3-D Human Modeling and Animation -- Contents -- Preface -- About The DVD -- Chapter 1: Beginning Modeling Techniques -- Creativity and Animation -- Modeling Simple Objects with Polygons -- The Basic Modeling Tool Set -- Modeling a Hammer -- Modeling an Easy Chair -- Modeling a Sofa -- Modeling a Bookshelf -- Modeling a Cabinet on Wheels -- Modeling Simple Objects with Splines or NURBS -- Modeling a NURBS Floor Lamp -- Modeling a NURBS End Table -- Modeling a NURBS Office Chair -- Chapter 2: Intermediate Modeling Techniques -- Creativity and Animation -- NURBS Patch Modeling: a Simple Exercise -- Intermediate NURBS Modeling: Creating a Cartoon Chicken -- Intermediate Polygon Modeling: Creating a Cartoon Chicken -- Creating a Cartoon Cow with Polygons -- Intermediate Level Polygon Modeling 2: Creating a Cartoon Person -- Chapter 3: Anatomy Of the Human Figure -- Some Anatomical Considerations -- Proportion -- The Skeleton -- The Skull -- The Skeleton of the Torso -- The Bones of the Arm -- The Bones of the Leg -- The Muscles -- The Muscles of the Head -- The Muscles of the Neck -- The Muscles of the Torso -- The Muscles of the Arm -- The Muscles of the Leg -- Chapter 4: Advanced Modeling Techniques, Part 1 -- The Creative Process of 3-D Modeling and Animation -- Modeling the Head with Polygons -- Topology Considerations -- Preparation for Modeling -- Getting Started -- Adding a Few Edges to the Male Head -- Summary -- Chapter 5: Advanced Modeling Techniques, Part 2: The Torso -- Modeling the Female Torso -- Modeling the Male Torso -- Chapter 6: Advanced Modeling Techniques, Part 3: The Arm and Hand -- Modeling the Female Arm -- Modeling the Male Arm -- Modeling the Hand -- Chapter 7: Advanced Modeling Techniques, Part 4: The Leg and Foot -- Animation and Confidence -- Modeling the Female Leg -- Modeling the Male Leg.

Modeling the Female and Male Foot -- Conclusion -- Chapter 8: Advanced Modeling Techniques, Part 5: Final Parts -- Directed Imagination -- The Final Parts of the 3-D Human -- Modeling and Texturing the Eyeball -- Modeling Eyelashes -- Modeling Teeth, Gums, and a Tongue -- Polygon Hair Vs. Hair Generator System -- Modeling and Texturing Polygon Hair -- Using a Dynamic Hair System -- Lofting the Curves -- Creating the Remaining Hair Curves -- Mirroring Hair -- Creating Stray Hairs -- Making a Ponytail Section -- Randomizing Points on the Wig -- Converting NURBS Curves to Hair Systems -- Turning off Hair Dynamics -- Setting the Hair Attributes -- Clump and Hair Shape -- Dynamics -- Conclusion -- Chapter 9: Surfacing and Lighting Details -- UV-Mapping a Human Head -- Important Shaded UV View Alternative To the Wireframe UV Snapshot -- Creating the Textures in an Image Editing Program -- Applying the Textures in Maya -- Using the Mental Ray Fast Skin Shader -- Adjusting the Image Maps -- UV-Mapping an Entire Body -- Vertex Painting: an Alternative To UV Mapping -- Adding the Misss_Fast_Skin_Maya Subsurface Scattering Mental Ray Node -- Lighting Characters and Scenes -- Light Types -- Lighting Arrangements -- Mood Lighting -- Chapter 10: Setting Up the Human Model for Animation -- The Workflow -- Making Blend Shapes for Facial Expressions -- Creating the Blend Shapes for the Brows, Eyelids, Nose, and Cheeks -- Part 1: Working with an FBIK RIG -- Part 2: Setting up Your Own FBIK RIG -- Parenting the Teeth, Tongue, and Eyeballs to the Head Joint -- Controlling the Movement of the Eyes -- Creating and Editing Eyelash Cluster Weights -- Using Blend Shapes To Drive the Rotation of the Teeth and Tongue -- Binding the Model to the Rig -- Smooth Binding a Human Model to the Rig -- Smooth Binding the Mesh -- Using the Paint Skin Weights Tool.

Using the Component Editor to Fix Weights -- Adding Weights and Subtracting Weights in the Component Editor -- Conclusion -- Using Blend Shapes To Fix Deformations -- Creating In-Between Blend Shapes -- Making Muscle Deformations with Set Driven Keys Driving Cluster Deformers -- Adjusting the Controller -- Rigid Binding a Human Model to the Rig -- Adding Flexors -- Hip and Shoulder Problems -- Paint Set Membership -- Conclusion -- Chapter 11: Fundamentals of Human Animation -- Some Animation Pointers -- Animating In Stages -- Using the Graph Editor to Alter a Clip -- Animating a Ball through the Graph Editor -- Using the Graph Editor to Aalter a Digital Human'S Motion -- Animating the Arm -- Altering the Hand Wave in the Graph Editor -- Creating a Walk Cycle Using Character Sets -- Creating a Walk Animation -- Using the Trax Editor to Repeat the Walk Cycle -- Redirecting a Walk Animation -- Making a Clip of the Handwave Animation -- Adding the Handwave and Head Turn Clips to the Walk Cycle Animation -- Entering the Graph Editor from Trax to Alter a Clip -- Conclusion -- Chapter 12: Human Animation Principles -- Dialogue -- Dialogue Essentials -- Ways of Making Them Talk -- Using an Exposure Sheet -- Working with Dialogue and Sound Clips In the Trax Editor -- Storyboarding -- Rotoscoping -- The 12 Principles of Animation -- 1. Squash and Stretch (Weight and Recoil) -- 2. Anticipation -- 3. Staging -- 4. Straight-Ahead Versus Pose-To-Pose Action -- 5. Follow-Through and Overlapping Action -- 6. Slow In and Slow Out -- 7. Arcs -- 8. Secondary Actions -- 9. Timing -- 10. Exaggeration -- 11. Solid Drawing -- 12. Appeal -- The Elements of Animation -- 1. Pacing and Impact -- 2. Action Reaction -- 3. Rhythm and Lines of Action -- 4. Paths of Action -- 5. Spatial Relationships -- 6. Accents -- 7. Cycles -- 8. Postures -- 9. The Take -- 10. Emotions.

11. Balance/Imbalance -- 12. Weight, Mass, and Gravity -- Using Cloth Dynamics for Follow-Through and Overlapping Action -- Modeling the Clothes -- Converting the Dress Into an nCloth Object -- Creating a Collision or Passive Object -- Constraining Clothes to Move Along With a Character -- Rendering -- Terminal Window Rendering -- Mac Os X Instructions -- Windows Instructions -- Conclusion -- Bibliography -- Index.