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architectnews · 4 years

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Shoreditch High Street, East London

Shoreditch High Street, East London Office Refurbishment, English Architecture Development Images

Shoreditch High Street in East London

24 Sep 2020

141-143 Shoreditch High Street, London

Architects: Patalab Architecture

Location: Shoreditch, East London, England, UK

This Shoreditch High Street office refurbishment project is located within East London’s fashionable Shoreditch area. The four-storey building, featuring both a generous internal and entrance atrium, has been substantially upgraded; offering modern office floors, which benefit from natural light, high ceilings, and full air conditioning. The three-storey high, fully glazed entrance lobby has been completely remodelled, introducing a bespoke facade and sculpted staircase feature composed of curved pipework.

Materials and construction methods have been chosen carefully with respect to the area’s rich history of clothing, furniture and printing; exposing the craftsmanship and rawness inherent in each. The offices feature exposed brickwork while the lobby stair and sculpture are constructed from waxed steel. The core is equipped with a lift, kitchen units, showers and bathrooms, which are accessed via a naturally lit, timber veneered corridor.

An important aspect for the Shoreditch project has been to create a street presence and identity for the refurbished building. This has been achieved largely through the visibility of the distinct staircase that is also very much in keeping with the highly creative character of this part of the city.

The design process involved exploring several design options through sketches and physical models, which gradually evolved in combination with 3D CAD modelling. Material, manufacturing and Building Regulation limitations were also closely considered in refining the design following discussions with the specialist subcontractor and consultants. The final design was then translated into CAM software in preparation for fabrication.

Whilst state of the art CNC laser cutters were used to precisely cut and translate the 3D information to create the stringer sections, it was fantastic to see that traditional bending methods were still prevalent in the process and in tailoring the unique curvature of all the sculptural curves intrinsic to the stair. Once the stair was test fitted off-site and inspected, each section was delivered to site for final assembly and welding; a process which took around 8 weeks. Due to the slight changes in curvature to each section, final adjustments on site were made to ensure the fluid geometry was achieved.

The near-completed stair was carefully cleaned in preparation for waxing, which protects the mild steel from rusting and produces warmth to the finish without masking the rawness of the material itself. LED lights were then fed through the pipes to light up the 200, individual fixed, 3D printed light diffusion lenses.

The completed stair, standing 10 meters tall, and its now unobstructed entrance atrium easily serves the 4 companies occupying 14,000 ft2 office space, whilst creating a fitting and memorable feature both night and day to the Shoreditch streetscape.

141-143 Shoreditch High Street in East London – Building Information

Architect: Patalab Architecture

Project size: 1300 sqm Site size: 300 sqm Completion date: 2016 Building levels: 5

Photography: Julian Abrams

Shoreditch High Street, East London images / information received 240920

Location: Leytonstone, London, England, UK

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Wallis Road Building at Hackney Wick Design: Stockwool, Architects image courtesy of Hectic Electric / Stockwool Wallis Road Hackney Wick Building

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Kings Crescent Estate Phases 1 and 2 Architects: Karakusevic Carson Architects and Henley Halebrown photo © Peter Landers Kings Crescent Estate

The Old Smoke House, Tower Hamlets, East London Architects: HWO Architects photography : Craig Auckland The Old Smoke House

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Website: East London

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kcexp-blog · 7 years

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jmaddox542 · 3 years

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New Post has been published on Jacksonville FL Real Estate

3D New Construction Virtual Home Tour | Concord NC | 4 Bedrooms | 2.5 Bathrooms | 2 Car Garage

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mobileautorepairpros · 4 years

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This Just In: Jaguar Teams Up with Hot Wheels for Unique Reveal of New F-TYPE

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The new Jaguar F-TYPE has completed its journey from sketchpad to showroom with a unique tour – in Hot Wheels® model form – of the Jaguar Design Studio. The 1:64 scale sports car model, complete with perfectly recreated black and white camouflage wrap, navigated 25 loop-the-loops, three gravity-defying jumps and 44 corners along the 232-metre long Hot Wheels orange track laid out around the studio. On the way, it raced from a design review of original sketches, past digital renderings, colour and materials samples and a clay model, revealing the details of new F-TYPE’s purposeful, beautiful and timeless design before coming to rest beside the real thing. Julian Thomson, Design Director, Jaguar, said: “As a designer and huge car enthusiast, Hot Wheels models have been a part of my life since childhood. They capture the imagination, make owning the car of your dreams a reality, and give you the first opportunity to actually ‘drive’ a car. “We are used to creating models in clay but seeing such a finely-detailed 1:64-scale model of the new F-TYPE race around the studio, showcasing every stage in our design process, was a truly unique experience.” Working in close collaboration, designers from Jaguar and Hot Wheels used the CAD data of the real car to craft the precise 3D-printed model, recreating every beautiful detail of the new F-TYPE, including its striking new clamshell bonnet, distinctive super-slim Pixel LED headlights and more sculpted front and rear bumpers. The Hot Wheels team also faithfully recreated the Velocity Blue colour from the SVO Premium Palette, and even hand-painted the F-TYPE badge on the back before the model was camouflaged ahead of its own ‘reveal’ in the film.

