Blender Art Mag-29 Eng

8/8/2019 Blender Art Mag-29 Eng

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I s sue 29 | Jun 2010

Blender learning made easy

COVERART Steampunk Camera - by Mateusz Walus

Creating Blender icons for Adobe Flash

Building a Steampunk Engine

Rigging an Assembly Line Robot Speed

Creating a Forklift


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EDITOR

Gaurav Nawani [email protected]

MANAGING EDITOR

Sandra Gilbert [email protected]

WEBSITENam Pham [email protected]

DESIGNER

Gaurav, Sandra, Alex

PROOFERS

Brian C. TreacyBruce WestfallDaniel HandDaniel Mate

Henril VeldtmannJoshua LeungJoshua ScottonKevin BraunMark WarrenNoah SummersPatrick ODonnellPhillipRonan PosnicScott HillWade BickValrie Hambert

WRITERS

Jarred de BeerDreamsgateMeinoAlain MathezLuiz Eduardo BorgesRandy BloseNeal Delfeldapostroph3d

COVER ART

Steampunk Camera - by Mateusz Walus

CONTENTS

www.blenderart.org Issue 29 | August 2010 Industrial Revolution

2

Creating Blender icons for Adobe Flash

Creating a Forklift

Rigging an Assembly Line Robot

Building a Steampunk Engine

Modeling a Steam Punk USB Flash Drive

8

15

19

23

25

DarkBiome

Advanced Py Drivers

Alternative Ralities: Steampunk and Dieselpunk

28

29

30
mailto:[email protected]:[email protected]:[email protected]://www.blenderart.org/http://www.blenderart.org/mailto:[email protected]:[email protected]:[email protected]


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Pondering the phrase "Industrial Revolu-tion' brings to mind factories, large ma-

chines and the ability to mass produceproducts or process materials. And ofcourse that certainly did happen, and con-tinues to this day, but like most things inlife, I'm betting it started on a muchsmaller scale. With perhaps a gadget. Thatsounds kind of silly, but I bet its true.

Man has shown a remarkable ability to cre-ate gadgets to perform mundane repetitive

tasks. Most gadgets probably resembled ahodgepodge of gears, levers and pulleys, butthey got the job done.

Man has also shown an almost obsessiveneed to not only make life easier with gadg-ets, but also more fun. These days a ratherlarge number of people possess gadgets ofone sort or another that have no productivepurpose other than entertainment.

Obviously today's gadgets do far more thanthe first ventures into gadgetry did, but theold style gadgets still appeal to us on some

level as seen by the popularity of"steampunk".

Steam punk and all its "sub-sister" punklooks, appeal to us at the gut level. Gearsand levers bring to mind a simpler timewhen things made sense and you didn'tneed an engineering degree just to turnyour TV on (okay maybe that is a tad bit ex-aggerated, but you get the idea).

So as you might have guessed, issue 29 is allabout machines and gadgets, and sincethere is no time like the present, let's getthis "Industrial Revolution" started.

Sandra Gilbert

Managing Editor

EDITORIAL 3



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I am not all that mechanically inclined - in real lifeor artistically (3d modelling) - which so far hasn'treally been much of a hardship. While preparing forthis issue of Blenderart Magazine, I became very in-trigued by all of the steampunk designs I was seeing.

At first glance most of it looked very complicatedand very confusing. Upon closer inspection of thesimpler images, I realized that a lot of Steampunkdesigns only looked complicated. For quite a few ofthem, there was generally a basic shape (the base ofthe steam punk object) that was decorated with a

variety of gears and tubing. Now granted, the morecomplicated ones that display massive amounts ofgears and levers etc, are still beyond my ability orpatience to attempt, but these simple ones were ac-tually simple enough even for someone as mechani-cally challenged as I am.

In fact most of us can model the basic objects andthe tubing doesn't look that scary. Gears, on theother hand, look like a right royal pain to model. Isuppose an array modifier could take a lot of thepain away, but I'm still seeing uncomfortable

amounts of math in my future. Hmm, I don't likemath. In fact, I do believe this is in large part why Iavoid mechanical modelling to begin with.

Well luckily for those of us who want to explore a bitof gear making without having a brain melt down,there is a veryhandy little Add-Onthat makes gearsabsolutely painless.

So first up, we need

to enable the"Gears" Add-On(File> User Prefer-ences> Add-Ons

tab). Scroll down to "Gears" and check the little boxon the far right. Enabling the "Gears" Add-On, placesa gear mesh objectin the "Add Mesh"menu.

Now adding a gearis as simple as add-ing any other meshobject.

When the gear isadded, options for

your gear appear inthe Tool Bar menu.

Now I will be thefirst to admit thatmost of the optionswere meaningless tome when they firstappeared. But quickexperimentation with the different options made itclear what option affected what part of the gear.

So there you go, even a mechanically challengedmodeller like me cancreate a gear in amatter of seconds.

Also, for those ofyou who undertakemassive mechanicalprojects with largeamounts of gears,this add-on couldprove to be a real

time saver.

Now I can go tackle a few Steampunk projects as themood takes me.

IZZY SPEAKS : Gears 4


I suppose an array modi-fier could take a lot of thepain away, but I'm stillseeing uncomfortableamounts of math in myfuture.


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Shapeways Material SamplePack

Ever since Shapewayslaunched their firstbeta tests, they havebeen working hard toimprove their 3D print-ing services. Whatstarted out as one ma-terial choice has be-

come a wide variety ofmaterial options, finishes and colors. And to make iteasier to choose the material that best suits yourproject, they now offer a Material Sample Pack.

Finally you can have a sample of each of the materi-als Shapeways offers in your hands to touch, scratch,bend and burn (do not inhale). This is the perfect wayto chose the right material for your next 3D printedapplication, also a great tool to take to client meet-ings or trade shows to show potential clients the

material range you can offer your/their designs in?Send it as a gift to a maker friend and see howquickly they too become addicted to realizing theirdesigns... Buy it now for $30 (but includes a $25voucher).

Little Ninja ProjectShane Newville, creatorof Little Ninja Projecthas released a videodescribing his anima-tion techniques. If youwant to read moreabout the Little NinjaProject, download issue

#23, Shane wrote a very nice article about creatingand producing the Little Ninja Project. His videoused the blend file supplied with issue #23, to show

you how to combine action sequences.

http://www.youtube.com/watch?v=gDZaZVr6uHQ

Contest: Design Your OwnElectric Guitar

We're working withShapeways and Zoy-bar on a fun and ex-citing new contest:Design original hard-ware features thatcan be incorporatedwith the Zoybar in-struments and thatcan be 3D printed with Shapeways.

A platform for Open Hardware, working togetherwith Open Software and an Open Production plat-form - how cool is that? Read on for contest details.

The Challenge

Design original hardware features that can be incor-porated with the Zoybar instruments and enter acontest to win your creation. Design in Blender.

How does it work?

Zoybar offers a number of CAD files that you canbase your work on. Download them and design

your new instrument.

Blender News 5

http://www.shapeways.com/model/133452/shapeways_materials_sample_kit.htmlhttp://www.youtube.com/watch?v=gDZaZVr6uHQhttp://www.zoybar.net/http://www.zoybar.net/http://www.zoybar.net/http://www.zoybar.net/http://www.zoybar.net/http://www.zoybar.net/http://www.zoybar.net/http://www.shapeways.com/http://www.youtube.com/watch?v=gDZaZVr6uHQhttp://www.shapeways.com/model/133452/shapeways_materials_sample_kit.html


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Upload your design to Zoybar to participate inthe contest (tip: upload to Shapeways too, totest the printability of your design. Tag with'zoybar' please).

Check out this diagram to learn how to partici-pate and for all the relevant links.

Timeline: The competition will start on August05, however submissions will not be revealedbefore August 22 and will continue until Septem-ber 20, 2010.The competition will end on Octo-

ber 05, 2010.

The prizes

Function category prize (Open to all): A Full ZoybarGuitar or Bass Hardware kit provided by Zoybar, plus3D print of the winning design entry in the amountof $200 (USD) provided by Shapeways. Total Value:$870 (USD)

Fantasy category prize: (Exclusive for Blender usersonly) A Full Zoybar Guitar or Bass Hardware kit. Val-

ued: $670 (USD) provided by Zoybar.

