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lumionblog-blog · 6 years ago

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How to optimize your 3D model for faster Lumion performance

Want to speed up your Lumion performance? Follow these helpful, 3D model optimization tips to reduce the size of your models and improve your real-time rendering experience in Lumion.

Imagine you created an incredibly detailed 3D model of your latest design. The model includes complex, intricate details such as beautiful, carefully selected nature objects and highly realistic materials and textures.

These details have made the model quite heavy and, while Lumion is certainly capable of handling large models with ease, sometimes the model can become so huge that it ends up slowing down the performance in Lumion’s real-time editor.

So, what can you do to reduce the model size and improve your Lumion experience?

When exporting your model from your 3D modeling software, such as SketchUp (above left), reducing its complexity may improve performance in Lumion.

One possibility is to optimize your 3D model by implementing efficient modeling techniques or reducing the model’s polygon count, all without negatively impacting the visual quality of your model.

Low-polygon model on the left, high-polygon model on the right. It’s pretty easy to spot the difference in quality.

In this blog post, we’ll take you through a crash course on 3D model optimization and how you can reduce the size of your 3D models for faster performance in Lumion. Please note that this article focuses on SketchUp, Revit and ArchiCAD models, though some of the tips you’ll learn here can apply to your modeling software.

What are polygons in 3D objects?

All 3D objects, also known as 3D models, are built up of polygons. These are triangular surfaces with three points (also known as vertices or 3D points), and in every 3D object, these polygons contain certain information associated with it, such as the texture, light and shadow mapping, and more.

Polygons in a detailed rock model (SketchUp).

Typically, 3D objects with a higher polygon count will look better (extrusions, beveled edges, chamfer edges, etc), but these high-detail models will demand more performance from your computer. Furthermore, inefficient 3D object building can lead to huge polygon counts for a little improvement in detail. For instance, one tree can include 2,000 polygons while another, similar-looking tree can contain over 20,000 polygons (if it is inefficiently built). If these trees are just background items, then you may be creating a very heavy scene in Lumion, unnecessarily.

Here is an example of how polygons are used in 3D objects, and how they can vary widely:

Above: The same object with three different polygon counts.

When all is said and done, the trick when optimizing a 3D model is to reduce polygon count without impacting the overall look and accuracy of the model. You should try to reach a middle ground, balancing the quality of your model and its size.

Lumion Tip: Improve real-time performance by putting models into layers

One tip to quickly improve your Lumion performance is to import your models separately and assign them to layers in Lumion.

For instance, instead of importing the entire model from SketchUp (with furniture, curtains and other objects), you can import the building structure and rock objects separately and assign them to layers in Lumion’s editor.

Adding the imported terrain increased the size of the Lumion scene from 17.1 million 3D points to 23.5 million 3D points.

By putting these models into layers, you can control when they appear in the editor. That way, if you’re only working on the building, you can temporarily hide the layer with the terrain so that you can have better performance when working on the building. In the GIF above, you can see an increase in the model size (and the performance requirements of your hardware) when turning on the layer containing the imported objects and terrain.

How to optimize your 3D model in SketchUp

When importing very large (more than 20 MB) models from external 3D CAD software, SketchUp recommends that you run the model through a poly reducer. Within SketchUp, there are different types of plugins and third-party software to reduce a model’s polygon count. One extension that comes with an array of useful organic modeling tools, including a polygon reducer, is the Artisan extension for SketchUp.

With the Artisan plugin ($39 for a permanent, single-seat license), you can take advantage of multiple tools that allow you to subdivide and smooth your model, paint, adjust vertices, and reduce polygons.

In this GIF, you can see the Artisan “Reduce Polygon” tool in action. Click the tool and you can choose the percentage of polygon reduction, from 10% to 90%.

Another plugin that came as a suggestion from SketchUp is Skimp, a SketchUp polygon reducer ($65 per year for a standard license). By downloading and installing Skimp, you can easily reduce the number of faces and polygons in your model while maintaining the visual appearance.

Some other SketchUp model optimization tips include:

Use simple textures

Texture size can have a significant impact on the size of your Lumion model. For instance, in a recent test, we found that a 16K by 16K texture increased the Lumion model file by 1 GB.

Hide geometry

Hide geometry that you don’t need and control the visibility of the geometry with layers. Whether you use layers in SketchUp or Lumion, make sure to use them effectively for improved performance.

Additionally, another tip is to use normal maps or bump maps to create the illusion of 3D geometry with the added benefit of reducing the poly count of the 3D model. You can watch a video about this topic by Mike Brightman here.

How to optimize your 3D model in Revit

Within Revit, there are several helpful resources about reducing polygon count and optimizing your 3D model before exporting it for rendering in Lumion. For instance, in the guide titled, “About Limiting Model Geometry Before Exporting,” the author discusses how you can reduce the amount of model geometry and its underlying data.

To limit the model geometry before exporting, there are three ways to go about it, including:

Managing the visibility of views

Turn off the visibility of graphics and for categories of elements in the view. This can mean turning off interior elements of a building or the surrounding landscape topography, for instance.

Exporting section boxes

By using the section box tool for the 3D view, you can tell Revit to only export items within the section box. This can be particularly helpful for large models.

Specifying the detail level of your model with LiveSync

Another way to influence the model’s geometry is through the Lumion LiveSync for Revit plugin. Instead of setting up a live connection, you can use LiveSync to determine the level of detail in your model before exporting it as a Collada (.DAE) file.

By clicking on “Export” button in the LiveSync Add-In, you will see an “Export to Lumion” box with options such as “Insertion Point,” “Surface Smoothing” and a few others.

LiveSync’s “Export” and “Surface Smoothing” feature lets you determine the amount of detail in the exported model.

The “Surface smoothing” slider determines the complexity of your model as well as the look of curved surfaces. Low surface smoothing, for instance, results in a lighter, less complex model; high surface smoothing results in a heavier, more complex model. You can see the results in the image below:

How to optimize your 3D model in ArchiCAD

So far, we’ve discussed model optimization tips for SketchUp and Revit. The next and final modeling software we’ll look at in this post is ArchiCAD.

As a rule-of-thumb, you’ll want to limit the amount of 3D geometry in your ArchiCAD design by following these four tips:

Use Lumion trees as opposed to ArchiCAD trees

Use Lumion objects as opposed to imported objects

Try to not multiply layouts. Multiplying one layout with different variations can result in a massive, high-poly model.

Avoid the Morph Smoothing function, if possible.

To see how many polygons are in your ArchiCAD model, you can download the Polygon Counting Tool add-on. The Polygon Counting Tool can help you control the number of 3D polygons in your model and it can also display the number of 3D polygons grouped by element types (walls, slabs, doors, windows, objects, etc.).

Polygon Counter Tool. Source: helpcenter.graphisoft.com

After downloading and installing this add-on, you can change the level of detail (LOD) of certain library parts in the project. The different LOD options include detailed, simple, custom and off.

One final tip with ArchiCAD model optimization involves placing grass on a large Mesh. By using smaller meshes, or cutting a large mesh into smaller meshes, you can improve performance in Lumion.