from MotorWeek Entries https://ift.tt/3820AWb via IFTTT

#IFTTT #MotorWeek Entries

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actionfigureinsider · 4 years

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New Jaguar F-TYPE ready to hit the road after taking unique tour of the Jaguar Design Studio in miniature, camouflaged, Hot Wheels® form

1:64-scale model sports car made a dramatic entrance on a custom-designed 232-metre Hot Wheels® track, making 25 loop-the-loops and three gravity-defying jumps

New F-TYPE’s timeless design evolves with flowing clamshell bonnet, subtly enlarged grille, super-slim Pixel LED headlights*, sculpted new bumpers and slender rear lights with ‘Chicane’ signature

New 12.3-inch HD virtual instrument cluster with Interactive Driver Display, luxurious materials and beautiful detailing define driver-focused interior

Engines include 300PS turbocharged four-cylinder, 380PS supercharged V6 and 450PS and 575PS supercharged V8s**, all offering outstanding performance and driver reward

Available to order now at www.jaguar.com and priced from £54,060 in the UK

Monday 2 December 2019, Whitley, UK – The new Jaguar F-TYPE has completed its journey from sketchpad to showroom with a unique tour – in Hot Wheels® model form – of the Jaguar Design Studio.

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The 1:64 scale sports car model, complete with perfectly recreated black and white camouflage wrap, navigated 25 loop-the-loops, three gravity-defying jumps and 44 corners along the 232-metre long Hot Wheels orange track laid out around the studio.

On the way, it raced from a design review of original sketches, past digital renderings, colour and materials samples and a clay model, revealing the details of new F-TYPE’s purposeful, beautiful and timeless design before coming to rest beside the real thing.

Julian Thomson, Design Director, Jaguar, said: “As a designer and huge car enthusiast, Hot Wheels models have been a part of my life since childhood. They capture the imagination, make owning the car of your dreams a reality, and give you the first opportunity to actually ‘drive’ a car.

“We are used to creating models in clay but seeing such a finely-detailed 1:64-scale model of the new F-TYPE race around the studio, showcasing every stage in our design process, was a truly unique experience.”

Working in close collaboration, designers from Jaguar and Hot Wheels used the CAD data of the real car to craft the precise 3D-printed model, recreating every beautiful detail of the new F-TYPE, including its striking new clamshell bonnet, distinctive super-slim Pixel LED headlights and more sculpted front and rear bumpers.

#gallery-0-8 { margin: auto; } #gallery-0-8 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 25%; } #gallery-0-8 img { border: 2px solid #cfcfcf; } #gallery-0-8 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */

The Hot Wheels team also faithfully recreated the Velocity Blue colour from the SVO Premium Palette, and even hand-painted the F-TYPE badge on the back before the model was camouflaged ahead of its own ‘reveal’ in the film.

While the Hot Wheels model features a full interior, you need to step inside the life-size F-TYPE to truly experience the rich, luxurious materials such as Windsor Leather and Noble Chrome which define the new F-TYPE’s driver-focused cabin. Beautiful details surround the occupants, such as the monogram stitching in the seats and door panels and ‘Jaguar Est. 1935’ markings in the glovebox release button surround – a subtle reference to the year when the Jaguar name was first used by company founder Sir William Lyons to brand one of his beautiful cars.

Where the model relied purely on gravity to accelerate it up to speed, the new Jaguar F-TYPE is available with a range of powerful and efficient engines: a 300PS turbocharged four-cylinder, 380PS supercharged V6, and 450PS and 575PS supercharged V8s. The latter is exclusive to the new F-TYPE R and, combined with all-wheel drive, delivers truly extraordinary performance in all gears and in all conditions. Launching from 0-60mph takes just 3.5 seconds.

The tiny F-TYPE reached scale speeds of up to 300mph along the custom-built track which was designed and developed with the guidance of Official Hot Wheels master track designer Paul Schmid.

Bryan Benedict, Senior Manager of Product Design at Hot Wheels, said: “We’ve been working with Jaguar for over 40 years but this was an opportunity to do something really special with a car that was not yet on sale. To go behind the doors of the top-secret Jaguar Design Studio and work with the talented design team to bring this car to life and reveal it on our unmistakable orange and blue track was a unique opportunity.”

The state-of-the-art Jaguar Design Studio opened in September, bringing the entire design team into one purpose-built creative space for the first time in the marque’s 84-year history. The most technologically-advanced design studio in the world, it features industry-leading modelling robotics, virtual reality, an 11-metre 4K powerwall, and has double the floor space of the previous site – allowing 20 full-size clay models to be worked on simultaneously.

Available to order now at www.jaguar.com and priced from £54,060 in the UK.