The winners will be announced in BlenderartMagazines 30th issue and on the Shapeways blog.

Course: 3D-World with Blender

A new blenderstudy/support-group hasstarted in Tam-pere, Finland.

Scaia, a Finnish course based school for digital arts,have opened their new internet pages and thecourselist for September.

Scaia teaches with software that have afree/semifree alternative for anyone who wants toexpress themselves with 3D-art, digital painting,blogs or even with making games. Blender is defi-nitely Scaias favorite software, but in September itwill also be possible to learn Gimp, Unity or Word-press.

Scaia is also planning to release one or more onlinetutorials about Blender during the course semester.Here is a little teaser what might be ahead:http://vimeo.com/13055184

Scaia is powered by the help of TAMK, Tampere Uni-versity of Applied Science - Art and Media, and a stu-dent based co-operative, High Score.

Most of Scaias talented teachers are students or ex-students of TAMK.

Links:Frontpage, Right now only in Finnish :(

Course: 3D-World with Blender, there are two video-clips about the upcoming course. Bottom one is ateachers example rendered from a previous Blendercourse early 2010.

http://www.scaia-arts.com/blog/?page_id=34

Proto, Scaias mascot android, is made with Blenderand Photoshop, Artist: Miikka Harjuntausta.

Blender News 6

http://www.zoybar.net/The%20Zoybar-Blender-Shapeways-Challenge.htmlhttp://vimeo.com/13055184http://www.scaia-arts.com/blog/http://www.scaia-arts.com/blog/?page_id=34http://www.scaia-arts.com/blog/?page_id=34http://www.scaia-arts.com/blog/http://vimeo.com/13055184http://www.zoybar.net/The%20Zoybar-Blender-Shapeways-Challenge.html


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Christmas Co-Creator Contest2010

After the great success of last years Co-Create Christ-

mas Contest, we have to decided to run the contestagain.

Once again we are looking for designs that embraceCo-Creation by allowing consumers to personalizethe design whether it is for themselves, or as a giftfor others. Take a look at the Christmas Page to seesome of the creative Christmas designs the Shape-ways community have already produced.

Prizes include:

Top five finalists receive a free 3D print of theirdesign and be included in our Christmas promo-tions,

Winner to also receive a Shapeways Voucher for$100*.

To enter:

Submit your new Co-Creator with the tag

"Xmas2010" by the 30th of September 2010.Product can not cost more than $100 (excl. VAT

and mark-up) and needs to be Christmas themed.

The entry must be uploaded to Shapeways, bepublic and a Co-Creator on the Christmas page.

The winner and runners up will be notified inwriting by 11th October 2010.

No purchase necessary

By entering this competition, entrants will bedeemed to have accepted and agreed to the con-ditions.

No cash or other alternative prizes available.

coupon valid till 24 December 2010, only 1 couponcan be used per order.

The prize draw is not open to Shapeways employ-ees or their families.

The promoters decision is final in case of dis-pute, no correspondence will be entered into.

Winning entries will be documented by Shape-ways and may be used for promotional purposes.

Winners retain all IP as per Shapeways standardterms and conditions

Winners and winning entries may be required totake part in any publicity resulting from this com-petition.

Promoter: Shapeways, High Tech Campus 27,Eindhoven 5656 AE, The Netherlands.

Visit the blogpost for comments and questions.

Blender News 7

http://www.shapeways.com/blog/archives/538-Christmas-Co-Creator-Contest-2010.htmlhttp://www.shapeways.com/blog/archives/538-Christmas-Co-Creator-Contest-2010.html


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NealDelfeld

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Blender icons for AdobeFlash

IntroductionThis tutorial shows the process for pro-ducing isometric icons for use in Flash.Objects are brought into Blender; Blenderis used to produce both a backdrop imageand an icon sheet; Photoshop processesthe icons and produces icon images withan onscreen position as a name; andFlash completes the picture.

OverviewIn a demo Adobe Flash game for a client, we werehaving a difficulty keeping costs down. Much ofthis came down to the fact that if you go over250,000 viewers, the prices from many stock imagecompanies quadruples (also annoying was thatsome stock image sites do not allow video game us-age).

Before discovering these problems we looked at pur-chasing isometric images. The isometric point ofview is consistent between different artists' prod-ucts (if truly isometric). And in theory we could addour own images in some situations for less overallcosts.

This is especially true in terms of creating back-ground scenery and geometric objects, like build-ings. Since there are a number of free building andscenery models for Blender, I really only needed theprocess for producing isometric images.

I should note that the demo showed we would notbe able to meet the client's pricing, so this isometricprocess has some flaws that would have been cor-rected if we had been able to work on the project.

Setting up the sceneCreate a null object, and make sure it is at the originwith no rotation. Name it "origNull".

Add a single light source and adjust to taste. I find itproduces pretty good shadows without cluttering upthe scene with extra patterns.

Add your scenery! This part is up to you, but I useda city metaphor for this demo. Divide your artworkinto appropriate layers. The buildings which I

wanted to turn into icons are on a single layer. Themain scenery will be black and white, so most ob-jects are on a single separate layer. I wanted thestreet to be colored so I put that on it's own layer.

Actually, if you want to preserve the coloring for anobject, it can go on this layer as well since the com-positor set up will not remove colors from this layer.

Adjusting the camera.

Select the camera. Switch to the Constraints panel(Object (F7) >> Constraints).Click "Add Constraint"and choose type "Track To". In the "Target" text,type the name of the origin null object ("origNull").The "To:" button setting should have only "-Z" active,and the "Up:" button setting should have the "Y" ac-tive. Move the camera to an "isometric" position. Iused fake isometric since it was easier to positionthe camera, mine is just the point where the dis-tance along the axes are all the same. I have mycamera at (200,200,200).

To help make an object look isometric, all objects

should treat the origin axes as their direction axes.To make a true isometric layout read Tom Gersic'sgreat blog post titled "Rendering Isometric Tiles inBlender 3D".

3D WORKSHOP: Creating Blender icons for Adobe Flash
http://www.gersic.com/blog.php?id=52http://www.gersic.com/blog.php?id=52http://www.gersic.com/blog.php?id=52http://www.gersic.com/blog.php?id=52http://www.gersic.com/blog.php?id=52


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Select the cameraand change to theorthographic view(Editing >> Camera,click the"Orthographic" but-ton). Now is a goodtime to set thecamera clipping.This is the distanceat which the cam-era no longer views

the scene. Clippingshould be large enough to view the entire scene no mat-ter how far away. I set mine to 5000.

Creating "Render Layers".

Create a series of Render Layers (Scene (F10) >> RenderLayers). Under the "Scene:" arrows, select "ADD NEW".Name the new layers: "Edges", "Shadows", "buildings",and "street" (Note that "buildings" and "street" renderlayers might be better labeled "icons" and

"preserveColor" respectively).Make a viewport for the Node Editor. Add one "RenderLayer" node for each render layer. Add a "Split Viewer"node. Render the image to load the buffers.

Z-masking has to be exported on some of the RenderLayers since the compositor will act on everything visi-ble. Z-masking will hide things behind other things. Forexample z-mask can hide (not render) the shadows thatare hidden behind buildings. The compositor will onlywork with the shadows which are visible in the final

render.

Render Layers:

NealDe

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Figure . Camera settings.

Figure . General Render Settings.

Figure . Edge settings.

Figure. Four Individual Layer Settings.


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I have divided my scene into four concepts for the com-

positor:

1. Buildings (icons)

All the buildings that I want to turn into icons are kepton one layer. The compositor will "tint" these buildings.I could have colored them individually, but I like the re-sults of the compositing process better. So the composi-tor makes this layer black-and-white, tints it a color andadds it back into the scene.

2. Streets

This layer preserves the texture colors of the objects asthey are. I have this on a separate layer since I wantedto create a specific effect with the color. (In the instruc-tions that follow I have at times changed the color tobright red for the object on this layer in order to showwhat is going on the red texture is not the final color,though.)

