Art Department - WINTER 2026 - Digital Art - Ronaldo Kiel
ARTD 2821 3D Modeling & Animation
Section JAN code 50723- MTWTHF 6:05 - 9:20 Jan 02 to Jan 22, 2026
Course Description Class Projects Schedule Important Dates Contact
The three projects in this course serve as stepping stones to help you get started. The first project involves simple NURBS modeling, texturing, and camera animation, allowing you to experience the entire production workflow, from modeling to compiling your frames into the animation. The second project focuses on polygonal modeling and UV mapping. In the final project, we’ll explore displacement maps and PBR (Physical Based Rendering). While all projects require careful planning, the execution is quite straightforward.
Project #1: 3D Still Life
We’ll explore fundamental three-dimensional modeling techniques to craft a still life scene. Begin by selecting a still life drawing from one of your other academic classes or a reproduction of a still life painting as your starting point. Next, you’ll create a detailed three-dimensional model of all the elements in the scene.
Once you’ve modeled and positioned all the elements in the still-life scene according to the reference two-dimensional image, you’ll need to create the necessary texture maps for your scene. For instance, if your still-life is placed on a wooden table, you should create a texture map that simulates the wood grain pattern on the tabletop.
You will have to analyze all elements in the scene and develop the material properties for them. How much transparency for the glass objects? Do they have any color? Do you have any other reflective surfaces in your scene? How will the metal surfaces react to the lights?
Lighting the scene is paramount. You’ll be working in a “virtual environment” where all the “realism” is generated by software tools. Lights won’t behave exactly as they do in the real world. They don’t necessarily have to bounce off objects’ surfaces or cast shadows. The illusion of realism, or the recreation of a stylized paint, depends on your conscious choices. Using IBL (Image Based Lighting) and PBR (Physical Based Rendering) workflows will give your work a realistic look.
We will rely on the Arnold Renderer for our final rendering. The images you see in software viewports are merely approximations of the final rendered images.
Creating stills from various points of view will aid in planning your animation. These stills will serve as a storyboard.
Don’t commit yourself to a long rendering before you make some tests.
Your final task involves shooting a scene using your “virtual” camera. Your animation should be limited to 10 seconds or less. The default timeline in Maya has 200 frames, which translates to approximately 8 seconds at a frame rate of 24 frames per second.
The rendering time for your animation can vary significantly, ranging from a few minutes to several hours, depending on the complexity of your still life. To minimize rendering time, keep your models as simple as possible and avoid using excessive reflections.
Final Rendering specifications:
Duration: minimum 5 seconds
Resolution HD540
File Format: QuickTime
Note: There are videos on the “documents page” of the Bright Space site for this project.
Project #2: Virtual Space
One of the most common uses of three-dimensional modeling is in architectural models where simulations of buildings (exteriors and interiors) can be explored with fly-through camera movements. In games also, it is very common to be inside complex architectural environments. In this project you will be creating an enclosed environment. You can approach this project in many different ways. For example; you may create a space that can be used as a set for a movie or a three-dimensional space of a computer game. You may develop the set design for one play, or simply create the interior of a room, a realistic rendition of an architectural space.
One of the most common uses of three-dimensional modeling is in architecture, where simulations of buildings (exteriors and interiors) can be explored using fly-through camera movements. In games, it’s also very common to be inside complex architectural environments. In this project, you’ll be creating an enclosed environment.
For instance, you could create a space that can be used as a set for a movie or a three-dimensional space for a computer game. Alternatively, you could develop the interior of a building, creating a realistic rendition of an architectural space.
Steps to follow:
1. Choose the indoor space you want to replicate in 3D. You can work with an existing photo or blueprint, or take photos of your chosen space or sketch an imaginary one.
2. Make sure you have enough information about the space you are going to create. You should have Images from different perspectives. These views are going to help you to build the space in 3D. And later, when you are creating your textures reference images will also be important.
3. You should model all the elements in your 3D space, paying close attention to their proportions. The depth of your object should be proportionally related to its height and width. If you’re working with an architectural model and start from a blueprint, it’s helpful to have a cross-section to assess the height of your walls.
4. Next, let’s focus on the visual appearance of the virtual space. Begin preparing your textures. Create the UV layout and paint your textures. Set up the materials, lights, and camera, and continue rendering in Arnold to guide you towards achieving the desired visual appearance.
5.5. You’ll be required to create a 3D animation showcasing the space you built for this assignment. A simple camera fly-through is sufficient. Your animation doesn’t need to be lengthy; in just 15 seconds, you can convey a lot. However, if you plan to visit several rooms, carefully plan the time to avoid your camera moving too fast. If you render a series of still images representing a possible camera path for your animation, it will be easier to determine the duration of your animation. These stills can also serve as a rough storyboard.
Three-dimensional animation can be time-consuming. To minimize the time spent, make your models as simple as possible. Avoid excessive detail in the geometry, as textures or bump maps can often compensate for the lack of model detail.
NOTE: Before you commit yourself to long rendering make sure you have already done as many test renderings as necessary to create your final animation.
I published, on our Class Projects page of the Bright Space site, two versions of Project 2. A very simple structure based on the underground cistern near Haya Sophia in Istanbul Turkey. And a Old School House building based on an architectural plan from the Victorian era in England.
Both versions of the project feature videos that cover modeling, UV mapping, textures creation in Photoshop, and the development of surface materials, lights, rendering, and animation.
The two versions of Project 2 are just teaching materials; they are not to be seen as art production pieces.
Project #3: Outdoors (landscape)
We will experiment with displacement maps from Tangram to animate a camera moving a very large distance. The simulated view from a drone camera.
An important aspect, in this project, is to achieve a realistic outdoors light using a Hight Dynamic Range Image (HDRI). The simulation of the sun light can be more difficult than the simulation of a studio light set. There are videos on the projects page of the Bright Space site for this project.
NOTE: Keep your projects simple and try to create your models with the minimum number of polygons possible. Too much geometry will slow you down and increase your rendering time.
Your animation for this project should be at least 20 seconds long.
General requirements for all projects:
The final version of all projects for this course should be rendered at HD 540 (960x540) resolution.
Sound effects or audio tracks are not required for any of the projects in this course. However, as you’re aware, sound is often a key element. So, consider incorporating sounds into your projects.