3D Sculpture
Digital sculpture (sculptural modeling or 3d sculpting)- a type of fine art, the works of which have a three-dimensional shape and are performed using special software, through the tools of which it is possible to perform various kinds of manipulations on 3d models, as if the sculptor was working on ordinary clay or stone.
Sculpture modeling technology
The use of different instruments in digital sculpting programs may vary; each package has its own advantages and disadvantages. Most tools for modeling digital sculptures apply deformation of the surface of the polygonal model, making it possible to make it convex or concave. This process is somewhat similar to the chasing of metal plates, the surface of which is deformed to obtain the desired pattern and relief. Other tools work on the principle of voxel geometry, the volume of which depends on the pixel image used. In digital sculpture, as in working with clay, you can "build up" the surface by adding new layers, or vice versa, remove unnecessary ones by erasing the layers. All tools deform the geometry of the model in different ways, which makes the modeling process easier and richer.
Another feature of these programs is that they save several levels of detail of the object, so you can easily move from one level to another by editing the model. If you change the surface of the model at one level, then these changes will affect other levels as well. all levels are interconnected. Different areas of the model can have polygons of different sizes, from small to very large, depending on where they are located in the model. Various kinds of constraints (masks, surface freezing, etc.) allow you to edit surfaces without affecting or deforming nearby zones.
The main feature of voxel geometry is that it provides complete freedom over the editable surface. The topology of the model can constantly change during its creation, material can be added, deformed and removed, which greatly facilitates the work of the sculptor with layers and polygons. However, this technology creates limitations when working with different levels of detail. Unlike standard modeling, in a voxel, changes made to the geometry of the model at a lower level of detail can completely destroy small details at a higher level.
You can work on digital sculpture using either a three-button or a standard mouse, or with a graphics tablet, which increases the sculptor's capabilities, allowing him to literally draw his sculptures, creating smoother lines and deformations of different thickness. The tablet monitor significantly increases the speed of working on the sculpture thanks to the touch screen and ease of handling the model.
Application
3D sculpture is still a young modeling technology that is gaining momentum, but despite this, in a relatively short time, it has gained great popularity all over the world. The peculiarity of digital sculpture is that it allows you to create models with a high level of detail (tens and hundreds of millions of polygons), which is still unattainable with traditional 3D modeling methods. This makes it the preferred method for producing photorealistic scenes and models. Basically, digital sculpture is used to model high-poly, organic 3d models, which consist of curved surfaces with a large number of large and small details.
Nowadays, digital sculpting programs are often used to improve and complicate the appearance of low-poly models used in computer and video games by creating various kinds of bump maps. By combining rough 3d models with texture maps, normal maps and substitutions, you can significantly improve the appearance of game levels and characters, achieving a high degree of realism in a computer game and saving computer resources. Some sculptors working in programs such as Zbrush and Mudbox often combine modeling processes with traditional 3d programs in order to better render and add additional effects to the model (for example, hair and wool). Programs such as 3ds Max, Maya and Modo include some of the elements and techniques for working with the model, similar to the tools in digital scrapbooking programs, but significantly inferior to the latter.
High-poly sculptures are widely used in feature and science fiction films, art, and industrial design. They are also used to create prototypes, photorealistic illustrations and to create real sculptures in 3D printing.
Digital sculpture software
Below is a list of programs for modeling high-poly (from several hundred thousand to several hundred million polygons) 3d sculptures:
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Difficult for a beginner and requires prior knowledge. And this is far from one hour of dense sitting in front of the monitor! Where to begin?
There is an opinion that now it is most interesting and correct to start with sculpting. Undoubtedly, this is a fascinating business, besides, a lot of modern specialists are already working according to a new scheme. For example, if earlier you said: “I first blind the model in hi-poly to several million polygons, then I will retopologize in lo-poly, bake the normal map, and then paint everything in the sculpting program” (more on this later), on You would be looked at as an idiot, and ... they would say "here's 3ds max, Photoshop and suffer." Things are different now. Many people start their work with sculpting.
In recent years, the concept of "3D sculpting" has been increasingly pronounced, and if earlier it was considered the aerobatics of 3D modeling, now it is just one of the necessary working skills of a modern modeler. We are talking about sculpting forms using a special set of software tools. Like a sculptor does it. Hmm ... a 3D sculptor.
A typical self-portrait of an ordinary 3D sculptor. Although, more often you can find goblins, dragons, monsters and astronauts.
3D sculpting has had a major impact on the following key areas of 3D modeling:
- The simulation itself. Sculpting has simplified a lot of things, and also brought a lot of convenience to the process of creating shapes that are complex in structure.
- Texturing (you can now draw and edit texture maps directly on the surface of 3D objects).
- Low poly modeling (now a low poly mesh can be built, created directly on the surfaces of high poly objects - retopology). Or, when exporting to other packages, sculpting programs automatically convert hi-poly to a lower resolution - automatic retopology.