3. Edges

This layer exists to deliver the edge effect that makes

the scene so cartoonish. This effect was drawn mostlyfrom this great tutorial: Please read it! To summarizewhat techniques I used:

In the Render >> Output panel:Make the "Edge" buttonactive

Click on "Edge Settings", and adjust the color and inten-sity. In the Render >> "Render Layers" panel:

Select all the object render layers (not the light sourcelayer). These are in the second set of layer boxes (the

ones with the dot in the layer button) and are not thesame as the 3D layers.

Only these four buttons should be active: "Sky", "Edge","Strand", and "Combine".

4. Shadows

This layer controls shadows and ambient occlusion ef-fects. If these are too strong the scene appears clut-tered. So they are softened in a number of ways. Theorigin for these effects is again from.

Render Output

This node setup outputs 2 images: the overall image,and the icons with an alpha channel.

Compositing ProcessFor most of the followingimages, I am showingoutput from theSplitViewer node. I don'tsee a lot of tutorials thatuse SplitViewer but Ihave found it invaluablefor testing composi-tor effects.

The following set ofimages go into detail about the compositor set up.

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Figure . Node Editor (compositor) setup for this demo.

Figure . How the Split Viewer node works.
http://matthieu3d.free.fr/TutoVira1/tuten.htmlhttp://matthieu3d.free.fr/TutoVira1/tuten.htmlhttp://matthieu3d.free.fr/TutoVira1/tuten.htmlhttp://matthieu3d.free.fr/TutoVira1/tuten.html


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Figure . Initial AO & Shadow layer Figure . Before merging shadow with edges.

Figure . After merging shadow & edges.


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Figure . Final Output No.1.

Figure . Final Output No.2.


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PhotoshopNDSplitSelectionRegionsToLayers.jsx Description

This script finds allthe selection islandswithin a selectionand saves those is-lands as separate lay-ers. Theislands areactually

stored as anarray withinthe PSscripting en-vironment, but are notthe most intuitive to work with.One by one the islands have to be converted to a PSpath and the path has to be converted to a (separate)selection. Each path knows it's position onscreen by ref-erencing the top-left corner point. I use this point toname the layer (later, this naming convention allows meto place the icon in the same position within Flash).

I would like to be able to follow the same techniques inGimp, but I do not know how to programmatically findthe selection "islands" in Gimp. Even in Photoshop, inorder to make this an automated process, I had to writea PS script. Also note that I do not know Python.

It may be entirely possible to replicate this PS script en-tirely in Blender.

Using NDSplitSelectionRegionsToLayers.jsx

Download this script from herer:

The blog post is password protected. The passwordis: blenderart

Save the script as a text file named:

NDSplitSelectionRegionsToLayers.jsx

Bring the building icon render into Photoshop. It'sprobably best to make a new PSD.

Use the icon layer by highlighting it in the Layers pal-ette if it's not already. Using the "magic wand" selec-tion tool, set the "Tolerance" set to 0, and make surethat "Sample All Layers" is unchecked. Select the non-icon area within the icon layer. This will create a se-lection of everything except the building icons and

that's what you want since the script will invert theselection.

Run NDSplitSelectionRegionsToLayers.jsx. (File >>Scripts >> Browse . . ., and locate the script). Theremay be some pop-ups that will indicate coordinatesfor each island found. These can be stopped by com-menting out the line:alert(myPathsArray[s + 1]);

After the script is complete you should have one layerfor each icon plus the original layer.

In the Layers palette, make the original layer invisible(click the "eye" next to the layer name to hide it).

Using the Photoshop Script "Export Layers To Files"

Run the Photoshop script: File >> Scripts >> "Export Lay-ers To Files"

In the popup, check "Visible Layers Only","Transparency" and "Trim Layers".

Make sure you output a transparency type, like PNG-24.Add a prefix name, choose an output directory, and hit

"Run".

The output should be small icon files, one icon per file.

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http://delfeld.wordpress.com/2010/08/06/selection-to-layers-in-pshttp://delfeld.wordpress.com/2010/08/06/selection-to-layers-in-ps


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FlashBring both the main image and all the individual iconimages into Flash.

If you allow Flash to automatically create MovieClips(MCs) out of each of the icon images, the name of theMCs should be the file names. If you have MCs that donot match their image names, rename them to match.

Position each icon at the XY position where it's nameindicates. That's it! (This is scriptable, but I did not havethe opportunity to create it - sorry!).

Now you can assign controls to these icons. . . trychanging the filter on a MouseOver event to highlightthe icon. The transparent areas are not highlighted, sothis is a pretty nice effect.

Conclusion

I hope this helps you get better icons in your Flashgames with more consistency and less cost. Happy cod-ing!

Works cited

Edge shading, de-coloring:http://matthieu3d.free.fr/TutoVira1/tuten.html

Isometric projection:http://www.gersic.com/blog.php?id=52

Docs on compositing:http://www.blender.org/development/release-logs/blender-242/blender-composite-nodes/

Docs on Photoshop Scripting (CS3, CS4, CS5):http://www.adobe.com/devnet/photoshop/scripting/

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http://matthieu3d.free.fr/TutoVira1/tuten.htmlhttp://www.gersic.com/blog.php?id=52http://www.blender.org/development/release-logs/blender-242/blender-composite-nodes/http://www.blender.org/development/release-logs/blender-242/blender-composite-nodes/http://www.adobe.com/devnet/photoshop/scripting/http://www.adobe.com/devnet/photoshop/scripting/http://www.blender.org/development/release-logs/blender-242/blender-composite-nodes/http://www.gersic.com/blog.php?id=52http://matthieu3d.free.fr/TutoVira1/tuten.html


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IntroductionThe first step was to get reference imagesfrom a google image search. If you do agoogle image search for forklift, the sec-ond image result is rather funny. Howev-er, I ended up going with this one:because it was profiled nicely.

I then set it up as a background image inBlender. To do this, enable the

Background Images tab by clicking onthe tick box. Open up the tab and clickon Open, browse to your image and se-

lect it. If youmove into a pro-file view (front,side, top etc)

youll see thebackground im-age. Tweak thesettings accord-ing to your lik-

ing.

MODELLING in levels of detail:

The modelling was broken up into three levels: Pri-mary detail, Secondary detail and Tertiary detail. Itmight be advisable to keep your modelling organisedby placing them on different layers. e.g. layer1, 2 and3.

The objects in the illustrations below are separated for

visual purposes only. Dont model them this way, model themaccording to the reference image.

Primary detail

consisted of mainforms, such as thebody, wheels,cage, fork lift,tank, seat andwheel. These areessentially identi-fied from theforklifts struc-ture, and are re-sponsible for its

silhouette.Because its anengineered de-vice, its symmet-ric, so I onlymodelled the lefthalf and used amirror modifieron the objects tomirror them. Forthe wheels youonly need tomodel one quar-ter of its profile,and then use themirror modifiertwice to completeit.

15


Creating a Forklift

3D WORKSHOP: Creating a Forklift

Jarredd

eBeer
http://www.cmec-hb.com/admin/upload/forklift.jpghttp://www.cmec-hb.com/admin/upload/forklift.jpg


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Large forms were broken up into smaller parts, such as

the panels of the body, the blocks of the fork mecha-nism etc. This keeps it more believable and helps withplacing secondary and tertiary detail.

Secondary detail consisted mainly of smaller functionalitems, such as levers, pedals, lights, electrical boxes, en-gine pieces etc. This helps to make it appear functional.For these you dont have to stick as rigorously to thereference image and can start looking at other imagesfor inspiration. You also dont have to continually refer-ence it in side view to see if it matches.

Tertiary detail consisted mainly of smaller parts to helppull it all together and keep the eye busy. Namely: ca-bles, an air vent, wheel nuts, shocks and wiring.

Putting them all together, and throwing in some textur-ing, we have our forklift:

TEXTURING:

Unwrapping ob-jects is mostly a

case of placing yourseams and unwrap-ping by selecting allthe vertices, press-ing U and choos-ing the mostappropriate un-wrapping algo-rithm. This for *ME* is generally a painful process, butits very rewarding once you see the texturing results.

The main aim of texturing was to show that the forklift

had been used. This resulted in the strategic placementof dirt and some wear, using some dirt gimp brushes.

