Artwork > Finished Works and Works in Progress

So I Finally Try "Subdivision"

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Arik_the_Red:
Looking good, Cori. When I animated my morphed goblin face I made it with eye sockets, then separate eyeballs and eyelids that were bone-animated for movement and blinking.

Of course, the eye being on a bone figure set-up assumes that the eyeball would be a proper sphere and able to rotate around on a bone without a strange bulge and burst from eye socket effect that occurs with flattened, ovoid, etc. eyes.

As for eyelids, they can be formed in the structure of your morph-object as well. I just wanted to see how the lids would work with figure bones. In my case, I had upper and lower lids on a bone that functions scissor style for blinking, with each eyelid being created based off a sphere. Again, requiring htat the general form of the eye and lids are spherical and not somehow flattened or warped.

CoriDavis:
Normally I would make an eyeball with an eye socket and use bones for blinking, but the problem here is the eyeball/head size ratio.  If I were to try to make an eyeball as a sphere for this model, it would be so big that it wouldn't even fit inside of the head! not to mention it would probably result in a bug-eyed look.  I wanted to make it as canon as possible.

Any skinning suggestions? I'm assuming I'll have to try bone influences rather than weights but... I have absolutely no idea how those work at all.  Unless somebody has Skype or some instant messenger that they could walk me through it maybe?

Raxx:
As far as I recall, it's the exact same process to paint subdivisions as it is to paint polygonal models. You can only paint the cage mesh, which is why it unsubdivides itself (and it's why proper edge loops for the cage mesh is important!). But it shouldn't crash. Try setting the subdivision level of the subdivision object to 0 in the object editor before weight painting it in the figure editor, to see if that helps any.

ENSONIQ5:
You'd probably be better off sticking to weight painting for this model.  Bone influences allocate vertexes to bones using a geometric limit system - ie. if a vertex falls within the inner sphere it will move with the bone, if it is beyond the outer sphere it is unaffected, and if it falls between the inner and outer spheres it is partially affected depending on distance.  This can have advantages over weight painting in that you can't miss vertexes, which is fairly easy to do with weight painting, but it can be difficult to prevent unwanted overlapping of areas.  For example, if using influences on a skinned hand it would be easy to have the outer influence of one finger influencing vertices from a neighbouring finger, producing unwanted results.  With weight painting, you define how much vertices are influenced irrespective of their distance from the bone, providing far more control, but perhaps less consistency.

The eyeball problem is common when animating models based on toys, which generally over-exaggerate eye size.  One possibility is to use a section of a sphere only, with the bone pivot point set to where the centre of the eyeball would be, even if it is outside the head.  This still requires room around the eye socket for the eye ball section to move into, but possibly the eyeball section could be morphed to distort as required, so as not to project outside the head when moved to an extremity.  The main advantage bones have is they can animate rotation, which generally looks better for eye movement than the linear motion morphs are limited to.

By the way, lovely model, and good organic modelling is something that takes time and patience to master, which is why I have barely attempted it!  Some call it an art... I call it sheer torture!

Arik_the_Red:
As Raxx suggested, creating your eye-sphere, then arranging it on a bone, and cutting it down afterward, so that you only have the portion of sphere needed for the pony's head. No one sees the fact that the full sphere size is huge and that the bone is likely anchored far beyond the opposite side of the head.

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