Let’s recreate the original Whomping Willow! It was added to the training grounds in COS. That location – and even the tree’s very presence in the miniature – is unique to to that film. (In all the later films, the redesigned Whomping Willow was off the edge of the map, somewhere past Hagrid’s, and it was brought to life purely through CG and full-scale practical elements.)
The first step was to figure out the exact placement. I don’t have any floor plans that show precisely where it sat in relation to the other structures, but one of the behind-the-scenes features does give a decent shot of that area of the miniature. I lined up the camera angles and added a circle to mark the base of the tree. It seems to be just about dead center in that lawn! This further reinforces my belief that this area’s walls were redesigned for the express purpose of giving the Willow a more interesting setting. They almost create a kind of arena around it.
Next up: creating a base mesh. I knew I wasn’t going to be able to match the tree in the film perfectly, but I wanted to capture its essential rhythms, character, and scale. I ended up annotating film screenshots with color-coded numbers to help me keep track of the different major branches. It’s a strategy that served me well with the grand staircase model.
I carried that color coding into the model itself as I started the base mesh. As with the tree in the clock tower courtyard, I decided to use the Skin modifier in Blender. This lets you quickly extrude chains of vertices and apply a basic radius parameter to each, creating blocky forms that become tubular with the Subdivision Surface modifier. Here are a couple of work-in-progress shots:
As you can see, the base mesh is SUPER photorealistic. Can’t even tell it’s not a real tree! …right? (My girlfriend says it looks like a piece of corporate modern art, and I don’t disagree.)
Don’t worry, things started to get a little better as I Boolean-ed all the branches into one object and began the sculpting process.
There appear to be some stony areas at the base. I experimented with sculpting them all as one mass. When that didn’t look right, I tried using physics simulation to “drop” all the stones on top of each other in a realistic pile. But sometimes simplest is best, and in the end, it was most expedient to separately sculpt each rock and lay them on top of each other manually. Another pass of Skinned tubes allowed me to start blocking in the tree’s tangled roots:
Obviously very rough; the idea is just to build some geometry that will take well to further sculpting. And while I admit I wasn’t SUPER excited about this switch from hard surface to organic modeling, I soon found myself enjoying the sculpting process once more. It’s gratifying to see these basic shapes start to look like something!
This was around when I realized my proportions were a little off. The main trunk needed to be a little bigger relative to all the branches. I made some adjustments and kept sculpting, working my way up into the knuckles and knobs where all the younger shoots will soon go:
None of this is an absolutely perfect match with the film, but I’m certainly trying to stay close. That crevice on the left side of the trunk is based on one visible in the film; in my headcanon, that’s where the tunnel to the Shrieking Shack is. (We only see the entrance to the tunnel in the next film, and the Willow was redesigned for that one.)
By the way, in case it’s not obvious, I haven’t started texturing the tree or the rocks yet. The flat coloration is just temporary while I continue refining the forms. I’ll save all that for the next post, as well as the addition of all the shoots on top that’ll really give the tree its characteristic look. But I think we’re off to a good start!