Mosasaur Overhaul

Well with everything in my life falling to bits... shoes, pants, and now the car is "unworthy" to drive according to the transport authority (with just slightly over a month to go here in NZ)... I thought there has been a few 3D projects that could use some fixing up or outright replacement... which leads them to fit in with all the junk currently forms my basis of a life.

There is of course the whale project, which I'm planning on turning out a high quality final product of by the end of the month (knock on wood), but there has been a project I've been meaning to do pretty much since my first year here in NZ...

That is of course the Mosasaur... I guess technically I'm aiming for a Tylosaur, but I typed up the rest of this post using Mosasaur and I'm too lazy to change them all. Besides technically a Tylosaurid is a variety of Mosasaur, so I win.

He has received updates throughout many stages of my 3Ding techniques. The Mosasaur started life as one of only two "Mark: 1" generation models (the other being my first version of Larry). Pictured here in the only rendering of it I still have.

Of course as my modelling and, especially, shading techniques improved I'd try to keep the Mosasaur up to date.

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His initial Mark: 2 version was a little too Ichthyosaur in the skull...

A quick update had him corrected quite a bit!

For quite some time I came back to the Mosasaur every few months to keep him update with what I was doing 3Dwise.

As I stalled on my Mark: 2 modelling technique, the improvements got harder and harder. (The top Mosasaur is the latest version the bottom one is its predecessor).

This is where the poor guy has been sitting, never officially seeing the light of day. Yet being cutting edge when he was created, my Mosasaur is now dreadfully behind the modelling times...

I can't let this stand! I've decided he will become the prototype for my new Mark: 6 technique, which will involve a new means of creating 3D objects.

What am I aiming to improve exactly? Well I'd very much like to do a Mosasaur piece for ART Evolved, it needs to be scientifically accurate. So here are some of my current inspirations.

My latest palaeo-art obsession of late has been this Tylosaur by Julius Csotonyi. It completely captures the connection between Mosasaurs and their Monitor Lizard ancestors. Which is one of the things that intrigues me about Mosasaurs (I love monitor lizards, they are such elegant predators... except in their walking :p). Julius has accomplished this mostly through the colouration. Though a few slight hints on the skull anatomy help too.

I would very much love to capture this same feel...

Fortunately I have some fantastic reference photos of the Australian Perentie monitor lizard (Varanus giganteus), which I think if slightly modified would make an excellent Mosasaur colour pattern.

I have a couple ART Evolved articles in the works off what I've been doing with my extant references...

There are still other influences on what I'd like my Mosasaur to look like. Dan Varner is the man when it comes to restoring these marine killers back. So I'll be looking at his work from time to time.

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I've had a huge respect for the line drawings of Russell Hawley, and have found them a very good reference for the difference in skulls between various families of Mosasaurs. I've cut his Tylosaurus out from a selection of other Mosasaur types as this is what I am striving to emulate.

In addition to my recent discovery and inspiration from Csotonyi, this Mosasaur by Luis V. Rey has become one of my key references. I especially love the lower jaw and all the teeth on this guy!

Lastly is this old reference of mine, by I think, John Sibbick. If anyone knows one way or the other I'd appreciate it. Anyways I love his paddles.

I have one big question before launching into my effort. Monitor Lizards and Snakes, Mosasaurs closet living relatives, both have lips covering their teeth. Did Mosasaurs too?

This makes a huge difference to my restoration effort. So I'd like to know.

Anyways I'm going to conclude this huge online ramble. Just firing a few of my thoughts and feelings onto paper (after a fashion :P). I find it sometimes helps.

Start updating you once I've dived into this project.

Generation's of My 3D Modelling

2009 has proven to be a huge year for me in my artistic development. Knowing my education theory, this leads me to speculate that I wasn't really an artist at all up until this year. This is due to a learner hitting their greatest strides and progress in their early rudimentary phases of development (the progress of a grade 1 or 2er is staggering compared to any grade above them... they grow and improve so much in those early years).

I think it amounts to my networking with new artists online, and using them as both inspiration and motivation to push myself. ART Evolved in particular has been such a positive force on my creativity this year. I can't thank my fellow members enough for making it all happen!

