Eddie Holecko: Project One, Digital Cleanup

Once the model was exported to an obj from RapidWorks, I imported the model into zbrush to clean up the polygons. 

Original geometry

Using the Dynamesh command in Zbrush, I evenly dispersed the polys throughout the object resulting in a much cleaner mesh. 

Dynamesh Model

I used Dynamesh in Z-brush to create several different high resolution and low resolution versions of the object.

29K polycount (left), 72k polycount (right)

191K polycount (left), 470k polycount (right)

After the model was exported as several obj files, I imported the low poly object into maya and experimented with creating a wire frame version.

maya screenshot, low poly obj

low poly obj (left),  reduced poly wire frame geometry (right)

Eddie Holecko: Project One, Process Photos

For this project, taking inspiration from H.R. Giger, I created a small WED clay sculpture.  The sculpt is roughly 4" tall so it works well with the 3D scanner's short range focus.  

roughed out creature sculpt

roughed out creature sculpt

refined creature sculpt

refined creature sculpt

refined creature sculpt-profile

rough creature sculpt back view

Next, the sculpt was sprayed with Kryolan Crystal Clear to seal the detail during the scanning process. The quick creature sculpt was then taken to the scanner.  I added several tracking points which make combining the geometry from each scan easier. 

Sculpture, with tracking points, mounted to the scanner.

Sculpture, with tracking points, mounted to the scanner.

Positioning the sculpture is very important in order to receive a clean scan. If the sculpt/object is not in focus then the scanner does not read the geometry. 

The scanner doing its magic

The scanner and  a glimpse at the Scan Studios interface

 In order to capture enough of the sculpture to work with in Rapid Works, Zbrush and Maya, I had to scan the object 360 degrees from three different positions.

Re-positioned sculpture

After the sculpture was scanned, I combined the scans from multiple angles to create one mesh.  I also cleaned up the geometry and cut out the metal pole that appeared in the scan. Then I imported the mesh into Rapid Works, where I patched a few holes in the geometry.  After the mesh was fused to one and completely patched, I exported an obj file.

Next, I imported the obj to Zbrush in order to clean up the geometry.  More information on mesh clean-up coming soon!

Eddie Holecko: Project One, Reference

I'm Eddie Holecko, junior visual effects major at the Savannah College of Art and Design. I love both sculpture and digital modeling and I look forward to this class because it integrates both techniques.  

Being interested in creatures and characters, I decided to sculpt and scan a maquette of an original creature inspired by one of my favorite artists, H.R. Giger. He is responsible for designing the very famous alien creature in Ridley Scott's film Alien.

Below are a few images of Giger's work.

Mitul Mistry - Project 2 - FDM

I have several years of experience modeling with polygons, so for project 2, FDM, I decided to use ZBrush to sculpt and generate topology, and potentially complement that with forms in Maya.

ZBrush is a very powerful program, and far better for sculpting form digitally than a 3D package like Maya, which is better suited for purposes such as hard surface modeling, topological layout, animation, etc. I strongly urge anyone interested in true digital sculpting to check out either ZBrush or Mudbox.

I started out in ZBrush using ZSpheres to build an armature-like form, and then laying on form using ZSketch. I then converted it to polygonal topology by using a process called adaptive skin, which leaves far more uniform topology than its alternative, unified skin (which generates topology more accurate to your form, but leaves you with much uglier topology). Topology is, unfortunately, a significant concern for sculpting because it affects your brush strokes.

After doing some tests, I should be able to get a 250k poly model into Maya so long as I have enough memory on the computer I’m using. If I subdivide once more in Zbrush, I’ll end up with over a million polys, which is peanuts for ZBrush, but which I don’t feel Maya will handle. 250k is enough to get a reasonable articulation of form, but not nearly enough to hold intense detail, so I will obviously be focusing more on form than on texture.

Cícero D'Avila: "Cariátide Ruiva"

Cicero D'Avila charts the evolution of his sculpture "Cariátide Ruiva" from its beginnings as a work created using traditional sculptural processes through its evolution using digital fabrication and then back again. A must read from an artist that does some incredible work.
The post was sent via facebook from one of the digital fabrication alums patrick siren (animation)