book

Blender 3D: Designing Objects

Name: Blender 3D: Designing Objects
ISBN: 9781787127197

by Romain Caudron, Pierre-Armand Nicq, Enrico Valenza

November 2016

Beginner to intermediate

1281 pages

28h 40m

English

Packt Publishing

Read now

Unlock full access

Blender 3D: Designing Objects
Table of Contents
Blender 3D: Designing Objects
Blender 3D: Designing Objects
Credits
Preface
What this learning path covers
What you need for this learning path
Who this learning path is for
Reader feedback
Customer support
Downloading the example codeErrataPiracyQuestions

1. Module 1
1. Straight into Blender!
An overview of the 3D workflowThe anatomy of a 3D sceneWhat can you do with Blender?
Getting used to the navigation in Blender
An introduction to the navigation of the 3D ViewportWhat are editors?The anatomy of an editorSplit, Join, and DetachSome useful layout presetsSetting up your preferencesAn introduction to the Preferences windowCustomizing the default navigation styleImproving Blender with add-ons
A brief introduction to the projects
The Robot ToyThe Alien CharacterThe Haunted HouseThe Rat Cowboy
Summary
2. Robot Toy – Modeling of an Object
Let's start the modeling of our robot toyPreparing the workflow by adding an image referenceAdding the head primitiveThe Edit Mode versus the Object Mode
Using the basic modeling tools
Modeling the headModeling the antennaAn introduction to the Subdivision Surface modifierImproving the head shapeModeling the thunderboltsModeling the eyesModeling the chestModeling the neckModeling the torsoModeling the buttonsModeling the forkModeling protections for the forkModeling the main wheelModeling the armUsing Blender Internal to render our Robot Toy
Summary
3. Alien Character – Base Mesh Creation and Sculpting
Understanding the sculpting process
An introduction to sculpting
Choosing sculpting over poly modeling
Using a pen tabletThe sculpt modeOptimizing the viewport
Anatomy of a brush
Dyntopo versus the Multires modifierFirst touch with the Multires modifierFirst touch with Dyntopo
Creating a base mesh with the Skin modifier
Visual preparation
An introduction to artistic anatomy
Sculpting the bodyThe headThe torsoThe armsThe legsThe belt
Summary
4. Alien Character – Creating a Proper Topology and Transferring the Sculpt Details
Why make a retopology?Possibilities of arranging polygonsErrors to avoid during the creation of retopologyDensity of polygons
Making the retopology of the alien character
Preparing the environmentThe headThe neck and the torsoThe arms and the handsThe legs
Unwrapping UVs
Understanding UVs
The placement of the seamsThe placement and adjustment of the islandsThe baking of texturesThe baking of a normal mapWhat is a normal map?Making of the bakeDisplaying the normal map in the viewport
The baking of an ambient occlusion
Understanding the ambient occlusion mapCreation of the bakeDisplaying the ambient occlusion in the viewport
Summary
5. Haunted House – Modeling of the Scene
Blocking the houseWorking with a scale
Blocking the bases of the house
Refining the blocking
Adding instantiated objects
Reworking the blocking objects
Breaking and ageing the elements
Simulate a stack of wooden planks with physics
Creation of the simulation of a stack of planks
Modeling the environment (8 pages)
Modeling the cliffModeling a tree with curvesEnhancing the scene with a barrier, rocks, and a cart
Organizing the scene
Grouping objectsWorking with layers
Summary
6. Haunted House – Putting Colors on It
Unwrapping UVsUsing Project From ViewUnwrapping the rest of the houseThe tree with the Smart UV ProjectUnwrapping the rest of the environmentTiling UVsWhat is tiling for?The UV layers
Adding colors
Basics of the Texture Paint toolDiscovering the brushesThe TexDraw brushThe Smear brushThe Soften brushThe Clone brushThe Fill brushThe Mask brushThe Stroke optionDelimiting the zones of painting according to the geometryPainting directly on the texturePainting the sceneLaying down the colorsTiled texturesThe settings of our workspaceAdvice for a good tiled texturePainting the roof-tile textureQuick tips for other kinds of hand-painted tiled texturesBaking our tiled texturesWhy bake?How to do it?Creating transparent texturesThe grass textureThe grunge texture
Doing a quick render with Blender Internal
Setting lightsPlacing the cameraSetting the environment (sky and mist)
Summary
7. Haunted House – Adding Materials and Lights in Cycles
Understanding the basic settings of CyclesThe samplingLight path settingsPerformances
Lighting
Creating a testing materialUnderstanding the different types of lightLighting our scenePainting and using an Image Base Lighting
Creating materials with nodes
Creating the materials of the house, the rocks, and the treeAdding a mask for the windowsUsing procedural texturesMaking and applying normal maps in Cycles
