layers
smoke test avi.avi
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Old 8th Sep 2008, 03:08 AM   #6
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'said with a drunken slurr' - I love you man.

Seriously, will be with this one all the way. Love it.
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Old 8th Sep 2008, 03:27 PM   #7
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hehe, going to be a big read again, good thing I like to read.
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Old 8th Sep 2008, 04:55 PM   #8
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Next chapter is going to be worse.... Much reading and reference pictures... dos and don'ts... that sort of thing.
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Old 8th Sep 2008, 04:57 PM   #9
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I'm loving this Way cool and very nice of you
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Old 8th Sep 2008, 06:23 PM   #10
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Quote:
Originally Posted by Epiphany View Post
I'm loving this Way cool and very nice of you
You're welcome. My pleasure.
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Old 8th Sep 2008, 08:08 PM   #11
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Wonderful start!
Uh I think this thread rates a sticky?
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Old 9th Sep 2008, 02:56 AM   #12
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Looks like you're off to a good start. Subpatching seems to be an area a lot of people have trouble with.
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Old 9th Sep 2008, 03:51 AM   #13
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Tutorial Lord strikes again! Wonderful stuff man, thanks!
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Old 9th Sep 2008, 04:28 AM   #14
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Fantastic stuff. It's a shame you can't do inline images, as it's annoying to have to click on the image to see it and then click back and pick up where you were

Also, you should mention about using multishift. I find it invaluable when you're doing hard surface SubD's because it allows you to keep uniform spacing/rounding, whereas bandsaw type tools don't. If you need me to explain that I can
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Old 9th Sep 2008, 06:11 AM   #15
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Quote:
Originally Posted by tobian View Post
Fantastic stuff. It's a shame you can't do inline images, as it's annoying to have to click on the image to see it and then click back and pick up where you were
And would basically render the tutorial difficult to read for most people. I'm running a desktop resolution of 1280 x 1024; in-line images would mean constantly scrolling back and forth to read a sentence. Not to mention that it would take much longer to download the thread each time you came in to read it.
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Old 9th Sep 2008, 06:13 AM   #16
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Hopefully this will end up in PDF format once its finished.
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Old 9th Sep 2008, 11:22 AM   #17
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Quote:
Originally Posted by Epiphany View Post
Hopefully this will end up in PDF format once its finished.
PDF and other.....yet TBD
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Old 9th Sep 2008, 11:43 AM   #18
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Subscribed...

Great start Sean, looking forward to following this one along.
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Old 9th Sep 2008, 03:55 PM   #19
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Great to see the bringing together of all this information.

I hope the TBD on pdf does change to links or options to download copy. I find the material very helpful learning.

j
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Old 17th Sep 2008, 02:48 PM   #20
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Sorry for the delay everyone, I'm still on vacation so nothing will be posted until next week I think.....
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Old 17th Sep 2008, 05:12 PM   #21
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Quote:
Originally Posted by Treybor View Post
Sorry for the delay everyone, I'm still on vacation so nothing will be posted until next week I think.....
We're all waiting for you here, i'm not sure if you're allowed time off
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Old 17th Sep 2008, 07:47 PM   #22
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sweet, more handy tips
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Old 18th Sep 2008, 02:00 AM   #23
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Helping me out heaps, ta very much.
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Old 24th Sep 2008, 08:08 PM   #24
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OK everyone. Just wanted to open a discussion for an upcoming chapter:

Which would you prefer to see as part of the tutorial?
  • Male character
  • Female character
  • Both
What race attributes would you like to see described and modeled?
  • Caucasion/European
  • Negro
  • Oriental
  • All
  • None (be as generic as possible)
What type of clothes do you want to see modeled?
  • Shirt & Pants
  • Jumpsuit
  • Dress, Skirt, Kilt
  • Shoes, hats, accessories
What genre of character?
  • Sci-fi
  • Fantasy
  • Generic /Every day
I have been rumaging through my archives and Chapter Two is working into a bit of a monstrosity since I want to cover a lot of data. Your choices will help me cut down the content to something more reasonable. for Chapter 2 and beyond....
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Old 24th Sep 2008, 08:21 PM   #25
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Which would you prefer to see as part of the tutorial?
  • Both
What race attributes would you like to see described and modeled?
  • None (be as generic as possible)
What type of clothes do you want to see modeled?
  • Shirt & Pants or Military Type Uniform
What genre of character?
  • Sci-fi I still like the First Dune Movie Dress Uniforms
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Old 25th Sep 2008, 02:12 AM   #26
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Double post
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Old 25th Sep 2008, 02:25 AM   #27
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For me....

Which would you prefer to see as part of the tutorial?
  • Female character, but perhaps examples of difference
What race attributes would you like to see described and modeled?
  • None (be as generic as possible) , but perhaps show the things that could change to make a difference between them.
What type of clothes do you want to see modeled?
  • Jumpsuit
What genre of character?
  • Sci-fi
Hope this helps.
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Old 25th Sep 2008, 09:40 AM   #28
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Quote:
Originally Posted by Gordon Robb View Post
For me....

Which would you prefer to see as part of the tutorial?
  • Female character, but perhaps examples of difference
If you haven't figured out the difference by now....

(Sorry Gordon, only joking )

Sean, my requests are...

Quote:
Originally Posted by Treybor View Post
Which would you prefer to see as part of the tutorial?
  • Both
What race attributes would you like to see described and modeled?
  • All
What type of clothes do you want to see modeled?
  • Any
What genre of character?
  • All
So pretty much happy to just go with the flow.
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Old 25th Sep 2008, 12:56 PM   #29
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Old 25th Sep 2008, 01:06 PM   #30
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Quote:
Originally Posted by Treybor View Post
OK everyone. Just wanted to open a discussion for an upcoming chapter:

Which would you prefer to see as part of the tutorial?
  • Male character
What race attributes would you like to see described and modeled?
  • None (be as generic as possible)
What type of clothes do you want to see modeled?
  • Jumpsuit
What genre of character?
  • Sci-fi
...

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