I wanted to create the

illusion that the fork-lift had been throughpuddles of muddiedwater, which had beenkicked up to dirty thebodys side. Thiswould also have mud-died the forks and thewheel tread. Some dust was given to the tank at theback to indicate that its a fixture and had been sittingthere for a while, and some dirt was applied to the air

vent on the back to indicate that the engines air wasntalways clean.

Additional texturing could have been added, but timehad to be used deci-sively according to thedeadline. The imagebelow shows that thetexture was used as analpha map on abrown colour, whichthen comes acrossover the material col-our as if it was dirt.

Some images weresourced from the in-ternet for the metaltextures, and proce-dural cloud textureswere used to break upthe spec values wher-ever they occurred.

The colour imagesabove were also usedto subtly affect bump and spec values.

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3D WORKSHOP: Creating a Forklift

Jarredd

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IntroductionThe assembly line is perhaps the most impor-tant development in the manufacturing proc-ess and the Industrial Revolution. Thismanufacturing technique enabled increasedproductivity at reduced costs, so much sothat by 1912 a Ford Model-T could be pur-chased for $575. During the last half of the20th century the introduction of the assem-bly line robot also increased productivity and

further reduced costs.In this article I will be covering a few important as-pects of mechanical rigging in Blender, then we willdive into rigging an assembly line robot with an ar-mature for animation. While I wrote this article us-ing Blender 2.5 alpha 2, the same techniques can beused with Blender 2.49b as well.

Before we dive into this project, lets cover a few ba-sics I like to adhere to for mechanical rigging. Firstoff, its very important that the root and tip of our

armature bones are positioned exactly at the centerof the rotation of the moving parts. If we dont dothis the object will appear to be falling apart or bro-ken when animating. To accomplish this we willmake extensive use of snapping (Shift-S on the key-board). I also prefer to keep all moving parts as sep-arate mesh objects.

This will allow us to parent the meshes to the bonesresponsible for moving them and avoid the need forweight painting/vertex groups. And lastly, beforestarting to rig any sort of object we need to ensure

that the mesh(es) dont have any scale or rotationsto them. To accomplish this, select the mesh(es) inobject mode and press Ctrl-A, selecting Rotationfrom the pop-up menu. Repeat this step again

choosing Scale. This ensures that any scale or rota-

tion that the mesh(es) may have acquired during themodeling process is zeroed out. This should alwaysbe the first step in the rigging process, failure to dothis step can produce strange results further downthe line.

As I created eachmesh, I named themto make it easy to un-derstand what eachpart is. So lets go

through and look atthe different parts ofthe robotic arm. Ingray is the Base, ingreen is the Turret, inthe varying shades ofblue are Arm1, Arm2, and Arm3. In red is the Hand,in yellow is Finger1 and in orange is Finger2 (Inamed the upper fingers TopFinger1 and TopFinger2,the bottom fingers BotFinger1 and BotFinger2).

Since the Base mesh will be stationary, this is a good

place to start creating our armature. Select the cen-tral bottom vertex of the Base mesh in edit modeand use Shift-S -> Snap Cursor to Selection. Now, inObject mode, from the add menu select Armature(in 2.5 chose the 'single bone' option) to create ourfirst bone. We'll name this bone 'Base', tab into editmode and bring the tip of the bone to the top centerof the Base mesh.

An easy way to do this is to select the Base mesh,enter edit mode, select the top center vertex andsnap the cursor to the selection. Then in the arma-ture's edit mode, select the tip of the bone and snapit to the cursor. Remember, we can hide mesh ob-

jects in object mode with the H-key, and unhidethem with Alt-H to better see what we are doing.

19


Rigging an AssemblyLine Robot

3D WORKSHOP: Rigging an Assembly Line Robot

RandyBlose


20/46


21/46

Extrude the

tip ofTopFinger1bone tomake theTopFinger2bone. I ex-truded minefrom theside viewand posi-tioned its tip

so it was protruding through the TopFinger2 mesh a bit.Extruding in side view ensures the bones will be alignedalong the Y-axis correctly. Now repeat this process tocreate bones for the BotFinger1 and BotFinger2 meshes.The final step here will be to make TopFinger1 andBotFinger1 thechildren of theHand bone. Aneasy way to dothis is select theTopFinger1 andBotFinger1bones in editmode, then se-lect the Handbone, press Ctrl-P and selectKeep Offsetfrom the pop-upmenu.

We need to make an adjustment to these bones to en-sure they rotate and move correctly while animating. If

you look closely at the bones, they may not appear to beperfectly square and aligned with each other, some mayappear slightly twisted. To fix this, we need to correctthe bone roll angles. I feel this is an often over-looked

but very important step in the rigging process. To see

what we are doing a bit better, in the armature panelunder display, turn on Axes. This displays the bonesX,Y, and Z-axes.Select all thebones in editmode and pressCtrl-N, selectingZ-Axis Up fromthe pop-upmenu. This cor-rects the bones

roll angle andaligns them sothey all match.

OK, so lets testout the rig. Enter pose mode, select a bone and move itaround. Now you might be saying to yourself, hey, themesh doesnt move with the bones and you are cor-rect, the mesh doesnt move. In order to get the meshto move with the bone, we will parent the differentparts of the mesh to the bone that will control it. Inobject mode, select the base mesh, then shift-select the

armature, enter pose mode, select the base bone andpress CTRL-P, from the pop-up menu select Bone.

Now the mesh is parented to the bone and moving thebone in pose mode will move the mesh. Repeat thisprocess for all the meshes and bones. The final step isto lock down the location, rotation, and scaling ofbones so the bones cant be posed in a way that willmake the robot arm appear broken.

21



RandyBlose


22/46

To start, open the Transform Properties window/panel

by pressing the N-key from the 3d window. Also, to bet-ter see what we are doing, enable axes display for thearmature in the Armature Panel. Lets start with theBase bone. Select the bone in pose mode and in theTransform Properties panel, click on all the lock icons bythe Location, Rotation, and Scale fields. This will disablethe users ability to move, rotate, or scale this bone.

Why did we do this? Because the base of the robot armis stationary and not meant to move during animation.The armaturecan be movedaround in objectmode to posi-tion it within ascene, but inreal life, indus-trial machineslike this are an-chored to thefloor and nevermove.

So lets look at the Turret bone. This bone we want tolock down all the location and scale values. Lookingcloser at the bone, we can see its Y-axis is pointingstraight up and we do want to allow it to rotate on itsY-axis, so we will just lock down the X and Z-Axes for it.Please note that by default in Blender 2.5 Alpha 2 wehave 4 rotation fields, the standard X, Y, and Z, plus anadditional field for W.

Basically the W rotation is for Quaternion Rotations, butall we really need to know now is do not lock this one.The Arm1 bone we want to allow to rotate on its X-Axis,so lock down everything but the X and W rotations. Re-peat this for Arm2 and Arm3. Now the Hand bone wewant to allow rotation on the Y axis, so lock down eve-rything but the Y and W rotations. For TopFinger1,

TopFinger2, BotFinger1, and BotFinger2 we can lock

down all location and scale fields, and lock down the Yand Z rotations.

Now with all those settings made, no matter what boneis selected and how you attempt to move it, it will onlymove in the way we allow it to. This is pretty much afoolproof rig now and no matter how hard anyone tries,they wont be able to break our robotic arm, unless theychange the settings we made.

Conclusion

I hope everyone had fun and learned something fromthis tutorial! The robotic arm used in this tutorial canbe downloaded from here and it is rigged as presented.In addition to writing this article, Ive recorded a videodemo of the steps presented here, you can view it here.Ive also recorded two other videos on this subject, thefirst one covers additions to this rig resulting in feweranimation controls for easier animation, it can beviewed here. The second video covers tidying up the rigand creating custom shapes for the controller bones, itcan be seen here . Good luck and Happy Blending!!!

Randy Blose aka revolt_randy.

22



RandyBlose
http://web.raex.com/~beepbeep/Blender/AssemblyBotFinal.ziphttp://www.vimeo.com/13347146http://www.vimeo.com/13364709http://www.vimeo.com/13386007http://www.vimeo.com/13386007http://www.vimeo.com/13364709http://www.vimeo.com/13347146http://web.raex.com/~beepbeep/Blender/AssemblyBotFinal.zip


23/46

IntroductionWith the Steampunk aesthetic in mind,the premise of the work is to create ascene with a half realistic / half cartoonylook, similar to those found in manyvideo games. The model represents theengine room of a retro submarine, similarto the watercraft commanded by CaptainNemo from Jules Verne's work.