Truth and fiction
Despite the fact that now there are several programs that work specifically with 3D sculpting, the very idea of sculpting, as such, is far from new and has previously taken place in almost all 3D editors related to polygonal modeling. With the help of tools like "magnet" it was possible to exert a certain influence on the vertices of the polygonal mesh. In this case, you can change the radius of action of such tools, etc. In addition, all polygonal objects can be cut and glued, as well as split into more vertices / polygons, or the number of polygons can be reduced using optimization tools and algorithms.
Thus, even at the dawn of polygonal modeling, specialists who were especially assiduous from spheres / hemispheres, and most importantly, who had powerful computers at that time, could sculpt human faces. That is, they were engaged in sculpting.
After that, of course, NURBS modeling became popular - modeling, where surfaces are created on the basis of bearing curved lines, and mathematical modeling has developed quite strongly - that is, objects, their elements or vertices are created on the basis of certain mathematical laws and formulas. This includes both landscape / wave generators and particle effects (fire, smoke, clouds).
Technologically, everything began to roll like a snowball, all technologies moved in parallel. Then the question arose of the implementation of realistic characters.
So the main pros ZBrush: Nice idea of modeling on Z-spheres and pretty confident "grip" of models with millions of polygons. In terms of algorithms for distributing computational load, the program is out of competition - the segment leader. Also at a high level and texturing. Automatic retopology is possible when transferring / exporting a model to other packages - a big topic, if you are interested, you can independently find a lot of information on the Internet.
Minuses: this is a very unusual interface, the program sometimes behaves unstable, so it is better to save more often.
How to draw a texture directly on a 3D object, we will look at the example of another popular sculpting program - Autodesk Mudbox.
Ergonomically, Mudbox is more user-friendly than ZBrush. It is immediately understandable. Works in the most standard sculpting mode. If you start from scratch, then you can take a certain model object as a basis, then using the indent / extrude tools, give it a rough shape of what you want to get, then increase the level of detail (the number of polygons), make more subtle adjustments, and so on. Further. It is more profitable to increase the detailing by adding layers to the working project, which will then be more convenient when exporting.
Painting over a typical model from the Mudbox arsenal
You work with the polygonal model itself by rotating it using a special manipulator in the upper right corner of the screen, zoom is the mouse wheel, and below the working area there is a toolbar - all kinds of brushes and options for their use: working with indentation / extrusion, texturing, and so on. Further.
Working at Mudbox can be called “civilized sculpting without pretensions” - everything you need is there.
Mudbox is pretty much an excellent 3D texturing tool.
3 D-coat
Perhaps one of the most advanced sculpting software available today is Piglway 3D-coat. Once I managed to work only with the trial version of the product. I can say that the impressions were very good, because everything is thought out to the smallest detail.
Many, of course, are intimidated by the interface, although I don’t know why, compared to ZBrush it can be called friendly. Basically, if you don't like the two options above, I recommend trying this one. There are many opportunities there. Personally, I liked the toolkit that allows you to quickly implement a polygon mesh for a lo-poly model right on the surface of a high-poly object, and your whole task is just to put everything together correctly. Then we create a UV normal map and so on. In this regard, 3D-coat is perhaps the leading program.
The issues of applying textures to 3D objects are also very interestingly resolved there, and not only can you add faces from photographs, but also use various masks. A very interesting product in terms of capabilities.
A free alternative to sculpting -Blender (modeSculptMode)
Now sculpting, its capabilities, is available in almost all serious 3D modeling programs. It is also available in the free Blender. Sculpting is turned on there in a special Sculpt Mode, the brush toolkit of which is somewhat reminiscent of a stripped-down ZBrush, but, in principle, you can sculpt anything you want.
Also in Blender it is possible to create a lo-poly model on the surface of the created hy-poly. In general, it is worth noting that Blender has almost everything that can be found in professional 3D packages. Therefore, this program can be called an alternative to everything.
Zbrush is the standard digital sculpture application in the 3D industry. Use customizable brushes to shape, texture and paint virtual clay for instant feedback. Work with the same tools used by film studios, game developers, and artists around the world.
System requirements:
· OS: 64-bit versions of Windows Vista or newer.
Processor: Intel i5 / i7 / Xeon or AMD equivalent.
RAM: 8 GB (16+ GB is preferred).
Hard disk: 100 GB (SSD strongly recommended).
Tablet: Wacom or Wacom compatible (WinTab API.)
· Monitor: monitor resolution 1920x1080 or higher with 32-bit color.
Graphics card: all types.
Torrent Digital Sculpting in 3D - Pixologic ZBrush 4R8 P2 in detail:
Innovations:
LiveBooleans.
The masking applied to the active SubTool will now be visible while the Live Boolean is active.
The grid offset for unselected SubTools will now be visible while Live Boolean is active.
Brushes.
Fixed various Brush issues related to Morph Target usage. (For example, the interaction of the ClayTubes brush with Morph Targets.)
Fixed brushes not supporting settings.
The default brush now has an Adaptive Size of 0.
The size of the "Dynamic" brush will now be stored in the Brush.
Dynamic Brush Scale (in Preferences) now allows for a wider range of values.