Given as this progress has been coming thick and fast lately, I thought it might be amusing to go through formally organize and classify my 3D modelling. A number of people have noted I have made the odd reference here and there to certain models being a "Mark: [insert number]", but that I have never really laid out my criteria as to what this means.

That changes as of today! Welcome to the eras of Craig's modelling! (I'm intending on updating and adding to this as I go)...

Mark: Zero

These are all the models I did with my old Raydream software, and all my cross over to Carrara work pre-2007. Essentially all these models represent is my learning and grasping basic 3D modelling and compositional concepts. They have no direct tie in or lineage to my modern art, but were where all my learning allowing my modern work took place.

Mark: 1

Though not my first effort to create a 3D Dinosaur (as you can see from my example Mark: 0 example from before), this was the first model of my current efforts.

These models features more attention to detail in their construction, and were built for the ability to sculpt the various parts into different poses. The big break through of the Mark: 1's, separating them from my previous work, was the their texturing. Each and every surface of the model had a custom texture map created for it in an outside program(minus small parts like teeth, claws, and toe and lip scales). The first time I'd ever put any attention into texturing.

Mark: 2

Despite the break through of custom shading of Mark: 1, my first texture maps were rather crude. My lack of experience using Paintshop led to the scale patterns being very symmetrical and unrealistic. After the learning experiences of Mark: 1's in this new program I was able to improve the scale making process.

I also started to put a lot more attention into the details of the Dinosaurs, and started to try and create more accurate proportions.

This was the longest running Mark generation by far, and Mark: 2's represent the majority of my palaeo models I have ever built. At the same time this Mark is where I got complacent and fell into a comfort zone.

Mark: 3

Fortunately ambition has always been one of my qualities in 3D, and I strove to conquer 3D feathers. Despite Carrara having ready made tools to do this, it can be surprisingly hard to create these feathers.

Mark: 3 models represent those in which I have applied replicated objects to the surface of a creature such as fur, feathers, and or spines.

Mark: 4

Posing my earlier "Mark" models had always been a pain, and I lost any measured proportions. This changed as of Mark: 4, when I learned to apply "skeletons" to my Dinosaurs. Skeletal rigs are a means for the computer to bend my models at certain points. Just like the joints in a real skeleton. Meaning not only do my models now pose realistically, but much easier and quicker.

Mark: 5

The latest innovation has been an upgrade to my shading techniques. In this system I have stepped in and manually drawn each and every scale. Additionally I have put greater effort and care into creating and managing layers in the shader, giving me more control to change and customize shaders for individuals.

Sauropod Piece

I figured since I'm planning a big 2009 progress portfolio I'd post the complete version of my Sauropod piece.

I didn't manage to test and apply as much to this piece as I would have liked. I had intended my Brachiosaur to be the test bed for my launching into Vertex modelling, however Traumador's recent fame cut into that time. So the models are a little more simple then I'd intended...

Of course I'm very proud of the shading and textures on these guys. As you can follow in my live blogging efforts these guys represent a new method of shading I will be following from now on. I'm not pleased with the stretching of the shader of the right Brachi's neck though...

I AM very happy with the poses and positioning of the Brachiosaurs, especially my two fighters. The one on the left, with his sideways bending neck, proved quite difficult to get just right. Fortunately my skeletal system was quite adaptive (I'm learning more bones is best... though it can take longer to pose something).

I wish I'd had more time to fix up the forest a bit. The clearing is a little too much of a clearing if that makes sense.

Oh well, something for the next gallery... speaking of which I guess I should get on that. I'm thinking a series of 3 underwater environments. Possibly with a New Zealand flavour as I prepare to leave this country once and for all... If only I could think of a third distinctly different underwater setting from here. They don't have many fossils from before the Cretaceous!

New 3D Modelling Frontier

Despite the Brachiosaur piece not being quite as grandiose as I'd hoped (so very few of them ever are though), it marks yet another step on my growth as an artist.


In particular I have conquered UV texturing mapping, and honestly can't see much in the way of improving it to shade my creatures. Not that I'm not saying there isn't room for fine tuning and tweaking. However as far as major improvements and innovations sadly I'm going to need new software for any more of those.

