CRE­ATE ROBO US­ING THESE TIPS ON YOUR WORK­FLOW

3D Artist - - MODEL HARD SURFACES IN BLENDER -

BLOCKOUT

The sim­plest but prob­a­bly the most im­por­tant part of the work­flow is block­ing out the ba­sic shape of the ro­bot. It’s fine to work with prim­i­tive shapes such as boxes and cylin­ders. It’s fine to use bad topol­ogy. The point is to nail down the inkblot, the shape you see if you squint your eyes. The right se­quence should al­ways start off with big shapes first, then down to medium shapes and only then do we go onto de­tails.

RE­FIN­ING GE­OM­E­TRY

Even if we do have a good grasp of ma­nip­u­lat­ing topol­ogy it’ll still be a way slower process to make larger sweep­ing changes while re­fin­ing. So this can’t be taken lightly – to avoid that project quit­ting dis­ap­point­ment near to the end don’t rush out of the blockout stage un­til def­i­nitely ready! At this re­fin­ing stage we’re re­ally lock­ing in the blockout de­ci­sions. The gen­eral pro­por­tions and ma­jor tran­si­tional and in­ter­lock­ing shapes can be hard to re­vert af­ter this. This is where our topol­ogy the­ory all comes into play, tak­ing those float­ing prim­i­tives and mesh­ing them into seam­less ob­jects.

BOOLEAN OP­ER­A­TIONS

Don’t be afraid of Boolean op­er­a­tions, it’s a myth that it’ll ruin your model beyond re­pair. Yes, the topol­ogy will get dam­aged (if you wanted all-quads in the first place), but you’ll fix it. There are nu­mer­ous way to bring it back to norm – dis­solv­ing the near-miss ver­tices, adding bevels, mark­ing some edges sharp, draw­ing sup­port­ing loops and so on. Clean­ing up this mess is an in­te­gral part of the non-de­struc­tive work­flow.

MESH DOC­TOR

At this last step it’s nat­u­ral af­ter such in­ten­sive de­tail­ing ses­sions that we may have a few mi­nor in­juries, a few mod­el­ling bumps and bruises that we can help re­solve in this fi­nal step in the process. Here we can get our 3D stetho­scopes out to track down any less im­me­di­ately no­tice­able is­sues and get our pa­tient set loose out into the world. Mod­i­fier stack or­der cor­rec­tions, miss­ing ge­om­e­try, flipped faces, light­ing and shad­ing tests, fi­nal topol­ogy tweaks and what­ever else you can throw at it to get it fit enough to stand the harsh spot­light of a cri­tique!

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