The ConceptWhat if computers had appeared in Victorian Eng-land? And what about robots? What could the worldhave become? It seems that these questions havealready settled in the minds of many people withinteresting ideas.

Inside the book The Difference Engine by WilliamGibson and Bruce Sterling, the term is exactly that:the computer was built from mechanical (not elec-tronic) pieces during the nineteenth century in Eng-

land. For some people, this was ground zero ofSteampunk literature.

At first, Steampunk was a literary genre, a sort ofold fashioned science fiction dominated by techno-logical and historical speculation, usually associatedwith the nineteenth century and steam power.Based primarily on works of authors such as JulesVerne, H. G. Wells and Mary Shelley, the genre hasmany features in common with the Cyberpunk andGothic genres.

The Steampunk genre influenced other kinds of artand became an imaginary complex with a clear phi-losophy containing concepts such as the enhance-ment of technology and mastery of it. This is usually

represented by the inventors / technicians who, in

many aspects, are quite similar to hackers (as theyare represented in the Cyberpunk genre). This ideacan be understood as in opposition to the way somethink of how the technology industry and bureauc-racy dominates the world today, where an individualis just a number and knowledge of science is deval-ued. This ideal reinforces the importance of humanpotential, somewhat similar to the Punk ideal of DIY(Do It Itself).

Among the forms of art influenced by Steampunkare fashion, video games, including Thief and Bi-oshock, comics, such as The League of ExtraordinaryGentlemen, and animations like 9. In the context of

Japanese anime, the list is huge, including Steamboy,Full Metal Alchemist and Last Exile.

The Steam Side

To give an antiquatedlook to the machin-ery, the first step wasto create mechanicalparts: gears, valves,pipes, tanks, coolers,air ducts, chains, barsand a metal door topopulate the scene.

The valves were cre-ated from a pathmade in the opensource Inkscape vec-tor editor. The gears

were constructedfrom cylinders, withteeth shaped by mul-tiple extrusions.

23


Building a SteampunkEngine

3D WORKSHOP: Building a Steampunk Engine

LuizEd

uardoBorges


24/46

Furthermore, it was

used with the Sub-surf modifier. Thelinks of the chainsare torus shapesmodified by extru-sion. The tubeswere generated asBezier curves andthen converted tomeshes to addsome details.

The Punk side

To give a dirty, rusty and irregular look to materials, thetextures were composed of bitmaps edited in the imagemanipulation pro-gram GIMP, mixedwith proceduraltextures, influenc-ing both color andintensity of the

specular and dif-fuse reflections, aswell as normals.

The material ofmetal pieces wereconfigured withstronger specularreflection thanother elements ofthe scene. Thewalls have a bit of

gross mirror reflec-tion to give an ap-pearance ofmoisture. The liq-

uid on the floor uses transparency, reflections and vari-

ous procedural Cloud texture combined on differentscales.

Lighting, Composing and Rendering

The light sources ofthe environmentwas represented byPoint Lights invarious colors(strong red and yel-

low, weak green andblue) and a Sun tocontrol the atmos-phere. Additionally,the Ambient Occlu-sion, EnvironmentLight and Indirect Light options were also used.

The Defocusnode wasused to createa smallamount ofDOF (Depth ofField) effect tosimulate thebehavior ofcamera's lens.

The renderingwas done using the internal render in Blender 2.52,which tests showed is faster and produced a higherquality output than the production version (2.49).

There are many parts to explore (and model) inside thesubmarine (it's a work in progress), and a possible nextstep is a future animation.

24


3D WORKSHOP: Building a Steampunk Engine

LuizEd

uardoBorges


25/46

IntroductionWhile I don't have a lot of experience inmechanical modeling, I thought a simpleSteam punk project would be a fun learn-ing experience. So after browsing througha number of images on Google for inspi-ration, I settled on what looked to be afairly simple project.

Steam Punk Usb Flash Drive image credits:

Nathaniel Hursh wrote a great tutorial onInstructables.com on how to make a Steam Punk Usb FlashDrive out of copper pipe, brass tubing and assorted watchparts. He was kind enough to allow m e to use his photos of hisproject for this article.

I studied my imagefor areas that mightcause problems andultimately decidedthat this was do-able. So full of confi-dence and a fairamount of excite-ment, I sat down todo a little modeling.Not long into theproject, I realizedthat this wasn't go-ing to lead to an in-sightful article onmodeling a usbdrive. In fact the fur-

ther along I went,the more it startedbecoming a"Misadventure in Mechanical Modeling".

You would have

thought I would haveseen this coming, butno I had managed toconvince myself thatthe project was sim-ple enough, that evenI couldn't mess it up.

Without fail, everysingle step led to metrying up to a halfdozen approaches toget it to match theimage. It should notbe this hard, I pickedan easy project onpurpose. The undokey and I becamebest friends ratherquickly.

Oddly enough thepart of the project

that I was least con-cerned about gaveme the most prob-lems. You can seefrom the referenceimage that the ac-tual body (case) ofthe usb drive is just asimple oval cylinder.

So naturally I addeda circle, did a little

rescaling to get anoval shape. So far sogood. Next up, a little extruding and sizing for theend cap.

25


USB Flash Drive

3D WORKSHOP: Modeling a Steam Punk USB Flash Drive

bydreamsgate
http://www.instructables.com/id/Steampunk-USB-Flash-Drive/http://instructables.com/http://instructables.com/http://www.instructables.com/id/Steampunk-USB-Flash-Drive/


26/46

Uh oh, I already see a

problem, the plug is veryrectangular. But thefaces on the end of thecap aren't. Well I could

just go with it, but thisis already starting to feellike it will lead to a ma-

jor headache.

Round 2: okay, time tothink smarter. This thetime I started with acube. A little scaling, afew loop cuts and sometweaking of vertices lat-er, I had a fairly nicelooking cap shape. Okaynow, that's gonna workmuch better. After ex-truding out the body ofthe case and applying amirror modifier (for theother end), I started the

plug.

This should be easy aspie, just extrude it outand extrude in someholes. Uh huh, sure... Ishould have known bet-ter. The extrusion partwent fine, the hole part,not so much. No matterwhat I did, the holes in-

sisted on staying round(due to the stupid sub-surf modifier which Ineeded to make the case

rounded). I tried varying

combinations of loop cutsand creases until I finallygot close enough. Itworks, but it isn't verypretty. And then discov-ered that I had forgottento apply the mirror modi-fier before I modeled theplug. Nice... anyone needa two plugged usb drive?Yeah I didn't think so. So

obviously I deleted theextra plug and filled in thefaces.

Next up was making afew gears. That part wasactually fun. I used thegear add-on script, so itwas basically creatingthem for me. Most of thegears were fairly straight-forward, but there were

two that required a littlebit more detail, in theform of spokes to a centerdisk. That was actuallyeasy enough to figure out.I just extruded faces to-ward the center of thegear and then deleted sec-tions to create spokes.

Almost done. Just the tub-

ing to go. I don't knowwhy I thought a simplepiece of tubing was goingto be easy.

26



bydreamsgate


27/46

Obviously I must have

been delirious by thispoint. My first thoughtwas to create a curve andapply a circle bevel to it,but for some reason mycurve just flat out refusedto allow me to do that. Itired with both a beziercurve and a path curve. Itried, adding the circle ob-

ject for bevel in the curve

options and as a modifier.I know it is possible, Ihave done it for non-me-chanical objects and mod-els. Sigh... but of course itisn't going to work thistime.

Fine, then extrusion mode-ling it is. Add a tube andextrude my way up andaround the case. Quite a

bit of tweaking later, thetube is finally attached. Itlooks slightly mangled, butthere it is.

Finally, a quick stop at the Blender Material Repositoryfor appropriate metal materials and time to render.

Conclusion:

Even after all my misadventures, it did turn out fairly

close to the reference image I was using. As long as youdon't peek at the underlying geometry, you might eventhink I did a good job. The materials and lighting couldof course use some more work to make it look even

closer to the reference image.