Creating realistic grass
Generating the grass with particlesCreating the grass shader
Baking textures in Cycles
Cycles versus Blender InternalBaking the tree
Compositing a mist pass
Summary
8. Rat Cowboy – Learning To Rig a Character for Animation
An introduction to the rigging process
Rigging the Rat Cowboy
Placing the deforming bonesThe leg and the footThe arm and the handThe hipsThe tailThe head and the eyesMirroring the rigRigging the gunRigging the holsterAdding a root bone
Skinning
The Weight Paint toolsManually assigning weight to verticesCorrecting the foot deformationCorrecting the belt deformation
Custom shapes
The shape keys
What is a shape key?Creating basic shapesDriving a shape key
Summary
9. Rat Cowboy – Animate a Full Sequence
Principles of animationSquash and StretchAnticipationStagingStraight Ahead Action and Pose to PoseFollow Through and Overlapping ActionSlow In and Slow OutArcsSecondary ActionTimingExaggerationSolid drawingAppeal
Animation tools in Blender
The timelineWhat is a keyframe?The Dope SheetThe Graph editorThe Non-Linear Action editor
Preparation of the animation
Writing a short scriptMaking a storyboardFinding the final camera placements and the timing through a layoutAnimation referencesOrganization
Animating the scene
The walk cycleMixing actionsAnimation of a close shotAnimation of the gunshotAnimation of the trap
Render a quick preview of a shot
Summary
10. Rat Cowboy – Rendering, Compositing, and Editing
Creating advanced materials in CyclesSkin material with Subsurface ScatteringEye materialThe fur of the rat
The Raw rendering phase
Enhance a picture with compositing
Introduction to nodal compositingDepth PassAdding effectsCompositing rendering phase
Editing the sequence with the VSE
Introduction to the Video Sequence Editor
Edit and render the final sequence
Summary
2. Module 2
1. Modeling the Character's Base Mesh
Introduction
Setting templates with the Images as Planes add-on
Getting readyHow to do it…How it works…
Setting templates with the Image Empties method
Getting readyHow to do it…How it works…
Setting templates with the Background Images tool
Getting readyHow to do it…
Building the character's base mesh with the Skin modifier
Getting readyHow to do it…How it works…
2. Sculpting the Character's Base Mesh
Introduction
Using the Skin modifier's Armature option
Getting readyHow to do it…How it works…There's more…See also
Editing the mesh
Getting readyHow to do it…How it works…
Preparing the base mesh for sculpting
Getting readyHow to do it…How it works…
Using the Multiresolution modifier and the Dynamic topology feature
Getting readyHow to do it…How it works…
Sculpting the character's base mesh
Getting readyHow to do it…There's more…
3. Polygonal Modeling of the Character's Accessories
Introduction
Preparing the scene for polygonal modeling
Getting readyHow to do it…How it works…
Modeling the eye
Getting readyHow to do it…How it works…
Modeling the armor plates
Getting readyHow to do it…How it works…See also
Using the Mesh to Curve technique to add details
How to do it…How it works…
4. Re-topology of the High Resolution Sculpted Character's Mesh
Introduction
Using the Grease Pencil tool to plan the edge-loops flow
Getting readyHow to do it…There's more…See also
Using the Snap tool to re-topologize the mesh
Getting readyHow to do it…How it works…
Using the Shrinkwrap modifier to re-topologize the mesh
Getting readyHow to do it…
Using the LoopTools add-on to re-topologize the mesh
Getting readyHow to do it…
Concluding the re-topologized mesh
Getting readyHow to do it…There's more…How it works…
5. Unwrapping the Low Resolution Mesh
Introduction
Preparing the low resolution mesh for unwrapping
Getting readyHow to do it…
UV unwrapping the mesh
Getting readyHow to do it…
Editing the UV islands
Getting readyHow to do it…How it works…There's more…
Using the Smart UV Project tool
Getting readyHow to do it…
Modifying the mesh and the UV islands
Getting readyHow to do it…
Setting up additional UV layers
Getting readyHow to do it…
Exporting the UV Map layout
Getting readyHow to do it…
6. Rigging the Low Resolution Mesh
Introduction
Building the character's Armature from scratch
Getting readyHow to do it…Building the rig for the secondary partsCompleting the rigHow it works…
Perfecting the Armature to also function as a rig for the Armor
Getting readyHow to do it…How it works…
Building the character's Armature through the Human Meta-Rig
Getting readyHow to do it…How it works…
Building the animation controls and the Inverse Kinematic
Getting readyHow to do it…See also
Generating the character's Armature by using the Rigify add-on
Getting readyHow to do it…How it works…See also
7. Skinning the Low Resolution Mesh
Introduction
