In this follow up Citizen video to “Rigging a Spiral Phone Cord” I’m going to show you how a dynamic rig can make animation simple and realistic. Though a physics-based rig isn’t the best answer for all situations, it can certainly be a tremendous time saver and easier road to realism. Wouldn’t it be nice to only worry about animating the base and receiver while the cord animates itself? That’s the power of computer graphics simulation that we will be tapping into in this video!

Why animate if you can simulate? Unlock this video by joining Citizen!

Dynamic Simulation in Blender

Since we already setup the rigging framework in the preceding video, with a bit of modification we will create a cord rig that obeys the phone receiver and base the same way it would in reality. The biggest hurdle to conquer here is simulating a curve object so we can maintain the modifier-dependent spiral cord model. Even though Blender allows us to directly simulate a curve as a softbody, I believe cloth simulation offers better control and a more believable result. And since mesh objects are the only object type that can be simulated as cloth I’ll show you how to transfer a mesh’s simulation to a curve object.

This technique offers a very practical solution for many dynamic rigging tasks.

MUSIC: “Desire” by Donnie Drost

The post Simulating a Spiral Phone Cord appeared first on CG Cookie.

Introduction

In this video for 3ds max, we’ll make a brief tour over 2014 release new features. We’ll see some of it just to focus on main new tools areas.

What we’ll do

In 3ds max 2014 introduction tour we’ll make a tour testing some new features. We’ll see something related to easy of use as the new menù, the search bar, Nitrous speed up, and something related to new features in Particle Flow, Perspective matching, Populate etc etc. We’ll talk more in depth about some of these new features in coming videos.

The post 3ds max 2014 Introduction tour appeared first on CG Cookie.

Learn how to quick re-use a previous tool or action via the Operator History in Blender.

Due to the nature of modeling and animation workflow, there’s many times that we use a tool over and over again. This may not seem like a hassle, but the time we take to access those tools can really add up. Over the course of a large project seconds become minutes and minutes become hours.

In Blender we can quickly reach a previously used tool or command by accessing the History list or via the Repeat Last operator. This can greatly improve our workflow efficiency.

You can call the History menu from the Toolbar (T) or via the hotkey F3. Alternately, you can simply repeat the last command with Shift+R, or also from the Toolbar.

The post Tip: Using the Operator History in Blender appeared first on CG Cookie.

Today I am excited to announce CG Cookie’s newest project. Over the next few months we will be gathering the best Blender artwork around and compiling it into a beautifully bound, professionally printed art book that is worthy of your coffee table. The current working title is “Art of Blender – Volume 1”

Why an Art book?

This is a project we have wanted to do for quite some time and we feel the time is right. The Blender community is full of talented artists and we think it will be great to showcase the incredible work they produce in a way that really lets the work shine.

Submit your artwork below

However, this book is about more than just showcasing great artwork. We also wish to display the achievements of this great community, all built around open-source. Through the book we will be including making-of walkthroughs from top Blender artists that bring additional educational value to the book while also helping show off the accomplishments of the artists, developers, producers, and everyone else that helps make this community great.

In that light, we also want to create the art book to help further Blender’s on-going development. So 5% of each sale will be donated to the Blender Foundation development fund. The development fund helps create a sustainable environment for the progression of the Blender code-based and other projects around Blender (such as blender.org, documentation, etc). Read more about the Blender Development Fund: http://www.blender.org/blenderorg/blender-foundation/development-fund/

How will this come together?

An art book takes a lot of work and so we will be taking the next few months to put things into motion. Below is a rough milestone goal:

• Announcement and Call for entries: (Today)
• Pre-orders open for the Art Book: (Mid-June)
• Deadline for Call for Entries: (July 15th, 2013)
• Blender Art Book complete and send off for printing:  (Fall-ish)
• Book is publicly available and pre-orders shipped:  (2-3 months after files sent to printer)

These dates are not exact and may change, though we are going to do our best to hit them. The most important step is to get some artwork in!

Call for Entries!

This book is all about the art and so we need you, the artist! Use the button below to submit your best Blender artwork to us for consideration of inclusion. Please read the submission guidelines and make sure your image qualifies.