* Pixel LED headlights are exclusively available on the F-TYPE R

** The new global engine line-up is market-dependant

NEW JAGUAR F-TYPE MAKES WORLD PREMIERE WITH A LITTLE HELP FROM #HOTWHEELS ® New Jaguar F-TYPE ready to hit the road after taking unique tour of the Jaguar Design Studio in miniature, camouflaged, Hot Wheels® form…

#diecast #Hot Wheels. Mattel #JAGUAR F-TYPE

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nofomoartworld · 7 years

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The Edge of the Earth. Climate Change in Photography and Video

The Edge of the Earth. Climate Change in Photography and Video. Critical essays by author and historian TJ Demos and curator Bénédicte Ramade. Introduction by Director of Ryerson Image Centre Paul Roth.

On Amazon USA and UK.

Black Dog Publishing writes: Increasingly and forebodingly, contemporary artists are turning their attention to the subject of climate change, in poignant and often confrontational ways. The Edge of the Earth: Climate Change in Photography and Video explores recent and historic work in the context of present-day environmental concerns, considering the future consequences of the age of the anthropocene, and humanity’s harsh imprint on our planet.

The Edge of the Earth accompanies a major exhibition at the Ryerson Image Centre in Toronto, and includes works by pioneering and renowned artists such as Edward Burtynsky, Naoya Hatakeyama, Richard Misrach and Robert Rauschenberg; critical propositions on present situations by Chris Jordan, Gideon Mendel and Brandi Merolla; plus visionary works by Jean-Pierre Aube, Adrien Missika, Evariste Richer and Andreas Rutkauskas. Photojournalism from the RIC’s Black Star Collection is also included, contextualising artistic reflections within half a century of historical reportage on the environment.

Paola Pivi, Untitled (Ostriches), 2003

Paul Walde recording sounds on BC’s Farnham Glacier. Photo: Pat Morrow

The Edge of the Earth is the most poignant, upsetting and stunning book i’ve read (so far) this year. The catalogue of an exhibition that closed recently at the Ryerson Image Centre in Toronto, it builds a visual iconography of climate change and of environmental repercussions so complex that they probably surpass our comprehension and control.

In her text, curator Bénédicte Ramade explains how the images selected for the show and the book offer far more than mere depiction of landscapes, natural (or rather man-made) events and hyperobjects. They add urgency and a more tangible dimension to phenomena that would otherwise be little more than headlines in newspapers and tragedies that happen to other people, they remodel our definition of environmentalism in the light of climate change, and force us to reassess our individual and societal responsibilities.

TJ Demos wrote a thoughtful essay on the visuality of the anthropocene. His concluding lines are particularly moving. He believes that it might not be the spectacular accidents caused by the fossil-fuel economy that should worry us the most but the silent, accident-free and uninterrupted march of the industry. This new normal background is the one that we should resist politically, civically, morally and economically.

Hicham Berrada, Celeste (video still), 2014. Photo courtesy Kamel Mennour, Paris

Whether they are of the documentary or the speculative type, the photos in the book often made me feel uncomfortable. How do you deal with the ambiguous emotions prompted by beautiful photos depicting ecological disasters in the making? What do you do with the anxiety and the feeling of being powerless that these images inevitably trigger? Should we put our fate into the hands of geo-engineers? Or should we take a step back and re-evaluate our understanding of innovation, progress and survival?

I’m going to let you weep over these questions and list below some of the most remarkable artworks i discovered in the book:

vimeo

Andreas Rutkauskas, Oil!, 2013

Taking its title from a 1927 Upton Sinclair novel, the video Oil! introduces us to the early days of oil extraction in North America. The video follows the mechanism of a rusty jerker line system, developed in the 1860s and still used today to draw crude oil from the wells. The tranquil and trusty mechanism runs day and night, throughout the year.

Jean-Pierre Aubé, Electrosmog World Tour 2012, Mumbai (video still), 2012

Jean Pierre Aubé makes visible the electromagnetic fields that envelop a city. During his performances around the world, the artist uses radios, antennas and network computers to collect and record radiofrequencies, revealing the invisible presence of thousands of emissions from personal communications systems, security, commercial beacons and satellites.

Isabelle Hayeur, Chemical Coast 02, 2011,

Isabelle Hayeur‘s Underworlds series exposes the transformations of rivers, lakes and other aquatic environments. She dives into polluted waters with her waterproof equipment and reveals dying ecosystems and other man-made disturbances.

vimeo

Paul Walde, Requiem for a Glacier (trailer), 2012-2014

Requiem for a Glacier honours British Colombia’s Jumbo Glacier area, a landscape leftover from the last ice age, under threat from global warming and resort development. The center piece of the project is a four movement oratorio scored for orchestra and choir that converts information such as temperature records for the area into music notation. It seems that the project of the resort has since been abandoned.