Parenting the Armature and Mesh using the Automatic Weights tool
Getting readyHow to do it…How it works…There's more…See also
Assigning Weight Groups by hand
Getting readyHow to do it…How it works…See also
Editing Weight Groups using the Weight Paint tool
Getting readyHow to do it…See also
Using the Mesh Deform modifier to skin the character
Getting readyHow to do it…How it works…See also
Using the Laplacian Deform modifier and Hooks
Getting readyHow to do it…How it works…See also
8. Finalizing the Model
Introduction
Creating shape keys
Getting readyHow to do it…How it works…
Assigning drivers to the shape keys
Getting readyHow to do it…How it works…There's more…See also
Setting movement limit constraints
Getting readyHow to do it…See also
Transferring the eyeball rotation to the eyelids
Getting readyHow to do it…
Detailing the Armor by using the Curve from Mesh tool
Getting readyHow to do it…There's more…See also
9. Animating the Character
Introduction
Linking the character and making a proxy
Getting readyHow to do it…See also
Creating a simple walk cycle for the character by assigning keys to the bones
Getting readyHow to do it…How it works…There's more…See also
Tweaking the actions in Graph Editor
Getting readyHow to do it…See also
Using the Non Linear Action Editor to mix different actions
Getting readyHow to do it…See also
10. Creating the Textures
Introduction
Making a tileable scales image in Blender Internal
Getting readyHow to do it…How it works…
Preparing the model to use the UDIM UV tiles
Getting readyHow to do it…How it works…
Baking the tileable scales texture into the UV tiles
Getting readyHow to do it…How it works…There's more…
Painting to fix the seams and to modify the baked scales image maps
Getting readyHow to do it…How it works…There's more…See also
Painting the color maps in Blender Internal
Getting readyHow to do it…How it works…See also
Painting the color maps in Cycles
Getting readyHow to do it…
11. Refining the Textures
Introduction
Sculpting more details on the high resolution mesh
Getting readyHow to do it…
Baking the normals of the sculpted mesh on the low resolution one
Getting readyHow to do it…How it works…There's more…
The Armor textures
Getting readyHow to do it…There's more…See also
Adding a dirty Vertex Colors layer and baking it to an image texture
Getting readyHow to do it…How it works…See also
The Quick Edit tool
Getting readyHow to do it…How it works…
12. Creating the Materials in Cycles
Introduction
Building the reptile skin shaders in Cycles
Getting readyHow to do it…How it works…There's more…See also
Making a node group of the skin shader to reuse it
Getting readyHow to do it…How it works…
Building the eyes' shaders in Cycles
Getting readyHow to do it…How it works…
Building the armor shaders in Cycles
Getting readyHow to do it…How it works…There's more…
13. Creating the Materials in Blender Internal
Introduction
Building the reptile skin shaders in Blender Internal
Getting readyHow to do it…How it works…There's more…See also
Building the eyes' shaders in Blender Internal
Getting readyHow to do it…How it works…
Building the armor shaders in Blender Internal
Getting readyHow to do it…How it works…There's more…
14. Lighting, Rendering, and a Little Bit of Compositing
Introduction
Setting the library and the 3D scene layout
Getting readyHow to do it…How it works…See also
Setting image based lighting (IBL)
Getting readyHow to do it…Image based lighting in CyclesImage based lighting in Blender InternalHow it works…See also
Setting a three-point lighting rig in Blender Internal
Getting readyHow to do it…How it works…See also
Rendering an OpenGL playblast of the animation
Getting readyHow to do it…How it works…There's more…See also
Obtaining a noise-free and faster rendering in Cycles
Getting readyHow to do it…See also
Compositing the render layers
Getting readyHow to do it…How it works…See also
3. Module 3
1. Overview of Materials in Cycles
Introduction
Material nodes in Cycles
Getting readyHow to do it...How it works...There's more...See also
Procedural textures in Cycles
Getting readyHow to do it...How it works...There's more...See also
Setting the World material
Getting readyHow to do it...How it works...There's more...
Creating a mesh-light material
Getting readyHow to do it...How it works...There's more...
Using volume materials
Getting readyHow to do it...How it works...There's more...
Using displacement
Getting readyHow to do it...How it works...
2. Managing Cycles Materials
Introduction
Preparing an ideal Cycles interface for material creation
Getting readyHow to do it...How it works...There's more...
Naming materials and textures
Getting readyHow to do it...There's more...
Creating node groups
Getting readyHow to do it...How it works...
Grouping nodes under frames for easier reading
Getting readyHow to do it...
