In my last post I noticed that the forearm models looked a little less than perfect. The forearms were one of the first parts of the model I made and originally I really wanted to make sure they conformed to the reference images I had. Coming back to them now, I think I made them conform a bit too much. Even though they appeared to fit the references, they were a weird shape when viewed from the top. I thought it would be better to reshape them to something more logical even if they didn't match the reference images as well:

As it turns out, having updated the models to a better shape, they do still manage to fit the reference images somehow. It makes sense that the more logical shape is the correct shape, so it's reassuring that the references seem to confirm that.

I have a slight worry that this project is a bit like 'Painting the Forth Bridge', in that once I finish one part enough time will have passed that another part will seem outdated or messy enough to need re-doing. I don't intend to redo a lot more of it, though I think some of the chest panels need refining.

I actually have some freelance work over the next few weeks; I'm not sure how much of my time it will take up, but it likely means less work done on this project for a while.

Such is life.

Ray.

This post is mainly about using the Shrinkwrap modifier for modelling, which is below, but there's also a quick update on some of my projects right at the end.

Before I started the 'Heartbreaker' project I probably wouldn't have said that the Shrinkwrap modifier is one of my favourite modifiers in Blender (not that anyone had actually asked me, or likely ever would). Maybe in the top 10, but only just. I would probably have gone for one of the classics, like the Subsurf or Mirror, you just can't go wrong with those two. However, that's all changed. If anyone ever asks me*, I will say my new favourite modifier, at least regarding modelling - which is what I'm doing most of the time - is the Shrinkwrap. It has become my go-to, problem solving, reliable friend.

*Which they wont.

No, I am not. A valid question (the second one), thank you (me) for asking. In its simplest form, the Shrinkwrap modifier is tasked with snapping the current object onto the surface of another object. It also has the ability to only snap specific vertices if you specify a vertex group.

Here we see a simple subdivided plane being shrinkwrapped to the surface of a sphere:

I think the Shrinkwrap modifier was probably first created as a retopology tool, the snapping allowing you to easily create new, low-poly geometry, over your high-res model, without having to constantly think about manual snapping. Considering this, I'm not sure that 'Shrinkwrap' is actually the best name for it; maybe 'Snap' would have been better. The Snap modifier has a ring to it. But then, who am I to start renaming things? Sure, I was technically the best renamer in the area of Greater London in the years 1993 - 1998*, but I have no official certification for that, so I'll leave actual naming and any subsequent renaming to those that do.

*I retired from the gruelling world of competitive renaming undefeated and vowed never to return, due to the physical stress it caused my body.

It's not so much that retopology fits into hard surface modelling it's more that some hard-surface modelling scenarios and retopology share some common needs. Also, please stop asking if I'm insane.

There are two scenarios that can be very time-consuming when modelling:

1. You have several meshes that all need to conform to the same profile (meaning surface curvature).
2. You need to edit or add additional details to a curved surface.

This is very similar to what retopology requires and these two problems both happen to be the Shrinkwrap modifier's strength: conforming vertices to a specific surface.

Please don't be so demanding. I've got some examples from 'Heartbreaker', the project I just literally won't shut up about.

The 'Heartbreaker' Iron Man suit has a tendency to have many separate panels that all conform to the same profile. Below, on the left, is the forearm, which is made of many pieces. They all have the same bulge and crease going through them, which would be time consuming to model manually. Instead, I built one continuous surface to describe the surface I want my mesh to conform to, shown on the right. All the pieces on the left conform to the profile of the mesh on the right (the Shrinkwrap target):

Heartbreaker also has many examples of detailing cut into curved panels. Cutting into curved surfaces is notoriously difficult as any sharpening edge loops on those details end up causing undesirable pinching, particularly at corners. It's also very difficult to perfectly maintain a curved surface while adding in new geometry.

Here, the head remains perfectly curved despite having cut details into it, thanks to good ol' Shrinkwrap:

Here is a wider view of the top of the head on the left, with its Shrinkwrap counterpart on the right:

The 'eyebrows' in the above image were excluded from the Shrinkwrap by adding all vertices apart from the eyebrow to a vertex group and selecting it on the Shrinkwrap modifier.

1. Model a simple mesh that describes the curvature you want your mesh(es) to follow*.
   
2. Add a Shrinkwrap modifier to the mesh(es) you want to conform to your Shrinkwrap object.
3. Select the Shrinkwrap object as the 'Target' on the Shrinkwrap modifier.
4. If you only want to Shrinkwrap part of your mesh, then create a vertex group that contains all the vertices you want to effect and select that vertex group on the modifier.
5. If you want, repeat the previous steps to add multiple Shrinkwraps.

*If I've already started modelling something, but decide I need a Shrinkwrap, I will sometimes duplicate the object I'm modelling, simplify it, and use it as the Shrinkwrap object.