But all said and done, this ob-viously ended up being moreof a learning experience forme than for you. In fact I'mbetting quite a few of you aredesperately trying to holdback your giggles and laughteruntil I wander off.

I do believe I have sufficientlytortured myself for the timebeing, so I am going to gomodel something with nohard edges, holes, tubes orgears.

bye now....

27



bydre

amsgate


28/46

For a long time, I

needed a lamp withdrop shadows for a

360 degree lantern for thefunctional character of thegames. There is no blackmarket, my NASA program-mer buddies are too ab-sorbed in the new spaceshuttle, and maybe Ton andhis team of programmersdo not have all day for

management of lights inthe game engine.

Being too busy with the messianicseries Blender 2.5 alpha, and thefantastic Sintel that everyone ex-pects.

Foaming at the mouth. (Quickquestion, Is yor having a small fullnude scene on the dvd?).

So what to do? After reworkingthe shape and texture of the lan-tern. I used a spot with a largeopening, the character thus high-lights the environment in a singledirection.

Watch trailers some herehttp://www.youtube.com/user/apostroph3d?gl=FR&hl=fr.

28


Dark Biome

MAKING OF: Dark Biome

apostroph

3d


29/46

Ibegan a project with an industrial ro-

bot. The goal was more or less thesame as with caterpillar, animate the

whole thing with as few Ipo(s) as possi-ble. So naturally the position of the armand the "hand" are driven with an Empty.But each of the direction (X, Y and Z) ofthe Empty drives a separate function ofthe robot.

You can see the hand in action here :

The entrails here :

A short anim here :

And another anim of the hand here :

And the "work in progress" here :

Sorry,it's all in french. My problem now, is that I'mfar far away from being finished, and I have abso-lutely no time at the moment to work on it. I amnot like Andrew Price who is 100% a BlenderGuru,but I will try the following way ;-) Next week I will

co-organise a Blender-Day in Switzerland (for 10children), details for which are on Blendernation :

Blender is with me day and night, but I can't do eve-rything at the same time, so If you want to helpplease reach out to the people and let them knowthat they can follow the work on the french Blend-erClan.

I have a lot of mechanical tests, but nothing readyto show. So I am providing you a .blend file to playwith, which have something like "Advanced PyDriv-

ers Theme".The principle is to drive constraints with mathemat-ical formula to decompose the only X movement of

the Empty

"Master" indefinedsteps.

With thismethod Ican drive aGenevaDrive inreal time,and a me-chanicaldifferentialwith a brake system at the same time, by just add-ing a "very simple to rig" a connecting rod with 3Bones and IK (just bonus)

Everything is real time, that means no leg in anima-tion while running it at slow, fast, stop, reverse...with every element perfectly synchronised, andplaying with only one lonely IPO (LocX).

Blender file is not configured to render a "wow" im-age or animation, it is just ready to play with EmptyMaster and observe what happens.

Visuals objects are on layer 11-14, and Armaturesand Empties on 1-4.

[email protected]

www.mcblyver.ch

29


ARTICLE: Advanced Py Drivers

AlainMathez

Advanced Py Drivers
http://hostit.warrenberberd.org/dl.php?file=3fb4d59f31bcfe98b2ce7a5c8f677d46http://hostit.warrenberberd.org/dl.php?file=a92e986fea53a94f9622a3dcd31bf415http://hostit.warrenberberd.org/dl.php?file=07f0c161ab855e11aee7aded60681e1dhttp://hostit.warrenberberd.org/dl.php?file=2e2574e80acb86e49ab871b90adb5aa2http://blenderclan.tuxfamily.org/html/modules/newbb/viewtopic.php?topic_id=25846&viewmode=flat&order=ASC&start=50http://www.blendernation.com/blender-at-swiss-summer-camp/mailto:[email protected]://www.mcblyver.ch/http://www.mcblyver.ch/mailto:[email protected]://www.blendernation.com/blender-at-swiss-summer-camp/http://blenderclan.tuxfamily.org/html/modules/newbb/viewtopic.php?topic_id=25846&viewmode=flat&order=ASC&start=50http://hostit.warrenberberd.org/dl.php?file=2e2574e80acb86e49ab871b90adb5aa2http://hostit.warrenberberd.org/dl.php?file=07f0c161ab855e11aee7aded60681e1dhttp://hostit.warrenberberd.org/dl.php?file=a92e986fea53a94f9622a3dcd31bf415http://hostit.warrenberberd.org/dl.php?file=3fb4d59f31bcfe98b2ce7a5c8f677d46


30/46

Massive smoke, spit towards the red-

dish sky by hundreds of fires, dark-ens what was formerly known as

daylight. The air smells like a mixture ofheated machine oil and metal dust. Huge ma-chinery, covered with rust and the dirt ofhard work, whose beginnings are no longerrecalled, roar in united rebellion as their hotbreath immensely heats up the heavy air.

Welcome to the machine -- welcome to theSteampunk!

The technology of Steampunk originates insteam engines and fictional history that gets stucksomewhere in Victorian time between 1837 and1901. Steampunk is a subculture, an invention of analternative reality, which gives the steam engine acentral role. Not only are cars and aircraft driven bysteam, but also analogous computers and other as-pects of modern technology which were reinventedto be steam-based and their style mapped back intothe late 19th century. Steampunk not only has itsexpression in an alternative technology evolution

but also heavily influences fashion. Typical accesso-ries of Steampunks are for example welding goggles,belts and things built from cogs. Modern gadgetsalso become ``steampunked'' by adding cogs, smallpipes and changing plastic housings to brass. And ofcourse, no polished shiny brass!

Everything has a used or even a little dirty look. The``practical aspect'' of all things is everywhere. Andby all means: Do not forget the goggles! Gogglesare that important! Steampunk can be seen as aform of science fiction which assumes that the in-

dustrial revolution has taken an alternative path intime and steam engines were the one and onlysource of power. Often Steampunk presents a dysto-pian aspect. Another kind of alternative reality is

Dieselpunk which uses a comparable setup but the

technological assumption here is that diesel enginesreplace the steam engines used in the world ofSteampunk. The distinction from Steampunk isn'tthat sharp. Often Dieselpunk is even more dystopianthe assumptions for this alternative reality do notexclude a doomsday which has taken place some-where in the past and mankind has been thrownback to the technological achievements of the dieselmachinery era. As in the Steampunk reality, moderntechnique is back-ported to be ``diesel compatible''.Both Steampunk and Dieselpunk often include a

kind of retro-science fiction. Only one word: Ray-guns! By all means: Rayguns!!!

Retro-science fiction comes in two forms: One isthe Buck Rogers and Flash Gordon type. It is simplythe science fiction of yesteryear.

The second one is science fiction of today back-ported into the fictional world of Dieselpunk andSteampunk.

Both alternative realities Steampunk and Dieselpunkare fictional but in their dystopian aspects may re-flect the threat and angst we feel toward the prob-lems which modern technology will cause in thefuture.

A totally different and overwhelmingly optimisticprediction of the future was dared in the era of theGoogie design however and it was thought to beeverything but fictional. It was believed to becometrue.

Googie, also known as ``Populuxe'' or ``Doo-Wop'',

was an architectural design which started in Cali-fornia in about the 1940s and ended in the late1960s.

Alternative Realities:Steampunk & Diesel punk

30


ARTICLE: Alternative Realities: Steampunk and Dieselpunk

Meino


31/46

But it also influenced other aspects of daily life. It was

the time of the beginning of the car culture in Americawhen everything seemed possible. Secret time-ma-chines which looked like two-transistor radios? Only amatter of design! Flying cars? Why not ??! Look atthose fins of the automobiles of that time! Holidays onthe moon? Absolutely! Trips to outer space with a sin-gle-stage rocket? It was not easier than that (why do

you ask?)!