Updated GroomClumps brush to eliminate rendering artifacts.
Curved brushes using the "Dots" stroke now work with Lazy Mouse.
The Classic Axis-lock brush (Shift modifier) will now be used when the Lazy Mouse is disabled.
3D printing hub.
Exporting textures using VRML now supports Selected mode.
Resolved an issue with the "Move Bounding Axis to Origin" functionality.
STL Import now correctly imports color STL files.
Other.
Restored missing material shaders such as DoubleShader, TriShader and QuadShader.
Fixed issue with Best Render not working if BPR render was canceled.
Fixed UV stretching when creating Planar UV "s on the model.
LightBox now supports OSX Aliases.
Material mixing radius is now functioning correctly.
Restored functionality of TransPose Inflate.
Restored functionality of TransPose Clip.
Gizmo3D "TransPose All Selected SubTools" now disables interlaced rendering when inactive.
Opening and closing containers now requires a double click on the separator. This is to prevent accidental clicks when closing the containers.
The ZScript command now functions as expected. (ZScripts using or higher.)
Exporting Displacement maps in EXR format now supports Unicode characters.
The SubTool palette scroll bar no longer creates an empty SubTool list.
Fixed Ghosting when manipulating 3D models.
Excluded Layer artifacts when entering and exiting recording mode.
Drawing meshes in 2.5D will now refer to the classic axis-locked (Shift modifier).
Fixed custom palette issues related to sliders and shortcuts.
Fixed issues with BPR release with FiberMesh and edge detection.
ZBrush for Keyshot Bridge is now compatible with Keyshot 7.
Additional Information:
Available languages:
English, French, Spanish, German, Chinese, Korean
Treatment procedure:
1. Run the ZBrush_4R8_Installer_WIN.exe file as administrator and install the program on your computer.
2. Run the ZBrush_4R8_P2_Updater.exe file from the Update folder.
3. Copy the ZBrush.exe file from the Crack folder to the replacement destination folder.
4. Have fun.
Digital sculpture
Alexander Migunov, Semyon Erokhin
The fine arts genres, sculpture and painting are in a state of some kind of internal conflict. Painting as a more elite art brought up a culture of "looking" in a person, thus forming aesthetic taste through sight. This was noted by Leonardo da Vinci, who neglected sculpture because of its excessive naturalism and highly appreciated painting, in which the artist, by the power of his talent, creates the illusion of the existence of a third dimension. All this made painting the most representative art with ample opportunities to display not only portrait resemblance, which was mainly limited to sculpture, but also to achieve the finest nuances in conveying the changeable states of nature. The fact that painting had reached a dead end was first declared by the early modernists, who spoke out in their manifestos against any form of easel art that was only concerned with doubling reality.
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J. Popp. Information Waterfall (Bit.Fall). 2001-2006 Y. Kawaguchi. Centipede robots 2009 |
In late modernism (postmodernism), this attitude to the representation of reality is even more pronounced. But having abandoned representation, postmodernism did not abandon figurativeness, which in the new conditions lost its usual pictorial appearance, acquiring pronounced sculptural features. It is easy to see this by referring to the first experiments in pop art and various types of installations in the visual arts. Digital sculpture, literally bursting into art, in its own way reconciled the leading genres of fine art that had long been at odds with them. Like Homer's sirens, attractive and insidious, electronic means of expression made it possible to create such a capacious, but in the words of J. Baudrillard, a "cunning, insidious and immoral" type of simulation of the surrounding reality, in which all previous advantages were mysteriously combined, but also multiplied many times over. painting and sculpture. And digital sculpture has gone far from its yesterday's frozen three-dimensionality, achieving in 3D, 4D, 5D scales ... new, previously unknown kinetic and animation effects.
The first experiments on creating sculptures based on their computer models were carried out in the late 1960s by the American artists and programmers R. Mallary and Ch. Csuri, as well as by the German philosopher and mathematician, an expert in information aesthetics by G. Nees. Their experiments allowed the American artist and programmer W. Kolomyjec in the first half of the 1970s to single out computer sculpture as part of the fine arts.
In 1967, R. Malleri transferred to the digital environment his experiments in the 1940-1950s to create "kinetic sculptures", which he described as "multiplanar1 sequential projection of images", as well as later artistic and aesthetic studies of the 1960s. continuing their search for constructivists, neo-dadaists and neoplasticists. Especially for the design of sculptures, he developed the interactive computer program TRAN2, with the help of which he designed many works, some of them were implemented in the material.
In 1968, Ch. Ksuri expanded his research on artistic visualization of mathematical functions for three-dimensional space. He created a series of sculpture graphic “Three Dimensional Surfaces”, one of which (“Crests of Time”) was embodied in the material in the same year using a CNC milling machine. This technology of "materialization" of computer models of sculptures in 1968 was also used by G. Nes.
CNC-Milled milling machines are still used to create sculptures (especially large ones) from materials that can be machined (D. Collins "Twister", 2003; RM Smith (RM Smith) Ephesian Cybering, 2003; et al.). Nevertheless, the future of digital sculpture is associated primarily with the spread of Rapid Prototyping (RP) technologies, which allow the formation of three-dimensional material objects using computer models, gradually increasing the material or changing the phase state of matter in a given area of space.
