prehistoric creature modeling with lightwave

8/10/2019 Prehistoric Creature Modeling With Lightwave

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1999 Mastering 3D Graphics

In this tutorial well be modeling a prehistoriccreature with LightWave 5.5. You can stillperform the tutorial if you have version5.0, but you wont have access to theKnife tool so youll need to be a bitcreative. What youll need to do ismanually add points to the poly-

gons and split them. Its a bit morework, but not all that bad.

Since were limited on space wellmove along fairly quick. Dont worry,

there are plenty of images to guideyou along the way and a model in the

support file in case you get lost. Ill pro-vide the completed leg of the creature, so

you can attach it to the body later in this tuto-rial.

Well be taking a unique approach to creature modeling.I call it the flat method. Well create aflat mesh of poly-gons against a template image. It takes a bit of gettingused to but its the best method for creating detailed crea-tures. Why? Simply because the flat method allows us to

Prehistoric creature modelingMastering 3D Graphics ~ Serious 3D issue#1

with Lightwave - Bill FlemingBill FlemingBill FlemingBill FlemingBill Fleming


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Prehistoric creature modeling


add mesh detail where its needed. Often, youll find that

adding the mesh detail after youve started modeling canbe quite cumbersome and annoying. The flat mesh methodsimplifies this process, allowing you to plan out your meshdetail before you start tweaking the model.

Before we begin modeling our creature well need to ex-amine its biography. You cant properly model a creatureuntil youve walked in its shoes so lets take a close look atthe prehistoric creature were about to model.

The Creature BiographyWell be modeling a fictional Craniosaurus, a GoblinCarnosaur that roamed the earth during the Cretaceousperiod about 100 million years ago. Yes, you read it cor-rectly, I said Goblin. Goblin mythology places their ori-

gin at about 65 million years ago, which was the begin-ning of the end for the dinosaurs. The Goblin dinosaurs

preceded the Goblins by about 40 million years. OurCraniosaurus is shown in Figure 1.

Meat eating (carnivore) dinosaurs with large, powerfulheads were classified as Carnosaurs. Our Craniosaurus isa direct descendant of the great Tyrannosaur. Like the T-rex, the Craniosaurus was a Theropod, meaning it sup-ported its weight on powerful hind legs. Not all Theropodswere large, but they were all bipedal. Our Craniosauruswas one of the smaller Theropods, measuring only 15

centimeters in length. He also had only stubs where his

forelimbs once were. Since the forelimbs of a Theropodwere basically useless, they were lost during the evolutionof the Theropod.

Another feature of the Theropod was a long tail, whichwas used to balance the mass of their heads. OurCraniosaurus has a long, thick tail, too. While most of theTheropods were carnivores, many of the smaller oneslike the Craniosaurus were insectivores. Due to their smallsize, they were unable to catch and subdue larger mam-

mals. They fed on smaller ones, which could easily begrasped in their jaws.

Figure 1: Artists conception of the Craniosaurus.


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The teeth on the Craniosaurus were much different to

that of the typical Theropod, since its main diet was in-sects. You wouldnt believe the size of roaches back then!Anyway, they typically had the thicker, more roundedteeth needed to crack open the tough exoskeletons ofinsects like beetles and dragonflies. The jaw is hinged soit can move slightly to the side, allowing the Craniosaurusto swallow large insects.

The skull of the Craniosaurus was thin and light, enclos-ing large spaces in the sides of the face. This combina-

tion enabled the skull to be light, maneuverable, and flex-ible. The sinus cavity was rather large, enabling the crea-ture to smell prey at a great distance. Beetles tend to emit

a very distinct odor, and the Craniosaurus could detect itfrom as much as 300 meters.

The Craniosaurus was relatively small because of the evo-

lution of the environment. As the world evolved into theCretaceous period, the climate began to cool. The re-

duced amount of vegetation caused the number of largerherbivores to reduce dramatically.

Since Theropods fed mainly on large herbivores, theyneeded to evolve for survival. They had to reduce theirneed for food, meaning a marked reduction in body mass.They also needed to change their diet to something morereadily available. The vast amount of protein needed to

support their muscle mass was available from the insect

world.

The Craniosaurus had a low profile. Its powerful legs ena-bled it to reach speeds of up to 35 mph. While largerTheropods used their speed to increase the impact oftheir assault on prey, the smaller Craniosaurus used itsspeed to evade predators. Enemies often included otherTheropods such as the Baryonyx, which was a bizarreTheropod discovered in Britain in 1983. The low profileof the Craniosaurus made it easy to eat insects, which

were typically at ground level. It also made it much easierto navigate the dense forest when being chased by preda-tors. The Craniosaurus could easily run under fallen trees,

disappearing into the underbrush.

Well, that about does it for our creature biography. Nowthat we understand the Craniosaurus, were ready to start

modeling it. Well begin by setting up our template.

Modeling the CraniosaurusThe first step is to import the artists concept sketch intothe Modeler. Now would be a good time to grab the sup-port files off the Serious 3D support site located atwww.serious3d.com. Download the maylw.zipfile underthe May folder. This file contains support models, sur-faces and color version of the figures found in this tutorial.