It was also the time of the rayguns, incredible mon-sters from behind the stars and a very simplistic as-sumption: beings are either good or damn evil.Especially foreign beings -- aliens -- were damn evil. Sofolks, enough theory -- fire up your steam engines! Thegenerators are thirsting to feed their electricity into

your Blender 3D-generators, which have waited so longto make these dreams become true. Because a picturecan say more than a thousand words a list of links fol-lows. The list is of no specific order and by no meansasserts the claim of being complete or representative.The links point to sites which have more informationabout Steampunk, Dieselpunk and the Googie design.Though the author has taken care what to link here,

Steampunk sites:

whttp://en.wikipedia.org/wiki/Steampunk

whttp://www.nytimes.com/

whttp://www.woodysnet.co.uk/steampunk

whttp://www.steampunk.republika.pl/main.html

whttp://brassgoggles.co.uk/blog/

whttp://www.pinkraygun.com/

whttp://etheremporium.pbworks.com/What+is+Steampunk

whttp://etheremporium.pbworks.com/Neverwas-Haul

whttp://steampunkworkshop.com/

whttp://www.datamancer.net/

whttp://www.philm.demon.co.uk/Steampunk/

whttp://www.theideacan.com/

whttp://thesteamblog.wordpress.com/

whttp://antiquescollectibles.suite101.com/

whttp://www.suddite101.com/

whttp://www.suite101.com/reference/steampunk

whttp://www.suite101.com/reference/steam_punk

whttp://www.suite101.com/reference/steampunk_design

whttp://www.suite101.com/reference/victorian_style

whttp://daily-steampunk.com/

whttp://steampunkpics.blogspot.com/

whttp://steampunkpics.blogspot.com/2008/11/weapons.html

whttp://steampunk-creator.deviantart.com/

whttp://www.meetup.com/steamhub/

whttp://hacknmod.com/

Dieselpunk - sites:

whttp://en.wikipedia.org/wiki/User:Piecraft/Dieselpunk

whttp://en.wikipedia.org/wiki/Cyberpunk_derivatives

whtp://www.omnipelagos.com/entry?n=dieselpunk

whttp://www.dieselpunks.org/

whttp://dieselpunks.blogspot.com/

whttp://www.darkroastedblend.com/2008/12/dieselpunk

31



Meino
http://en.wikipedia.org/wiki/Steampunkhttp://en.wikipedia.org/wiki/Steampunkhttp://en.wikipedia.org/wiki/Steampunkhttp://www.woodysnet.co.uk/steampunkhttp://www.woodysnet.co.uk/steampunkhttp://www.steampunk.republika.pl/main.htmlhttp://www.steampunk.republika.pl/main.htmlhttp://brassgoggles.co.uk/blog/http://brassgoggles.co.uk/blog/http://etheremporium.pbworks.com/What+is+Steampunkhttp://etheremporium.pbworks.com/What+is+Steampunkhttp://etheremporium.pbworks.com/Neverwas-Haulhttp://etheremporium.pbworks.com/Neverwas-Haulhttp://steampunkworkshop.com/http://www.datamancer.net/vonslattkeyboard/vonslattkeyboard.htmhttp://www.datamancer.net/vonslattkeyboard/vonslattkeyboard.htmhttp://www.philm.demon.co.uk/Steampunk/http://www.philm.demon.co.uk/Steampunk/http://www.theideacan.com/2009/08/professor-finneas-wileys-curiosities.htmlhttp://www.theideacan.com/2009/08/professor-finneas-wileys-curiosities.htmlhttp://thesteamblog.wordpress.com/http://thesteamblog.wordpress.com/http://antiquescollectibles.suite101.com/article.cfm/%20elements_of_steampunk_stylehttp://antiquescollectibles.suite101.com/article.cfm/%20elements_of_steampunk_stylehttp://www.suddite101.com/reference/steampunk_%20technol-ogyhttp://www.suddite101.com/reference/steampunk_%20technol-ogyhttp://www.suite101.com/reference/steampunkhttp://www.suite101.com/reference/steam_punkhttp://www.suite101.com/reference/steampunk_designhttp://www.suite101.com/reference/steampunk_designhttp://www.suite101.com/reference/victorian_stylehttp://www.suite101.com/reference/victorian_stylehttp://daily-steampunk.com/steampunk-blog/2010/06/16/teslapunk/http://daily-steampunk.com/steampunk-blog/2010/06/16/teslapunk/http://steampunkpics.blogspot.com/http://steampunkpics.blogspot.com/http://steampunkpics.blogspot.com/2008/11/weapons.htmlhttp://steampunkpics.blogspot.com/2008/11/weapons.htmlhttp://steampunk-creator.deviantart.com/http://steampunk-creator.deviantart.com/http://www.meetup.com/steamhub/http://www.meetup.com/steamhub/http://hacknmod.com/hack/make-a-steampunk-atomic-disruptor-raygun-from-old-parts/http://en.wikipedia.org/wiki/User:Piecraft/Dieselpunkhttp://en.wikipedia.org/wiki/User:Piecraft/Dieselpunkhttp://en.wikipedia.org/wiki/Cyberpunk_derivatives#Dieselpunkhttp://www.omnipelagos.com/entry?n=dieselpunkhttp://www.omnipelagos.com/entry?n=dieselpunkhttp://www.dieselpunks.org/http://www.dieselpunks.org/http://dieselpunks.blogspot.com/http://www.darkroastedblend.com/2008/12/dieselpunk.htmlhttp://www.darkroastedblend.com/2008/12/dieselpunk.htmlhttp://dieselpunks.blogspot.com/http://www.dieselpunks.org/http://www.omnipelagos.com/entry?n=dieselpunkhttp://en.wikipedia.org/wiki/Cyberpunk_derivatives#Dieselpunkhttp://en.wikipedia.org/wiki/User:Piecraft/Dieselpunkhttp://hacknmod.com/hack/make-a-steampunk-atomic-disruptor-raygun-from-old-parts/http://www.meetup.com/steamhub/http://steampunk-creator.deviantart.com/http://steampunkpics.blogspot.com/2008/11/weapons.htmlhttp://steampunkpics.blogspot.com/http://daily-steampunk.com/steampunk-blog/2010/06/16/teslapunk/http://www.suite101.com/reference/victorian_stylehttp://www.suite101.com/reference/steampunk_designhttp://www.suite101.com/reference/steam_punkhttp://www.suite101.com/reference/steampunkhttp://www.suddite101.com/reference/steampunk_%20technol-ogyhttp://antiquescollectibles.suite101.com/article.cfm/%20elements_of_steampunk_stylehttp://thesteamblog.wordpress.com/http://www.theideacan.com/2009/08/professor-finneas-wileys-curiosities.htmlhttp://www.philm.demon.co.uk/Steampunk/http://www.datamancer.net/vonslattkeyboard/vonslattkeyboard.htmhttp://steampunkworkshop.com/http://etheremporium.pbworks.com/Neverwas-Haulhttp://etheremporium.pbworks.com/What+is+Steampunkhttp://brassgoggles.co.uk/blog/http://www.steampunk.republika.pl/main.htmlhttp://www.woodysnet.co.uk/steampunkhttp://en.wikipedia.org/wiki/Steampunk


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whttp://dieselpunk.net/

whttp://en.wikipedia.org/wiki/User:Piecraft/Dieselpunk

whttp://www.ottens.co.uk/gatehouse/dieselpunk.php

whttp://www.cutoutandkeep.net/projects/dieselpunk

wttp://www.chrisroberson.net/2008/07/dieselpunk.html

whttp://www.ottens.co.uk/gatehouse/gazette-3...

whttp://www.ottens.co.uk/gatehouse/gazette.php

whttp://dieselpunkpics.blogspot.com/

Films/movies:

Brazil, Sky Captain and the world of tomorrow,Matrix, Dark City, Metropolis ...and even more*punks are here to discover:

whttp://blastr.com/2009/09/guide-to-sci-fi-punks.php

whttp://antiquescollectibles.suite101.com/article.cfm/

Googie sites

whttp://en.wikipedia.org/wi ki/Retro-futurism

whttp://en.wikipedia.org/wiki/Googie

whttp://www.retroplanet.com/blog/retro-design/

whttp://silver-rockets.com/

whttp://www.plan59.com/main.htm

whttp://www.seattledreamhomes.com/PageManager/

whttp://www.superaardvark.com/?p=140

whttp://www.lostdiscsradio.com/

whttp://www.darkroastedblend.com/2007/11/

whttp://weburbanist.com/2009/03/02/retrofuture

whttp://www.radiosalon.com/html/radios1.htm

whttp://www.ultraswank.net/

whttp://gajitz.com/the-future-of-the-past-16

whttp://shop.webomator.com/

whttp://gadgets.boingboing.net/retrofuturism/

whttp://www.digitaldeliftp.com/Recommendations/

whttp://fiveprime.org/hivemind/Tags/design,googie

whttp://www.jamesbutters.com/

whttp://www.jamesbutters.com/sharpbh351rocket

whttp://www.drive-on-in.com/googie.htm

whttp://www.retromatic.tv/cpg1410/displayimage

whttp://community.livejournal.com/googielove

whttp://www.smashingmagazine.com/2008/04/21/

whttp://hacknmod.com/hack/epic-collection-of-sci-fi-ray...

