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IMAGE-BASED MODELING TECHNIQUES for ARTISTIC RENDERING Bynum Murray Iii Clemson University, [email protected]

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IMAGE-BASED MODELING TECHNIQUES for ARTISTIC RENDERING Bynum Murray Iii Clemson University, Wolfsblade@Bellsouth.Net Clemson University TigerPrints All Theses Theses 5-2010 IMAGE-BASED MODELING TECHNIQUES FOR ARTISTIC RENDERING Bynum Murray iii Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Part of the Fine Arts Commons Recommended Citation Murray iii, Bynum, "IMAGE-BASED MODELING TECHNIQUES FOR ARTISTIC RENDERING" (2010). All Theses. 777. https://tigerprints.clemson.edu/all_theses/777 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. IMAGE-BASED MODELING TECHNIQUES FOR ARTISTIC RENDERING A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Arts Digital Production Arts by Bynum Edward Murray III May 2010 Accepted by: Timothy Davis, Ph.D. Committee Chair David Donar, M.F.A. Tony Penna, M.F.A. ABSTRACT This thesis presents various techniques for recreating and enhancing two- dimensional paintings and images in three-dimensional ways. The techniques include camera projection modeling, digital relief sculpture, and digital impasto. We also explore current problems of replicating and enhancing natural media and describe various solutions, along with their relative strengths and weaknesses. The importance of artistic skill in the implementation of these techniques is covered, along with implementation within the current industry applications Autodesk Maya, Adobe Photoshop, Corel Painter, and Pixologic Zbrush. The result is a set of methods for the digital artist to create effects that would not otherwise be possible. ii DEDICATION This thesis is dedicated to my parents. Their support enabled me to make it this far, and to Carrie my partner and muse. iii ACKNOWLEDGMENTS I would like to thank the faculty of the Clemson DPA for their instruction and guidance throughout the program, and especially my advisor, Dr. Timothy Davis, for his assistance throughout the thesis process. I would also like to acknowledge the students of the DPA program, for their support and camaraderie. iv TABLE OF CONTENTS Page TITLE PAGE .................................................................................................................... i ABSTRACT ..................................................................................................................... ii DEDICATION ................................................................................................................ iii ACKNOWLEDGMENTS .............................................................................................. iv LIST OF FIGURES ....................................................................................................... vii CHAPTER I. INTRODUCTION ......................................................................................... 1 II. BACKGROUND ........................................................................................... 3 2.1 Traditional Painting ........................................................................... 3 2.2 Three Dimensionality in Painting ...................................................... 4 2.3 Impasto ............................................................................................... 6 2.4 Relief Sculpture ................................................................................. 8 2.5 Camera Projection Modeling ............................................................. 9 2.6 Three-Dimensional Mapping Types and Applications .................... 10 2.6.1 Bump Mapping ................................................................... 11 2.6.2 Normal Mapping ................................................................. 12 2.6.3 Displacement Mapping ....................................................... 13 2.7 Conclusion ....................................................................................... 14 III. TECHNIQUES ............................................................................................ 15 3.1 Creating Geometry using Camera Projection Modeling .................. 15 3.2 Creating Normal Maps using Corel Painter ..................................... 20 3.3 Relief Sculpture from a Painting in Zbrush ..................................... 23 3.4 Creating Digital Impasto with ZBrush ............................................. 30 3.4.1 Paint Brush Alphas ............................................................. 30 3.4.2 ZBrush 2.5D Depth Creation .............................................. 33 3.4.3 ZBrush 3D Impasto Depth Creation ................................... 35 IV. SCHILDERMENNEKE: A CASE STUDY ................................................. 40 v Table of Contents (Continued) V. CONCLUSION ............................................................................................ 50 APPENDICES A. PAINTER DEPTH CREATION PROCESS ............................................... 52 REFERENCES .............................................................................................................. 59 vi LIST OF FIGURES Figure Page 2.1 Escaping Criticism, by Pere Borrell del Caso ............................................... 5 2.2 Apotheosis of St. Ignactius, by Andrea Pozzo, Church of Sant’Ignazio, Rome ............................................................................. 6 2.3 Summer Building Site, 1952, Frank Auerback ............................................... 7 2.4 High and Low Relief Sculpture ..................................................................... 9 2.5 Sphere With and Without Bump Map ......................................................... 11 2.6 Normal and Bump Maps Applied to a Sphere ............................................. 12 2.7 Bump Map and Displacment Map Applied to a Sphere .............................. 13 3.1 A Rendered Frame from the Opening Shot ................................................. 16 3.2 Outline of the Geometry in the Painting ...................................................... 17 3.3 The Outlines of the Model Geometry with Texture Applied ..................................................................................... 18 3.4 Front and Side View of the Model ............................................................... 19 3.5 Brushes in Painter ........................................................................................ 21 3.6 Two Planes with and without a Specular Alpha .......................................... 22 3.7 Tile of The Delphic Sibyl by Michelangelo ................................................. 23 3.8 Outlines of the Major Forms ........................................................................ 24 3.9 Highlights of the Various Sections .............................................................. 25 3.10 Basic Facial Anatomy and Construction...................................................... 25 3.11 Sketch of Form Height ................................................................................. 27 vii List of Figures (Continued) Figure Page 3.12 Final Sculpted Form ..................................................................................... 28 3.13 Three Versions of the Tile ........................................................................... 29 3.14 Alpha Brushes- Soft Flat, Round Hard, and Soft Round ............................. 31 3.15 The Alpha Tool Palette ................................................................................ 32 3.16 ZBrush in 3D Edit mode .............................................................................. 35 3.17 ZBrush Painted Zplane in Edit Mode .......................................................... 37 3.18 The ZMapper Interface ................................................................................ 38 3.19 The Tool Texture Palette ............................................................................. 39 4.1 View and Lighting Transition of the Dawn Scene ....................................... 43 4.2 The Completed Harvest Scene ..................................................................... 44 4.3 The Color and Normal Map Textures for the Harvest ................................. 45 4.4 Still Frames of the Hand Animated Elements used in the Harvest Scene............................................................................... 45 4.5 The Wireframe and Textured Model of the Crows Scene........................................................................................... 46 4.6 Still Frame from the Hand Animated Sky ................................................... 47 4.7 Crows Transition Frames ............................................................................. 47 4.8 Top and Side View of the Final Scene......................................................... 48 4.9 The Original and Normal Mapped Water .................................................... 49 4.10 Composited Elements of the Night Sky ....................................................... 49 A.1 The Impasto Brush Settings ......................................................................... 53 viii List of Figures (Continued) Figure Page A.2 The Impasto Brush Settings ......................................................................... 54 A.3 The Exported Top Image ............................................................................. 55 A.4 The Levels Options Box .............................................................................
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