I also like to change the 'Maximum Draw Type' to 'Wire' in the 'Display' panel of the 'Object' tab in the 'Properties Editor' for the Shrinkwrap object so you can see the object you are modelling as well (shown below). Also, you may find it useful to turn on 'Draw All Edges', also in the 'Display' panel and 'Optimal  Display', on the Surbsurf modifier, if you're using one.

Sometimes, creating a good enough Shrinkwrap object would be as complicated as modelling the original object, so not only will I sometimes use several Shrinkwrap objects (instead of one big one), but some of those Shrinkwrap objects have Shrinkwrap modifiers themselves. It's like needing to build scaffolding to be able to build more complicated scaffolding to be able to build the final object.

Here, for example, is the chest piece from Heartbreaker. It's probably the single most complicated piece in the whole suit, shown with all 9 of it's Shrinkwrap objects:

The key to this is vertex groups. Each Shrinkwrap object above is responsible for only part of the mesh.

Despite the unrivalled awesomeness of the Shrinkwrap modifier, it does have a problem, but it can be worked around quite easily.

When you're moving the vertices of an object that is Shrinkwrapped, what you're seeing is the vertices moving along the surface of the Shrinkwrap object. What's actually happening is that you're moving the vertices in 3D space. This causes the Shrinkwrap modifier to sometimes have a hard time determining which part of the surface the vertices should be on if the vertices are actually very far away from it in 3D space (which can happen when editing the mesh). The vertices will snap to the surface, but might not move smoothly. A quick fix for this is to press the 'Copy' button on the Shrinkwrap modifier to create a duplicate and then press 'Apply' on the copy. You have now applied the effects of the modifier and the vertices are now close to the surface again, allowing smooth movement.

The same 'Copy' and 'Apply' process also needs to be done if you find loop-cut-and-slide, vertex-sliding or other modelling tools start to position vertices weirdly. For example, with vertex-sliding, the vertices will slide dependant on where they are in 3D space, which isn't necessarily where they visually appear to be.

One other thing is that the Shrinkwrap modifier should probably be before any Subsurf modifiers you might have on the object. If you have a Subsurf first then you're giving the Shrinkwrap more vertices to play with than actually exist. This will only be problematic if you want to eventually apply all the Shrinkwraps on the object though.

You may think using this technique only applies to specific objects or tasks, but I have found myself using it on many projects and I now can't do without it, so give it a try and let me know how it goes.

As a reward for getting to the end of this post (if you just scrolled all the way down without reading DO NOT LOOK BELOW AT THE REWARD, IT IS NOT FOR YOU), here is the entire 'Heartbreaker' suit with all 113 of it's glorious Shrinkwrap guides:

Embrace the Shrinkwrap modifier, love it, cuddle it, hold it at night, whisper sweet nothings into its ear and thank the gods it exists.

I haven't got much done regarding 'Heartbreaker' so no update on that, other than I'm now working on fixing the upper-back, which I think is the last major part to be redone.

A quick update on 'Selective-Unhide', my unhiding add-on, is that it now supports not just Object Mode, but also Armature Edit Mode and Armature Pose Mode for hidden bones and bone groups and Mesh Edit Mode for hidden vertices:

Still a few things to do on it, I think, but they're relatively minor.


Ray.

Despite promising to cover some of the modelling processes I use for the 'Heartbreaker' project, I'm just doing a short post today. Hard surface modelling techniques can wait until I have time (and/or inclination) to do a proper write up.

In my ongoing modelling odyssey* the Heartbreaker project continues, today with the 'finishing' of the head. I say 'finishing' as there are still a few things to do, like a few interior panels that lie behind the exterior panels, but essentially I have finished the main modelling.

Below is the comparison between the old head and the new one. Basically every piece was taken back to a basic stage to be rebuilt or just finished according to some better (or what I believe to be better) reference images.

*Arguably comparable in terms of epicness to The Odyssey by Homer. Not that Homer, the other one, the non-doughnut eating one. Maybe that's unfair. Who am I to say Homer didn't like doughnuts? Maybe he loved them. Maybe referencing different Homers by their doughnut preference was ill-advised and I simply should have been more specific, or, in reality, maybe there aren't as many similarities between this modelling project and an 8th century, ancient Greek poem as I thought...

Below is a still of the new version of the head as well as the back:

I hope you liked the title of this post: 'Making Headway'. It was a pun, because this post has been about the head I've been modelling and because of the progress or 'headway' I've been making. Puns really do give us the best of both worlds: they're fun and informative.

Ray.

'Heartbreaker' isn't the main thing I'm going to be talking about today. I did do some work on it (as I do every week); it was an update on the head, and I wanted to finish that update before showing a 'before and after' comparison, so until that's fully finished, I'll just show the newer version of the bicep which I also worked on:

What I'm mainly going to talk about is an add-on I released last week. What I find can often happen (ok, fairly rarely) is that you suddenly realise that you've had a workflow problem for a while, but you've just got used to it and have learned to work with it instead of looking for a solution. This is what I realised had happened with hide and unhide. When I work on 'Heartbreaker' I generally end up isolating part of the suit, like the head, in order to focus only on that. To do that I use 'Local view'. I also use hide and unhide, the built in blender commands (H and Alt+H respectively). I use them a lot.