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http://www.serious3d.com/http://www.serious3d.com/


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Once the files are extracted, load Modeler and import the

dino.iff file as the background image for the Z axis.This will be our modeling template. OK, now for the trickystuff. The goal is to create a basic mesh over the templateimage that includes the details well need for the majorfeatures. This usually takes some experimentation to getit just right. You should have something like the mesh inFigure 2when you are finished.

You should make an effort to always use quad polygons.There will be spots where youll have to use triple poly-

gons, but keep them to a minimum. We will be usingMetaform to shape the mesh, and quads always workbest when translating Adjoining Angles. Remember, never

use anything in excess of 4 point polygons or theMetaform function wont work prop-

erly. While you can Metaform poly-gons greater than 4 points, the re-

sult may be rather sloppy. To makethings easier, you can load the

template.lwo object that was in-cluded in the support files. This isthe basic mesh shown in Figure 2.The next step is to give this meshsome depth.

This is where the bulk of the bodystarts to take shape. The first thing

we need to do is remove the background template image.

Caution: Dont clear the image, but rather set it to none.Well need to use thetemplate image laterwhen we create thelegs. Once youvecleared the tem-plate, switch to poly-gon mode and selectthe polygons indi-cated in Figure 3.

Drag them forwardslightly.

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Figure 3: Adding depth to the body.

Figure 2: The basic flat mesh.

Figure 4: Adding more depth.


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We are now starting to see the body take shape. The best

part about this method is that it will form the bone ridgealong the spine and jaw automatically. Its a real time-saver! Now we need to switch to point mode. Select thepoints shown in Figure 4, and drag them forward as wedid previously.

We now have the depth for the tail complete, but weneed to make the body thicker. Select the points shownin Figure 5and drag them forward, even farther thanthe last time.

Great! Were really starting to see it take shape. The onlybody part needing more depth is the head. We need to

pull the jaw line farther out. Select the points shown inFigure 6and pull them forward as

shown in the image.

As you can see, in only a few stepswe have managed to model nearly

all of the body depth and details. Youshould now have something in yoursolid view thats similar to Figure7.

All we need to do is tweak somepoints and polygons to finish thebody and head. Well take each de-

tail one at a time to make it easier to follow. Lets start

with the ear.

Adding theDetails

Adding the details israther simple. Wellbe using SmoothShift a great deal toadd the polygons we

need. We will alwaysuse an Offset valueof 0 when we

Smooth Shift. If we

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Figure 6: Completing the head depth.

Figure 5: Making the body thicker.

Figure 7: A solid view of the body.


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use a greater value, we stand a good chance of creating

errors.

The first detail well create is the hole for the ears. Rep-tiles have a unique ear. Its basically a hole with a thinlayer of skin over it. This membrane vibrates to pass soundwaves into the skull. Lets add the ear to our Craniosaurus.Select the polygons shown in Figure 8and Smooth Shiftthem with an Offset of 0. Then scale them slightly, andmove them into the head a bit as shown in the image.

To finish the ear, you need to perform two additionalSmooth Shift operations. Scale the first, and move it backa bit more into the head. Then, scale the second a bit

more, and move it forward to create a bump in the mid-dle of the ear as shown in Figure 9.

Its looking good. Now lets move

on to the eye.

Modeling the EyesWhat we need to do is create a holefor the eye socket, then create theeyelids. First, select the polygons inthe center of the eye, Smooth Shift,and scale them down slightly. Finally,move them back as shown in Fig-ure 10.

Now we need to move the back points of the eye for-

ward, so the eye socket tapers towards the front. Selectthe two sets ofpoints shown in

Figure 11 andmove them forward,until they match theimage.

Before we completethe eye, lets outline

it a bit better by cre-ating the bony ridgeover the eye. Select

the four polygons

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Figure 9: The completed ear.

Figure 8: Creating the ear.

Figure 10: Shaping the eye socket.


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over the eye. Smooth Shift, scale and move them up and

forward a bit as shown in Figure 12.

This is a bit exaggerated, so we needto tweak the points at the back andsides of the ridge to taper the bump.We want it to be prominent in thefront but not in the back. Select thepoints around the base of the ridgein back and drag them to the posi-tions you see in Figure 13.

OK, now select the two polygons inthe middle of the eye.

Smooth Shift them back into the

skull to create the socket. Now wehave to shape the socket for the eye.

To do this, we need to create a tem-plate sphere. Click on the second

layer, and select the first layer as thebackground. Now create a sphereslightly larger than the socket asshown in Figure 14. Be sure to givethe eyeball a new surface. Name iteye and make it white so its easyto distinguish from the head.

We need to do some serious tweaking to make the eye

socket conform to the eyes shape. We also need to add

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Figure 12: Creating the bony ridge over the eye.

Figure 13: Tapering the back of the ridge.

Figure 11: Strengthening the back of the eye socket.

Figure 14: Creating the eyeball.


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the eyelids. This is a tricky step, so Ive included the model

in the support files (eyesocket.lwo) with this step com-pleted so you can see how it wasaccomplished. What you need to dois select the top three polygons, asshown in Figure 15 and SmoothShift them, scaling them down andmoving them forward a bit to ex-tend beyond the eyeball.

