So, this tutorial seems to be in some disrepair, but if your going to be photographing any real-life textures for your work, then it will still come in handy. I hate it when I am making something and then when I get deep into the project I realize that some little detail about how i imported something is going to give me a lot of headaches trying to fix, so these are helpful tips about taking photos for texturing your objects and making sure they don't need a lot of extra work to get maya-ready.
Here is another one: http://shutterbug.com/refreshercourse/outdoor_tips/104point/ This one is a little prettier to look at because its about photographing in general, but I thought it had good advice on how you want your textures to appear once you render them.
Hello all. For my AD 309 class project I will be creating some of my product designs in Maya then putting them in simple environments. I'd like the environments to give the objects context without taking away from the objects aesthetic. I will therefore need to give the objects in the room subtle detailing. I'm going to create a table and want to make it woodtextured and colored Here is a link to a site that tells how to create an excellent wood shader. The steps lend themselves to creating other textures as well.
another work from the squidsoup project. Freq2 is very close to the concept of ‘Driftnet’, but, emphasizes the sound part more. In this experimentation, participants use their body as a tool through which to create and control sound. They literally draw the sound with their whole range of body movement. Lines are the essential part of the audio wave form. They use webcam technology to capture the forms of the user’s shadow outline. These waveforms are instantly visible as they change their movement. The playback of this piece is dynamic and real-time. What you see is what you hear. Freq 2 lets participants recognize their spatial and temporal moments through the relation to the wave graphics of sound. The visual part, an abstract three-dimensional landscape, extracts in real-time into the depth of space, leaving a touch of the interactions that happened. This is the memory of what has gone before. It is reflected motion through sound with a long journey of interplay. The sounds generated from live waveforms. This sound has been built into the compositional soundscape with a range of pitches and rhythm components. Freq2 reacts to the passing people as well as the direct participants interaction, manipulating an unreal reality soundscape for the space where it exists. This work was commissioned for Cybersonica 06.
Hi all, I stumbled upon this site and it made me think of how 3D Art relates to the world in different ways beyond moving images and special effects. It seems to me that most people would believe that 3D images are mostly focused on the ideas of aesthetics and eye candy for movies, I think this artists work is interesting in terms of intention. What does it mean to make 3D art in this day and age? And what is different about making an alternate universe in an electronic world? He uses 3D to make political, religious and social statements that are at least to me, detached from what we normally think of as 3D art.
here's a fun little animation from you tube. it utilizes a kitchen scene -- with wooden furniture and the like -- as a back drop for a tragic narrative about fruit. The camera angles are simple and effective while maintaining the hollywood 180 degree rule. Shadows and intersection shadows are worth a study as well - in that this is a night time piece.
I've become newly interested/fascinated with small squishy character animation since beginning this class. I'm noticing things i never did before. In this one, the ostrich tail movement is so natural and realistic. I haven't learned how to animate in Maya yet but i assume the realism of the movement takes alot of time. There is also a nice tortoise-hair lesson. As usual, enjoy.
The people, Squidsoup, are London based a group of artists, musicians and interactive designers create works within interactive environment. They originally started by Anthony Rowe and James Lane, after meeting at Middlesex University in 1996. And now, they separate squidsoup as three different area, squidsoup.com, squidsoup.org and game. They are from various ranges of fields: photography, educator, sound artists, illustrator and digital media artists. Squidsoup.com is commercial site. What they doing in .com is creating sound, film, video, animation, photography, typography, graphic and web design. They focus on user experiences in working atmosphere by innovative and immersive interface within design process throughout interactive multimedia. In squidsoup.org, they experiment with arts. Their work is intuitive but, unexpectedly interesting. The works are invented combining sound, interactivity, and joining physical and virtual space to generate immersive experience. The most fascinating thing in their works is viewers are not a passive role anymore. The work give participants full active control of their interactive experiences. It provides a fertile space which is beyond the edge of experiments technically and creatively.
This tutorial teaches how to make robots obviously! The robot is created from top to bottom using nurbs, converting them to polygons and so forth. You'll build the robot and also animate it. A plucky user made this:
While the tutorial doesn't teach past basic animations, one thing is for sure, robots look great in any animated piece.