Level of quality we are looking for

Check out the Blender Cookie featured gallery and the Blender Artists Gallery forum. These images are of the level of quality we are looking for on the Art Book.

F.A.Q.

What resolution should my image be?

For initial submission you may send any size that you have. However, if your image is accepted you will need to prepare a print-ready version. We will specify the exact details at that point.

Do I need to pay to submit an entry?

Nope! CG Cookie is taking on all costs for printing and handling of the images.

How are accepted artists compensated? 

Each artist that is featured in this Blender Art Book will receive a year-long Citizen membership. Our hope is to also offer a free copy of the book to each accepted artists, but we cannot guarantee this yet, due to the high costs of production. All accepted artists will also gain exposure by being featured in the publication, which will be distributed through CG Cookie and tentatively the Blender.org e-shop.

May I submit work I’ve done for a client? 

You may submit client work if, and only if you have explicit, written permission from that client.

What are the specs of the final printed book?

Currently we are looking to create an 8.75″ x 11″, Portrait, Hard cover,  180-200 pages. This is subject to change as the production progresses.

What will be the final price of the book?

The book will tentatively be priced at $49.95. However, there will be a discount for all pre-orders.

May I submit more than one entry?

Yes, you may submit more than one image to be considered for the book.

May I submit an image which was created in Blender but rendered with an external render engine?

Most definitely! So long as the work is created primarily in Blender then it’s acceptable.

The post Project: Art of Blender Book – Call for Entries appeared first on CG Cookie.

Introduction

In this video for 3ds max we’ll continue converting the VRay scene to be rendered with iRay and we’ll focus on final image quality.

What we’ll do

In Photoreal interior with iRay – Part 2, we’ll finish to convert all VRay materials to iRay using the Arch&Design shaders. We’ll tweak lighting and exposure to obtain a better result in rendering and with some tweaks to the camera position we’ll prepare a frame to be moved in Fusion for final look development.

The post Photoreal interior with iRay – Part 2 appeared first on CG Cookie.

Kjartan Tysdal is an experienced Blender artist who has had the pleasure of being  involved in projects such as Tears of Steel and spent some time on the Royal Yacht of Norway!

Artist Portfolio site: http://www.kjartantysdal.com/
Blender Network Profile: http://www.blendernetwork.org/kjartan-tysdal/

When you meet someone new on the street and they ask, “What kind of work do you do?” How do you answer?

That’s never easy. I use to tell people that the basics of what I do is more or less the same as how Pixar make their movies, but people never really seemed to understand what I was talking about, so I’ve stopped doing that.

I try to explain that there is a lot of variation in the work I do, and that I have done work toward commercials, television, industrial animation, vfx and architecture. It usually takes a bit of time to explain, and they tend to look very confused when I’m done..

What was the most challenging aspect about modeling the Quadbots for Tears of Steel?

Figuring out how to UV and texture that whole model was a huge challenge, partly because there is no way to enter edit mode for more 1 object at a time in Blender. Also simple things, like just staying organized was hard because the Quadbots consisted of hundreds of separate objects, and I had to make sure that everything I did was clean and easy to work with down the line for Jeremy (the rigger).

The biggest challenge was probably figuring out and designing all the different parts. Ian (the director) wanted something that looked completely unique, but also slightly utilitarian, as if they had a purpose other than being generic “killer-robots-with-huge-guns”. I don’t think I succeeded in that, but I think it at least looks quite original and interesting, so I’m fairly happy with how it turned out.

You mentioned yourself as a “generalist.” How do you think this benefits you in your day-to-day art?

Having worked as a generalist for a number of years has definitely made me a lot more independent and confident whenever I need to take on a full project. It forced me to think of projects as a whole, and it also made me a pretty decent problem solver.

It’s always necessary to present my projects in a nice way. Having some experience with lighting, compositing, FX and rigging sure makes that easier.

Do you have a favorite subject to work with? Hard surface modeling, sculpting or painting?

