Creating the Eye Area

Some 3-D artists prefer to model the eye out of the same face mesh. The method that is described here using curves that originate inside the mouth makes it difficult to do this. The curves around the eye are turned almost ninety degrees, making it just about impossible to form the eyelids. A more sensible approach is to cut holes for the eye sockets, model the eyelids separately from the mesh and then blend them to the face. The advantage to making the eye area separate from the face is that you have the freedom to use as much detail without worrying about making the rest of the face too complicated. Another bonus to separate eyelids is that the round forms will follow the contour of the Orbicularis Oculi, the circular muscle circumscribing the eye. The face remains easier to animate since it does not have the extra isoparms that would have made it necessary to form eyelids.

One warning about using trim blends. When you fillet blend a surface, it continually updates because it uses construction history. As the character is animated, a slight popping or flicker can occur in the blends that is seen when rendered. It is most visible if direct lighting and a smooth texture is applied. Blends can also slow down your computer's response time. The directions given here try to limit the use of blends to areas of the face that do not deform too much during the animation process.

The first step to making eyelids is to cut holes for the eye sockets. Create an oval with approximately fifteen points. Place the oval above and in front of the eye socket region (Figure 7-9).



Figure 7-9 Two ovals are projected for the eye holes.

Duplicate and mirror the oval for the other side of the face. Select the first oval and the head and then project the curve on it. Do the same with the other oval. The head should now have two ovals projected on it in the eye socket orbits. If there are any on the back of the head, then delete them. Use a trim tool to delete the projected ovals. The head should now have two holes cut into it for eye sockets (Figure 7-10).



Figure 7-10 Use the projected curves to trim holes for the eyes.

Select the original oval that you projected on the head. Duplicated it and shape it into an eye hole that defines the outline of the eyelids. Continue duplicating and shaping the ovals so that they look somewhat like Figure 7-11. Select and loft the eyelid ovals.



Figure 7-11 The eyelid curves are lofted.

Once you have the eyelid portion of the face, duplicate it and mirror it for the other eye socket. Fillet blend the edge of the eye hole to the edge of the lofted eyelid part (Figure 7-12). Do the same to the other eye socket. The eyelids should now blend in with the rest of the face (Figure 7-13). The next step is to model the ear.



Figure 7-12 Preparing to fillet blend the eyelids to the eye socket.



Figure 7-13 The fillet/blend eyelid curves.



Modeling an Ear



The ear is one of the most complicated objects to model. Its convoluted cartilage with its varying elevations and concavities presents quite a challenge.

It is best to think of the ear like a flower. The initial curves project outward from the inner part to curve around the outer rim and end at the head (Figures 7-14 to 7-16).



Figure 7-14 The first four curves for the ear against a shaded template.



Figure 7-15 Eight curves begin to form the inner and outer bowl of the ear.



Figure 7-16 More curves are added for extra detail.