Julian Charrière Panorama

Julian Charrière Panorama Behind the Scene. Photo via Bugada and Cargnel

Julian Charrière Panorama consists of photographs seemingly depicting majestic alpine landscapes under various weather conditions. However, the images are the result of ephemeral interventions in various construction sites in Berlin. Using extracted soil that was covered by flour and fire extinguisher foam, the artist fabricated miniature, model Alps inspired by his native Switzerland in the middle of the city. The series questions not only how perception works, but also our fantasized relation to “Nature” and the sublime.

Benoit Aquin, Equestrian Statue of Genghis Khan, Inner Mongolia, 2006. From the series Chinese Dust Bowl

Chinese Dust Bowl documents one of the largest conversions of productive land into sand anywhere in the world. Today, 22% of the deserts located in China have been caused by human activities such as over-exploitation of arable land, overgrazing and increasingly deep drilling for water. The resulting dust is picked up by the wind and transported, in the form of giant sandstorms, all over China and into Japan, Korea and even North America.

Amy Balkin, The Atmosphere: A Guide, 2013-2016. Image via zkm

The Atmosphere, A Guide is a poster-essay depicting human influences on the sky and their accumulated traces, whether chemical, narrative, spatial, or political.

Visually referencing the Cloud Code Chart, another interpretive aid for looking up, the Guide visualizes some ways humans occupy present, past, and future atmospheres, from sea level to the exosphere.

Nicolas Baier, Réminiscence 2, 2013

Conceived using a 3D model based on climatological data, Réminiscence is a speculative photo that imagines the gas formation at the early ages of our planet.

Sharon Stewart, Outfall Drainage Ditch at the Union Carbide Plant. From the series Toxic Tour of Texas, 1988-1992

Texas has the largest concentration of oil refineries and chemical plants in the U.S. It also ranks first in the country in the amount of known or suspected carcinogens released by the industry into the environment.

Sharon Stewart‘s Toxic Tour of Texas is guided by farmers, priests, mothers, ranchers, engineers, nurses, teachers and other grassroots activists who are intent on protecting their homes and their communities from exposure to hazardous waste. Some of their actions reversed governmental decisions and halted harmful industrial practices.

Joel Sternfel, Robert Kofi Bamfo, Corporate Manager, Forestry Commission, Ghana. From the series When It Changed

In 2005, Joel Sternfeld attended the 11th United Nations Conference on Climate Change, in Montreal. Almost all the participants agreed that not only was climate change occurring, it was also about to reach a tipping point and become irreversible. His photos portray the delegates at the moment when the horror of what they were hearing was visible on their faces.

Gideon Mendel, João Pereira de Araúj, Rio Branco, Brazil, 14 March 2015. From the series Drowning World

Gideon Mendel has spent 8 years traveling the world, photographing people whose lives have suddenly been devastated by floods.

Peter Goin, Accelerated Erosion, July 1987, from the series Nuclear Landscapes. This canyon is in the South Silent Canyon area on the grounds of the Nevada Test Site. Although the area is not used for testing it demonstrates the accelerated erosion caused by nuclear testing nearby. Vibrations from underground testing fracture the rock cliffs, breaking loose huge boulders

Brandi Merolla, What the Frack!, 2013. From the series Fracking Photographs

Photo on the homepage: Paola Pivi, Untitled (Zebras), 2003. Photography by Hugo Glendinning. Courtesy of Galerie Perrotin.

from We Make Money Not Art http://ift.tt/2oI7Na0 via IFTTT

#IFTTT #We Make Money Not Art

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the-iron-orchid · 3 years

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A Grand Tour of the Julian 3D Model, Part 1: Hot Potato

Meet the Genesis 8.1 Basic Male:

He is fully rigged, with hundreds of precision morphs available to change the way he looks, and hundreds more to make sure he looks reasonably good when you pose him.

He also looks like a potato-mannequin in lip gloss, and unless you place his (rather unprepossessing) geografted junk on him, he has the undefined groin bulge of a Ken doll.

It’s a very long way from that to this:

But they are the same exact base mesh!

Come with me on a magical tour of what went into making this potato-man into the Julian model we love today...

He has 124 individual morphs dialed in at various percentages, each by eyeballing it, rendering it, making a tiny alteration, rinse and repeat. Some control large areas of his body, other control tiny areas like the distance between the peaks of his upper lip.

I could just directly sculpt his mesh in Zbrush to exactly what I want, but that can cause unexpected results when posing, especially in his face. I prefer to use as many fully-featured vendor morphs as I can for shaping, because they contain built-in ‘helper morph’ fixes that automatically load when posing. I then use custom Zbrush morphs for fine-tuning and fixing mesh problems later on, after he has been posed and dressed. (More on that later!)

As an example, here is what happens when a morph doesn’t have the helpers to fix them automatically:

That little bit of his lower eyelid does not close properly, and I have to compensate for it when doing closed-eye renders.

Next, I had to give him a custom detailed skin, so he doesn’t look airbrushed...