Expand possibilities with faster, stress-free Lumion performance

No matter the 3D modeling software that you use, there are always some tricks you can use to optimize the size of your model for better performance in Lumion.

And as always, it’s important to make sure that you have the right hardware for the best experience in Lumion. You can read our 101 hardware guide here.

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tonkigrade · 2 years ago

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sravs3dblog · 3 years ago

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Week 2:

My plan is to create an Indian kitchen model for the final project. Indian kitchen with 3D objects where it involves floor plans, the look, and the feel of a space. It also includes the specification of furniture, fixtures, and finishes, and coordinating their installations. It is useful for interior designers to view 3D creation from any angle. It is easy to model 3D objects and place props in an empty space for furnishing and decorating, edit any object, resize it, change its color, position, even its altitude on the walls. With Autodesk Maya, I can create a 3D kitchen. There is much more software with which I can create 3D interior or exterior designs.

This is the reference for the kitchen model. I will be researching and exploring more tools to gain knowledge and skills. Once the project is created, it could be easy to create various versions and layouts, without having to completely re-draw the project every time. I will be working on this project in Autodesk Maya 2022. It will help me gain the skills, knowledge, and experience to work on 3D software and texturing tools.

I enrolled in "Maya: Advanced Modelling" course and got a certificate on LinkedIn. This tutorial has helped me improve my skills while working on the final project.

https://www.linkedin.com/learning/maya-advanced-modeling/welcome?autoAdvance=true&autoSkip=false&autoplay=true&resume=true

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I downloaded the human character from CGtrader and imported the model to match the size of it and the other props in the kitchen area. The measurements would be easier if I placed the human body in the kitchen area.

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jorjathomas · 4 years ago

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Lookbook- Colour palette page 1

Knowing I had such a happy outcome with my narrative page and how planning my layout before hand improved my work pleasantly, I wanted to follow through with this only my colour palette page. I wanted to dedicate some more of my page to the 70s Woodstock influence as I felt this was a time that was influenced by vivid colours and prints. It was important that I included work that could also portray the psychedelia movement at the time and I believe finding musical references such as Jimmy Hendrix could help me achieve this.

Mexican textile artist Victoria Villasana

I began to look at Woodstock artists and certain illustrations that other artists had recreated. When looking at Jimmy Hendrix art, there was a common theme which finalised my decision in wanting to include him on this page. Majority of the works that reflected the subcultural style at the time were hippies and other psychedelic styles. These pieces related to their own forms of escapism at the time such as drugs and music which I felt I could portray with the use of my colour palette. I came across the artist, Victoria Villasana in the previous project; “Everyday Moments” and felt as though she could influence my style of CAD work aswell. Having this idea I began with printing of an image of Jimi which I wanted to use then I proceeded to rip around him just like I had done which the other scanned pieces I made. Here I have just used the Select and Mass tool again to keep the paper fibres created by the rips visible on the page.

Once cutting out the image, I then began to practice some different styles which helped portray the particular message I wanted. I used the Eyedropper Tool to make sure I got the exact shade of colours which I had copied from the Euphoric report on WGSN. Using this tool enabled me to get the rights colours when creating these triangles behind the image. I created this design using the Rectangle tool and making sure I layered the images correctly using the bar in the bottom right which gave me this effect. I did like result and didn't want to overcomplicate my work like I had done before as I had yet to add typography however I was worried I didn't have enough images correlated to help show certain key shapes and colours for the trend itself. I knew I had to add more fashion related imagery and not just this image which is why I decided not to use this design.

Knowing I had to improve this work, I began trying some different styles of work I had learnt from CAD lessons in order to help show this trend to the best of my ability. Firstly, I tried incorporating the use negative space where I could potentially add more imagery or certain text in InDesign so I decided to create the swirls and curves within the artists hair so I was able to use more of the space around him. I knew I wanted create some strips of colour spiraling over the page than could help me show both psychedelia and this 70s inspiration. I wanted to add these because I knew majority of this trends garments are prints so I found it important to add other forms of prints into this look book aswell. For example; the 70s prints and typography involved a lot of curves and swirls within certain art in comparison to the 40s or 50s, mid war, where posters involved much more bolder and sharper text. Finding the Liquify tool has defiantly helped me achieve designs like this and you can see above I had tried to create an outcome with it. I thought it would be interesting to add some more images however have them warped. I had come to realise I didn't like either of these practices either and decided to try something new again.

With the success of the narrative page I found myself overcomplicating the layout of this page as I wanted to keep the standard high as well as this blending in well with the other pages. I found this hard as this page was defiantly going to show much more colour than the previous ones and I felt as though I couldn't really portray any dark psychedelic images here like I had done previously. Despite this I started this page again with adding more images and changing the filters so they matched the colour palette better. This took more time than I intended as I had to add blocks of the specific colours behind the image in order for them to burn into a different colours otherwise they would just disappear into the white background. I also decided to layer a few images slightly over the top of one another and using the Polygon lasso tool, I cut out certain areas so the images could blend into one another nicely. I also decided to follow through with the idea of adding swirls which I have done in the images above. I liked this feature the most as I believe it adds more character with the page and with the help of my typography later on, portray 70s characteristics a little more. As I sadly didn't use the scanned image of Jimmy Hendrix, I decided to use an artists work of him from the Woodstock festival 1969 instead which is in the bottom right corner. I used another image of the Alexander McQueen 2020 collection aswell in the middle of the page. When having a tutorial previously I remembered my tutor advising our group that we were able to add other relatable images that could help convey the trend which is why I decided to use the image of the sofa in the bottom left. This is actually the sofa in my living room which I took a picture of. This furniture reminds me of the 70s from its colour and the curve and I hope helps a reader to see the message I wanted from this page.

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mi5014characterdesignhuwfenny · 5 years ago

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Environment

Layout of Environment

At the start of the project, I created a general floor plan for the environment. As we wanted a large expanding room for the main bulk of the animation to take place in. We wanted a large expanse of space to, for one, show both of the characters interacting and a large area where we could have multiple cameras to show the environment using wide angle shots and zooming in shots. We also wanted a long thin corridor, as the main idea was to have my character of the creature crawling along the side the wall on the interior of the corridor. I created a cube polygon and scaled it to make the general floor shape, adding the steps later on in the process as we debated on having our character falling down them. I then created the walls by using a similar method and rotated them by 90 degrees on the Attribute Editor and added the skirting board on the bottom of the mesh by using the cut tool and extruding it out.

As we wanted the environment to look like a church, I made arching windows by removing removing faces on the cube mesh and making them into a distinct Gothic styled arches in an art Deco aesthetic. I added frames by cutting around the geometry and extruding it outwards. I used a similar method with the doorway leading into the corridor, by cutting the geometry and deleting it, then extruding the edge and binding the vertices together. I then cut around the door and extruded it creating the door frame. I moved the vertices upwards at the top of the door to make it more angular and realistic.

