HOW DO I MODEL ORGANIC SHAPES SUCH AS FACES?
Sky Dermot, UK
As is the case with many tasks we have to undertake as 3D artists, there are numerous methods to reach a desired result. Organic modelling like this offers a good selection of choices and the decision you make about which method you choose will likely be made based on your personal preferences.
The first option is box modelling: in this situation, you start with a cube, then add cuts, refining the position of the new polygons. You add loops to create new geometry, moving, rotating and scaling as you go. It’s a nice method when working on the fly, as it enables you to quickly block out overall forms and silhouettes. You can work symmetrically this way too, halving the amount of time you spend modelling, while seeing the full head. The downside of this is that when you start cutting for one area of your mesh, you can end up with extra faces elsewhere, which aren’t necessarily needed.
Another method is to plot your forms out with splines and then patch or loft them to create a surface. Some artists prefer this method, but it can be harder to visualise your end result.
The most common method is to use straight polygon modelling. It’s handy for using references in the background, allows for using symmetry and, like many artists, I find that it is a good way to stay efficient, as you only add polygons where you absolutely need to.
The most important factor when doing this kind of work is the end geometry; creating usable edge loops, that will deform properly when animated. Even for stills work, having these loops in place is good, as having points where five edges meet can result in odd artefacts in the final render. These can be unavoidable, but as you’re building a mesh polygon by polygon it means you get to dictate
where they are more easily and can hide them under hair or behind an ear.
For the step by step, I’ll concentrate on the eye, as it’s a complex shape and shows the method well, and as we don’t have room to model a whole head. If you follow these steps you’ll be able to model nearly any organic shape you can think of.
A final note on smoothing. You can use a subdivision surface object to see the smoothed results of your model, but try to turn it off while you are modelling. You will get better, more usable results if your low-poly mesh looks good and works well, even before you smooth it.