Over time, through multiple iterations of the model, I have made over 200 customized 4K texture resources for him. 😵 At any given time, he is using about 20+ of them, along with 20+ additional maps that I have shamelessly stolen from other models I own, mostly for things like skin pore details and specularity (shine) control.

I create the custom maps by layering and remixing multiple 4K texture resources, hand-painting details like veins, makeup and the shadows around his eyes, until I get the look I want. His face texture file alone has 14 layers that I can turn on and off to make him flush to various degrees, look more/less tired, or wear makeup.

I spent all my money on Zbrush and Marvelous Designer, I can’t afford Photoshop. ;P

Compare the relative lack of detail in the very first iteration of the model:

With the most recent version:

Some of this is an improved physically-based skin shader, but a lot of it is the more detailed base textures I created from additional resources, plus some additional full-body HD morphs I got my grubby little hands on. I also made significant improvements to the base hair shape and shaders.

There are things I really liked about the first rev of Julian, but in the end he just looked too cartoony next to Jinana. (S/he was created from a very detailed HD base figure that came with skin textures scanned from an actual person of Indian ethnicity, but that’s a whole different story...) I had to make a lot of Choices to make Julian look like an actual human being, but overall I’m pretty happy with him. (I still make tiny incremental changes over time, so he’s always evolving!)

In the next installment, we’ll take a look at his extra features, from body hair to third-party genitals! ;P

(On to Part 2)

#my art #3d modeling #julian devorak #the arcana fanart #daz3d #a tour of the julian 3D model

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the-iron-orchid · 3 years

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A Grand Tour of the Julian 3D Model, Part 2: Fuzzy Bits

(Back to Part 1)

The next step in turning our smooth potato man into a suitably fuzzy Julian is something called strand-based hair. It used to be that all hair was made up of a bunch of polygon ‘cards’ (see: video game hair). But now, we can essentially give the rendering engine a set of instructions to generate the individual strands of hair at render time.

Behold, a moderately-fuzzy Julian: (click here for big)

Each of those body hair strands has its own geometry, and in fact they are all the same color! But they react to light differently at different angles, just like real hair.

(Warning: near the end of the post I talk about his pubes and there is a hilariously-censored wireframe n00d, with links to ‘full’ versions of the image.)

See how his upper lashes look red, but his lower lashes look almost black? (Also check out those wee hairs on the first joints of his fingers, I’m especially happy with those lol). His eyebrows are the same color, a shade darker than his head hair, but they are catching the light and look more red.

Here you can see that his eyelashes are made up of small ‘cards’ with opacity/alpha maps, and his eyebrows are fibermesh - a similar procedure to strand-based hair, but the generated hair geometry is then exported and brought back in as static geometry. It can then be further altered for thickness, expression, etc. But they all react similarly to light.

See how the glancing light on the edge of his forearm brings out the red, but it looks much darker everywhere else? (You can also see where I need to improve the falloff of the hair density map on his arm, lol, it ends too abruptly!)

Strand-based hair is controlled in several ways, and it’s a huge subject by itself. But basically, you paint out an area that says where the hair is to appear and how dense it should be:

Then you adjust the length and direction to your taste - you can even ‘comb’ it in the direction you want!

Finally, you can add texture and randomize the length:

Repeat this process for every single individual patch of body hair, because you’ll need the ability to turn them off and on so they don’t poke through clothing, etc. Plus, this allows you to individually adjust each patch of hair on the fly. This is important because you might want to temporarily make the hairs thicker so they show up better in a distance render, or thin them out for a render that is very close up.

Plus, you may want to stack multiple hair instances for a more realistic effect, as I did with his pubes: scrotal hair lmao

Because the ‘twig and berries’ models are grafted on, he also needs a sort of invisible patch that sits on top of it all for the pubes to ‘grow’ from, otherwise some of it would be covered up when the extra geometry is attached. That’s what the conformer is for!

Here you can see his leg hair and pubes in wireframe mode...

By rights the pubes should actually go down into the inner thigh area, but it causes some weird issues when posing the legs, so I usually just adjust this in post work.

🔞 Links to the full versions of this image, and a fully-rendered version, may be found below. 18+ only!

Wireframe / Rendered (peen warnings in full effect!)

Fun Fact: the Julian model has two sets of junk, one that is ‘relaxed’ and one that is ‘active’. The ‘relaxed’ version is not really suitable for anything but artistic n00ds, it doesn’t quite look right if you try to pose it upright. Because of this, he also has his ‘hero junk’ - the third-party gens he has on here. For the most part, they use the same textures.

BUT... this third-party model is uncircumcised by default, and because of his Jewish-coding, I hc that Julian is circumcised. This meant that I had to go into Zbrush and smooth away the foreskin geometry *cough* by hand (the extra geometry loops you see near the tip in the ‘full’ version of the wireframe).

Next time: The actual process of making a render with this guy! I plan to take you all from dressing, to posing, to lighting, to rendering and postwork. The final result will be a lovely soft-Julian render in period clothing. There’s a lot left to do!

