Vitruvian Mesh: Re-examining the 3D Modelling Process

Learning from the masters It is largely due to Leonardo da Vinci that we learned much of the human body and its workings. In an age of ignorance he took it upon himself to study the function and form of every part of our anatomy. His Vitruvian Man drawing is a timeless testament to his calculations of relative geometry and movement in the human body. Much of Leonardo’s information on the workings of the body and its systems came from study deep within, from the inside out. He studied how bone meets muscle, how muscle meets ligament, and finally how the skin covers and secures the entire series of systems that make a complete human being. Without his knowledge of what happens inside, Leonardo could never have discovered how the outside works to contain everything else and how movement is affected on the deepest levels.

Traditional Modelling Technique Since the inception of 3D modelling, the process has remained relatively unchanged. The modeller begins with a basic polygon structure and manoeuvres them into the shape desired for the model. This can be done in low or high poly states. Once completed, the model is married to a rigging system, some available in the software used to create the model and some custom made because of specific needs for the model in question. These rigs are complicated and require much manipulation to fine tune before the animation process can begin.

In more complex, higher poly models, it has become commonplace to additionally create a muscular rig which controls mesh deformation during movement. These rigs are extremely complex and require even more manipulation to prepare a model for animation. Each muscle in most muscular rigs must be individually defined, shaped and attached to specific points on the mesh and the skeletal rig in order for them to function properly. This all results in much more time devoted to the base model before animation can begin.

Once all the other interior systems have been placed and coordinated, the initial mesh must then be manipulated to control the exterior deformation while in motion. This is yet another process which consumes time and resources without having created a single frame of animation yet.

The end result can be quite stunning, however the number of independent systems required to fully realize the end result can end up in some oddities or inconsistencies. Even in the acclaimed Avatar, beautiful though they were, there was still a slightly unreal feel to the movement of the Na’Vi.

Reversing The Trend The concept behind the Vitruvian Mesh is to rethink the entire process of modelling, going back to da Vinci’s studies and working from the inside out. Beginning with the base idea that all systems in the body work in unison, I propose to create a modelling system in which all functions of the animated final product are married together from the start. The system will contain skeletal, muscular, fat and organ systems, all intuitively linked so that each individual manipulation at any level will automatically affect all other systems connected to the model. By combining all the systems in an organized layering system, the time needed to fully realize a working model will drop dramatically, leaving more time to focus on the more important task of bringing the model to life.

The Inner Workings The rigging system will start with a skeletal frame preloaded with precise origin and insertion points for the major muscles of the body. Linked to that system will be a complete musculature, with all muscles prelinked to the underlying skeletal system. Any manipulation of the skeletal bones to scale the model will automatically transfer to the musculature, eliminating the need to reset the muscles individually. Scaling of the muscles will add or remove bulk from the figure while remaining linked to the bones

Moving Outward Additional linked systems will include a soft body element to take into account the organs and soft tissues of the body as well as a body fat modifier. Manipulation of body fat will link directly to the muscles and scale proportionally both the bulk and exterior definition of the model.

Topping It Off The final, enveloping layer will be a malleable skin, similar to a garment produced in 3DSMax. Once the interior pieces of the model have been set, the skin will be able to be shrink wrapped tightly to the entire mass, creating a cohesive, bonded wrap to contain the rest of the model. Modifiers at this level will allow for sagging with age, texturing, weathering and all other skin deforms normally applied to the exterior.

The Future Is Now As little as five years ago, this type of integrated system would have been very difficult to implement due to the limitations of the computer and rendering software. With processor power increasing at leaps and bounds, the time is right to rethink the way we do things and create more intuitive systems that maximize output and minimize time and cost. Remaining stuck in the production processes that worked in the past does not ensure better and more creative results in the future. With 3D animation becoming an integral part of our entertainment lives, it is time to give the medium the upgrade it deserves. By bettering the way in which we work with the medium, we can only improve the things we create with it. By taking a lesson learned long ago by one of the Masters of anatomy and human structure, by working with all the systems that are necessary to create a believable product as a cohesive unit, we can move into the future of digital creation armed with a much more solid foundation on which to build the future. A multi-layered system tying all aspects of the modelling process together will benefit all levels of production in time and cost reduction that will allow much greater ability to complete projects at or under budget.