The first developments in this area were carried out in the second half of the 1980s, but today, thanks to the technology of rapid prototyping, objects are created that are identical to their virtual models (the so-called WYSIWYG process - from the English. What You See Is What You Get: “what you see , then you will get it ”), and the agenda already includes the question of their transformation into“ rapid production ”technology, so that, on the basis of computer models, not prototypes, but the products themselves, can be produced.
Since the main direction of development of rapid prototyping is the layer-by-layer production of three-dimensional objects, many sculptors and researchers believe that it is legitimate to use the terms "digital plastic", "digital sculpting" or "digital sculpting" in relation to works of art created with their help.
In artistic practice, for the "materialization" of digital sculptures, the following are most often used: - stereolithography (SLT), which is based on the process of layer-by-layer curing of a liquid photopolymer; - modeling by gluing (Laminated Object Modeling - LOM); - selective laser sintering (Selective Laser Sintering - SLS), when the product is formed by sequentially applying thin layers of plastic, metal or ceramic powder, which is then sintered with a laser beam; - deposition of thermoplastics (Fused Deposition Modeling - FDM), shaping by feeding thermoplastic material through an extrusion head with a controlled temperature; - various technologies for bonding powders (Binding Powder by Adhesives), where a special powder serves as a forming material, and a water-based liquid adhesive is used as a binder, which flows through an inkjet print head, gluing the powder and forming layers of the created three-dimensional object. The advantages of this technology are a fairly high speed of "printing" and the ability to obtain full-color objects. The term "3D printing" is usually used to refer to the technology of bonding powders, and the devices themselves are called 3D printers.
One of the first artists who turned to stereolithography technology was Ch. Lavigne, in whose work mathematics and poetry, mythology and science are combined in the most amazing way. The artist himself defines it with the French word metissage ("crossing", "hybridization" and "mixing"), emphasizing that in his aesthetic world he does not have to make a choice between art forms, since they are all poetry. He claims that digital technologies open up fundamentally new opportunities for the sculptor as a “poet of forms” to materialize a “creative verb”, and today “for the first time in human history, a virtual object can be turned into a real one by description: Ex Machina, Per Vox!”. The first work of the artist, performed using stereolithography, was the sculpture "Chant Cosmique" (1994), then the triptych "Regeneration du Monde" (1996-1998), later reproduced in aluminum. K. Lavigne also used other rapid prototyping technologies, often using the term "robosculpture" in relation to the works created with their help.
The Telesculpture project by K. Lavin and A. Vitkine was founded on the possibilities of digital technologies for the “materialization” of virtual models, with whom they founded the Ars Mathematica association back in 1992, and in 1993 they organized the first exhibition of digital sculpture "La 1ere Exposition Mondiale de Sculpture Numerique" in Paris. The second exhibition "Intersculpt" took place in 1995. It was the result of a collaboration between the European "Ars Mathematic" and the American "Computers and Sculpture Foundation (CSF)" and was held simultaneously at the Galerie Graphes in Paris and the Silicon Gallery in Philadelphia. A videoconference was held between the two exhibition areas, and the first "telesculpture" - the work of S. Dixon was transmitted over the Internet
(S. Dickson) "Surface Minimale" materialized in Paris using stereolithography (SLT) and adhesive modeling (LOM) technologies.
In the late 1990s - early 2000s, M. Rees used stereolithography in artistic and aesthetic studies of the “spiritual / psychological anatomy” of organic forms (series “Anja Spine”, 1998 ), and M. La Forte - utilitarian objects in the spirit of Dada and Pop Art (Steel City, 1998; American Radiator, 1998; Dixie Edwards, 1998; Time Switch, 2001; etc.). Models created using rapid prototyping technologies often act as intermediaries when creating sculptures using traditional methods. M. Parmenter, for example, uses SLT models to make abstract sculptures in silver.
The American artist G. Bruvel acts in a similar way. (On the artist's website, the process is described using the example of "The Passage".) To model this sculpture, he used the Autodesk Maya 5.0 package. When designing the head of Psyche, the sculptor applied the technique of "extrusion2 shapes from a cube". Digital technologies allowed him to very carefully work out the details of the future sculpture and the texture of its surface.
Designing the face of Psyche, J. Bruvel turned to Modeling with Polygons and Subdivision Surfaces. Starting off by shaping the "rough" features with simple polygons, he extruded the resulting surface in various directions, creating smoother shapes and outlining the main features of the face, and finally worked out the details, adjusting the shape. Let's remember how he worked with a face from photographs of Andy Warhol. Guided by the aesthetic credo: "If not everyone is beautiful, then no one is beautiful!" Warhol did by hand what is done today on a computer.
To prepare a virtual model for physical embodiment using stereolithography, J. Bruvel usually uses the Magics RP software. But since the ultimate goal is to create a bronze sculpture, he pre-breaks the model into elements suitable for making a mold, which can then be used for traditional casting techniques.