I was hiding a lot of objects and then wanting to bring back one specific object. Of course, that's not really an option unless you're using the outliner, so unhiding would unhide everything, most of which I would then immediately re-hide. I tried to think of a solution to that. How could I visualise hidden objects and be able to selectively unhide them? Would a panel work? A menu? And who in their right mind has the time to answer all these rhetorical questions?

With the near unbearable slew of self-questioning dealt with, I managed to find time to come up with 'Selective Unhide', which replaces the default Alt+H behaviour:

With the add-on installed (freely* available from here) pressing Alt + H now shows the menu in the image above.

*This isn't an asterisk to say that actually, no, it isn't free, but instead it's to simply highlight how kind and selfless it is to give something away for free. So, yes, it is free, but be sure to send me a mental or actual note of thanks every time you use it. Although, if you use it a lot maybe you could just consolidate all the thank yous (actual or mental) into a weekly digest. Obviously I want to receive your praise, I just don't want to be swamped by praise. Maybe I'm overthinking the whole 'praise' thing, I just think that it's important to receive praise in moderation. I don't want to overdo it and get too big headed from all the inevitable praise headed my way.

Let's go through each of the menu items:

Unhide all objects - This is the old behaviour - it shows any object that is hidden.

UnHide all by type - Despite the odd, mid-word capitalisation, this groups all hidden objects by object type, like 'Mesh', 'Camera' or 'Curves', for example. Clicking on an object type will unhide all objects of that type. Maybe you have a light setup you want to keep hidden, but want to reveal all your meshes.

Search - This is what I seem to be using most. It allows you to search for any hidden object or group and reveal that item. This allows you to quickly find a specific object, the downside being that it relies on well named objects. I try to see the up-side of things, so I'm going to say it's an advantage that it relies on well named objects as it means I have been forced to start renaming all objects that have some numerical variant of the name 'Cube'.

Hidden Groups - If an object is hidden and is in a group, then the name of the group is listed here. Clicking it restores all hidden objects in that group. So if you found you were constantly unhiding and hiding the same objects, group them, and this will help with that.

Hidden objects by type - Similar to 'Unhide all by type', this groups all the hidden objects by their object type. The difference this time is that clicking on an object type will then show a sub-menu listing all the hidden objects of that type that you can unhide.

Someone on Twitter suggested I that the menu should also work for bones in Edit mode and Pose mode. I agreed, so it now works in Edit mode, showing hidden bones and hidden bone groups, though I haven't yet implemented this for Pose mode.

Next week I'll hopefully be showing the updated head of 'Heartbreaker' and I might go over hard-surface techniques I use a lot.

Well there we go. Another week, another blog post, another set of anomalous asterisks and atrocious alliteration.


Ray.

Finally! I worked around the rendering issues mentioned previously, so I can finally reveal what I've been working on: the Iron Man 'Heartbreaker' suit.

Proof that I actually was working on something. Ha!

I'm quite pleased the way the renders turned out. I've been working on this so long that all I see is what has to be fixed, but seeing some renders and hearing some feedback lets me know I'm on the right track*.

*Keep reading for a great continuation of this train based metaphor.

Interestingly (not my opinion, an actual certified Very Interesting Thing™), the rim lighting on the models is actually from the material, not from physical lights. Partially, that's because I think you get more control, but really it's because I've never been able to get completely satisfactory results from trying to set up rim lighting. This setup uses the normal of the faces to determine whether it should be highlighted or not. Here is a (simplified) screenshot of it:

The normal is manipulated with the 'Normal' node before being sharpened by the colour ramp. This mixes between the glossy base material and the white highlight. To get a really bright highlight I actually use an emission shader, but to make sure it doesn't cast light onto itself I use a 'Light Path' node so only the camera sees the emission, the objects in the scene just see black (the empty 'Shader' input).

This is a simplified setup, so it just shows the right side rim lighting, if you want other sides of the model to be highlighted, duplicate the 'Normal' and 'ColorRamp' nodes, adjust the normal direction and add them to the other rim nodes with a 'MixRGB' node set to 'Add'.

See I told you it was interesting, and yet you (probably) resisted believing me. Hopefully you will trust me a bit more in future. If not, things are going to get pretty embarrassing for you when I continue to show you Interesting Things™. Let's avert this embarrassment by jumping aboard this train of Trust and riding out this analogy right to the end, together.

Now that all that train business is dealt with I can get on with my work, so that by next week I will be able to show off a new screenshot.

I guess that's the end of the line for this post (THE TRAIN FUN NEVER ENDS).


Ray.