3DVIA® - 3DVIA

As we are thrown into an increasingly computer-savvy world, it seems the term “3D” comes up more and more. Whether it relates to the 3D you might see in the movies, the 3D in a brochure, or something entirely unexpected, 3D is everywhere. While you hear the term and see examples often enough, do you ever find yourself wondering “what the heck is 3D?” 

Most of us realize that 3D is an abbreviation for three-dimensional— a concept we apply to everyday life and understand. We live in a 3D world where we can walk around objects, pick them up and see them from all sides. But how does this relate to computers, movies, brochures and all the media we see everyday claiming to use 3D? Perhaps the best way to understand 3D is to start with 2D.  

Below we see a 2D image of a bowl of water with floating tea lights. In this image, the artist has given the illusion of depth through shading techniques. It looks as though the bowl is three dimensional, but it in fact is not. The bowl and its surrounding environment are flat, and for eternity will only be viewed from the perspective they were painted (unless the artist sketches from another angle).

Here we see several images of a house created using 3D software. Next to the house is the 2D image described above. As we move around the house we can see that it has depth, whereas the 2D image is flat. Unlike 2D, 3D objects can be viewed from infinite angles, as well as moved from place to place, just like objects in the real world. The images we see below are merely “photographs” (known as renders in the 3D industry) where a 3D artist has navigated around the house on the computer and taken snapshots from interesting angles.

Hopefully, the above example better defines what 3D is, but perhaps you’re now wondering why even bother. Why spend the time to build a 3D object and render it when you can take two seconds to snap a photo of its real-world counterpart and get the same result? The reason is control. It’s true, 3D can produce the same photorealistic effects a digital camera can; however, with 3D every variable can be controlled and manipulated. Imagine a photographer who could control the weather, add more branches to a tree, change the color of the sky, etc., and you would have a 3D artist. In addition to realistic objects, 3D software has the ability to create believable, non-realistic objects as we see often in movies (e.g., the fantasy characters in The Lord of the Ring movies, the cities in the latest Star Wars movies, etc.).  

When trying to understand 3D, it is best to think about it in the context of real life. While 3D objects and their 3D environments may not exist outside of computer confines, they behave in the same way real-world objects do, and for all intents and purposes, can be thought of as such.  

In Episode 2 of the making of “Captain Morgan and his Starship Pirates” we explored some basics about drawing lines that user m2morgan64 had to master before he could create his exceptional models using 3DVIA Shape for his game under development.

Next, we need to be sure that we really know what we’re seeing. If you are drawing an object on a piece of paper, you always know where your lines are - on the paper. You’ll never be surprised that one of the lines you just drew is actually on the back side of the paper, or on its edge, or has just plain disappeared. In 3D space there are all kinds of such surprises.

That’s why being able to confidently move around in 3D space is so important. If I draw a simple rectangle, a line from corner to corner, and then a vertical line without changing my viewpoint - I can end up not knowing where it went. The first image below demonstrates this confusing state of affairs. I can change my model color, as I’ve done in the second image, but that takes time. If I simply change my viewpoint, as in the third image, it’s easy to see where the line is and that it went where I wanted it to go.

If I have a more complicated model, it is even more important to be able to zoom around and in and out to check up on what I’m really creating. In the first image, I think that I’m drawing a line across the gray face of the model. Once I move my viewpoint, I see that my line is heading somewhere else entirely. If I had continued to model without checking, I would have been really surprised later.

The value of knowing where you are is even more apparent when you see the whole crazy asteroid that this is part of:

“What?”; you say, “Of course it’s hard to see - where did all the lines go?” That brings up the importance of knowing about the “Environment” button (or just use F4 and be done with it) to be able to see all of the edges to help guide your modeling.

“Enough already! You’ve convinced me. Now, how do I do all of this amazing rotating and zooming and everything?” I’m glad you asked.  Depending on which part of your brain you like to use, we have multiple tools to help you.

For those who love video presentations with avatars; there are video tutorials created using TVnima.com. (The “Navigation” tutorial is, oddly, at the end of the list, rather than at the beginning.)

If you prefer more traditional tutorials, we’ve got a bunch of those too. (The “Viewing in 3D” section is the first item under the “Using 3DVIA Shape Tools” heading.)

And we have a quick synopsis right here from an excellent and more complete blog post on the subject done by Rodd back in November.

By now, I hope you are ready to find your way around your model in 3D space and avoid some of the more likely surprises. Then again, there is always my favorite button on the screen:

Undo!

P.S. If you have specific questions about this blog post or previous ones, you can ask me directly, now that we have Messaging!

Go to Episode 2!

Go to Episode 1!

In Episode 1 of the making of “Captain Morgan and his Starship Pirates” we defined our goal to highlight the creativity that user m2morgan64 has shown as he creates models using 3DVIA Shape for his game under development. One of his latest starships has exceptionally graceful wings:

As in any endeavor, he had to start at the beginning and learn how to exploit the strengths and work around the foibles of Shape. The available online video tutorials are a start and also a good place to return when you’re frustrated/confused or if you just want to know more about a particular tool. The online documentation is another good place to look.

One very valuable source of help for the Shape modeler is that the program itself is eager to help you as you work. Shape is constantly providing you with onscreen choices to help you quickly get your ideas down. Most things that we want to make as humans have square corners and flat or vertical surfaces. We want our walls to stand up straight and our rooms to have flat floors and doors that work. Shape knows this and tries to help.

The most basic thing we can create in Shape is a line. Seems simple enough, right? Well, sort of…because one simple thing can take away the help that Shape is so eager to give.

In the earliest version of Shape, a line was drawn by selecting the line tool and then left-clicking where you wanted the line to start and then holding the button down while you dragged the line to where you wanted it to end. Then you released the button and you had your line. Shape helped you make sure that your line was flat and square to other parts of your model by providing feedback. The line would change color and show angles as you moved the mouse.

Unfortunately, usability studies showed that that is not the way that most people intuitively used their mouse to draw a line. So, it was changed.

The black line was drawn using the old method and looks parallel with the grid and good to build off, but when you draw your next line, you’ll find that you’re off by 1 degree, which will cause no end of problems throughout the rest of your model.

Now, the method is to select the line tool, then left-click at the start of the line AND THEN RELEASE THE MOUSE BUTTON before you drag your line to where you want it to end - then left-click again to finish the line.

As you move your mouse, you will see the clues that Shape provides. The line turns yellow when it is parallel or perpendicular to surfaces and other parts of your model as well as giving angular measurements and showing you which plane you’re drawing on. If you hold the left button down while dragging, you’ll lose all of those helpful clues.

If you use the new method, Shape will help you by showing the line in yellow when it really is parallel with the grid. So, when you put your next line in it will be a true 90 degree angle and you can continue modelling with confidence that everything will be square.

So, remember to click and release to start and end a line and you’ll be square (in a good way, I mean).

Go to Episode 1!

Go to Episode 3!