Sculpting is probably what I enjoy the most. I really like that it’s possible to create characters and creatures directly in 3d without the hassle of normal poly modeling. I mostly use Sculptris for my initial sculpts and Zbrush for the high poly sculpting, but I’ve also used blenders native sculpting tools from time to time.

I’ve also gotten more into digital painting. I enjoy that as well, but that is still just a hobby. My ambition is to get more comfortable doing 2d work, and then use those skills in my 3d work.

What was the biggest lesson or experience you took away from working on Tears of Steel?

Tears of Steel was the first time that worked together with other blender artists. I learned a lot from just observing how they did things. I also learned that doing weekly meetings on Fridays with chocolate and beer is a great way to end a work week.

How long have you been playing StarCraft, and what is your favorite aspect about the game?

I grew up with games and StarCraft is one of the first PC games that I can remember playing. My favorite aspect of StarCraft is definitely the cool design and aesthetic of the characters, props and environments. You can tell that they have put a lot of effort into making it look as good as possible. I think that sci-fi games can be a great source for inspiration, and I take a lot of inspiration from game universes like Mass Effect, Killzone and Gears of War.

When you are working, do you listen to any music? If so, what kind?

You can probably make an educated guess based on this project: http://www.kjartantysdal.com/projects/dragon/ I usually listen to (cheesy) music with lots of guitar. Some examples are Iron Maiden, Steel Panther, AC/DC, Neil Zaza and Buckethead.

I also like to listen to audiobooks while working sometimes. For example, during the Tauren Marine project, I listened to the Hitchhiker’s Guide to the Galaxy.

How did you find yourself in the 3D/Blender world?

That’s a long story. 3D was at first just a hobby for me, but I quickly decided that I wanted to pursue it as a career. I spent pretty much all of my free time learning from web tutorial and books, and after doing that for a few years, I was lucky enough to get a job doing it full time.

I had been doing CG for almost 7 years before I decided to use Blender as my main tool. Until then, I had used a variety of different software for my work, and I spent a lot of my free time evaluating rendering engines and CG apps. I was looking for a CG application that I could really focus on and master, and after a long time, I decided to go with Blender. I had been a big fan of the blender open-movies, and I wanted to try to get into one. That was 1 year before project Mango started.

How was serving on the Royal Yacht of Norway? Pull any experiences to help you as an artist?

I mostly just served coffee to the crew. I tried to do 3d on my free time, but there wasn’t any tables on the boat. It’s really hard to do 3D if you don’t have access to a table. I ended up drawing a lot instead. I gained the reputation on board for being the “drawing guy”. I got to draw some cartoons of “rules at sea” for a pamphlet that was used during Queen Sonja of Norway’s 70th birthday. I even got a personal thank you letter from Her Majesty + a gift (it was a vase with her insignia on it).

If you could work anywhere or on any project, what would like to be doing?

Game cinematics! It is the coolest type of production I can think of. I’m a huge fan of cinematics from companies like Blizzard, Digic, Axis Animation and Blur. If I ever have a bad day and need some quick motivation, I’ll watch a couple of cinematics from those companies and I’ll be back on track.

Thanks for the time Kjarton!

Be sure to check the rest of Kjartons work at: http://www.kjartantysdal.com/

The post Blender Artist Interview: Kjartan Tysdal appeared first on CG Cookie.

Hello and welcome to this Citizen Course on Creating an Animated Character Splash Screen!

Hello everyone and welcome to this Citizen Course on creating an animated character splash screen in Photoshop and After Effects. In this course Tim Von Rueden and Daniel Goslin take you through the steps on creating a animated splash screen from the initial sketches to adding in dust particles in the final render.

Not a Citizen member? Get more cookies for just $10/month

This has been a new and up-n-coming trend seen in a lot of video games lately, especially during the login screens. Being a LoL player myself, I’ve been wanting to create one of my own and after confirming with Dan, I wanted to show you guys how to go about creating your very own screens as well! Since this course is focused on the creation of setting up a splash screen on the concept side, the character that is used has a full 6 part series on how to fully draw her and can be found here: Red Character Series.

As a Citizen member you get access to the complete streaming course, including all project files and the ability to download each individual video. To make this series more accessible you now choose to either stream or download any of the videos. To stream the videos, simply click on the thumbnail for that portion and it will automatically load at the top of the page.

