GFXtutor offers Animation Tutorials, Character Rigs, 3d Models, Texture, Scripts and More!: Modeling

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SimplyMaya Architecture 101 [Maya]

SimplyMaya Architecture 101

This Maya 2008 tutorial will cover basic Polygon work-flow which includes the use of Split Polygon , Extrude , Insert Edge Loop and Bevel tools to get a new user comfortable with the many aspects of modelling architecture.

You will start off by learning how to set up image planes to assist you with the dimensions and characteristics of your building. Following this a quick lesson on creating a custom shelf for your modelling project.

Then we will start modelling using Polygon Primatives to rough out part of the Taj Mahal. As the Taj Mahal is symmetrical only one quarter of the main building structure is modelled to save time with the remainder of the building being a lesson in duplication and combining to complete the outer walls. Additional details such as the Domes and Manarets are also modelled seprately and added to complete your model.

SIMPLYMAYA COM INTERIOR SCENE MODELING-W3D [Maya]

SIMPLYMAYA.COM.INTERIOR.SCENE.MODELING-W3D [Maya]

The Living room tutorial is intended for intermediate Maya users. You will begin by setting up your reference image on an image plane and then start modeling the set, using both polygons and nurbs to block the correct shape, and size of the objects. Some of the tools used in the modeling section cover extrude face, cut face tool and split polygon to name a few. After the modeling section is complete we will switch gears and get into UV layouts, which is taking all the modeled geometry and converting it to a flat pintable map to apply textures on them in a painting program. You will learn how to assign color to the geometry to make planar maps as well as tools like move and sew uv's.

Texturing begins after all the uv's are laid out and have a flat map for painting. In a paint program you will learn how to use layers as well as many of the painting options to achieve the correct colors and textures of the objects in your scene. After we get the correct colors on our set we will start to add lights so we can see and understand how both textures and light affect each other. In this part of the tutorial you will learn texturing techniques like bump/spec maps, as well as how to use some of the built in shaders in Maya.

We then cover lots of different lights such as making a main light and fill light. After we have achieved a nice look on both our textures and first few lights we will start adding more light sources to really add all the true highlights and shadows. These light details will be done by using more point lights with decay as well some negative lights to fake shadows in certain areas which will be light-linked to only certain geometry. In the last few sections we go a bit more into the bump map for the sofa as well as creating a Paint effects tree for the final rendering.

http://rapidshare.com/files/309241370/smismw3d.part1.rar
http://rapidshare.com/files/309241346/smismw3d.part2.rar
http://rapidshare.com/files/309243250/smismw3d.part3.rar
http://rapidshare.com/files/309243319/smismw3d.part4.rar
http://rapidshare.com/files/309241364/smismw3d.part5.rar

Gnomonology: Nurbs Surface Modeling

Gnomonology: Nurbs Surface Modeling

Maya has the ability to construct multiple types of surfaces using a number of modeling tools and techniques. Maya's NURBS surface offer a clean technical approach to surface modeling. Starting from Photographic reference this tutorial demonstrates the entire workflow from images plane setup to curve layout to surface construction and detailing using Maya's surfacing tools in the construction of an organic bug.

http://hotfile.com/dl/18123337/1828026/ctk_27.part01.rar.html
http://hotfile.com/dl/18123149/4be35c5/ctk_27.part02.rar.html
http://hotfile.com/dl/18084281/9c93e3e/ctk_27.part03.rar.html
http://hotfile.com/dl/18084262/faf1e6f/ctk_27.part04.rar.html
http://hotfile.com/dl/18123180/3d0851c/ctk_27.part05.rar.html
http://hotfile.com/dl/18123192/b3b9226/ctk_27.part06.rar.html

Gnomon Maya Training Deformers 1-3

Gnomon Workshop Maya Training Deformers 1-3 | 12.7 GB

Deformers are intuitive and interactive tools used to sculpt surfaces into new shapes, circumventing the need to edit vertices one-by-one. Maya offers a large suite of unique deformers which can be used in conjuction with each other to yield complex effects. Whether you are rigging a character or designing a crashing wave, a thorough understanding of Maya’s deformers is crucial. Simple mistakes made early on can cause big problems down the road.

Clusters and Blendshape are two indispensible deformers which you will find yourself relying on over and over again. Clusters allow you to apply transform node functionality to multiple vertices, while Blendshape is a morphing tool. We examine the application of these deformers to NURBS, Polygons and Subdivision surfaces (including NURBS patch models), with a focus on higher-level workflow techniques.

Gnomon Maya Training Deformers 2: Sculpt, Lattice And Wrap | 4.2 GB

Sculpt deformers are spherical objects which create rounded deformations. They can be used to simulate effects such as liquid pumping through tubes, or a character chewing and swallowing food. Lattice and Wrap deformers are unique in how they allow you to deform surfaces with low-res shapes. The potential uses are therefore quite varied: a high-res NURBS patch-model can have facial expressions designed using just 40 points, a character can be animated squeezing itself through a keyhole, a dynamic simulation can have its performance quadrupled, and so on. This lecture addresses several examples with a focus on workflow and application.

Gnomon Maya Training Deformers 3: Wire, Wrinkle And Jiggle | 4.1 GB

Wires and Wrinkles are curve deformers, which are useful as both sculpting and effects tools. While a wire can be used to reshape or animate a character’s brow, they can also be used to create ripples, ocean swells or burrowing creatures.