These links do not directly point to steampunk,dieselpunk or Googie design but they share some aspectsof them for your inspiration: These two sites also partlyexpress the more post-doomsday and apocalyptic char-acter of steampunk and especially dieselpunk in a verydirect way.

whttp://www.massiveblack.com/MBwebolution/

whttp://conceptships.blogspot.com/

whttp://fusionfilter.com/

w

http://dqsketches.blogspot.com/Have a lot of fun!

Meino

32



Meino
http://dieselpunk.net/http://dieselpunk.net/http://en.wikipedia.org/wiki/User:Piecraft/Dieselpunkhttp://en.wikipedia.org/wiki/User:Piecraft/Dieselpunkhttp://www.ottens.co.uk/gatehouse/dieselpunk.phphttp://www.ottens.co.uk/gatehouse/dieselpunk.phphttp://www.cutoutandkeep.net/projects/dieselpunk_headphonehttp://www.chrisroberson.net/2008/07/dieselpunk.htmlhttp://www.chrisroberson.net/2008/07/dieselpunk.htmlhttp://www.ottens.co.uk/gatehouse/gazette-3-historydieselpunk1.phphttp://www.ottens.co.uk/gatehouse/gazette-3-historydieselpunk1.phphttp://www.ottens.co.uk/gatehouse/gazette.phphttp://www.ottens.co.uk/gatehouse/gazette.phphttp://dieselpunkpics.blogspot.com/http://dieselpunkpics.blogspot.com/http://blastr.com/2009/09/guide-to-sci-fi-punks.phphttp://blastr.com/2009/09/guide-to-sci-fi-punks.phphttp://antiquescollectibles.suite101.com/article.cfm/variations_and_subgenres_of_steampunkhttp://en.wikipedia.org/wiki/Retro-futurismhttp://en.wikipedia.org/wiki/Retro-futurismhttp://en.wikipedia.org/wiki/Retro-futurismhttp://en.wikipedia.org/wiki/Googiehttp://en.wikipedia.org/wiki/Googiehttp://www.retroplanet.com/blog/retro-design/retro-decorating-ideas/googie-architecture/http://silver-rockets.com/http://silver-rockets.com/http://www.plan59.com/main.htmhttp://www.plan59.com/main.htmhttp://www.seattledreamhomes.com/PageManager/Default.aspx/PageID=308605http://www.seattledreamhomes.com/PageManager/Default.aspx/PageID=308605http://www.superaardvark.com/?p=140http://www.superaardvark.com/?p=140http://www.lostdiscsradio.com/http://www.lostdiscsradio.com/http://www.darkroastedblend.com/2007/11/retro-future-to-stars.htmlhttp://weburbanist.com/2009/03/02/retrofuture-space-flight-15-visions-of-future-past/http://weburbanist.com/2009/03/02/retrofuture-space-flight-15-visions-of-future-past/http://www.radiosalon.com/html/radios1.htmhttp://www.radiosalon.com/html/radios1.htmhttp://www.ultraswank.net/http://www.ultraswank.net/http://gajitz.com/the-future-of-the-past-16-retro-futuristic-vehicle-designs/http://gajitz.com/the-future-of-the-past-16-retro-futuristic-vehicle-designs/http://shop.webomator.com/http://shop.webomator.com/http://gadgets.boingboing.net/retrofuturism/http://gadgets.boingboing.net/retrofuturism/http://www.digitaldeliftp.com/Recommendations/retro02.htmlhttp://www.digitaldeliftp.com/Recommendations/retro02.htmlhttp://fiveprime.org/hivemind/Tags/design,googiehttp://fiveprime.org/hivemind/Tags/design,googiehttp://www.jamesbutters.com/http://www.jamesbutters.com/sharpbh351rocket.htmhttp://www.jamesbutters.com/sharpbh351rocket.htmhttp://www.drive-on-in.com/googie.htmhttp://www.retromatic.tv/cpg1410/displayimage-lastup--6-118.htmlhttp://community.livejournal.com/googielovehttp://www.smashingmagazine.com/2008/04/21/celebration-of-vintage-and-retro-design/http://hacknmod.com/hack/epic-collection-of-sci-fi-ray-guns/http://www.massiveblack.com/MBwebolution/conceptart/http://www.massiveblack.com/MBwebolution/conceptart/http://conceptships.blogspot.com/http://conceptships.blogspot.com/http://fusionfilter.com/http://fusionfilter.com/http://dqsketches.blogspot.com/http://dqsketches.blogspot.com/http://dqsketches.blogspot.com/http://fusionfilter.com/http://conceptships.blogspot.com/http://www.massiveblack.com/MBwebolution/conceptart/http://hacknmod.com/hack/epic-collection-of-sci-fi-ray-guns/http://www.smashingmagazine.com/2008/04/21/celebration-of-vintage-and-retro-design/http://community.livejournal.com/googielovehttp://www.retromatic.tv/cpg1410/displayimage-lastup--6-118.htmlhttp://www.drive-on-in.com/googie.htmhttp://www.jamesbutters.com/sharpbh351rocket.htmhttp://www.jamesbutters.com/http://fiveprime.org/hivemind/Tags/design,googiehttp://www.digitaldeliftp.com/Recommendations/retro02.htmlhttp://gadgets.boingboing.net/retrofuturism/http://shop.webomator.com/http://gajitz.com/the-future-of-the-past-16-retro-futuristic-vehicle-designs/http://www.ultraswank.net/http://www.radiosalon.com/html/radios1.htmhttp://weburbanist.com/2009/03/02/retrofuture-space-flight-15-visions-of-future-past/http://www.darkroastedblend.com/2007/11/retro-future-to-stars.htmlhttp://www.lostdiscsradio.com/http://www.superaardvark.com/?p=140http://www.seattledreamhomes.com/PageManager/Default.aspx/PageID=308605http://www.plan59.com/main.htmhttp://silver-rockets.com/http://www.retroplanet.com/blog/retro-design/retro-decorating-ideas/googie-architecture/http://en.wikipedia.org/wiki/Googiehttp://en.wikipedia.org/wiki/Retro-futurismhttp://antiquescollectibles.suite101.com/article.cfm/variations_and_subgenres_of_steampunkhttp://blastr.com/2009/09/guide-to-sci-fi-punks.phphttp://dieselpunkpics.blogspot.com/http://www.ottens.co.uk/gatehouse/gazette.phphttp://www.ottens.co.uk/gatehouse/gazette-3-historydieselpunk1.phphttp://www.chrisroberson.net/2008/07/dieselpunk.htmlhttp://www.cutoutandkeep.net/projects/dieselpunk_headphonehttp://www.ottens.co.uk/gatehouse/dieselpunk.phphttp://en.wikipedia.org/wiki/User:Piecraft/Dieselpunkhttp://dieselpunk.net/


33/46

The ''Old'' Notebook - By Pedro AugustoGALLERIA

33www.blenderart.orgIssue 29 | August 2010 Industrial Revolution


34/46

Message from the future - by Hans SchwaigerGALLERIA



35/46

LoaderGALLERIA



36/46

LoaderGALLERIA



37/46

AMEE - by Thomas KristofGALLERIA



38/46

Assembly Required - by Eric DurantGALLERIA



39/46

Gleiter - by Thomas KristofGALLERIA



40/46

OutOfWarranty - by Daniel BrownGALLERIA



41/46

Steampunk strogg - by Vadim Andreyev aka sid350GALLERIA



42/46

The robot flower_by Yunior FrmetaGALLERIA



43/46

ABC Compressor - by Martin CastonGALLERIA



44/46

ABC Compressor - by Martin CastonGALLERIA



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