I found this tutorial under the resources link. It is a sweet tutorial about textures: it covers making a texture, (using photoshop) then applying the texture in Maya. Its a 28 minutes long and it covers the basic ways to d.i.y. textures! Enjoy.
David Shrigley doesn't work in 3D but his animations are interesting and insightful. I like this one a lot, its pretty clean and simple. I think he may have used after effects to compose this piece but there are some pretty cool layering techniques going on. Enjoy!
I think that some of the most interesting things in the animation stuff is how physics works on a simulated environment like wind, snow, rain and fluid simulation I found a very interesting videos about fluids behaviors, they are working on blender and seems to be a very nice physics simulator
I went to a Portfolio workshop recently and learned about using HDRIs and AliasStudio PLE. It's cool for designers because it facilitates using a 2D image to create amazing reflections on a 3D model. Often using modeling programs with preset environments is frustrating because you are limited to the options that come with the software. This is great for giving your models depth and good context.
This is an awesome site for digitizing your art work and posting it to get feedback from other artists. Its really cool, people post all types of stuff including 2D work and photography along with 3D-modeling and sculpture. I regularly click around and look at stuff and post my opinions its really helpful if you have a mental block and you need some inspiration or just some good feedback. The animation is really awesome as well, 2D and 3D alike there is a lot of good stuff. Also, the photo-shop painting is also amazing. oh, and there is also a forum for general art and artist related stuff... very cool, this one of my most used resources.
while the end result here is very complex each of these parts is a fairly simple compilation of geometric shapes. This is a great example of that fact that with just a few basic modeling skills and a willingness to invest the time you can make great things.
Cloth simulation with real-time collision detection
by wishmee entertainment inc.
some reason i cannot even find 'wishmee entertainment'. is anybody know about company??? very sorry about that! i do not know anything about this except brief explanation about real-time simulation.
it says:
The collision object(s) can be stationary or animating and rigid or deforming.
I found this tutorial on making a dynamic telephone cord while searching for a way to make "cables" like for power-lines. It seems relatively short and simple but might be helpful depending on what your scene is for the final project. Its got some things about making "collision boxes" which i think is what we did for the last step of Bubba?
This artist, Jennifer Steincamp, makes these amazing installations that frequently use animation as the foundation for her biomorphic inspired work. They are sometimes a little tripped out (for lack of a better term), but they often have a beautiful subtlety. They clearly resemble natural formations which make her work accessible and endearing to the public that views here work. She uses a 3d based software to map out the architectural intricacies of the site specific nature of her work.
If your interested in toon shading, I found this link pretty helpful in answering some basic questions and displaying some simple examples of different effects that can be achieved. They even explain why it takes longer to render what appears to be a 'simpler' image like with the raytracing I guess.
I know they use something like this more often now like in Futurama and video games to help fit in with a cartoony environment.
Have you been looking for just the right addition to 'Bubba' in order to make him more stylish, contemporary, or just plain street? Well have I got the tutorial for you!
This fellow, Mike Fudge, has developed a great tutorial about making hair in the most basic and efficient way possible. Styling is important and "constraints and simulations are so tedious for basic styling" says Fudge. I think natural dynamics and details like this can add a lot to our ultimately animate maya/3D structures.
This page contains links to a bunch of "science journal"-ish articles from Pixar about different techniques they have developed for certain films. Most of the articles are sort of math heavy, so they don't make sense to me in that aspect, but I still found them to be fascinating and maybe could help with thinking about all the aspects of creating realistic details in Maya. Some of the pdfs are kinda big so be careful. -chris
I went to a Portfolio workshop recently and learned about using HDRIs and AliasStudio PLE. It's cool for designers because it facilitates using a 2D image to create amazing reflections on a 3D model. Often using modeling programs with preset environments is frustrating because you are limited to the options that come with the software. This is great for giving your models depth and good context.
This artist, Jennifer Steincamp, makes these amazing installations that frequently use animation as the foundation for her biomorphic inspired work. They are sometimes a little tripped out (for lack of a better term), but they often have a beautiful subtlety. They clearly resemble natural formations which make her work accessible and endearing to the public that views here work. She uses a 3d based software to map out the architectural intricacies of the site specific nature of her work.
Have you been looking for just the right addition to 'Bubba' in order to make him more stylish, contemporary, or just plain street? Well have I got the tutorial for you!