Linking materials and node groups
How to do it...There's more...
3. Creating Natural Materials in Cycles
Introduction
Creating a rock material using image maps
Getting readyHow to do it...How it works...There's more...
Creating a rock material using procedural textures
Getting readyHow to do it...How it works...
Creating a sand material using procedural textures
Getting readyHow to do it...How it works...There's more...
Creating a simple ground material using procedural textures
Getting readyHow to do it...How it works...
Creating a snow material using procedural textures
Getting readyHow to do it...How it works...
Creating an ice material using procedural textures
Getting readyHow to do it...How it works...See also
4. Creating Man-made Materials in Cycles
Introduction
Creating a generic plastic material
Getting ready...How to do it...How it works...
Creating a Bakelite material
Getting ready...How to do it...How it works...There's more...
Creating an expanded polystyrene material
Getting ready...How to do it...How it works...
Creating a clear (glassy) polystyrene material
Getting ready...How to do it...
Creating a rubber material
Getting ready...How to do it...How it works...
Creating an antique bronze material with procedurals
Getting ready...How to do it...How it works...
Creating a multipurpose metal node group
Getting ready...How to do it...How it works...
Creating a rusty metal material with procedurals
Getting ready...How to do it...How it works...There's more...
Creating a wood material with procedurals
Getting ready...How to do it...How it works...
5. Creating Complex Natural Materials in Cycles
Introduction
Creating an ocean material using procedural textures
Getting readyHow to do it...Creating the water surface and the bottom shadersCreating the foam shaderCreating the stencil material for the foam locationPutting everything togetherHow it works...See also
Creating underwater environment materials
Getting readyHow to do it...How it works...
Creating a snowy mountain landscape with procedurals
Getting readyHow to do it...Appending and grouping the rock and the snow shaderMixing the material groupsCreating the stencil shaderAdding the atmospheric perspectiveHow it works...
Creating a realistic Earth as seen from space
Getting readyHow to do it...The planet surfaceThe cloudsThe atmosphereHow it works...
6. Creating More Complex Man-made Materials
Introduction
Creating cloth materials with procedurals
Getting readyHow to do it...How it works...There's more...See also
Creating a leather material with procedurals
How to do it...How it works...
Creating a synthetic sponge material with procedurals
Getting readyHow to do it...How it works...
Creating a spaceship hull shader
Getting readyHow to do it...How it works...There's more...See also
7. Subsurface Scattering in Cycles
Introduction
Using the Subsurface Scattering shader node
Getting readyHow to do it...How it works...See also
Simulating Subsurface Scattering in Cycles using the Translucent shader
Getting readyHow to do it...How it works...
Simulating Subsurface Scattering in Cycles using the Vertex Color tool
Getting readyHow to do it...How it works...
Simulating Subsurface Scattering in Cycles using the Ray Length output in the Light Path node
Getting readyHow to do it...How it works...
Creating a fake Subsurface Scattering node group
Getting readyHow to do it...How it works...
8. Creating Organic Materials
Introduction
Creating an organic-looking shader with procedurals
Getting readyHow to do it...How it works...
Creating a wasp-like chitin material with procedural textures
Getting readyHow to do it...How it works...
Creating a beetle-like chitin material with procedural textures
Getting readyHow to do it...How it works...
Creating tree shaders – the bark
Getting readyHow to do it...How it works...There's more...
Creating tree shaders – the leaves
Getting readyHow to do it...How it works...There's more...
Creating a layered human skin material in Cycles
Getting readyHow to do it...How it works...
Creating fur and hair
Getting readyHow to do it...How it works...There's more...See also
Creating a gray alien skin material with procedurals
Getting readyHow to do it...How it works...
9. Special Materials
Introduction
Using Cycles volume materials
Getting readyHow to do it...How it works...There's more...See also
Creating a cloud volumetric material
Getting readyHow to do it...How it works...
Creating a fire and smoke shader
Getting readyHow to do it...How it works...See also
Creating a shadeless material in Cycles
Getting readyHow to do it...How it works...There's more...
Creating a fake immersion effect material
Getting readyHow to do it...How it works...
Creating a fake volume light material
Getting readyHow to do it...How it works...See also
Bibliography
Index