J. Bruvel's arsenal also includes the technology of selective laser sintering. For example, when creating a set of chess "Mechanical World - vs Natural World" and sculpture "Mask of Sleep", the R-1 direct metal printer from ExOne / ProMetal was used.
“This method is used by the German artist and sculptor B. Grossman, for example, when creating 'MathModels' - sculptures to represent the aesthetics of complex geometric bodies. Sculptures are made in the material at various scales. The smallest artist designates as "Pocket Art". Despite the fact that most of the work on the sculpture is digital technology, in the final stages, in mechanical and chemical surface finishing, he uses traditional materials.
Since digital technologies make it possible to create an unlimited number of material copies of various scales on the basis of one virtual model, finishing using traditional techniques makes each sculpture unique. That is why the work on many sculptures J. Bruvelle completes in the technique of hand painting.
Now the technical operations associated with the creation of a work of art have been transferred to computer systems. As an example, we can cite the works of the German artist K. Sander from the projects "People 1:10" (1998 - 2001), "1: 7,7 ... Unlimited" (2001) and "1: 9, 6 "(2002), which are" sculptural miniature portraits of people. " The process is completely computerized: from digital scanning of a person to implementation in material using rapid prototyping technologies.
Despite the fact that the works are presented in the form of "sculptures", they are not representations, but large-scale copies of a person, and from this point of view, they can be classified rather as works of conceptual art. Here the artist does not participate either in the creation of the composition, or in the process of its embodiment in the material.
Digitally executed 3D sculpture designs do not necessarily materialize. Moreover, sometimes it is not supposed to be. Such works are usually denoted by the term "virtual sculpture" (see more about this:).
The originals of digital sculptures are, in the words of G. Bruvel, "digital information" consisting of points, boundaries and plans stored in the computer's memory in digital format. They are available for perception only in the form of non-digital reproductions.
Thus, modern digital technologies make it possible to create full-fledged works of art of two types: without objectification in the material (existing in the form of a data file) and with material embodiment, including with subsequent refinement using traditional artistic techniques. The latter, in accordance with our proposed classification (see details: and others), can be attributed to the traditional digital form of sculpture.
For perceptual purposes, digital sculptures can be visualized on a 2D monitor screen or presented to recipients using special devices such as virtual reality helmets or 3D monitors. The proliferation of such devices is an important condition for the formation of digital sculpture, but copies of a computer model are not tangible. The quality that has always been inherent in sculpture is no longer a necessary property. This problem is solved within the framework of computer systems that allow recipients to get the opportunity of tactile contact with a virtual three-dimensional object.
One of the interesting solutions, which can be considered as a digital relief technique, developed in 2006 by Japanese specialists under the guidance of Y. Kawaguchi is the "Gemotion" screen. When the image is projected onto an elastic screen, the video data is also transmitted to the pneumatic cylinders located behind it, which can change the shape of the screen within certain limits, giving the image additional spatial depth.
Three-dimensional laser graphics with the technology of three-dimensional laser engraving, which allows you to create three-dimensional compositions in the volume of transparent materials, can also be considered as one of the forms of digital sculpture. Three-dimensional graphics are generated mainly in automatic mode on the basis of a previously created three-dimensional computer model, for example, the work of B. Grossman from the series "Biology", "Astronomy" and "Physics".
Digital sculpture includes works created using microprocessor elements, as well as art objects with microprocessor or computer control ("cybernetic sculptures" by E. Ihnatowicz "Sound Activated Mobile (SAM)", 1968; "Senster", 1970).
In the first case, microprocessors carry a double load, performing the functions of elements of electrical and "aesthetic" circuits. This is the "audiotron" P. Terezakis "Sound Blinker" (1983); digital electronic "plants" that respond to external stimuli ("House Plants", 1984), J. Seawright, as well as his later works "Ursa Major" (2001), "Orion" (2002) and others , which became a continuation of research in the field of aesthetics of "interactive sculpture", which began (using analog devices) in the 1960s ("Watcher", 1965; "Captive", 1966; etc.); "Decision making machines" from the series "Homage to Norbert Wiener" (1982-1995) R. Verostko and many others.
Today it is possible to create complex kinetic sculptures even from such "amorphous" materials as water. The computer is used not only as a means for design and visualization, but also as an element of control over the form and content of a work of art, for example, in J. Popp's works "Information Waterfall" ("bit. Fall", 2001-2006) and "Information flow" ("bit. Ow", 2005-2008). In the first project, water is used as an intermediary between information about current events in the world and the viewer, and the computer not only allows synchronizing the operation of 320 solenoid valves, so that drops of water, falling, form a raster image, but also selects from various Internet resources "iconic words", forming the content of the installation. The second project focuses on the organization of amorphous color forms folding into letters and words.
The nature of the use of digital technologies in the creation of sculptures with microprocessor or computer control makes it possible to consider such works as works of traditional digital sculpture.