My current Paintshop square texture mapping does not allow me to directly paint on my models (nor are there any ways for me to do this in Paintshop Pro that I can find... anyone know differently?). Which means this is on the backburner until I'm relocated back in Canada and can start worrying about building up my infrastructure.

One of the last major ways I can innovate my 3Ding and expand my skill base, without a software shift, is in how I actually build my models. At moment I've restricted myself to Spline modelling, which you see pictured here.


In this type of modelling think of any object as a tube like construct. I can instruct the computer at any point I choose along this tube to insert a new cross section, which you can see as black shapes through out that red object. By drawing different shapes in each cross section the computer must stretch the object between the cross sectional points to connect the the two different shapes.

This method of modelling has its advantages, which can be seen in ever piece I have ever constructed in 3D. Yet it has its limitations too. The biggest of which is changes to an object become hard outside of them being up and and down (again as the cross sections have to be mostly parallel to each other). This makes it hard to make localized details or angled indentations and protrusions. If I try to create these I typically have to simplify them due to the number of cross sections I'd have to create otherwise to get odd angled protrusions...

An easy solution to adding these details (as at moment I'm rather happy with Spline modelling for initial basic construction) is Vertex modelling. In this system an object becomes something like a mass of clay that can be manipulated (pushed and pulled) by a series of points generated on its surface. You see them here as dots connected by lines. Move any of these points and you effect the nature of those lines (which represent the objects surface) which allows you a great deal of control of details.

So far I've only tinkered a bit, and never properly learned any of the tools of specific controls.

I have produced one model with a slight degree of Vertex detailing as of last week. The new Traumador character Vicsurus the Daspletosaurus. I wanted her to look particularly battle worn, and so needed some scarring on her lips. This is where I got after an hour or so of playing. It is by no means anywhere close to where I want to be, but of course it is a start.

So expect plenty of updates and posts recording my adventures into the Vertex...

A Rough Idea

Sadly things aren't slowing down on my end. At least it is mostly good stuff coming down the pipes, but it is all timing sensitive. So I have to get it all done.

In the midst of the half a dozen things I'm currently juggling, is of course my ART Evolved piece. I have not been overly inspired by the Sauropod them I have to admit, much like Pterosaurs. That's not to say I haven't gotten anything out of this one (unlike Pterosaurs... which resembled a chore at times). Texturing this guy taught me tons, and will have a long term impact on how I do shading maps!

Putting an actual composition together with my completed model has not be easy. Which is where my lack of motivation hasn't helped...

Fortunately a bit of accidental tinkering yesterday resulted these rough poses here, and a concept created itself. Won't say much more on it now, as I'm hoping it tells a story on its own, and frankly I can't be bothered to type it up at moment (as I still have to pose 1.5 Brachis and replant the forest!).

Let me know if I shouldn't proceed on this current tangent...

So much to do so little time...

I have a LOT on my plate this week. So much so you only get this small post.

Inbetween many other things, I'm desperate to get my final piece for the ART Gallery done. At moment I can't decide what the Brachiosaurs are going to be doing. Browsing or all migrating.

I've thrown together these two quick snapshots of what I've gotten to.

Which if any of the elements in either look good and/or bad to you?

Live Blogging: Epilogue

I thought I'd do a quick final wrap up on yesterday's live blogging effort.


Lady R and Peter both pointed out how I neglected to really explain what my big texturing break through was...
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So I'll take you through both my old and new manners of making Dinosaur skin.
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The Old System

Okay so I developed this back in late 2007 with some improvements brought in early 2008. Beyond that it hasn't changed. Meaning my texturing of 3D Dinosaurs has stayed the same for a year and a half. Mind blowing when you document my 3D modelling techniques, which have (especially this year) been changing ever month (and in a few patches week to week!!)!


The first step was to come up with a basic colour pattern for the animal. In this old system it could be remarkably simply (the one major advantage over the new system), and it would look way more impressive after then next two steps!

Once I had the colour scheme down (which could take several tries sadly, as the texture map could get really distorted and stretched), I'd add noise via Paintshop.