(Onward to Part 3)

#my art #julian devorak #a tour of the julian 3D model

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the-iron-orchid · 3 years

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A Grand Tour of the Julian 3D Model, Part 4: Strike a Pose

(Part1) (Part 2) (Part 3)

OK, so I have done three things here:

Loaded a pose preset on Julian (and added his eyepatch)

Added a chair to the scene (scaled up slightly because he is so large)

Added a partial environment from my library

Looks great, right? ....nah.

Hold on to your butts, because this is a beefy post!

The hands don’t meet properly because Julian has Spider Hands, and the right cuff is doing something weird

What the hell ass balls is going on here??? I think the pose creator just did not want to deal with this finger and tried to hide it lol

The boofy sleeves are clipping through his pants.

His butt is hovering slightly above the dip in the chair seat.

This is actually very good as far as using a preset pose goes - they are made for specific figures (like the potato-shaped Basic Male), and can sometimes cause really weird results on customized figures. I got lucky with this one - they are often only a vague starting point for me.

First, we’re going to fix all those little pose problems!

Those cone things represent ‘bones’ in Julian’s rigging. Each bone can be rotated on its virtual joint, and doing so alters the mesh connected to it - the mesh follows and stretches itself to accommodate the movement. How much the movement of a given bone changes the shape of the mesh around it is controlled by weight mapping.

I have selected the bone that moves his upper right arm and shoulder. The red area is the most stretched or compressed by movement of that bone. The blue area is less affected. The yellow area marks the edge polygons of the area of effect. The grey area is not affected at all. Every single bone has this kind of mapping to tell the software how to handle movement of that bone. This bone also has child bones - the lower arm, hand, and fingers. These follow the parent bone, the same way your forearm and hand will follow your upper arm if you lift it.

Moving a bone may also automatically engage helper morphs that change the shape of the mesh to something more natural looking - for example, squishing the underarm area if the arm touches the chest or ribcage. If you look closely at his left shoulder (on the right side of the image), you can see a weird dent - his custom shape doesn’t play well with the helper morph! Fortunately, his shirt will hide this sin.

That’s better! I moved his elbows, hands, and individual finger joints for a better pose. The fingers don’t actually squish, but since he has thin spidery fingers, it’s fine.

Now... making clothing dynamic for draping is a huuuuuuge subject. Suffice to say that I applied a Dforce modifier to his shirt, which tells the software that this mesh should deform when it collides with another surface. You can also tell the software how much something should be affected by Dforce with a weight map - here, I want the collar and cuff seams to be much stiffer, or less affected by gravity or collision.

It looks like he’s wearing a Weird Dad Sweater, but this is the weight map I just painted! The bluish areas won’t move very much in simulation. The red areas will be fully affected by the Dforce settings (a whole post by itself, too much to go into here!)

I repeat this process with the vest, which does open in the front - if I don’t make the buttoned area rigid, his vest will just fall right open!

Now, it’s time to simulate! The simulation process sends Julian back to A-pose, then incrementally brings him into the final pose. That way, the sleeves will collide with his legs as they slowly come to rest on them. I am simulating the shirt and vest together so that his shirt doesn’t sag outside the confines of the vest. (It’s much more common to simulate layers one at a time to prevent explodies; this is a special case.)

After simulation, the shirt is much less puffed over his torso and shoulders, and the sleeves have collided properly with his legs and elbows. The vest has bunched over his pants at the waist and sagged forward slightly. It’s a good start! But as I mentioned earlier, there isn’t really enough geometry for the lower sleeves to simulate well; they just look like partially collapsed balloons.

Time to go back to Zbrush!

You can see something interesting here: the shirt mesh actually clips through Julian’s shoulders and the vest slightly. That’s ok! In DAZ3D, the mesh has a smoothing modifier that compensates for these little things. So I don’t have to worry about it!

You can also see there’s some weird distortion around the elbows and armpit that I can fix while I’m here (although the smoothing modifier reduces those, too). Also his left collar got a bit distorted, which I can fix manually.

Here it is after a bit of fiddling in Zbrush - I actually did not have to do the mesh-resolution tango, because it turns out that Zbrush’s cloth simulation handles low-poly quite well. This isn’t perfect... but it’s better, and probably good enough for now. (Until it bothers me.)

Then I put a cheesy smile on his face! :D I actually do want to render him smiling/laughing in this one, but expressions always look weirdly exaggerated and ghastly in the Viewport. So right now he looks like he’s got a fuccboi grin going lmao

But it looks a LOT different in a quick test render!

So we’re ready to render now, right? Right?

Not even close! 😤 Next time, we tackle surfaces, shaders and lighting!

(Onward to Part 5)

#a tour of the julian 3D model #my art #julian devorak #the arcana fanart

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the-iron-orchid · 3 years

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A Grand Tour of the Julian 3D Model, Part 3: Put That Thing Away

(Part 1)

(Part 2)

OK, so we have a reasonable facsimile of a Julian. He has all the body hair you could ever ask for, and fully-featured junk. Now what?