The Kitchen

I created an L-shaped kitchen counter top by using a cube polygon and extruding it into an L shape. I then cut the geometry at the top of the cuboid with the edge cut tool and scaled this out. I then smoothed this out but decided it didn’t look very realistic or suit the aesthetic we were trying to achieve. We wanted a humble, simplistic home and the curved counter looked jarringly out of place, so I decided to keep it as a default poly. To create the cupboards and drawers at the bottom of the counter, using my own as reference, I cut some more edges into the poly, using the cut tool, and then created handles, which I had rotated to make them look slightly curved rather than blocked.

Cupboard

To create the cupboards I used the same process of using a poly cube. I then added multiple subdivisions on the edges, then selected the faces I wanted to define as a cupboard door and extruded them out. I again used the rotate tool to curve the handles to make them look like they could be opened. After this, I duplicated the poly and added another. For the extra two, I used the same process and rotated them to look as if they were mirrored and more diverse, and ergo more realistic.

Sink

For the sink, I used a sphere polygon and deleted half of it. I selected the outer edge of the halved sphere and scaled them to look like a bowl. I deleted some faces of the top of the kitchen top and lowered the bowl in. Some faces went into the bowl and it didn’t look accurate. To resolved this I added more vertices by cutting an edge down the middle of the protruding faces and located them in a less visible position. I created the tap by using a cylindrical polygon and rotating it into a curved shape, I then shrank this down and added it to an extruded face that I had raised on the table counter. Additionally incorporated taps into my work by using a torus polygon and rotated it, then duplicating it. I then put them on the side of the raised poly on the kitchen side on opposing sides of the tap.

Kettle

I used a cylindrical polygon to create the kettle and scaled the mesh to make it fat and low. To create the lid, I used the edge loop tool and scaledd an edge inwards. I then selected the edge on the side of the lid and lowered it to give the impression that it was a shut lid. I lowered the single vertex on top of the poly to make it lower. I created the spout by cutting an edge into the mesh and extruding it out, then continued this again to make this more defined. I made the handle by doing a similar process bu deleting the larger mesh of the centre of the deformation and extruding the edges of the handle and combining the vertices with the weld tool.

Photo Frames

To create the photo frames, I used a cube poly and extruded it into the correct size, I then increased the subdivisions and selected multiple faces on the interior of the frame and used the move tool to lower it into the frame. I then selected the edge from the exterior of the frame and extruded it by shrinking it to make it look less cuboid. I duplicated this mesh and added multiple additions to the walls to make them look less bare, changing the lengths and widths to portray diversity.

Additional Attributes

I also added a light switch, which I made using the cut tool and extruding the face. I extruded a smaller face by adding more edges using the cut tool and continued this process to add extra detail for the raised switch. Also, I created a minimalist inspired by the IKEA LACK design, for this I used a cube polygon and extruded it into the right dimensions. I created a cross by using the cube poly and increasing the subdivisions and extruding the faces.

I created some lamps by using the cylinder polygon and adding different polygons to the shape and combining the attributes. For example with the large lamp I used three separate cylinder polys and combined them. For the small lamp, I used two polys and edited the base of the lamp by extruding the top, centre and bottom and combining them.

Referencing Extra Furniture from Team Mate

These are additional references imported from a Google Share Drive that my partner and I shared, these are some textured attributes that would be added to the scene, we did this to see how the environment would look and if we could add some additional attributes to the final modelled scene.

Further along in the process, I decided to add a roof to the environment as when we experimented with camera shots, the lack of environment from the exterior of the house was clearly visible. I did this by extruding the back wall higher and adding a plane and extruding the centre subdivision and raising the rest them to correlate with them. This added depth to the design of the environment as it previously looked like a flat with Gothic windows, but the addition of the roof made it look more church-like. The addition of the beams were my idea, as I thought it would add an older quality to the church-house, as if it had been refurbished and developed.

I also increased the size of the cross on the wall to symbolise how much of an presence his religion had on his life. I had also put an image plane on the back of the windows, so we could, in theory, increase the transparency of the mesh and create windows when there was lights behind them, however this effect did not look effective and we removed them. We decided that we would fix this in After Effects by adding stained glass to the windows.

Texturing the Environment

To texture the environment, I used a combination of varied textures by using images, colours and different material attributes to create diverse and distinct furniture models.

Beams

For the beams, I changed the texture from Lambert and added the texture of wood to them. I had darkened the initial JPEG in Photoshop to make them more distinct and aged from the rest of the attributes in the scene.

Kitchen and Cupboards

For the kitchen counter, I used a Marble texture from the MAYA materials and selected the faces on top and on the sides of the counter. For the base cupboards, I used an off-white colour from the colour pallet to correlate with the light tones of some of the furniture I had textured such as the cupboards and set of drawers. The combination of light and dark colours were to reflect the duality of both the characters.

For the cupboards, I used a wood texture JPEG and imported it into the attributes, I did this as the table and chairs my partner hand used were wrapped in the same material and we wanted to create some synergy between the furniture.

Kettle and Sink

I used a metallic texture for the kettle and sink as I wanted them to be distinctly metal and I though light would bounce well from them coming from the windows. Additionally when I textured these, I was unsure if it was the right texture. However, when I observed it in the Render view port, I saw that they were clearly defined metal.

Cross

We wanted the cross to be distinct and we debated on using it as a mesh light at one point in the process. Instead, we made it a light bronze and increased the shininess using the Blinn surface texture. We would then use multiple lights to define the prominence of the cross, rather than having it look like an out of place neon accessory.

Windows

I removed the plane from behind the windows to allow light to come in effectively into the room. I selected the exterior of the window frames and ledge and changed the texture, using Lambert, to a whiter, cleaner colour.

Set of Drawers

For the set of drawers I used the same texture as the cupboards. I also used this on the photo frames.

Lamps

The smaller lamp was textured using the colour pallet, I used the Blinn surface texture for the bottom half of the lamp so when the light bounced off the surface it would look effective. I used a similar technique for the larger lamp but chose a metal texture and changed the colour to a darker reddish brown.

Door Frame and Light Switch

For these I selected the wall mesh and removed the main wall, leaving only these attributes. I used the Blinn surface texture for this to make the door and skirting boards look glossier, and to give the plastic quality to the light switch.

Shelves

The shelves were textured by changing their texture to a JPEG of wood by opening the files in the render node options. I chose this as I thought it was similar to the beams but not the same, as I thought I had repeated my meshes too much with some of my texture furniture.

At the end of the texturing, I realised there were no lights in the scene other than lamps. I decided to model some more lights. I did this by using a sphere polygon and extruding it by selecting the centre and shrinking the edge, then stretching the top edges. I then used a cylindrical polygon and used this as the wire by extruding it and added the ceiling cover by using a sphere poly and extruding it into a disk. I combined all these components into the same mesh and copied the mesh to place another in the corridor. I used the colour pallet to texture the light white, from Lambert. We were originally going to use the bulb as a mesh light however, we decided to use directional light as it had a better effect.

Walls

For the walls, we were originally going to use wallpaper however this was changed to the time limit we had to texture our entire environment. We decided to use an off white that complimented the furniture and darker tones of wood throughout the house.

