Basics of Design p. 2 Approaching Design as an Artist p. 4 Knowing Your Character p. 4 Making Decisions p. 4 Categories of Design p.

Transcription

1 Basics of Design p. 2 Approaching Design as an Artist p. 4 Knowing Your Character p. 4 Making Decisions p. 4 Categories of Design p. 6 Realistic Designs p. 6 Stylized Designs p. 7 Designing a Character p. 8 Head and Body Proportions p. 8 Eyes p. 9 Feet p. 10 Hands p. 11 Clothing and Other Accessories p. 12 Designing Your Own Characters p. 13 Designing on Paper p. 14 Using Images as Reference p. 15 Designing in Clay p. 15 Getting Sculpture into the Computer p. 17 Modeling Basics p. 20 Surface Types p. 22 Polygonal Surfaces p. 22 Patch Surfaces p. 23 NURBS Surfaces p. 24 Modeling Strategies p. 25 Keep It Light p. 25 Mixing and Matching Surface Types p. 25 Modeling Basics p. 25 Basics of Polygonal Modeling p. 26 Polygonal Modeling Techniques p. 29 Subdivision Surfaces p. 30 Booleans Are Evil p. 33 Basics of Patch Modeling p. 34 Creating Patches from Curves p. 36 Stitching Patches Together p. 39 Three-Sided Patches p. 41 Modeling with NURBS p. 42 Curves on Surface p. 42 Joining NURBS Surfaces p. 43 Metaballs p. 44 The Trouble with Metaballs p. 46

2 Animating Metaballs p. 46 Conclusion p. 47 Modeling Bodies for Animation p. 48 The Structure of the Body p. 50 The Skeleton p. 50 Muscles p. 54 Construction Methods p. 54 Segmenting Bodies p. 55 Seamless Characters p. 60 Modeling a Seamless NURBS Body p. 64 Conclusion p. 67 Modeling Hands for Animation p. 68 Examining the Hand's Structure p. 70 Flexibility of the Hand and Fingers p. 71 The Fingers p. 71 The Thumb p. 72 Modeling Methods for Hands p. 74 Modeling Segmented Hands p. 74 Modeling Hands from Polygons p. 75 Modeling a Hand with NURBS p. 78 Modeling Metaballs Hands p. 83 Adding Realism p. 84 Fingernails p. 85 Knuckles p. 85 Tendons p. 86 Skin Creasing p. 87 Webbing p. 87 Conclusion p. 87 Modeling Heads for Animation p. 88 The Structure of the Head and Face p. 90 The Muscles of the Face p. 90 Basic Head Modeling Methods p. 93 Paste-On Features p. 93 A Face with Flexible Skin p. 94 Topology and Facial Modeling p. 95 The Pole at the Mouth p. 97 The Pole at the Ears p. 98 Which Topology to Use? p. 99 More Complex Heads p. 102 Modeling a Polygonal Head p. 103 Eyes p. 106

3 Internal p. 106 External p. 107 Asymmetrical Eyes p. 110 Eyebrows p. 110 Teeth p. 111 Tongues p. 113 Connecting a Head and a Body p. 114 Neck on the Body p. 114 Neck on the Head p. 114 Head, Neck, and Body as One Object p. 115 Conclusion p. 115 Skeletons and Mesh Deformation p. 116 Hierarchies and Character Animation p. 118 Manipulating Hierarchies p. 118 Pivots and Joint Rotation p. 119 Skeletons and Hierarchies p. 122 Manipulating Hierarchies p. 123 Forward Kinematics p. 124 Inverse Kinematics p. 124 Which Kinematics to Use? p. 128 Building Skeletons p. 128 Building a Body Skeleton p. 129 Hand Skeleton p. 132 Mesh Deformation p. 133 Direct Assignment p. 133 Weighted Assignment/Envelopes p. 134 Advanced Deformation Tools p. 136 Deformation and Surface Type p. 137 Skeletons and Segmented Characters p. 140 Other Deformation Methods p. 140 Lattices p. 140 Clusters p. 141 Spline Deformation p. 141 Conclusion p. 143 Posing Characters p. 144 Posing p. 146 Animating with Poses p. 146 Pose-to-Pose Animation p. 146 Straight-Ahead Animation p. 147 Combining the Two Methods p. 147 Posing a Flour Sack p. 148

4 Setting Up a Flour Sack p. 149 Posing the Sack p. 149 Posing Characters p. 150 Balance p. 150 Symmetry p. 152 Weight p. 153 Staging p. 153 Creating Strong Silhouettes p. 154 Line of Action p. 155 Staging Multiple Characters p. 157 Staging and Camera Placement p. 159 Moving the Camera p. 159 Conclusion p. 162 The Basics of Character Animation p. 164 The Importance of Timing p. 166 The Process of Timing p. 166 How Much Time? p. 168 One Thing at a Time p. 169 Developing Good Timing p. 169 Timing and Software p. 170 Curves p. 170 Dope Sheets p. 175 Paths/Trajectory p. 176 Using Timing to Suggest Weight p. 177 The Language of Movement p. 179 Arcs p. 180 Slow-ins and Slow-outs p. 181 Force and Drag p. 182 Squash and Stretch p. 185 How to Squash and Stretch a Character p. 187 Anticipation p. 190 Overshoot p. 193 Secondary Action p. 194 Overlap and Follow-Through p. 195 Cycles p. 198 Moving Holds p. 199 Putting It All Together p. 200 Conclusion p. 203 Walking and Locomotion p. 204 Understanding the Mechanics of Walking p. 206 Feet and Legs p. 206

5 The Hips, Spine, and Shoulders p. 207 The Arms p. 209 The Head and Spine from the Side p. 209 Animating a Walk p. 210 Timing the Walk p. 210 Keeping Your Feet on the Ground p. 210 To Cycle or Not to Cycle? p. 213 Beyond Walking p. 229 The Run p. 229 The Skip p. 231 The Sneak p. 232 Animating Four-Legged Walks p. 233 Conclusion p. 235 Facial Animation and Dialogue p. 236 Methods for Animating the Face p. 238 Morphing p. 238 Single-Target Morphing p. 238 Multiple-Target Morphing p. 239 Modeling Morph Targets for Animation p. 239 Lower-Face Poses p. 240 Upper-Face Poses p. 242 Upper-Face Poses for Stylized Characters p. 243 Other Facial Poses p. 243 Assigning Targets p. 244 Manipulating the Face p. 244 Creating Facial Expression p. 246 Basic Expressions p. 246 The Brows and Expression p. 248 Symmetry and Expression p. 248 Complex Expressions p. 249 Animating the Head and Face p. 251 Animating the Head p. 251 Eye Direction p. 251 Blinks p. 253 Overlap in Facial Animation p. 256 Animating Lip-Sync p. 256 Recording Dialogue p. 257 The Eight Basic Mouth Positions p. 258 Reading the Track p. 260 Animating Dialogue p. 262 Mouth or Body First? p. 262

6 Animating the Mouth p. 263 Eyes and Dialogue p. 264 Head Motion and Dialogue p. 264 Body Language and Dialogue p. 265 Conclusion p. 267 Suggested Readings p. 268 Index p. 272 Table of Contents provided by Blackwell's Book Services and R.R. Bowker. Used with permission.