Join Ellery Connell for an in-depth discussion in this video Modeling the soda can, part of Modeling for Product Visualization in MODO.
In this video, we're going to have a look at how to set up the model for a simple soda can that we'll later complete and add some details to. And the first thing we need to do is get in a reference image, so we can have something to base our model off of. And if you go into your scene files, you'll find reference images and there is a can profile image. Now, this is actually a 3D rendered image, and there's something important to notice about this. And before I talk about it, I'm just going to take it and drag and drop it right into my front view, in Moto, and I have my can in there. And you can set up these images however you'd like. I'm going to show you a few of the settings that I use that seem to make it easier for me to be able to model these base software reference. I'm going to turn on blend, which is going to slightly anti alias the image makes a little bit cleaner and easier to read, and depending on the image sometimes I will invert these.
Sometimes it gets easier to read. You can pick that based off of your own perspective here, see how you like it. And one thing I'm also going to do is turn up the transparency to oh, about 60%. And that way I can see my wire frames through it a lot easier. Now, as I was saying, there's something important about the way that this image is set up. And if you'll notice, this is not rendered as an orthographic view. And by that I mean there is some perspective to it. And that's important because if you're going to use a reference image of a real can, no matter how far back you step and how far you zoom in, you're always going to have some perspective on that.
And this is something that if you go to, go in search engine and look up soda can profile images, you're going to have this kind of a perspective that's going to appear. Even in very good shots its going to have this subtle perspective, and I want to show you how to get around that as you model. So that you can compensate for that and get a good, nice quality representation in your orthographic views. That then will look correct when they are rendered. All right, so, with that said, I'm going to take my background image here and you can either leave it or rename it. I'm going to rename it, because I'm going to end up with more than one reference image here at the end, so can profile, I'm going to call that image. And then I'm going to go over to my mesh item, and select the cylinder, and in my top view, I'm just going to center up, my tool.
And I click and drag out, and see I didn't quite get that centered, so I'm going to zero out my Z position. And what I'm looking for is aligning this to the width of the can. And I'm going to align it exactly to it. Now even though I know that eventually when I sub D this it is going to slightly undershoot what I have with my polygons. I'm still going to model it out there, and I can show you how to compensate for that once you've converted to sub D's. And then I'm going to take my top view here.
And I'm going to even this out so I have the same dimensions in both my X and my Z. In this case, 1.68 meters. This is actually a very, very large soda can just because the way background image imported. And personally, I never worry about this kind of a thing until the model is completed, and then I'll go back and properly scale my can to a good size. I think that's just something that is better left worried about once you have the model completed. So there are a number of ways you can set up this initial geometry. Some people like to give you, give themselves the full height. I personally like to go and model with my initial cylinder taking up the space of just the whitest part of, you know, something like a can or a bottle whatever the case may be.
And then from there I'm going to bevel off of the top and the bottom in order to continue this shape. You can if you want, pull this up all the way and down all the way. I find that that leaves you doing more operations and I would rather do things more quickly, since you end up with the same geometry in the end anyway. So, I'm going to take this here, and I'm going to leave just my default 24 sides and I set my segments to one, because I don't want to have any additional segments right now.
I'm going to add those in later once I have my base shape done. Okay, and a lot of this early on modeling I'm going to be doing in raw polygons. So lets go ahead up here to the top, and I'm going to bevel, and we're just going to pull up a little bit, and in. And I'm going to use two intermediate bevels to create this shape, and at this point I'm just going to very roughly eyeball them. I'm not looking for an exact match as to what we've got here. I just want this to be something close.
Okay, so we'll go to there. And now I'm going to be looking, when I get to this part, this is where that prospective comes into play. And you can see that the lip here on my background, my reference images arching way up. Here, but I don't want to match that. I want to match my profile, because my profile is where I can actually read the shape of the can. So in that case I'm just going to go up to the top of the lip, like that, and just to make this read a little bit easier, I'm also going to bevel inwards. Just a little bit.
That way when I do sub D this I'm not going to get this big rounding off on the top here that you see on the bottom. So I'm going to unsub D again, and let's go down to the bottom side and we're going to do pretty much the same thing here so. I need to bevel this, and I need to do the same thing with kind of two intermediary bevels here. So I'm going to bevel in, and down, and in farther. And there's a different type of curve on the bottom of this, so I want to make sure that I'm following that. And you can see that I am opening this slightly with the polygon. That's because once I get into the sub D shape, I know that it's going to pull inwards a little bit and I'm trying to kind of keep it even as it goes along the can.
I'm going to do the same thing here and I'm just going to pull in just a little bit more, and there we go. So now I can back this out, and press Shift tab to get into sub D's. You can see that I'm getting a lot of rounding right here, so before I finish up this basic shape, I'm going to put in a couple of loop slices. I'll put the count to two. And I'm going to pull these up. Something like that. We'll call that a deal, there. Okay, and now, I need to make some adjustments, now that the sub D is turned on, to my general profile here.
So, let's start by pulling this part out, I don't have a lip yet, so I just want to kind of aim for the inside of that. And occasionally its good to hop in and out of sub D's because you want to see what you have. Since I have this part straight, when I sub D you see it looks like it pulls in, but I'm actually going to leave that pulling in a bit for right now. Because when I go in to add more details to that lip, it's going to flatten that out a bit. So, that's looking about right. And let's see. We can just make some general kind of scaling adjustments here. And I'm looking at my front view here on the bottom left. And I'm using my perspective view to adjust because I can zoom in and out as much as I want in the perspective view.
That's going to give me more control, over the tool, but then at the same time, I can see it more closely over here. So I'll just make that. And as you make these adjustments, remember to use your left and right arrow keys. It will allow you to move between the different edge loops without having to drop and reselect your scale tool, your move tool, whatever you might be using at that time. So, let's just go down to the bottom now. And let's got to that one. Scale that one in just a bit.
And now I'm going to unsubdivide just to see. Okay, I've got a pretty flat angle here, so I'm going to leave this last little bit because I know when I go to finish off this shape, I'm going to be creating an indent on the inside and that's going to add some extra rigidity to this inner edge down there. So there you go. There's the rough shape of the soda can completed. And using your reference image, you've gotten a good profile.
You're following the lines properly. And you're compensating for that perspective, by looking at the edges and ignoring the middle. And that's going to be a common thread throughout doing this kind of modeling, is finding the best fit for your references, because references are never going to be perfect. You want to model to make it it perfect based off of imperfect references.
- Intro to 3D for product visualization
- Benefits of polygonal modeling
- Polygonal modeling techniques
- Modeling with SubDs and PSubs
- Sculpting concepts and retopology
- Setting the scene
- Building geometry for particle generation
- Particle generation tools
- Using blobs