The following are links for my teaching materials:
Maya – 3D Fundamentals as a Universal Translating Machine
Instructor – Justin Hoffman
hoffjust@gmail.com
SYLLABUS
DESCRIPTION
Introductory Maya as a universal translating machine focuses on 3D graphics: molding of objects, movement, surface texturing, environment/landscape construction, and image rendering. The course focus is to provide foundation level knowledge of the Maya GUI interface and software’s capabilities as an extension of the human hand for practices in print, animation, and video.
COURSE OBJECTIVES
Lectures, demonstrations, tutorials, and projects, students develop a rich knowledge base and skill set for the manifestation of innovative content creation, visualization, project planning, documentation, and cross-media integration.
The course will focus on still images and time based sequences that feature camera animation. Students will develop via technical understanding and hands-on experience with foundation level concepts applied with progressive motivation. Active sharing of resources, techniques, and inspiration is expected from all students in the class and creates an open environment for creativity.
COURSE GOALS
* Understand how visual information is created and produced in 3d
* Model complex objects and environments
* Apply and create materials that control surface appearance
* Create sophisticated illuminated environments
* Render images that showcase your creative talents
* Explore and expand the practice of 3D graphics for experimental art
STUDENT RESPONSIBILITIES AND REQUIREMENTS
* Willingness to experiment and take genuine artistic risks.
* Ability to be resourceful and seek out help when needed.
* Participation in all class activities (discussions, workshops, labs, etc.) is very
important and will be monitored closely.
* Group critiques are vital to the experience of the class and your evolution as an
artist. Each student will be required to give a verbal presentation of their work
as well as critique the work of their classmates.
* You are encouraged to share knowledge amongst yourselves during lab times –
remember, there’s a lot you can learn from each other. Please be respectful,
however, if someone is working hard and needs to concentrate.
* Taking notes in class is encouraged and will help you remember what you’ve
learned when you are working on your own time.
PROJECTS
Project One – World View. Envision and model an interactive world. The environment should be complex, yet still navigable and well-planned to fit the constraints of a system limited by speed and interaction.
Project Two – Augmented Virtuality. Combining techniques of modeling, texturing, and rendering, create a piece that creatively explores the format of a sculptural 3D lenticular print.
HOMEWORK
There will be homework assignments to help you gain technical skill and broaden your understanding of experimental 3D graphics while preparing you for the major assignments.
EVALUATION
* Integration of artistic and conceptual goals with technical skills learned.
* Contribution to the intellectual and artistic forum of the class.
* Amount of time spent and depth of engagement with material.
* Ability to use the techniques introduced in class in an innovative and inventive
manner for creative assignments.
GRADING
* Participation is worth 10% of your grade, including lab time, workshops,
discussions, critiques, and active engagement with all aspects of the class.
* The art project assignments are weighted approximately 50% total, each being
worth 25%.
* Homeworks are worth 40% cumulatively.
* Late work will not be accepted.
* Incompletes will be considered only if there is a significant medical or personal
emergency.
POLICIES
* No smoking in the classroom or building. No eating, or drinking in the lab.
* You are responsible for your data! Back it up, store it in multiple locations, burn
it to a disk, do whatever you have to do to ensure it’s integrity.
* If you have a disability that you think may impact your participation in this class,
please contact Disabled Student Services. Every effort will be made to
accommodate your needs.
CLASS FORMAT
* Work and reading from last session including discussion, critique, student
presentations.
* Presentation of new materials including lectures, workshops, and other media
material
* Lab time with TA to work on tutorials, homework, and/or assignments.
There will be a small breaks during class as needed. Days where one of the major assignments are due most of the class time is devoted to discussion and critique of work.
HOMEWORK AND ASSIGNMENTS
PLEASE NOTE:
Whenever a disk is required for hand-in, you are required to label it in the following manner:
Name
Class
Term
Assignment or Homework #
Assignment or Homework Title
Homework 1
Context: You must use only Poly primitives and the following operations in this assignment: duplicate, translate, rotate, scale. Only use these functions on whole objects. Create a highly imaginative interpretation of an environment. You should use the permutations on primitive shapes to define the space and relationship between elements in the design. Your challenge here is to use simple tools to sketch out and evoke an interesting spatial landscape. Equally important in this homework is to organize the hierarchy of your structure – you must name and group the components of your scene in a manner that is easy to navigate and understand.