We remove half of that stuff so we can put some clothes on him. 😂 I gave him all the features necessary for spicy renders, but these things get in the way when we want to dress him up! The hairs will poke right through his clothing, and can also cause cloth draping simulations to explode.

Here's Julian in the DAZ3D Viewport, staring stoically into the distance, ready to be dressed up:

The first thing I have to do is remove his junk, because the clothing would just ignore it and his happy dingledonger would clip right through his pants. Hilarious, but not the effect we want. Same for his painstakingly-crafted bush, so away they go!

Warning: weird Ken-doll-like nudity under the cut...

L E G G I E S

Fun fact: the Viewport is actually a type of render - any time you are seeing a 3D model in space, you are seeing a render. The viewport uses an engine called OpenGL that is much faster but much lower quality, so you can see the changes you make in realtime. When I’m ready to test lighting or other things that only appear in a full render, I will switch my viewport to use the Iray engine, which is much much slower but simulates the effects of light in the real world. You may have heard of PBR, or physically-based rendering; that’s exactly what Iray is.

Now we’re going to stuff Julian into something like this outfit, using assets that I already have in my library that are similar:

As you can see, it’s not quite the same, but there are some things I can do to get it closer. The textures look very different in an Iray render, as you can see here:

You can also see all the problems - the clothing is somehow both poofy and clinging to him like a coat of paint, the textures are OK but lacking in detail, and the vest is doing some weird things around his armpit. Nothing works perfectly right out of the box, especially with a custom character!

(Those little green-blue-red marks are rigid follow nodes; they tell rigid objects like the buttons where they should go when I pose or shape the model. It lets them follow the garment without the geometry stretching, warping, or doing anything weird.)

This kind of 3D clothing is called conforming clothing. It conforms to your model. It changes size and shape to fit your model (sometimes a little too much), and it has rigging so that it can move along with posing. When you stack this kind of clothing, it takes the shape of the mesh you choose to collide it with, usually the item right underneath it. So the shirt has the shape of Julian’s torso, and the vest is following on top of that shape. This is why it looks so exaggerated and puffed out. (A lot of clothing also looks puffed because they’re trying to keep the model underneath from poking through, which is a subject all its own...)

But I want this shirt to do something different - I want it to be dynamic. I want it to drape over his body like real cloth. Depending on how an item was made, it can be very easy to do this, or you may as well remake the thing from scratch. Making it dynamic will be a topic in the next installment!

For now, I just want to make some changes to the overall shape of the shirt: I want the sleeves to poof out over the cuff. To do this, I use the GoZ plugin to send the entire model and its wearables to Zbrush:

A quick detour: the model looks faceted in Zbrush because models have multiple resolutions. When you subdivide or SubD a model, it smooths out... but each subdivision level quadruples the number of polygons! For the work we’re doing here, it’s best to work at the lowest level of resolution, or base resolution. It will propagate to the higher SubD levels just fine.

Also, this is the mesh without any smoothing or helper morphs the artist may have put into the product, so it’s much more shrink-wrapped to the figure.

OK, so I have hidden the vest, buttons, and half his body polygons to make things easier to work with, and poofed out his sleeves. This is a shaping morph I can send back to DAZ3D.

Side note: you can move vertices and stretch polygons as much as you want, but you cannot add or subtract even one vertex. If you do, it’s now considered an entirely different mesh, and DAZ3D will consider it an all-new static object with no rigging or helper morphs!

Here you can see that his cravat is FAKE! 😱 I hid the loose ends, and you can see that the geometry of the collar and the cravat is all one thing. There is also no opening in the front of the shirt! There’s just a crease to make it look like it opens. Sigh. But these don’t really matter for the purposes of this render.

More importantly, this mesh does not have enough polygons to drape very well at all; it will just sort of collapse slightly on top, like a deflating balloon. Not ideal.

So, here is my plan:

Move on to the posing and use DAZ3D’s internal dynamic cloth engine (Dforce) to roughly collide the poofy sleeves with other elements in the scene (his lap, a table, whatever it ends up being). It won’t be pretty, but it will give us a rough shape to work with.

Once posing is finalized, I bring him back into Zbrush - there’s no turning back from the next step, so the pose has to be final!

Subdivide the shirt mesh 2-3 times to get a lot more polygons. Like thousands more.

Use Zbrush’s own cloth-simulating tools to refine the draping (they’re an entirely different beast - powerful, but can be very tricky).

Reimport the shirt mesh to DAZ3D as a static mesh (.obj file). I will not be able to re-pose the mesh after this, the rigging will be totally lost. But I will be able to send it back and forth into Zbrush for further refinement if needed.