Once the polygons are Smooth

Shifted, youll need to tweak themso they conform to the eyeball.Then, youll need to perform the

same steps to create the lower eye-lid. Heres a tip: youll need to se-

lect the points at the corners of theeye socket and pull them inward also,

so the eyelids conform to the shapeof the eyeball. When finished, you

should have something similar toFigure 16.

Remember, if you have trouble withthe eye you can simply load theeyesocket.lwo file included in thesupport files so you can continue thetutorial. You can always come back

and experiment with the eye socket. Next we need to add

some mass behind the eye. Well do this by Smooth Shift-

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Figure 16: The completed eyelids.

Figure 17: Adding bulk behind the eye.

Figure 15: Selecting the polygons for the eyelids.

Figure 18: Deleting the excess polygons .


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ing the three large polygons behind the eye as shown in

Figure 17.

Then, well merge this mass with the ridge over the eyeby welding the points indicated in Figure 17. Finally, weneed to delete the polygons along the points we welded,which are indicated in Figure 18.

OK, that does it for the eye. Now we need to move on tothe nose.

Modeling the NoseThe nose is a little complicated, since we need to addsome skin folds around it. Lets start by selecting the twopolygons of the nose and Smooth Shifting them forwardas shown in Figure 19.

Now, select the polygons that run

around the nose and Smooth Shiftthem outward. Youll have to do

some point tweaking to get it right.You should have something like theimage in Figure 20.

Youll also notice that the last poly-gon, (the one closest to the eye)needed to be split so the shape wascorrect. This can be done with the

Knife tool, or by manually adding a point to the leading

edge. Either way works very well. To create the nostril,simply Smooth Shiftthe two polygons inthe center of thenose 3 times, backand down into thehead as shown in

Figure 21.

Well, that does it for

the nose. Wereready to tackle themouth.

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Figure 19: Starting the nose.

Figure 20: Creating the nose ridge. Figure 21: Creating the nostril.


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them back, so they overlap the neck polygons just a bit.

Then youll need to tweak the selected polygons from theX viewport toround the jaw line asshown in Figure24.

Were done with theexternal features ofthe jaw. Youll finda model named

jaw.lwo in the sup-port file. This is themodel completed up

to this point. You

Modeling the Mouth

This will require a bit of work. The first thing we need todo is create the outer detail of the mouth and jaw. Thenwell tackle the gums and teeth. Start by selecting thepoints at the base of the jaw and pulling them outward abit. It doesnt really matter which points you select, justeyeball it to make sure the mouth is rounded.

Next, we need to create the ridge on the upper and lowerrim of the jaw. Do this by selecting the polygons that run

along the jaw and Smooth Shifting them outward. Besure to keep the points along the center axis where theyare. The best way to do this is move the polygons for-

ward first, then stretch them outward to the desired posi-tion. When youre finished, you

should have something similar toFigure 22.

Now repeat the same steps to cre-

ate the fold of skin under the lowerjaw line shown in Figure 23.

Great, were almost done with thejaw. Now we need to strengthen theback of the jaw where it meets theneck. To do this, select the polygonsat the back of the jaw and move

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Figure 22: Creating the jaw line.

Figure 23 Creating the fold of skin under the

lower jaw.

Figure 24: Strengthening the jaw.


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times, scaling it each time until you have a tooth like

the one in Figure 30.

Now select the polygons at the back of the throat. Smooth

Shift them back into the body three times, rotating andscaling them as you go. Then, se-lect the polygons along the centeraxis and delete them. Finally, selectall of the points along the center axisand set their value to zero on theZ axis. You should now have some-thing like Figure 28.

Now we need to add the teeth. This

is a simple process. Heres how itsdone:

1Select one of the polygons on

the gum ridge and Smooth Shiftit up a bit.

2Smooth Shift the polygon againand scale it down, but leave it even

with the parent polygons.3 Smooth Shift again and pullslightly into the gums.4Smooth Shift the polygon deepinto the gums as shown in Fig-ure 29. Then rename the sur-face tooth.5 Now Smooth Shift the toothpolygon upward until its evenwith the top of the gums.6 Finally, Smooth Shift it three

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Figure 27: Modeling the inner mouth. Figure 28: The completed throat.

Figure 29: The gum hole for a tooth. Figure 30: A completed tooth.


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Wrap UpThere you have it prehistoric creature modeling withLightWave 5.5. While the flat modeling method takes abit of getting used to, it really simplifies the process ofadding detail to your models. Before you begin your nextcreation, think about going flat.

Bill Fleming is President of Komodo Studio, theleading studio specializing in photorealistic 3Dcreatures and characters for broadcast and film.Bill is the author of many 3D books including

The 3D Creature Workshop, published byCharles River Media, Inc. Hes also a contribut-ing editor for several magazines including Ani-

mation World, Visual Magic and Keyframe. Inaddition to being a 3D artist, Bill is a biologist

and herpetologist, which has given him a solidbackground for photorealistic creature design.

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prehistoric creature modeling with lightwave

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