Some students have been asked to complete a more advanced project. If this applies to you, please complete the following variation of the assignment instead of the one above…
Advanced Context: You must use only Polygon primitives and the following operations in this assignment: duplicate, translate, rotate, scale. You may use these functions on any portion of the primitives: points, faces, etc… Simple color can be added. Create two very different highly imaginative interpretation of an environment. You should use the permutations on primitive shapes to define the space and relationship between elements in the design. Your challenge here is to use simple tools to sketch out and evoke an interesting spatial landscape. Equally important in this homework is to organize the hierarchy of your structure – you must name and group the components of your scene in a manner that is easy to navigate and understand.
Turn in your project directory and text file on disk.
Homework 2
Content: Create a virtual sculptural work that resides within the environment you created previously. The sculptural element need not be one single object, but it should reveal a deeper attention to detail, form, and relationship. Your work should demonstrate a sophisticated use of the NURBS modeling tools that have been introduced, as well as engage the viewer. The sculpture should be detailed and well constructed, making sure you are modeling the forms elegantly and not creating excess geometry. Be adventurous with content while still using good form. Challenge yourself to explore the relationship between the context you already created, and the content you are adding.
The sculpture should be accompanied by a short description of your intent. Factors you may want to include in your description are: Is the object meant to represent something that could exist in real life? Are they intended to be experienced in screen-space, in print, or through some other format? How would you ‘finish’ the work if you were to keep evolving the project?
Note: Do not edit your original environment, unless it is a small or simple change.
Turn in your project directory and text file on disk.
Project 1 – World View
Description: Using the modeling techniques you have learned, create an environment that the viewer experiences through live interaction. Consider how the person might investigate the space, and create your world with this in mind. Remember, someone else controls the camera. You may work from the ideas you have created previously, but this project should be a SERIOUS deepening of the concept if you choose to do so. Challenge yourself to create a world that is not just a replication of something real, but rather an inventive, artistic experience. The form, the concept, and the quality of interaction you create are all important in this assignment.
Build your models carefully and elegantly. Make sure you keep your polygon count within reason for the speed of interaction. You will probably need to run several tests along the way to ensure your environment is working properly. It’s important in this assignment to construct an environment that feels like a complete world unto itself. This means you may want to block off or control the space at a large scale. You may use solid colors and transparency on your models to differentiate them from each other in the virtual space. (NO procedural or photo based textures). Design your environment with the assumption that the viewer is going to be “walking” through it.
Turn in your project directory on disk, make sure to include a 400 word description of the concept for your project. For the in class critique, you will show your work through the Blender interface, with other students interacting with your work. Your piece should stand on it’s own, without needing to ‘coach’ the participant on how to navigate or explore the space.
Homework 3: Surface
Using your existing scenes and lighting setups create two different scene files, each with different surface materials. You can modify your models and lights but don’t spend too much time changing them. Concentrate on texturing your objects. For one scene strive to create a “realistic” image manipulating only the surface textures. In the other scene create a
Non-Photo Real image using “imaginative” surface textures. On disk, turn in the two .mb files and .tif renderings inside your project folder.
Homework 4: Illume
Create two completely different moods through the use of virtual lighting techniques and a modeled scene you have already created. You will need to complete two different scene files with drastically different lighting configurations, and render a wide angle of each. Feel free to use any trick in the lighting continuum to transform your scene, but strive to build a continuous environment in each instance. Make sure to use the same view onto your scene for your two different lightscapes. You should incorporate the following considerations when constructing your illuminated environment: What is happening? How should the viewer feel about it? What’s happening around this scene? How do the various colors in the lights and shadows coordinate with each other? How can the lights be used as a narrative element in their own right? On disk, turn in the two .mb files and .tif renderings inside your project folder.