Recently, more and more researchers are turning to the aesthetic and ethical problems associated with artificial life forms. One of them is the American artist B. Evans. Continuing his research by Marcel Duchamp, Laszlo Mohoy-Nagy and Jean Tengli, he studies "electromechanical life forms" in order to reveal "the links between reductive sculptural form and aesthetics of behavior." With the help of the kinetic sculptural installation "ZOIC" (2008), Evans tries to understand the peculiarities of human relationships with complex organisms - birds, pets, and most importantly - with "small digital machines." Talking about his project, the artist quotes E. Dijkstra's well-known statement: the question “can a computer think” has no more meaning than the question “can a submarine float”. Evans believes that the scientist did not claim that computers can really think, but tried to attribute totemic signs found in the animal kingdom to the machines that surround us. Users often refer to computers and other digital machines as living things. The researcher is trying to find the line beyond which various physical actions performed by machines can be perceived by humans as meaningful behavior.
Evans devoted his work "BehaviorD" (2009) to the same problem, which is a dynamic composition of five autonomous spheres on a thin steel base, each of which has a complex electronic and electromechanical "stuffing" that allows her to make "choice" and fight for a dominant position in your "cybercenosis".
Some works of electronic kinetic sculpture are devoted to the direct study of artificial creation. One of them is the project "Swarm Paintings" (2003), carried out by L. Moura, within the framework of the concept of symbiotic art. The work is a "swarm" of "autonomous robots" operating on the basis of the development model of ant colonies, each of which is able to navigate in space, find color spots on the canvas and enlarge them at his discretion using the markers he has "(see:). After a convincing demonstration of the robots' ability to paint, their mating ability (demonstrated by P. Granjon in Sexed Robotswarm, 2005) seems obvious. The fact that the line between natural and artificial is extremely thin is also evidenced by the experiment of robotics by F. Gosier (1994) with robots acting like people: first they change the environment, then they themselves change in new conditions created by them (see: ).
In 2009, Y. Kawaguchi also turned to the creation of cybernetic sculptures. Its "cyberorganisms" will be able to recognize visual images and a biologically reliable mechanism of movement, and their behavior will imitate the behavior of living organisms, including the instinct of self-preservation. The project is aimed primarily at solving research problems. But the images of fantastic "centipede robots" created by Kawaguchi allow us to consider him as an artistic project demonstrating a return to the unity of science and art.
1 Multiplanar - from multiplan (from Latin - multum is a lot and planum is a plane).
2. Extrusion (from late lat. Extrusio - pushing out) - a technology for producing products by forcing the material melt through a forming hole.
Literature
1. 3 Moscow Biennale of Contemporary Art: catalog / under. total ed. N. Moloka. M .: Artkhronika, 2009.
2. Erokhin S.V. Aesthetics of digital art. SPb .: Aleteya, 2010. (Digital art).
3. Dennett D.S. Types of psyche: Towards an understanding of consciousness / trans. from English A. Veretennikova. M .: Idea-Press, 2004.
4. Evolution haute couture: Art and science in the era of postbiology. Part 1 / comp. and total. ed. D. Bulatov. Kaliningrad: KF NCCA, 2009.
5. Kolomyjec W.J. The Appeal of Computer Graphics // Artist and Computer. Ed. by R. Leavitt. N.Y .: Harmony Books, 1976. Pp. 45-51.
6. Paul C. Digital art. New ed. L .: Thames & Hudson, 2008.
7. Virtual and Rapid Manufacturing: Advanced Research in Virtual and Rapid Prototyping / Ed. by P.H. da Silva Bartolo. Taylor & Francis, 2007.
8. Wands B. Art of The Digital Age. L .: Thames & Hudson, 2006.
Look for levels of detail
One of the most difficult things for an artist is to see the levels of detail - to look at an object from a critical point in order to be able to divide the object into important shapes from unnecessary details. At the beginning, only proportions and basic large shapes are important, all unnecessary and small details should be ignored for further work. After the basic, large shapes are correct, the small parts easily fit into place.
The large, basic shapes that you see when you smooth out your gaze to the subject are essential in the beginning. Details can wait.
Our reference has many levels of detail, from large proportions to small muscles and folds of skin. A properly organized work process is in the systematic construction of a model from large to small forms. The different mesh levels of the model in ZBrush (subdivisions levels) give us a good organization of the workflow for working on levels of detail. Each sub-level gives us a different level of detail, the larger the sub-level, the more "clay" with which to work. Always work at the appropriate sub-level depending on the size of the parts you are trying to add to the model. This allows you to properly organize your model and makes it easier to work with high-poly modeling. (I sometimes ignore this rule, when I model the muscles using the clay tubes brush, it requires more polygons - it feels like. Regardless of how the shape I want appears, I return to this disciplinary approach).
Anatomy and Ecorche (drawing / sculpture of a figure showing the muscles of the body without skin)
The whole success of figure drawing is a solid understanding of human anatomy. Human anatomy is so complex that without a solid foundation of knowledge, small details of anatomy go unnoticed or noticed, but located in the wrong place. This is not a complex study of anatomy, for it we would need much more space and time than we have, but we will touch on several important aspects of anatomy. In addition, every good artist needs a good anatomy book. I am constantly asked which book is the best out of so many good and bad books. You can see my list of the best books on anatomy.