(Onward to Part 4)

#a tour of the julian 3D model #my art #daz3d #julian devorak

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the-iron-orchid · 3 years

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A Grand Tour of the Julian 3D Model, Part 5: The Devil is in the Details

(Part1) (Part 2) (Part 3) (Part 4)

OK, so I’ve spent a bunch of time re-simulating Julian’s clothing, and I’ll finish posing his fuccboi expression once I set up the final lighting, because it will have a huge effect (which you will see later). So now what?

The textures on this outfit are a bit exaggerated in some places. I don’t care for the way the boots have these wrinkles (1) and the baked-in wrinkles of the shirt now make no sense because I have altered the shape of the shirt (2). (I’m test rendering in bright light so you can see all of this!)

Time for a crash course in textures...

A 3D model on its own is just a blank eggshell. Texture maps, slotted into shaders, are what make them look like fabric, skin, metal, glass, or whatever.

To vastly oversimplify, a shader is a bit of software that figures out how light affects the model. Texture maps are plugged into the shader so they can be taken into account during this process. Here you can see a small sample of the many, many shader and texture settings on Julian’s ‘Face’ surface:

Fun Fact: Julian has over 50 individual shader settings on his skin surfaces!

Texture maps may be a seamless repeating tile, or they may be a single hi-res image that is created for a specific part of the geometry, like Julian’s face above. These textures are often ‘painted’ directly on the model in a texturing program, and then ‘unwrapped’ like an orange peel and flattened into a 2D image. (The 2D image can then be modded fairly easily for things like makeup, freckles, etc.)

Most 3D models have, at minimum, a Diffuse or Albedo map (the base color/texture), a Bump or Normal map (helps ‘fake’ fine detail), and some kind of Glossiness or Specular map (controls shine and reflectivity). But there are lots and lots more kinds of maps for various functions. Different shaders will make use of different additional maps - and some shaders use no maps at all, just color values and math!

This is part of the shirt’s diffuse map - texture maps are copyrighted by the artist, so I’m not putting them here in full, just a small sample to illustrate what I’m talking about.

And this is part of the normal map - see how it shows fine details like topstitching? But overall, it’s too coarse of a weave for my tastes, and I want to apply a different texture. Since the vest is being worn over it, losing the fake bump effect on the buttons won’t matter very much.

Here I’ve applied new shaders to several surfaces. These are all shader presets - just a little bundle of tiling texture maps and appropriate shader settings. I used a cotton shader preset on the shirt, a slightly creased leather preset on the boots, a velvet preset on the chair cushion, and an aged gold preset on the chair body. I added depth-of-field on the camera to push the background into, well, the background. This slightly blurs everything behind him, and helps make Julian the focus of the image.

Now it’s time for lighting! This, too, is a huge subject, but it is almost exactly like lighting for IRL photography. Here is the ‘studio’ view of the scene, including the camera and the spotlight:

There is also another source of ambient light, not visible outside of a render, that adds an even lighting to the whole scene. The spotlight on the right was placed so that details were more visible - it’s a bit too bright and neutral for the final render, and it casts some odd shadows on Julian’s face.

Literally the only thing I have changed in the image below is the lighting - because of the cast shadows, you can see that it even changes the composition of the image, making it less top-heavy!

I wanted to accomplish three things here: 1) bring focus to his face, 2) warm the scene slightly, and 3) bring up highlights on his hair and skin. So I placed an orange light on his right slightly behind him, and a pinkish light from the opposite side. Then I turned off the ambient lighting. It makes a tremendous difference.

If I zoom out, the studio scene looks like this:

You can just barely see the rim light on the left side of the image as a blue line; it’s partly intersecting with the wall geometry.

...And then I took Julian back into Zbrush to fix a bunch of small things that were bugging me, like his eyepatch. And then I added a little more scene clutter. And then I spent entirely too long trying to get a catchlight in his eye - difficult, because it has to be a reflection from something that is actually present in the scene. His eyes have layers of geometry that represent the moisture of the eye, causing it to reflect light just like the real thing. And then I moved the lights some more to fix weird shadows...

This kind of fiddling often takes up the lion’s share of my time! Truly, the devil is in the details.

But at long last... we are (probably) ready to do the full render! Here’s the latest preview:

I’ve been rendering at about 1500px wide by 2000px high for most of my stuff - big enough to get some good detail, not so monstrous that it won’t fit on people’s monitors. When there’s a metallic prop like this, I will sometimes use a bloom filter to bring up those fun glowing highlights (I also use it for renders with light-emitting effects like magic sparkles, or renders with a setting/dawning sun to mimic the glare).

Not going to lie, I will usually stop and restart my ‘final’ render several times because I notice things that only show in the full-resolution render (not these little low-res Viewport snapshots). And even then, I may have to go into GIMP afterward to fix ‘fireflies’ (overly bright pixels that often appear on hair and shiny items), adjust contrast, and of course apply my watermark (I’ve experienced art theft in the past and it’s... not fun).

Next time: the finished render!

#a tour of the julian 3D model #my art #julian devorak #the arcana fanart #3d process

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