The resources in this course include the following: The final .PSD with all the named layers, the Sketches .PSD, and the Course After Effects file. Citizen members can also download each part’s HD video.

What you’ll learn in this course

During the first half of this course, I will take you through creating a Photoshop file ready for animating in After Effects. This will include explaining both the character and environment being used for this course and how to treat the different layers you will be created to work properly. When creating this scene, always be thinking about what you want animated and how you should be separating the layers from each other.

From there, I will hand the Photoshop file with all the layers properly named over to Dan. He will then give an introduction to using After Effects and then get started on integrating Character motions such as breathing, blinking etc. and then work towards the effects of the character like flowing hair and holding the box at different angles. After the character is finished, then he takes a look at adding different background elements like the leaves falling, glowing lights, fog, and dust particles.

With this course you will have the basics to go out and complete your very own animated character splash screen!

Note: the first three videos including the final splash screen are freely available for anyone to view to help give you a better preview of the course, Enjoy!

The post Citizen Course: Creating an Animated Character Splash Screen! appeared first on CG Cookie.

The Quick Tools Add-on Improves Workflow With A Series Of Shortcuts and Macros

Blender offers a very powerful and fast workflow for many different tasks, but sometimes improvements can be made. Using the multitude of Blender add-ons available we are able to alter and improve the way we work in Blender.

In this case, the Quick Tools add-on is an extension developed by yours truly that offers a set of easy-access menus in Object mode, Edit mode, and Sculpt mode. These menus contain a series of commonly used tools and custom macros that work to speed up repetitive tasks.

Once enabled, you can access these menus from the 3D Viewport with the Q key. If you wish, you can change this hotkey easily from User Preferences > Input > 3D View > Object/Edit/Sculpt.

Download the Quick Tools Add-on

You can download the latest version of Quick Tools HERE.

Bug Reporting

If you stumble across any bugs in the add-on please submit a bug report via the Issue Tracker on our GitHub Repo: https://github.com/CGCookie/script-bakery/issues?state=open

The post Using the Quick Tools Add-on appeared first on CG Cookie.

Creating Custom Pivots in Unity

In this Unity Cookie quick tip, we’ll take a look at creating custom pivots. You can’t directly manipulate pivots in Unity. You can either choose to transform an object using it’s center or pivot, but you can’t change the pivot. Most of the time this is not an issue as you’ll be working with 3D content from your 3D application and Unity will respect the pivot position as imported from the 3D object. However, there are times when you are working with native Unity objects where you need to adjust or create a new pivot.

Using a parent pivot object will allow you to not only create a custom pivot, but will also allow you to place a transformation at a higher level such as when you might need to separate the rotation and position transformations. This is common in camera follow scripts.

Drawing Gizmos

In the video, I also talk about helper scripts that use the Gizmo class. I use the Gizmo class often in my project to create helper editor objects when building my games. Here is the code mentioned in the video to draw a simple wireframe sphere in the editor.

using UnityEngine;
using System.Collections;

public class Gizmo : MonoBehaviour {

	public float gizmoSize = .75f;
	public Color gizmoColor = Color.yellow;

	void OnDrawGizmos()
	{
		Gizmos.color = gizmoColor;
		Gizmos.DrawWireSphere(transform.position, gizmoSize);
	}
}

The post Creating Custom Pivots in Unity appeared first on CG Cookie.

Introduction

In this video for 3ds max we’ll take a look at some advanced manipulation with particle dynamic driven by forces and new MassFX tools in 2013 extension and 2014.

What we’ll do

In Advanced particles manipulation we’ll take a look at mParticles in 3ds max 2014, (it can be done with 2013 with extension installed). We’ll introduce some dynamic principles to fill a volume with particles, then manipulate it using standard forces and then change its dynamic using MassFX features again. We’ll use a simple PFlow setup to move some colored balls from one cup to the 2nd one. Rendering will be done using iRay to add depth of field and motion blur and compositing will be done using Fusion.

The post Exclusive : Advanced particles manipulation appeared first on CG Cookie.