Next I would apply a tiling effect that would give me a scale like pattern across the colours scheme. If I skipped the previous noise step my tiles would be very symmetrical, and look like a bathroom floor except in areas where the different colours bordered each other. The noise made these nice non symmetrical tiling patterns, that mimic organic scales convincingly.
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However in real life scales don't quite perfectly border each other like that. Plus the black lines were just a little bit too comic booky (which isn't nessecarily a bad thing, as I love comic books so much)...
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The New System

So finally a year and a half later I have got drastically new system for texturing.
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It borrows the key step of the underlining colour scheme, but that is in the middle, and I now fracture and compartmentalize all the different elements in their own layers. This now means I can more easily fix issues when a texture gets messed up on the model.
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This isn't a huge break through per se, but it is just me applying common sense to methods and tools I've known about, so I use them way more effectively and efficiently. (Seriously the realization that layers are my friends, and not my enemies has really increased my digital art skills. Wanting simply jpegs lead me to the thinking that layers were counter productive, but of course I was being an idiot!)
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The huge twist on my modern shaders is the manually drawing in the scales I want in the texture. This is slightly tedious, but once it is done I can accomplish some amazing amazing detailed effects in the texture.

Using the grid square sector detector, inspired by David, The scales and colour scheme are no where near as hard to line up or create now either. Plus with layers I can have all these elements in the same file. If I want to know where the scales or colour pattern are on the grid, I can simply cloak them or transparency them to see the grid underneath.
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The Results...

The "before" shot of the Brachiosaurus. In fairness this is my old Sauropod shader, which was the 3rd Dinosaur texture I ever did in the "modern" era. Still as a result it'll give you a serious idea of the serious leaps and bounds possible between then and now.

The "after" in the form of yesterday's prototype of the new system. The details may not be clear (as again blogger won't let anyone zoom in on things I upload... their original forms are more then big enough for it to be possible, I typically render at 2272 x 1704, but blogger just doesn't let you enlargen them for some stupid reason!), but you can also see even just my choice of colours for the colour scheme is getting more tempered in common sense/real world prospectives.

So welcome to yet a new "wave" of 3D Dinosaurs from the Weapon of Mass Imagination...

Live Blogging 11

This was the last hour I can afford to stay up to (11pm). Not that it is an issue!

I managed to achieve the main goal for today! My Brachiosaurus is overall done being textured. If worse came to worse, I could pose this current version into a descent final piece. Though it will get another couple hours of remodelling.

Even more significant has been several break throughs in my shading technique. This Sauropod dawns in yet another generation in my modelling lineage. 2009 is proving to be by far my most productive year in my 3D art. I'll do a proper post soon summarizing what the different between today's experiment and my typical shading was.
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Here is the final beast in his fully coloured glory! (and for whatever reason this pic is enlargenable by clicking on it, so please do!... why the *BEEP* only some work and some don't on this thing is beyond me, but I'm getting sick of it!(

Finally the big guy posed. He is a much more vertical stance than I'm thinking of going, but this was at Peter's request. As he stayed up an extra 40 minutes to keep me virtual company (via skype) who was I too deny his request!

So yet another triumph of Live Blogging! A event I'm intending on participating in every ART Evolved gallery from here on in...

Live Blogging 10

Huge break throughs this hour!

As this was an entire day of pushing myself to the limit of what I know about UV texture mapping and Paintshop, I have been rewarded with the next generation of my 3D shading (the first jump in almost 2 years!).
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By taking advantage of separate layers, I am now able to easy modify one aspect of a shader without worrying about it effecting the parts I got right the first time...

I've completed the whole head region.

I have proxy finished the legs. However as there are a few strips from the body that do not quite match up, the last hour will be tweaking these small discrepancies.

As of such I'm sector checking them, and with this layer system I should be able to just cut and paste the strips from the body directly onto the legs!

Next post a completed Sauropod (or a pretty darn close do done one anyway...)

Live Blogging 9

I'm back, and with an ambitious plan!

In the next 2 hours I shall finish texturing my whole Sauropod! Sadly I can't claim this or bust, as I have work with little toddlers tomorrow (and need to be somewhat awake therefore).

To get me on my way I've finished the skull.

With the completion of this, the first additional piece, you can now see the benefit of my new texturing tactic. In my older models the two different pieces would be painfully obvious. Not so here. It is not perfect, but you can't readily pick out the connection at least.