Project 2 : FINAL – Augmented Virtuality
Using all the techniques you’ve learned throughout the term, create a completely envisioned 3D scene with models, an environment, materials, and lighting. You may incorporate previous work, though you should continue to develop and deepen your ideas if you do so. You are also welcome to create a new scene – just remember to budget your time so you can complete all the elements. Your final work will be printed for lenticular, using the ProMagic software to create the output. Compositionally, you should be aware of the illusionistic depth of the 3D space created by this format and use it to your advantage. Your project should also be tied together by a strong conceptual base. When you turn your project in, you’ll need to include the final Photoshop file created by ProMagic, the Maya project folder where your scene was created, and a 400 word description of your art piece. In order to finish the project on time, make sure to leave plenty of time to render your scene. You will be provided with a lenticular screen, four pieces of photo paper, and use of the Epson 2400 printer in 105 for this assignment. The project will be calibrated carefully for use with this printer, so make sure to use this one for your final image.
Week 1: Introduction
Session 1 – First Day of Class
Session Objectives
Discussion on the programs general attributes and applications
Maya’s GUI Interface
Where do I find the help files and online reference materials?
Adjusting and getting acquainted with the user window
Jumping In … manipulating a parametric object
Understanding Components and their selection
Quick Keys Reference
Week 2: Space and Interface
Session 1 – Continued Introduction
Session 2 – Reading – Modeling with primitives
Session Objectives
Polygons – who and where are they?
Creating a polygon mesh
Extruding from the mesh
Wedging and Splitting Faces
Modifying Meshes with Bevel
Modification Tools
Week 3: NURBS Modeling
Session 1 – Homework 1 Due
Session 2 -Reading Due: Excerpt from, “Virtual Art” by Oliver Grau, pages
248-257.
Session Objectives:
NURBS – who and where are they?
Drawing NURBS curves
Constructing Curves with curve-on-surface
Fillet Curves
Creating NURBS Surfaces
Designing 3D models with NURBS primitives
Curves Sculpting surface meshes and editing NURBS,
aligning, smoothing and extending the curve
Week 4: Polygon Modeling
Session 1 – Reading Due: Simon Penny on VR
Session 2 – Homework 2 Due
Session Objectives:
UV mapping and textures
Introduction to UV mapping
Types of UVs
Creating UVs
UV mapping tips
Modifying UV topology
Week 5: Rendering
Session 1 – Reading Due Visual Knots: Concerning Geometry and Visuality in
the Work of Marcel Duchamp
Session 2 – Continue Modeling
Session Objectives:
Render Nodes
Render Preferences pane
Batch Rendering
Using Mental Ray
Exporting to video
Week 6: Hemisphere
Session 1 – Individual progress meetings
Session 2 – Project 1 Due
Session Objectives:
Refining and progressing with skills
Review of Quick Keys
Class critique of individual projects
Week 7: Interactivity and Environment
Session 1 – Continue modeling
Session 2 – Reading Due: Cognition and the Visual Arts and Intro
To Interactive environments
Session Objectives:
Lighting your models
Basics of Lighting/types of light
Light and shadow in the real world
Mental Ray for Maya Lighting
Reflection, refraction and absorption
Direct lighting sources
Shadows
Week 8: Shading
Session 1 – Reading Due: Maya and Photoshop
Session 2 – Reading Due: Local/Global in Mathematics and Painting
Session Objectives:
Shading and Texturing surfaces
Backgrounds
Reflection and Environment
Atmospheres
Week 9: La Luz
Session 1 – Reading Due: Art of Maya, Digital Cinematography Chapter, pages
151 – 167
Session 2 – Homework Due
Session Objectives:
Light and shadow in the real world
Mental Ray for Maya Lighting
Reflection, refraction and absorption
Direct lighting sources
Shadows
Week 10: Stereoscopy and Lenticular Imaging
Session 1 – Homework Due: Illume
Reading Due: Stereo Photography Tutorial (Part1, Part 2) and History of
Lenticular. Additional Resources: World of 3D (Part 1 – 4)
Week 11: Project Assembly
Session 1 – Reading Due: Spatial Augmented Reality and Four Dimensional
Space or Spacetime?
Session 2 – Work on final project
Objectives:
Individual progress meetings
Week 12: End of Semester
Session 1 – Project Two Due: Augmented Virtuality