Final Fully Textured and Complete Environment

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raimon-gi · 6 years ago

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DESI 1212: VR Game

https://github.com/turtleness/VR-Game/tree/Final

Introduction

This report analyses the research, design and development I have made and used to contribute to our Games project. Our task was to work as a group and create a game in Unity using VR technology and the type of game we chose to make is a VR horror game that is set in the 90′s in a plantation house in rural America.

This report features four parts; the ILP document, research, evaluation and finally, the portfolio.

The independent learning plan (ILP) contains my roles, learning outcomes, mark breakdown and milestone development.

The research section studies the secondary research, how I applied that research, reasons why I made the different design decisions and how it led to the final product.

The evaluation is a run-through of our ideas, how the game production went, how the group worked, the problems that arose and how we solved them and finally, any improvements that I think I could’ve made in my models.

The portfolio showcases the prototypes, creation process, early and final models, textures that I made and the renders.

Individual Learning Plan

[Updated: 12/02/19]

* This ILP is the same as the one that was submitted on 12/02/19, but added it here so that it will be easy to look back at, while looking through the contents of my report.

*Any old parts of my ILP have been crossed out and will appear like this and I have added comments on why they were removed below them and to help distinguish these comments, they will also be written in italic.

Overview

After I graduate, I mainly want to work on creating 3D models, so for this project, the primary role I wanted was one that entailed modelling. I chose to become one of the environment artists along with Laurence and will be working closely with both him and Maria, who wanted to focus on the textures. Due to there being more than one artist working on the environment, we must ensure that we have a consistent art style throughout all our assets in the game.

I will be concentrating on modelling the interior design of the house, so assets such as walls, doors, windows, stairs, etc. I will also be creating some props for our main characters for him to use as weapons in our game (Laurence took over the role of modelling props). Doing this would require detailed research on different houses of different locations and periods (the current plan is to have a dilapidated house set in Southern US in the 90’s) in order to get the right look and capture the right atmosphere our game needs.

The software I will be using in this project will be 3ds Max for hard surface modelling, such as the weaponry, walls, stairs, doors and other parts of the house. I will also be using ZBrush for more organic models and give them smoother shapes such as any foliage likes leaves/bushes/tree roots that may have developed in the house to give it a more abandoned look.

Finally, I will be creating my textures in Photoshop and unwrapping them in 3ds Max to add more detail to my models. *Since Maria wanted to focus on textures, I will only be creating textures if she has too great a workload and if she needs a helping hand.

Laurence took over Maria’s old role since she hasn’t been in contact with the group in a long time and has not produced any work for us to use so now Laurence is making the textures which will be used for the house.

Roles and Learning Outcomes

At the start of our project, when we first formed our group, we asked one another what roles we wanted to do and what our specialty was. I put mine as 3D modelling (either organic or hard-surface) and cinematics. Cem wanted to focus on character modelling and animation so I decided that I would take on the role of the environment artist since I wanted to focus solely on modelling but didn’t mind whether it was characters or props or environment as long as it was modelling. I also haven’t modelled any assets that were to be used in the environment but was familiar with setting up and building an environment thanks to our project in Unreal Engine last year where I used Epic Games’ assets to create the environment of my game.

Since our game is a Virtual Reality game, Darren pointed out that there may not be any cinematics used in our game, so that makes my main and only role in the group as being the environment artist and create 3D models for props as well as the interior of the house.

However, I may not be creating the textures for my models because Maria wanted to focus on creating the textures herself, but we both agreed that if there is too much workload for her that I would help her with the texturing so if she asks for my help then I will gladly step in and create any missing textures for my assets.

Since our game is a VR game, I need to do some more research on the extra requirements that VR has as it’s not the same as a normal game and I have to ensure that I meet the polygon count otherwise it will cause frame drops which would provide bad player experience as frames need to be at a minimum of 90.

Modelling a series of assets to be used in the environment would meet the 1st, 3rd and 6th learning objectives for DESI 1212.

By choosing to become the environment artist in this project, it widens my knowledge about 3D modelling as well as expanding my portfolio to include something new and opens another potential path for me to take after I graduate.

Mark Breakdown

Since my only role is being the environment artist, I want to be marked purely for the 3D models of the assets that I create for the house.

But if I end up creating some of my own textures along with Maria’s textures, then perhaps the marks I get could be split up as 80:20; 80% of the credit will be based on my assets for the environment and 20% of it would be based on the textures.

Since Laurence took over the texturing part of the house, I will be focusing purely on modelling the assets i.e. rooms, furniture, trees (outside the house), appliances (TV, toaster, fridge, etc). due to this, I want to be marked 100% on my models only.

Milestone Development

My target for now is to work with the concept artist and create a blueprint of the house (by the end of the month) so that us environment artists have a rough idea about the size and layout of everything. Researching about American houses should be finished at around the same time as well – a good house to base ours on would be the house they used in Netflix’s The Haunting of Hill House which is Bisham Manor located in Georgia, United States. I think it would be a good reference for our house because towards the end of the first season, when the family returned there it captured the abandoned look, yet at the same time was inhabited, by ghosts/demons. The house was monotonous and clearly hasn’t had maintenance for decades as the house was full of flora, which is similar to what I saw our game’s environment as in my head.

Once the blueprint is done, I can rebuild the scene in Unity and create a prototype using greyboxing by the end of the year, just before Christmas break.

Modelling should be complete by February 2019.

I underestimated the amount of modelling that I have to do in this project so I will have to push back this date to roughly a month before the deadline, so the final model of the house should be finished by April (to allow time for testing and any fixes/changes that I need to apply to the model before the submission).

Research

Secondary Research

Before modelling my environment assets for our game, I had to research the different art styles and designs of the 90′s to try and replicate that in my own models because we would need to have accurate assets present in the game, otherwise it wouldn’t fit the 90′s style and also to keep the models looking consistent with each other when multiple artists are working on different areas. Me and Laurence had to follow this style most since it doesn’t really matter for the character artists if they go for a 90′s style or not since demons are fictional and they wouldn’t have any real world references to base their work on.

First thing we looked at in terms of style are the actual houses and their exterior so that we would be able to determine the scale of the house and the number of rooms it would have, but the actual look of the exterior wouldn’t matter because the player never leaves the house so they wouldn’t be able to see the exterior at all, so it would be pointless to make the exterior pretty so we focused on the interior design instead.

Aside from the 90′s style research for asset aesthetics, the other thing that I did a lot of research on was to watch tutorials on the different tasks that I needed to do; this was my first time being an environment artist for a project throughout my stay in university so I looked up different techniques, methods and styles that other 3D artists did when working on environment assets and I found them to be of great help because this allowed me to create assets in a better way in terms of visuals and also efficiency. The most notable tutorials were those of ‘Arrimus3D’ - his YouTube channel really helped me create a couple of assets that I felt stuck on and his tutorials provided a different perspective and allowed me to look at the way I model slightly differently and also expanded my knowledge on the software as I learned and used tools on Max that I never used before.

Research Application

To apply my research directly into modelling in Max, I looked for reference images of top/front/side views of that asset to import and use that as a basis for sizing/position/shape when recreating the model from scratch. The reference images were applied as a material to the plane and resized to fix any stretching issues. I then created models around these reference images for assets that I wasn’t too sure on how to approach, an example being the 90′s desk/office chair shown above.