Our reference is an anatomical symphony, we must understand it well before we play it with our eyes closed. It is important to understand what is under the skin and where. We don't want to distort the shape by not placing the muscles and bones correctly. We sketch the skinless figure on top of our references to understand the position and function of the musculature. Ecorche is one of the best tools to help the artist understand anatomy. This process may seem simple, but as many of my students have said, "It's much more complicated than it sounds." Open the anatomy book next to your reference, find and draw on top of the reference all muscle groups, carefully tracing their beginning, ending and translocation with other muscles. Some muscles are very easy to find, others are difficult, you have to do a little investigation, like detectives, to find hidden muscle groups that are hidden under the skin and fat.
Hint: First, find and mark the connection of the bones and their direction, then mark the adjacent muscle groups, this is a litter to place all the other groups in place. With the advancement of the drawing, all the muscles and bones should fit together like some kind of puzzle, where all the parts complement each other.
Modeling
As good as it is to talk about artistic fundamentals, there are practical problems that need to be addressed as soon as we start modeling in ZBrush. In conventional sculpture, we first need to prepare the reinforcement with the correct proportions for further clay application. In a digital environment, we combine this stage: prepare the blank (base mesh, check loops and polygons, etc.), adjust the pose using the ZSpheres.
Base Mesh Guide
Always use polygons (quads)
If you can't do without triangles, hide them under your armpit or at the bottom of your foot. ZSpheres are good for building a model with quadrangles (although they are not so convenient to work in the area of \ u200b \ u200bthe legs and arms).
Don't worry about the shape
Your pig doesn't have to look great to begin with. Most importantly, your model is built from polygons (quads) and edges where you need them; shapes and proportions can be added or changed on the fly. As you can see from my humble base mesh example, all the magic happens in ZBrush. This program is so good at adjusting the position of the vertices and changing the proportions (TransPose) that we just need the basic shape, which we will gradually bring to mind. You can laugh at my blank, but remember this is just a starting point.
Lowpoly is better.
A mesh with a minimum number of polygons can be easily edited with one move of the vertex. A simple grid is good for adjusting proportions, but for animation and posing I add one or two sub-levels.
The edge loops do the job.
Although the loops are not so important in digital sculpting, it is worth getting in the habit of building your model with edge loops - they can be very useful. In a model built with the correct loops, you will need fewer polygons to prepare the shape and will not feel like you are on the battlefield against the wrong edges. The loops should repeat the direction of the main muscle groups in the direction of their deformation. I also use the loops as reference points for the critical points of the skeleton. I would prefer to have loops on the collarbone line and around the thighs that represent the iliac ridges.
Create square polygons.
Don't create long polygons. When subdividing the mesh (subdividing) in digital sculpting, long polygons are divided into long micropolygons, which are inconvenient to work with, since they kill plastic when working with different brushes.
Striving for polygons of the same size.
As much as possible, try to avoid unnecessary polygons on your blank. Avoid areas with small details, this will help save hundreds of thousands of polygons, when the mesh is subdivided, this will allow you to add another level of division with the same available memory. Remember: dividing one polygon eight times gives 65,538 polygons. (Who needs so many polygons under each nail?)
Of course, there are different requirements if you are modeling for production, but efficiency is still important. Also, if you know you will have a model with areas of disproportionately large detail, you will want to make the mesh of the disc thicker in those areas. (Or you can use ZBrush HD geometry).
Sculpting in ZBrush
And when our blank is ready, it's time for some fun. Let's walk through all the steps to develop our model into a finished digital sculpture.
1. Locking symmetry
While our model is in the T pose, we need to make important changes symmetrically about the center of the model, we need to edit places like the arms, legs, head and main body areas. We will correct the mesh at first glance, bearing in mind that most of the muscles, surfaces and shapes will change when the figure takes its position. When the body changes its position, bones and muscles shift, the skin tightens and gravity acts on every detail, changing the primary shape of the body. Therefore, just fit the model to the basic shapes of the human figure, check all the skeletal landmarks (joints) for ease of posing the model.
2. Setting the model in a pose
ZBrush gives us a choice of tools to pose the model as needed. In this model, I used ZSpheres for the posing armature and then edited with the TransPose tool. For capturing the correct pose and gesture, the IK rig would be ideal, but ZSpheres gives us a quick way to interactively tweak the pose by rotating the ZSpheres. TransPose is a good tool too, but I recommend using it to adjust and improve your pose. (By redrawing the mask and adjusting the bone / axis positions correctly, you spend a lot of time trying to get exactly the right pose.) So with the ZSpheres, we pose, then sculpt and then use TransPose as needed.
3. Check the proportions and position of the grid.
After posing for the model, it is worth checking the proportions and the mesh, since the deformation of the model usually does not go well. In this step, we are rebuilding our mesh by moving the vertices back to their positions, paying attention to the position of the loops in the thighs, collarbones and shoulder blades.
