To be fair, he hasn't had a chance to do much with the model... like, at all. Wait for the greebles, since those are what are going to change the silhouette.
Then, like I mentioned before, he shouldn't be showing anything at all probably, unless he was expecting any sort of comment\crit, which I am giving, and believe I'm being pretty sincere and honest. I also think that I'm not being offensive in any way.
Also, you are wrong. The greebles don't change the silhuette at all. The most they can do is "break" or "noise" the silhuette lines. Silhuettes live out of big shapes. That's a design fact.
I know this is not related to the topic but I just wanna know.. might come handy sometime in the future.
So if you got to make a new model or upgrade one.. how would you go about it, in terms of what would you do first and aside from the basic geometry which should go first IMO.
I honestly don't have a set workflow, but then again, I do models for about 10 years now, and know the tools I use pretty well.
But basically:
- If I'm starting from scratch (new ship design), I block out the shape\silhuette, making sure it is very basic and clean, but paying attention to what are different parts of the ship, how they connect, etc). Just deformed primitives. After that I rebuild those shapes with the edgeflows I think I'll need. The important thing here is that they flow in the directions I want for future greebling (BIG greebles, no micro-detail). Once those are done, I move to greebling, which is more of a wrap up of the forms.
The important thing is establishing the big shapes right in the start, because the design lives of the big shapes... The millenium falcon for instance, is a cool design because of its general shape. The rest is just a wrap. Same goes for the star destroyer.
- If I'm upgrading the model, I first look at the original and try to identify the shapes (knossos: head; fined tail; lower fins; neck). I think how they could be connected if it was actually built. On these cases you don't have to worry much about design, except when it comes to identifying the flow of the design, and how those shapes could be more interesting (again, silhuette). For instance, in the knossos again, the connection between the lower fins and the head could be more fluid. The neck could have an hourglass shape, or be build of various tubes, etc.
Then its the same process as in if I was making my own design.