Cloth Simulation

I researched and did some early cloth simulations and created the wallpaper seen above with a tearing/peeling effect to further make the house look like it has been abandoned. This required watching a few tutorials as I have never tried this technique before in any package, but was pleased with the end result.

This was done by creating a plane and adjusting the scale then using the ‘Cloth’ modifier to simulate the amount of droop that each section had, which were manually assigned by me in the ‘Group’ tab of the Cloth modifier.

I used this same modifier to create the shower curtain, room curtains and the bed cover. I also used this modifier on less obvious places, like the pillows; for the pillows on the bed, it started out as a box with multiple segments and given a cloth modifier to make it ‘poofy’ and make it look more like a pillow.

For most of them, I still had to make adjustments to the assets outside of the Cloth modifier as they didn’t look exactly how I wanted them to - main one by adding the ‘Shell’ modifier and the ‘TurboSmooth’ after as some plains, especially the curtains, had overlapping vertices when pushed together using the Cloth modifier, which the Shell modifier fixed as it gave the plane volume and fix most of my issues. If the Shell modifier wasn’t enough, I used the TurboSmooth modifier after to make it even smoother - but made sure that I only set the iterations to 1 or 2 because as that number goes up, so does the poly count so keeping it low would make it look smoother, but also try keep the poly count somewhat low. The final touches were done by using the FFD modifier to manually adjust the vertex location and make the curves/edges look more natural and have a better flow.

Design Choices

In this section, I will be discussing the different design choices me and the team have made for our game, but all design choices won’t be listed here as I will be spreading them around the other topics where appropriate as it connects to the rest of the paragraph/sentence in that subsection.

I deliberately left the two rooms on the right wing empty because the one on the edge is that starting point of the game and where the player gets to know the controls and movement of the Vive. I didn’t want to add objects to the centre in case it hindered movement, but the main reason is because I wanted the player to focus solely on the tutorial and not be distracted by any objects in the scene.

I left the room on its left empty in case anyone needed a room for an asset and Laurence/Cem did need it in the end, and in the final scene the room has demons in them.

Evaluation

Ideas

We started by brainstorming ideas on what we can make for our VR game and a few of our ideas were creating a game where you pilot a giant mech, a pet game where you take care of a pet by giving it food, petting it, etc. We talked about ideas over 1/2 lessons before coming up with our final idea of making a horror game.

After deciding which type of game to make, we had to decide what elements would go into our game and after some back and forth discussion over a few lessons, we finally settled on which one to go for. The idea was that you would be walking around this abandoned house that has demons in them due to its past of being linked to a cult and them summoning them there. Your goal is to find artefacts spread across the house and collect all four of them and place them on a shrine and end the game. But in order to collect those artefacts, you would have to navigate the house and try to avoid the demons that you run into but if you do run into them, you would have to use the camera to try take their photo and ‘scare’ them away. Another thing is that the demons only show up in the camera feed and not in your actual line of sight, there they only show up as a silhouette of particle effects.

Production

We had a slow start to our project due not being able to settle on game ideas/elements but we picked up once the new year started and made decent progression. Work was flowing and the project was starting to come together nicely but it still felt like we were behind the other groups, so we had to make up for it and speed up the process and do more work.

Most of the work we made really sped up towards the end of the term and almost everyone has added a large input to the game, which made the game look very nice and work well.

Group Work

I worked closely with Kamal and Laurence during the creation process, especially Laurence since he was the one texturing my models. With Kamal, he asked me to work on a few things in Unity such as making the drawers interactive in the kitchen (the players can pull out the drawers but not completely - I set an “end” to how far the drawers can be pulled out). He also gave me the “green light” with some of my models and whether or not they can be used in the game itself.

On the middle/near the end of my modelling process, I created an asset list of all the (potential) models that will be present in each room and sent them to Laurence so he would have an idea on what types of textures to make in Substance Alchemist as well as telling him what textures I had in mind for my models e.g. scratched wood, dirty wood, dirty walls, dirty leather, wooden floor, rusty metal, etc.

This is the asset list:

[FIRST FLOOR]

KITCHEN: - Walls (*Highest priority*) - Torn wallpaper (double sided + torn edges) - Wooden Boards on windows - Spider web (Optional) - Wooden floor planks - Heater - Glass window - Broken glass window - Glass shards - Wooden dining chairs - Wooden tall chairs/stools - Wooden dining table - Bar/kitchen counter (with marble top) - Cupboards - Sink - Wooden drawers for storage - Oven - Cooker - Cooker exhaust hood - Fridge - Door - Window blinds

LIVING ROOM: - Sofas - Carpet (Persian?) - Wooden coffee table - Curtains - Wooden bookshelves - Large, hanged, picture frames

[SECOND FLOOR]

LIBRARY:(All/most can be reused from the living room/kitchen) - Bookshelves - Books - Chairs - Tables - Scattered paper/books - Heater

(MASTER) BEDROOM: - Double bed - Pillows - Blanket - Cabinets - Mirror with broken glass - Bedside table - Heater

TOILET/BATHROOM: - Toilet - Bathtub - Sink - Mirror (filled with graffiti so the player doesn't see his/her reflection?) - Medicine cabinet - Shower head - Shower curtains - Heater

NURSERY: - Wooden baby crib - Toys - Small wooden Horse - Heater - Walls with finger paint/rainbows/kids drawings/etc

Problems and Solutions

We had a couple of problems that arose before and during production and had to workaround these difficulties in order to continue with the project.

After deciding what type of game to make, we had a lot of ideas on what elements to put into our game and some of them were clashing with each other and it was slowing down our process because we kept going back and forth with ideas most days and it took us a while to finally settle on an idea on what exactly will be in our game and what types of gameplay elements will be present.

Another issue was communication, a few of our members didn’t show up that much to lessons so in order to try solve this issue, we made a Discord server so that we could all talk to each other after hours and also create a hub where we can upload any models, concept art, other images, feedback, etc. But then the communication problem still persisted as some members still didn’t talk much on the Discord server and one even stopped showing up to lessons completely and also left the server without a word, so we assumed that she will no longer be working on the project so we had to take on her role, which was the texture artist. Laurence took over her role and made the most of the textures in one of the Substance packages (I believe he used Substance Alchemist to make them). I also made a handful of textures to be used in my own models (PC and TV) using Adobe Photoshop by either drawing/colouring them myself or doing that along with the photobashing technique.

Aside from group issues, I also had issues myself and most of it was managing and balancing the workload I had. I underestimated the amount of work that I had to do and the models I had to make so I was working on this project very often to keep up and ensure that I finish before the submission date. I didn’t expect it to take me that long to model the interior but I managed to do it in time.

Despite the vast workload I had, I am still grateful that I had to do that because I know that in the games industry, there is a ‘crunch’ period where developers in a game company are required to do a large amount of work in a short amount of time.

Developers regularly lament having to suffer through unrelenting crunch cycles where they go weeks or months without seeing their families.

(Jason Schreier, 2016)

While I disagree with this practice and believe that this shouldn’t be the case, this would help me prepare for that rushing period if I choose to work in the games industry after I graduate.