Hint: Remember the structure and position of the bones, they hold the entire volume of the figure. The surface of the model should always be on top of the bone reinforcement, pay attention to the chest and pelvis. Any violations will quickly destroy the impression of the integrity of the model.
4. Adjust the proportions with the TransPose tool.
As the work progresses, we edit the errors in the proportions of the model that were created earlier. (I found a LOT of these errors along the way from start to finish.) Create a new layer and use the TransPose tool to solve the problem. TransPose is one of the strongest tools in the program, so study it carefully. You will be using it often.
5. Find "body landmarks"
Bodily landmarks are solid points under the skin of the figure (where the bones are almost on the surface), they will help us to correctly position the muscles on the body. First of all, we find these points and only then we equip the figure with muscles between them. They give us confidence in the correct placement of the muscles from start to finish. (We examined this subject in the ecorche drawings). The movie above shows me the location of the scapula - the critical points of the upper back. And then following the anatomy of the figure, I correctly place the trapezius, deltoids and other major muscle groups of the back.
6. Sketching muscles and anatomy.
Now you need to add muscle mass. I usually paint the muscle volume with a clay tubes with a round alpha (# 06) at the highest sub-division level. I like the feel of the brush and the gradual build-up is easy to control. Once the shapes are correct, I smooth out the sharp edges and refine the transitions. Below are links to several films that show the sculpting of various body parts related directly to our sculpture.
7. Accuracy of assessment
Click on the picture to enlarge
Comparing the spaces around the sculpture (reference) and our digital sculpture, we see that they are very close, although not perfect. But as the saying goes, "Close enough for government and CGI work." (Close enough for government work and computer graphics.) Don't be fooled into thinking your model is accurate. You must remain vigilant and ruthlessly objective when comparing the model to the reference. If you get the feeling that it just doesn't look right, try to forget to edit the details. Start with proportions (things like forearm to upper arm, lower leg to thigh, etc.) and then test the pose. Look closely at the angles of the joints, use the negative areas (like in the picture above) for help. It is not uncommon for improper muscle placement to ruin the entire model. If the large shapes and angles are correct, your model will look good regardless of the small details.
8. Add transitions.
After the posture, large forms and muscle masses confidently take their rightful place, it's time to clarify the plane of transition between muscle groups. This is a very painstaking job. If the muscles are positioned correctly, this process becomes quick and usually involves working on the details with a thin brush to emphasize the concavities and bulges of the shape. It's like adding accents to a painting. They make a "pop" shape. (But not if the model is deformed, in this situation they will not help - see point 7.)
Hair and fabric.
Hair.
The technique for depicting hair is easy to perform.
Use a "clay tubes" brush with a height of 80. This allows you to cover the full range of the alpha map.
Select the spherical map for alpha channel # 35.
Create comma-shaped strands of hair.
Go to ZSub. Use a small brush to cut out curls and make sharp transitions between curls.
Use a small brush to make continuous strokes along the direction of the curls.
Textile.
In our sculpture, fabric is one of the main elements that we need to build. The starting point for the fabric model was, as for the lowpoly figure, the model, which repeats the topology of our material. I started with a 112 polygon blank.
I didn't try to copy one-on-one the behavior of the fabric on the sculpture and allowed myself to improvise in some of its areas.
Used brushes: Clay tubes, Standard, Pinch and Smooth.
Conclusion
said and done, here you can look at the final version of digital sculpture from different angles and in a 360-degree rotation video.
This entire lesson was about learning and teaching. So what did I learn (I already had experience with human figure sculpture)? This lesson allowed me to consolidate the things I know, some of them to remember. Regardless of experience, each lesson gives you new skills and knowledge. The most important aspects for me were: Exploring and testing negative spaces for comparison. Do not let any part of the body "lag behind in development" in the process of work. Keep the development of the parts of the model together, sometimes I leave the heavy parts for later for fear of solving them.
Anatomy
A few important points that I learned while studying sculpture:
1. The lateral condyle of the femur (meaning, of course, the head of the fibula, on the outer part of the leg under the knee) is indeed sometimes visible, and very evident in the sculpture. (And in general, the entire knee consists of more structures).
2. It is difficult to keep the general proportions moving the shoulder back and forth.
3. In this case, the right shoulder is pushed forward, partially moving the scapula along the circumference of the chest, thereby stretching the trapezoidal and rhomboid muscles and the latissimus dorsi musculus.
4. The left shoulder goes back, grouping these muscles up, the shoulder narrows, the collarbone rotates back in an arc.
5. The external oblique muscle of the abdomen can be almost rectangular in some people when viewed from the side, as in our reference.
6. Legs and arms are always difficult to model and sculpt. They have a large number of planes that are very expressive. They take a lot of time to get it right.
Modeling from a living nature. In the next lesson, we will look at the process of modeling from a living nature, as well as other important questions about modeling a figure. If you have interesting topics, please post them and I will try to include them in one of my next tutorials.
Translation of the article - coldvalley
