blenderart_mag-2_eng.pdf

Issue 2 | January 2006

Animation Special !!

Blender learning made easy

Tutorials

Spider rigging

Game character rigging

Animating falling feathers

Making of ‘Age of Steam’

Making of ‘Plumiferos’

Making of ‘New Pengueon’

Creating a texture in Gimp

Articles

Project Orange special !!

Foss.in Report

‘Stop Staring’ - Reviewed

www.blenderart.org

Animation Special !!

CONTENTS

January 2006 | Issue 2

EDITOR

Gaurav Nawani

editor_blenderart@yahoo.co.in

Exclusive !!

A look behind the ‘Project Orange team’. In

an exclusive interview with Sandra Gilbert.

MANAGING EDITOR

Sandra Gilbert

manager_blenderart@yahoo.com

WRITERS

Sandra Gilbert

Gaurav Nawani

Enrico Valenza

Juan J. Pena

David Lettier

Zsolt Stefan

Claudio Maleico Andaur

DESIGN & GRAPHICS

Gaurav Nawani

And more...

Website Design (underway)

Nam Pham

Behind the scenes of

the ‘New Pengueon’ by

Enrico Valenza

Plumiferos, an up-com-

ming short from Studio

Manos Digitale.

‘Blenderart Magazine’, ‘blenderart’ and

blenderart logo are copyright Gaurav Na-

wani. ‘Ask Blentuu’ and ‘blentuu logo’ are

All products and company names featured in

the publication are trademark or registered

trademark of their respective owners.

www.blenderart.org

Learn how to animate feathers falling and how to rig a human and a spider

EDITORIAL

Welcome to the 2nd issue of Blenderart. This issue we are

focusing on Animation. Animation is a actually a very large

ield, covering a wide variety of techniques and methods

for adding motion, emotion and effects to an endless array

of objects and characters.

Rigid Body

Fluid Simulation

Shape keys

This is an impressive feature list and now you can use any

of these alone or in various combinations to create your

next animated masterpiece.

The last few months has seen a major overhaul of the

animation system, making animation much easier and less

painful for even the least skilled of us. The ease of setting

up a skeletal rig makes animating your characters less

daunting, tempting even the most cautious of us to try our

hand at animating.

Sandra Gilbert

Managing editor

In this issue we are going to cover a few of these methods

and techniques to get you up and animating. We are also

bringing you up to speed on “Project Orange” and as a

special treat, we even have a short interview with some of

the Orange team.

On a personal note, the Blenderart staff would like to

express our thanks to the entire Blender community for

the overwhelming positive response and support of our

irst issue.

We are very lucky in that Blender has so many tools for

animating. There is a method and tool for just about any-

thing you would want to do. For those of you who have not

yet explored the animation capabilities of Blender, here

are a few of the tools you may want to consider as you

venture into the world of animation.

Happy blending!

KeyFraming/IPO manipulation

Lattice deformation

Curves and paths

DupliFrames

Pose Mode/IK & FK Chains

Particles/Dupliverts (Especially with delection and force

options)

Soft Bodies

www.blenderart.org

Ask Blentuu

Hi there Blentuu,

grabbed. Note that in this case there are 4 possible rips, so posi-

tioning the mouse has to be done a bit careful.

I have a question for your section of the Blender art mag. I’ve

used other 3d programs before like Maya, Max and XSI and they

all have a tool that allows you to split a polygon in half. I can’t

igure out how to do this in Blender. I’ve tried using the knife tool

to split a polygon but when it cuts, polygons on both sides of the

one I tried to cut would have cuts in them too.

When edges are selected, the rip seam is deined, so the mouse

cursor position only deines which part is being grabbed.

Blentuu answers

With only 1 vertex selected, you can step by step rip a mesh seam;

this also works on the edges of a mesh grid for example.

My question is; is there a way to cut a single polygon? If so,

how? I hope my question makes it into the next issue. Thanks in

advance,

- Alonso

Hi ,

I read and enjoyed your Blender art magazine, and have a ques-

tion for your “Ask Blentuu” section.

If you have a problem

or a tip you want to

share mail it to blentuu

Well the answer to that is no. In Blender, cutting a polygon will

always create extra cuts/edges, but not all hope is lost. With the

release of version 2.40, you get some control over the number of

cuts with the new improved Knife tool. Or you can use the new

Mesh Rip tool. The “Rip” tool can be used for tearing or ripping

parts of a Mesh, in order to create seams to be illed in with new

faces.

I have an application in which I would like to use Blender, how-

ever, I have not been able to determine if the following feature

is available. (For my purposes I would be driving Blender from a

python script.)

manager@blenderart@

yahoo.com

Is it possible to have Blender calculate the volume of an object in

order to calculate the object’s mass?

Rules for the Rip tool are (taken straight from the release notes);

Use short cut Vkey to activate it (a V resembles ripping :). It im-

mediately enters Transform translation mode after.

Many thanks,

Charlie Taylor

charlie@sallyandcharlie.com

It only works for quads, this because it internally uses the face

loop-select to detect the proper faces that need to be ripped.

If only 1 vertex is selected, the edge closest to the mouse cur-

sor deines the direction of the rip seam and what part is being

www.blenderart.org

Ask Blentuu

Python not being one of my greatest strengths, I did some searching

around and discovered that there is a python script in progress right

now that should cover what you need. It is named ‘AreaVolume’ and

further information about its progress and usage can be found in the

python forums at: http://www.elysiun.com/forum/viewtopic.php?t=5051

0&highlight=areavolume.

- Matt

Any work low you use will be of course tailored to your individual work

style. That being said, a commonly used work low.

A) Planning Stage.

B) Story line.

C) Concept sketches, perhaps even do up clay models.

D) Story boards ( even if only using stick igures).

E) The next part is done in progressive stages of detail. Set up your

shot/scenes with basic primitives, to get an idea of spacing and size Do

a quick render with basic colouring and lighting to judge timing.

F) Model low poly versions of everything, reining colouring, lighting

timing issues. Add in rough dialogue and sound effects. Add progressive

amounts of detail, materials and texturing and lighting, ine tune the

timing and sound issues

G) Final render

Hello Blentuu,

I have a question I would like to see answered in the next issue of

Blender art magazine.

I am new to Blender (using it about six months part time and have

worked through the tutorials in the Blender 2.3 Guide twice now). I

am just getting to the point where the application is familiar to me and

can easily follow most well written tutorials. I come from a scientiic

background and I approach things the way I would, if I was executing a

laboratory protocol (read procedure, gather materials and tools, follow

instructions, collect data, analyse data, write a report). Now not having

any formal art education I have been thinking about how to approach

the work low in Blender to produce a small animation project. Do the

professionals have a general methodology that they follow: model char-

acters, add texture and lighting, rig for animation, create animation,

render animation iles?

This type of setup works best in a team environment, with everyone

assigned speciic tasks, but can be modiied to an individual effort.

-- Blentuu

Some tips for a noob regarding typical work low that professionals use

when approaching a small project would be of interest to me. I like the

irst issue and am happily working on the included tutorials. Thanks for

the magazine hope to see something on work low in one of your up-

coming issues.

www.blenderart.org

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