Improvements

There are a few things that I would like to improve in my scene but was unable to do due to time constraints; the main thing I think I could’ve improved one was to increase the number of models present. In a real abandoned scene, there would be a lot more mess and clutter on the floor, be it furniture, trash or debris scattered everywhere. My current scene does have some messy floors at the moment, but not enough.

Aside from debris and other mess, I would’ve also liked to model more assets like furniture present in the rooms such as more toys in the baby room, a chimney in the living room, baby mobile on top of the crib and more.

Another thing that I could’ve improved are “cleaner” models and what I mean by this is to have neater topology as a few of my models have n-gons present, which are bad. Near the end of my work process, I tried to clean up the topology and remove n-gons and aim to create quads if possible, but if not, then allowed triangles. The reasons why n-gons were present in the first place is because at the start of my modelling process, I didn’t notice some of them when using/making booleans, especially in the kitchen. I cleaned up the most obvious ones, but there were still some present in the scene due to the sheer number of separate models I had in my scene, so chances are that I missed some of them. My workflow improved as I was modelling more assets - my assets looked better, topology was cleaner and I even made a few textures for a handful of my assets.

Finally, I think I could’ve also improved on my UV unwrapping technique; I unwrapped all my models, some were done well, most were decent and a few were bad (which I fixed). The models did look good in Unity once the models were applied so I’m happy on how they turned out despite some of them not being done good.

Portfolio

Prototypes

To start off my models, I created a greybox in Unity using basic shapes and combining them together to make them slightly more detailed. The main purpose of this was to determine and check the house’s scale and to give me and the group an insight on how the house will come out.

My first greybox is the one above and it was just an initial version of the first floor and of the living room and was mainly an attempt at seeing how I would recreate blueprints made by Laurence and also to check the size of the assets when tested in VR.

I continued working on the greybox to create an actual house this time and also added the second floor so that the player could have space to actually walk around in this time. This second version of the greybox was based on the reference image on the top left of a plantation house in Louisiana, USA. I recreated that image but added a storey to make it bigger and give the player more room to explore.

Feedback

After this week’s game testing session, we asked our testers for feedback on the game. I listed all the relevant responses below and also some comments addressing that feedback:

Most agreed the house was in scale

There needs to be more room variation

You should make the stairs more accessible by placing them in the middle

The first floor of the house seems too packed

The room height is a bit tall, but might work well with your game

1. I ensured this was the case by looking up actual room measurements and basing my greybox model on that. To check if those measurements I saw online were correct, I based them on the room measurements in my own house to see if the numbers would be close to the real thing. I had to upscale my own real world measurements because of the size difference; I live in a flat in London, so the dimensions would be far smaller compared to a large two-storey plantation home in the US.

2. Me and Laurence took this into account and applied it to my next version of my greybox based on Laurence’s updated blueprints and made more varied room sizes in the house.

3. We addressed this by removing the wall in the main hallway at the entrance and instead of having a pair of stairs, I combined them into something more central and made it a large staircase that can be instantly accessed/seen from the house entrance.

4. To fix this problem, we reduced the amount of walls slightly to allow more space for the player to walk around in and also make the main section more “breathable” and less claustrophobic. We also added more rooms on the first floor by adding a left and right wing for the house to allow more exploration, but since we didn’t want the whole house to be roomy and less haunting/worrying to walk around in, we added a tight, narrow corridor on the left and right wing which heads towards the living room and kitchen. This way, we don’t make it too roomy and helps gives them a feeling of unease when walking between the narrow walls but still make the main part of the house roomy, as it should be in real life.

5. It was a design choice and I intended the rooms to be taller than typical rooms as it would give the character artists a bit more flexibility and allowance in terms of character height. Since the taller rooms would allow a higher height limit, this would make the demons more menacing as if you see something larger than yourself, you are more likely to be intimidated by it simply due to the sheer size and if you combine that with the looks of the demon, that should instil fear into the player.

Me and Laurence continued to make changes to the house greybox and made the third and final version of it. The final version above is the largest one and therefore has the most rooms in it. I explained the benefits of adding the left and right wing rooms to the house so I won’t be repeating those.

We based the blueprints and the model on the images above mainly; Laurence looked at the house on the top right as reference for room layout and the bottom two as an interior reference. I really liked the bottom right image and made sure to incorporate that stair balcony + big gap in the middle of the room between floors into both my greybox and final model, but keeping the centralised stairs instead of the thin one in the image.

As part of my presentation, I did this test render to show atmosphere building in the scene and show an outside scene, but won’t work on this more as all the focus goes into the interior of the house and since the windows most likely will be tinted, the players wont be able to see anything outside, or at least their vision will be very limited when looking through them.

Creation Process

Before I started modelling the house in 3ds Max, I first exported my greybox out of Unity by using the OBJ exporter extension from the Unity asset store and imported that into Max and froze it so that I would be able to easily distinguish between greybox and Max model and also to be able to then pile on shapes to trace the shape of the room(s) and follow the scale of the walls/floor/doors/etc.

I began modelling the house and started by modelling the largest room first, which is the combined kitchen and dining room since that was what was most likely to have the most assets needed in a single room, so I thought that once I finished this, it would be easier to model the other rooms since they won’t have as many models required.

While I was modelling the whole house piece by piece, I was also creating a ‘library’ throughout the modelling process and what that library had were different basic versions of models or backups that I set aside from my live models in case something went wrong and I made an irreversible step, so if that does happen, I could simply just check my library for that specific part and drag it onto the main section and make it part of my final piece. This was just a safety measure for mistakes that I may have made during the modelling process so I used this only a handful of times as most of the time, I was able to simply undo my steps and get back the version I wanted.

Early Models

My initial models for the floor boards were the bottom four in the image above and I created them by using booleans to give them the cuts/damage. I ensured that the cuts had variation to them so that they all wouldn’t just be repeated.

A problem with this that I only realised during the cleanup stage of my workflow is that they are full of n-gons. N-gons are bad in models so I decided that instead of having the cuts as topology, they would show up as textures instead and apply them to the basic rectangle at the top of the screenshot and scrap the other four pieces.

Animations

Aside from models, I also made basic rocking animations for the rocking chair and the toy wooden horse in the baby room upstairs. Along with these two animations, I also added a video player to the TV screen and added an .mp4 file of static and looped it.

I added these small, subtle animations/effects because I thought that it would be a good way to creep the player out even more and also to provide contrast to the usual type of scare that the player will experience during the game; unlike seeing demons walking around the house, these wont have an immediate fright response as these are meant to build atmosphere and amplify the horror in the game.

youtube

I got the idea of making a rocking chair when I was looking around for layouts of living rooms and in one of them, I saw a large rocking chair and the video above instantly came to mind; this video is a very old video that I remember watching as a kid that really scared me and made me jump, so I thought that a creepy chair moving on its own in an empty room would be perfect in our game. So I decided to recreate the chair and the rocking animation in the video, minus the jump scare.

youtube

First animated model I made in the house is the rocking chair. I looked up 90′s rocking chairs and saw different types of chairs, but went with one that looked similar to that of in my reference video and made one with carved pieces on the legs and back support. I decided to put this alone in an empty room in the left wing of the first floor to provide contrast and variation compared to the other messy rooms and so that the player focuses on this chair solely. By having a lone item in an empty room, my goal was to make this animation creepier.

youtube

Next animation I made was the toy wooden horse for the baby room. As another way of adding variation to my rooms/models, I did the animation for this one slightly different to the chair; even thought it is the same type of rocking motion, the horse has a slower movement and also rocks the opposite direction from the chair. I did this because as I was animating both of them, I thought of the real world motion they have - the horse rocks forwards because that’s where the handle bar is placed, therefore the child playing with it will be leaning forward and thus making it rock forward whereas a person sitting on a rocking chair will rock the chair backwards as that’s the part of the chair that has the longer curved piece of wood on the bottom.