Content preview from Blender 3D: Designing Objects

The baking of an ambient occlusion

Now that we have the normal map set, we will improve our alien with another map called an ambient occlusion.

Understanding the ambient occlusion map

An ambient occlusion is a black and white texture that represents the contact shadows of a mesh. The contact shadows are the shadows produced by the small proximity of objects. In order to have a nice ambient occlusion, we need to increase a sampling parameter that corresponds to the "noisiness" of the shadows. The more samples you have, the smoother the shadows will be. This map will then be multiplied on top of our diffuse material color.

Note

Multiplying colors

In computer graphics, black is represented by a value of 0 and white by a value of 1. So, when we multiply ...

Become an O’Reilly member and get unlimited access to this title plus top books and audiobooks from O’Reilly and nearly 200 top publishers, thousands of courses curated by job role, 150+ live events each month,
and much more.

Read now

Unlock full access

More than 5,000 organizations count on O’Reilly

O’Reilly covers everything we've got, with content to help us build a world-class technology community, upgrade the capabilities and competencies of our teams, and improve overall team performance as well as their engagement.

Julian F.

Head of Cybersecurity

I wanted to learn C and C++, but it didn't click for me until I picked up an O'Reilly book. When I went on the O’Reilly platform, I was astonished to find all the books there, plus live events and sandboxes so you could play around with the technology.

Addison B.

Field Engineer

I’ve been on the O’Reilly platform for more than eight years. I use a couple of learning platforms, but I'm on O'Reilly more than anybody else. When you're there, you start learning. I'm never disappointed.

Amir M.

Data Platform Tech Lead

I'm always learning. So when I got on to O'Reilly, I was like a kid in a candy store. There are playlists. There are answers. There's on-demand training. It's worth its weight in gold, in terms of what it allows me to do.

Mark W.

Embedded Software Engineer

Blender 3D Asset Creation for the Metaverse

Publisher Resources

ISBN: 9781787127197Purchase Link

Cloud Computing

Data Engineering

Data Science

AI & ML

Programming Languages

Software Architecture

IT/Ops

Security

Design

Business

Soft Skills