Jiggle deformers are unique in that they do not deform surfaces via direct user manipulation. Their purpose is to create automated secondary shape animation (inertia-driven follow through). For example, a character’s thighs can exhibit the correct amount of wobble as he walks or a bird’s feathers can react naturally to the flapping of its wings. In this lecture we also discuss the pros and cons of Jiggle deformers vs Softbody dynamics.

Gnomon Workshop - Drawing Dinosaurs: Anatomy and Sketching with David Krentz

Gnomon Workshop - Drawing Dinosaurs: Anatomy and Sketching with David Krentz | 6 GB

Many of us drew dinosaurs when we were kids. Dinosaurs are beasts of paradox. They inhabited the world between monster and animal, imagination and science. For many, dinosaurs were the introduction to understanding the natural world. It is not surprising that many of the world’s leading paleontologists started out as artists themselves. In this DVD, David conveys a strong understanding of dinosaur anatomy mixed with the sheer joy of giving life, personality and motion to these inspiring creatures. He covers a wide range of topics from skeletal structures and muscles, to range of motion and the essential gestures of various body types. David focuses on capturing these elements in the form of quick sketches of both herbivorous and carnivorous dinosaurs.

Gnomon Workshop: Image Based Modeling : Advance

Gnomon Workshop: Image Based Modeling : Advance

In the second DVD of this image modeling series, Greg Downing delves into more advanced photogrammetry techniques. This lesson teaches you how to perform image-based modeling and texturing within Maya using cameras calibrated for Realviz ImageModeler. Greg shows you how using panoramas for photogrammetry allows you to construct a location with a minimal number of images. He then illustrates how to calibrate those panoramas in Realviz ImageModeler for image-based modeling and texturing within Maya. This DVD assumes a basic familiarity with polygonal modeling, and though the examples are demonstrated within Maya, the workflow is applicable to any 3D package.

01. Introduction to the Project
02. Image Modeling in Maya
03. Why Panoramas?
04. Getting What you Need from Stitcher
05. Calibrating from Panoramas
06. Setting up the Workspace
07. Modeling in Maya
08. Texturing in Maya
09. Conclusion

Gnomon Workshop - Character Design for Animation Part 2

Gnomon Workshop - Character Design for Animation Part 2

Rls Date : 04/02/09 | Supplier : iNK H0RN

In this second in a two DVD series, Gil continues to develop Francis' and Paulo's designs into full-body orthographic and 3/4 views. The demonstration finally culminates in a ?look and feel? master shot posing the fighters in an alley behind Paulo's butcher shop. In the process, Gil reinforces the key principles from the first DVD: dynamic silhouettes, rhythms, graphic design and composition. He then explores the design brief further, introducing unique lighting approaches, shadow and light relationships, larger composition fundamentals, color treatments to complement the mood, and applying textures, atmosphere and visual effects to enhance the final result.

The Design Brief

Reference Gathering

Full Body Orthographic Views

3/4 Views

Graphic Design

Value Structures

Color Application

Look and Feel

Pitch and Idea Presentation

01: Orthographic View Full Body B&W Francis

02: 3/4 View Full Body B&W Francis

03: Orthographic View Full Body Color Francis

04: Orthographic View Full Body Color Paulo

05: Look and Feel B&W

06: Look and Feel Color

Source: http://www.thegnomonworkshop.com/dvds/gri02.html

Gnomon Workshop - Character Design for Animation Part 1

Character Design for Animation Part 1-Gnomon Workshop | 1.69GB
Rls Date : 04/02/09 | Supplier : iNK H0RN

In this DVD, Gil Rimmer simultaneously develops two characters, Francis and Paulo, who are classic

pugilists in a fictional turn of the century metropolis. This first in a two DVD series focuses on creating the faces and heads of the two fighters, using dynamic silhouettes, rhythms, graphic design and composition principles. Gil stresses the various visual relationships within individual characters while addressing the complementary relationship between the two fighters. Through a methodical process, beginning with a design brief followed by reference gathering, through traditional approaches to silhouette design and ending on detailed ortho- graphic views and expression sheets, Gil shares his thoughts about the design process and its place in the animation production pipeline.

The Design Brief

Reference Gathering

Designing the Character Head

Traditional Approaches

Orthographic Views

Graphic Design

Value Structures

Color Application

Facial Expressions

Design Pipeline

01: The Brief

02: Head Design Paulo

03: Head Design Francis

04: Orthographic View B & W Francis

05: Orthographic View Color Francis

06: Orthographic View B & W Paulo

07: Orthographic View Color Paulo

More Info: http://www.thegnomonworkshop.com/dvds/gri01.html

overdone
Definition:	Represented as greater than is true or reasonable.
Synonyms:	exaggerated, overstated

SimplyMaya Architecture 101 [Maya]

SIMPLYMAYA COM INTERIOR SCENE MODELING-W3D [Maya]

Gnomonology: Nurbs Surface Modeling

Gnomon Maya Training Deformers 1-3

Gnomon Workshop - Drawing Dinosaurs: Anatomy and Sketching with David Krentz

Gnomon Workshop: Image Based Modeling : Advance

Gnomon Workshop - Character Design for Animation Part 2

Gnomon Workshop - Character Design for Animation Part 1

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