Unlike the chair, I didn’t put this one alone in a room because I didn’t want to be repeating elements in my scene too much and wanted the chair to be unique in my rooms, so I put this along with the rest of my models that were in the baby room.

youtube

The last “animation” made was the TV in the entertainment centre, mainly the TV screen. After modelling it in Max, I exported it to Unity to test this effect and added a ‘video player’ component to the screen (the screen itself was a separate mesh from the TV’s main body, as if they were all one mesh, the static would’ve been applied to 100% of the TV).

youtube

(CC Hub, 2014)

I got this idea from the horror movie, ‘The Ring’ in the scene where Sadako/Samara crawls out of the TV and got the static footage from a free source on YouTube that allowed reuse.

I thought that this would help build the atmosphere in the living room and also improve the creepiness of the house due to the fact that there are no lights on in the house since its abandoned, meaning that there is so source of electricity in the house. That’s what would make this piece unique because its the only electronically-powered device in the house that is on.

To play/trigger my animations in Unity, I set the fbx exporter to bake the animations too and once imported to Unity, I had to create an animation controller and drag the baked animation file into the controller node and edit the speed and set it to loop once the game is played. After setting up the animation controller, I had to drag it to the ‘controller’ part of the component.

Textures

I made a few textures for a handful of models using Photoshop and used either a photobashing + overpainting technique or drew everything myself by filling in colours and using a brush on top of it to make it look like a dusty surface. I put an example above of the textures I did with one of my pieces and explain my workflow. I will be talking about the keyboard mainly because it took me the longest time to texture.

I start the process by unwrapping the finished model using the ‘Unwrap UVW’ modifier and then arranging them/scaling them to make sure that everything should be in place. I then rendered and exported the UVW (1024x1024 - but final textures were 2048x2048) and imported them into Photoshop. I then set the opacity of the UV to half and create a new layer and start drawing on top of that. For the keyboard, I had to research and look up the keys and font that that specific model used. I based my keyboard design on the popular 90′s keyboard, the IBM Model M Ultra Classic Buckling Spring Keyboard. I encountered a slight problem halfway during the texturing stage however, as I just realised that my reference image to model and texture the keyboard was in the UK layout.

This was an oversight as I am used to the UK keyboard layout due to everyday use but had to be changed to the US since the setting of our game is in rural America. So I had to find a US keyboard and adjust the textures and also the left shift key model and the extra key next to it, which had to be removed and the left shift key increased in length similar to the one of the right as UK keyboards have one short shift key on the left and one long shift key on the right while US keyboards have both shift keys at the same length.

[Books]

[Loose Pages]

Final Models

I separated the house into two floors and uploaded them to Sketchfab so that my assets can be viewed freely:

Abandoned House Interior: First Floor

https://sketchfab.com/3d-models/abandoned-house-interior-first-floor-6aa59ceefcb546c3a7d6920b461eb7c4

Abandoned House Interior: Second Floor

https://sketchfab.com/3d-models/abandoned-house-interior-second-floor-032ab9ffe30743d8bf4a017b068001c2

#games incubator #VR #horror game

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unmappedgame · 8 years ago

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Devlog #14 - Lighthouse from Hell

This week’s task was a pain and it’s not even finished. I wanted to finish the lighthouse. I did a lot but I definitely underestimated the complexity of the task.

The most important progress it that now it’s possible to enter the lighthouse, go up the snail staircase, go out to the first balcony and go out to the top balcony with next to the glass part.

So I think I’m gonna write a bit about the difficulties.

First, when I started modelling I wasn’t really thinking that it will be really big in game, so I looks good from afar but terrible up close. It’s not as round as it should, there’s lack of details everywhere. There’s some things where the mesh is not connecting right so there are still some holes.

Second, the collider was a pain, it’s a bit more complex than the ones in other objects, because there’s an outer wall, an inner wall, the stairs (the collider is a ramp), the holes in the floor/ceiling to access the upper levels.

Accessing an upper level. You can see ugly polygons everywhere

Third, why can’t I get decent shadows in unity? I really need to make some research on that.

Fourth, why are the materials looking so bad? I still have to make textures but they’re gonna be minimalist so I’ll still have to make the materials look decent.

Fifth, what do I put on these giant white walls? It looks so empty and boring and fugly.

Stairway to hell

Oh look it’s my furniture

I still haven’t made a shader for the glass.

When I started I imagined when the colliders and doors would be working, and I would enter the lighthouse and climb the stairs to the top and it would be magical. But the first time the stair’s collider was not working, then I forgot the hole in the ceiling, then I couldn’t pass through the hole, then there was a random hole in the wall, then the ceiling and walls were not connecting. It took a dozen tries, not magical at all.

I can’t look at this anymore. I’m gonna leave it like this, and maybe I’ll come back in 2 or 3 months. Or never.

Next week

Something more fun or motivating. I don’t want to suffer 2 weeks in a row. Making the textures for the furniture and home objects should be fun. Or take another look at the pine trees, plants are always fun.

#devlog #gamedev #indiedev #agdg #unity3d #weekly

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davidpires578 · 6 years ago

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A Sketchy Situation

Draw first, then build – seems simple enough in theory. Drawing is best informed, I would suggest, by how the item is to be made, and this is where a person who makes as well as builds has a inherent advantage over those who only design. That said, one caveat is that sometimes new and original designs come about from those who do not labor under preconceptions and strictures imposed by best practices in a given field’s fabrication practices. It is all too easy though to design things which are impractical or even impossible to build, and these sorts of designs generally emanate from those who do not get their hands busy with actually making.

Division of labor of course has it’s benefits, but it is not without drawbacks.

The means by which one draws is itself a controlling factor in regards to design. I thought it might be relevant to some readers if I recapped my own approach to drawing over the years, providing some explanation for how/why the process has evolved in the direction in which it has, and why I have made some recent changes.

A long time ago I drew on sheets of paper or door skin, either to a scale or 1:1, using the conventional tools of ruler, compass, pencil, etc.. Those methods remain valuable to this day, as sometimes the most straightforward approach, especially in regards to larger architectural items, is to produce full-size templates on door skin and use those to transfer lines directly to the wood.

With furniture-scale pieces though, I’ve found in recent years that I save a chunk of time by having relevant portions of my CAD work exported to a large plotter which makes full size paper templates, which are then cut out, applied to door skin or thicker substrates, and used for layout or as a cutting template.

