New to Blender. Should I start my model over for practice on workflow or continue

General Forums Blender and CG Discussions
1

Good morning everyone…

As I am still at the beginning part of my first project, I have a question swimming in the back of mind. Would it be beneficial to save where I am at and start over for practice. Besides modeling, texturing, rendering, I would also like to focus on workflow. That also seems important from all the reading Ive been doing. I just built my first pc to handle a good render scene, and even though its tempting I have to start from square one of learning.

So far I have my kindergarten sketch of design, then references, and now Im almost a 1/4 done of model. Of course there were times when I got stuck, had to research to figure out problem. When it would work, found out how simple it was, I would think “workflow.” Like I said its my first project, I should look at it as my learning one. Good idea to save, go back for practice for the hell of it?

2

My advice is when you first start, Just play. Make as many projects as you can, As quick as you can. You can always return to what you started before.

3

Agreed. Get more projects under your belt and then come back in 6 months or a year if you still want to and do your first models over. I think you’ll be surprised how much better and faster you are then.

4

I second that, it’s best to go through all the steps, then start again after doing everything. if you only get 10% of the way through a project, then restart, you’ll never get to connect the dots of how your workflow is working out over the whole process.

5

In addition, I’ll add two more things:

  • Pick short, achievable projects. Nothing worse than stalling out mid-way on something that’s proven itself to be too ambitious
  • If your aim is to refine your workflow, do not change your workflow in the middle of your project. Use that workflow all the way to completion. Make your change on the next project after you have an understanding of how your workflow has an effect on your entire production
6

Thanks for the advice from everyone so far. Of course Im having fun, but there are times I catch myself stressing like back in college days. Coming from an engineering background I was wanting to take it step by step to be perfect. It makes sense no matter how simple the projects you complete, its practicing for your workflow.

Fweeb - I also like the two things you added about picking short projects for practice, which is what I plan on doing now.

Going along with your second thought, changing workflow, do you think that would apply to organic and hard surface poly?Im thinking one will use more sculpting than the other.

But anyways, I do like the sound of simple projects and playing. Texturing, Lighting, Rendering yeah!!!

7

Man… would’ve been great to have this question at the beginning of this month when a handful of us started Sculptember. It varies for everyone, depending on the model you’re making. I can say with good assurance sculpting isn’t just for organic modeling. If you’re doing technical models that require a bit more precision (or are easier to make with modeling tools like spin, screw, etc.), then sculpting may not be the best first choice. But in the more general case, sculpting works well for both organics and hard body… especially if your plan is to retopo after anyway.

8

I suggest that you make duplicate copies of your blend-file several times a day (in addition to the backup system), numbering and/or dating each one. Lock it and keep it … forever. You just never know when you might want to go back to it. If you want to “crumple up the piece of paper, throw it away and start over,” archive it first.

There’s definitely such a thing as “analysis paralysis,” and also, “the land of Diminishing Returns.” To help counter this, I will usually start a project using simple geometric shapes … to scale. I will get an idea of where I might want to put the camera, how “the show” might pan out (story-beat by story-beat …), and therefore, “what is actually likely to matter, versus what isn’t.” This turns out to yield two very significant and time-saving points.

The first is, “if you don’t see it, it doesn’t have to exist.” When they made Western movies in the desert, there was no “back side” to any of the buildings. They were all facades. And, in a very real sense, so is every CG model and/or set that you create. If you’ll never see the back side, don’t build the back side. Every model should be correct for the shot(s) in which it is intended to appear.

The second is, “edit, then shoot.” Use OpenGL Preview renders (and simple block shapes) to work out the shot-by-shot flow of the show. Then, use this to figure what you need. Build that. No less, no more. As the show progresses, one by one the rough shots will be replaced by finals … and they will match, exactly. Instead of wasting(!) hours “lovingly rendering” footage that you decide not to use, flip the process end-for-end. Decide what footage you will use, then “lovingly render” only that.

If you pour yourself into that mode of thinking, you’ll be surprised at how different your initial assumptions were, from what you actually wound up doing. “Human imagination” is the greatest secret weapon in your arsenal.