And my switch to using the computer to draw was prompted by a study I did a long while back in how to manually draw an item in perspective, using station points, and so forth. I found that the sheer number of traces required was leading to problems on the paper with lines which were really close together and thus in pencil or pen resulting in a big fat mess by the time one was halfway along.

These problems have been solved in the past by folks of course, yet one cannot deny the astounding amount of time it takes to prepare complete perspective views, especially of more complex objects. It’s time measured in hours and even days.

Drawing in perspective though is more or less essential when it comes to communicating with clients about what you propose to make for them. I’ve had experiences where I have presented the usual plan and elevation drawings to a client and had them nod and look like they were comprehending what they were seeing, but later found, through client comments when the work was well along, “oh, now I see what you had shown in the drawing”. A lot of people, it turns out, do not relate especially well to standard plan and elevation drawings, let alone more involved stuff.

And even from the point of view of being the designer, the standard views connote a limited amount of information. It’s hard to really get a sense of what the piece will look like when you are standing there next to it, or looking at it from across the room, say, without some sort of perspective rendering.

Also, drawing on paper or other physical surfaces tends to engender a ‘one-shot’ approach, especially for those sketches which take a while to complete. While lines can be erased and redrawn, if one has to do too much of this then things get messy. The more invested one gets into a sketch on paper, the more one tends to cling to progress realized and to loathe making significant changes. And of course this severely limits exploration on the design front.

Funny enough, a similar kind of thing happens with drawing software too, as hours spent invested in learning one type tend to disincline one from starting the process over with another software.

After encountering problems with drawing in perspective on paper, I decided to give Computer Aided Drawing (CAD) a try. The first one I opted for was called MacDraft by Microspot, a 2D drafting program. It is still on the market in fact. One of the first things I tackled was to employ the traditional means of station points to produce a perspective view of a heptagonal splayed stool. Here’s the finished product, with all the drawing traces removed from the view:

I don’t think I could have accurately drawn that piece like that were it not for the formal method, and CAD in 2D made it happen for me. It was immediately apparent that 2D CAD helped me do things that were difficult to realize with pencil and paper. It’s easy to modify digital drawings in most cases, Still, it took a long time to put all of the traces in there so as to be able to produce a perspective sketch.

A few years later after taking an introductory class in French Carpentry drawing from Boris Noel, I was engaged in a detailed study-draw-build for the 19th century Mazerolle treteau. That piece was rather complex, and my study was hampered by having neither a teacher nor a physical example of the completed piece which I could examine and learn from, and oh yeah, no fluency in 19th century French. Most of the traces required to draw all the parts are absent from the sketch, by necessity, in the Mazerolle book Traité Théorique Et Pratique De Charpente. The backside of the drawing of the piece in perspective was not visible, so I was left unsure of how the connections between parts looked when brought together on that side. I went as far as I could go in 2D before the doubts and uncertainties about what I was drawing, in other words how well I was understanding the method and whether it would actually produce the required parts correctly. It seemed like folly to try and construct the piece until I was sure that I had a handle on whether things were working out correctly in the drawing.

This is about as far as I got with 2D in MacDraft:

This drawing work took place around 2008. The nagging questions about whether the drawing method in the book which I was trying to emulate was producing the right parts or not led me to my first 3D drawing program, SketchUp (by Google). The program was free, and users could submit their drawn models to a warehouse where others could make us of the files. Things in the warehouse like appliances, fasteners, etc, which otherwise would soak up crazy amounts of drawing time, were most valuable to me at times.

SketchUp was fairly intuitive to learn, pushing and pulling shapes around for the most part. I’d looked at a few other programs, including Autocad Lite, but as far as dipping my toes into the pool, Sketchup was easy to go with, and free does help make the move risk-free.

And the program allowed me to construct the traditional sort of 2D sketch on the virtual floor, and then erect the parts directly above, using plumb lines off of the developed views – hopefully this sketch gives the idea:

I remember a rush of excitement the first time I drew in the scissor braces in 3D and found that the 2D geometry was producing the correct parts so that I knew I was on the right path. Later I was able to identify more than a dozen errors of various sorts in the original illustration, and I’m not sure I would have caught those otherwise. The shift to 3D allowed me to leverage uncertain 2D developed drawing work into something that I was sure worked, and this lead later to actually constructing the piece.

SketchUp came out later with a paid version called Sketchup Pro. While I continued on with the free version for several years, I eventually opted to obtain SketchUp Pro, for $500, for a job in which construction blueprints were required. SketchUp Pro includes ‘Layout’ which enables the production of various size formal construction documents, like this page out of a blueprint set I produced for another contractor for some standard kitchen cabinetry.

In order to communicate with the architects upon whose drawing the above work is based, I had to get SketchUp Pro. Since then I have barely used Layout, and for most users I would not have recommended they pay for the Pro version since you really don’t get much more than Layout for your money.

I found that even with my new paid-for SketchUp Pro, all was not ideal. For one thing, it is supposed to provide the ability to both upload and export drawing files in AutoCad format, the standard by which most other programs on the market are measured. File formats that autoCad works with are .dwg and .dxf.

I found that if I import an item into SketchUp which is in an AutoCad format, it will import and look fine, except it will often not be defined into different planes and discrete parts. What I mean is, if you click on the drawing, click the containing box open, and the ‘select all’, the entire part is highlighted:

This means that, unlike separate parts in the real world, like the fixing bolt and handle casting in the above sketch, are not separate but form a continuous surface with each other. It’s not exactly easy or quick to extract out the parts from one another in the drawing either. So if you have to modify one of these type of sketches in SketchUp, well, you learn it is best to avoid such tasks if at all possible.

That’s an issue with importing in SketchUp from AutoCad files. I’ve also had to export .dwg and/or .dxf files from SketchUp to a cnc fabrication place in the past, and they found that while the files I sent out of Sketchup (in the .dwg/.dxf file formats) could be uploaded, they also required hours of work to make usable for their machines.

It seems to me that SketchUp’s capabilities in terms of handling AutoCad format material is at best imperfect.

SketchUp’s less than scintillating performance continued with how it deals with files that grow in size to the point where there is a high count of polygons. I’ve encountered this a few times with different drawings. When a given sketch gets to a certain level of complexity, then SketchUp gets sluggish and even crashes. Crashes where I need to restart my computer. Later they introduced ‘Bugsplat Report’ to deal with sending info about the crash to the company – SketchUp now acquired by Trimble. It seems the company anticipates that program crashes are going to be sufficiently frequent to merit a special reporting application.

Trimble initially continued with the set up of there being a free version of SketchUp and a Pro One. However, when new versions were released, they charged for the update. Then they came up with the wondrous ‘Maintenance and Support Subscription’, and every year there would now be an annual fee to keep current. If your account was current, then you were eligible to receive any new versions of the software. if you let things lapse for a few years and then found yourself needing the current version, you would have to pay for all the updates that had occurred in the interim, if I am not mistaken.

If you didn’t keep up with the new versions, saving your cash – and why would you since the upgrades between versions,

#woodworking #wood #working #miter #saws #Woodworking

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