IntroductionWelcome| 00:04 | Hi! I'm Ryan Kittleson, and I'd like to
welcome you to Modeling a Character in 3ds Max.
| | 00:10 | In this course, I'll show you how to
take advantage of 3ds Max's powerful tools
| | 00:14 | to model a character, get it ready for
rigging and texturing, and above all, how
| | 00:19 | to make one that really looks great.
| | 00:21 | First, I'm going to demonstrate some
of the most commonly used tools in
| | 00:24 | character modeling like Swift Loop and Extrude
and how they can be used to build a character.
| | 00:29 | Then I'll show you how to break down
your character into bite-sized pieces for
| | 00:33 | easy modeling, like building the
head separately from the teeth.
| | 00:36 | I'll teach you how to refine your
models to professional standards.
| | 00:39 | I'm going to model the character one
part at a time and show you how these
| | 00:43 | skills and tools apply in practice
to create a finished body, hair, and
| | 00:48 | clothes of our character.
| | 00:49 | In my years of modeling characters
and experience in teaching character
| | 00:53 | modeling, I've come up with this method
that is straightforward and easy to follow.
| | 00:57 | So let's get to it with
Modeling a Character in 3ds Max.
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| What you need to know before watching this course| 00:00 | Modeling a character in 3ds Max is a
task that goes beyond basic skills.
| | 00:05 | While you don't need to be a 3D
expert to be successful at this course,
| | 00:08 | you should already understand the
essentials of the 3ds Max interface
| | 00:12 | before attempting it.
| | 00:13 | It can also be beneficial to have basic
modeling and artistic abilities in order
| | 00:18 | to get the most out of this course.
| | 00:20 | The 3ds Max Essentials courses on
lynda.com feature extensive modeling training
| | 00:25 | that will get you up to speed with the
skills you'll need to model a character.
| | 00:29 | In addition to technical skills,
a basic artistic understanding of anatomy
| | 00:33 | and sculptural form can help you apply what
you learn here for maximum creative effect.
| | 00:39 | Lastly, character modeling is fun.
| | 00:41 | It's a thrill to see a piece of
concept art come alive in three dimensions.
| | 00:46 | A passion for creative expression will
help you get the most out of everything
| | 00:50 | we're going to learn.
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| Overview of the design process| 00:00 | A great character model
starts with a great design.
| | 00:03 | It's important to have good concept art
to work with before you get into modeling.
| | 00:08 | This is because even though modeling in
3ds Max is faster and more flexible than
| | 00:12 | ever, it's still no match for good
old-fashioned pencil and paper when it comes
| | 00:17 | to planning out the design.
| | 00:18 | If the character design that you're
modeling is weak, the model will be weak as well
| | 00:24 | and making changes to a finished
model can be more trouble than it's worth.
| | 00:28 | You may have heard the
phrase "quality over quantity."
| | 00:31 | That's not quite true when it comes
to design--at least not completely.
| | 00:35 | You see the best path to quality is by
doing a large quantity of quick sketches.
| | 00:41 | Very rarely does the best
character design happen on the first try.
| | 00:45 | If you only do one drawing of a character,
you'll never know if it was the best,
| | 00:49 | because there aren't any to compare it to.
| | 00:51 | The professional concept artist's secret
is to do a huge quantity of drawings and
| | 00:56 | only show the best few to other people.
| | 00:58 | You may see the work of famous
designers and think that everything they do is
| | 01:02 | polished in detail beyond belief.
| | 01:04 | But the fact is that most of their time
is spent doing exploratory sketches that
| | 01:08 | nobody will ever see.
| | 01:10 | My approach to character design is to first
understand what the criteria of the character is.
| | 01:16 | What is its purpose?
| | 01:17 | If it's part of a story, what role does it play?
| | 01:20 | You'll need to get into the
character's personality and setting to truly
| | 01:24 | understand how to design for it.
| | 01:25 | The next thing to do is research existing
people or creatures that have a similar role.
| | 01:30 | Look for photos or read books about them.
| | 01:33 | Get beyond the standard assumptions
about what that type of character is
| | 01:36 | supposed to look like.
| | 01:38 | If your character is French, for example,
you would want to look for ideas that
| | 01:41 | go beyond the
stereotypical striped shirt and beret.
| | 01:45 | Once you've collected reference material,
start drawing pages full of very loose sketches.
| | 01:50 | Don't worry about details or
anatomical accuracy at this point.
| | 01:54 | I practically scribble everything at this stage.
| | 01:57 | Just work out variations on the overall
shape and proportion of the character.
| | 02:01 | Once you've done several pages full of
this, you're ready to take what you like
| | 02:05 | best about those sketches and
start exploring the details.
| | 02:09 | Again, I would do several pages full
of sketches that deal with a particular
| | 02:13 | part of the character.
| | 02:14 | Sketch out lots of heads, lots of
hands, and lots of props and accessories.
| | 02:21 | Give yourself time;
| | 02:22 | it is going to take a while to
really explore all of your options.
| | 02:25 | Now that you've got lots of ideas to
choose from, you can be confident that your
| | 02:30 | design is at least the best out of many options.
| | 02:33 | Take the best out of all your
experimentations and do some more detailed drawings.
| | 02:37 | These are finally the images
that you would show to other people.
| | 02:41 | Draw the character in several
poses that would be expressive of its
| | 02:44 | personality or nature.
| | 02:45 | Also, most importantly for modeling, do
a front and side orthographic drawing.
| | 02:50 | Draw the character in a neutral pose
facing head-on, as well as one from the side.
| | 02:55 | You'll want to make sure that every
feature of the drawing is at the same height
| | 02:58 | between the two orthographics.
| | 03:01 | This is easy in Photoshop with
guidelines that you can drag down to make sure
| | 03:05 | that everything is at the same level.
| | 03:07 | I usually scan these orthographics
into Photoshop where I can even reposition
| | 03:11 | things if they're not quite even.
| | 03:13 | Now you're ready to send your
design into 3ds Max for modeling.
| | 03:17 | Character design is an art form with no
absolute rules, and it can take years to
| | 03:21 | truly get good at it.
| | 03:22 | The most important thing is
to just keep working at it.
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| Using the exercise files| 00:00 | If you are a Premium member of the
lynda.com Online Training Library, or if
| | 00:05 | you're watching this tutorial on a
DVD-ROM, you have access to the exercise
| | 00:09 | files used throughout this title.
| | 00:12 | The exercise files are arranged
according to the chapter and movie.
| | 00:17 | And if I go into the 04 subfolder, for
example, you'll find different images and
| | 00:22 | files that I'm going to be using in this movie.
| | 00:26 | You'll be opening certain
files inside 3D Studio Max.
| | 00:30 | One thing that might happen
is you might see this screen.
| | 00:33 | This pop-up is about color calibration settings,
| | 00:36 | so it's nothing we need to
worry about for this course.
| | 00:39 | There's something else to watch out for when
working with the exercise files in this course.
| | 00:44 | First we need to set Max to show its
full resolution textures, so that we can
| | 00:48 | see all of the detail in the reference image.
| | 00:50 | Depending on the computer that you're using,
the image might appear blocky or pixelated.
| | 00:55 | If that's the case, go to the
Customize menu and click Preferences.
| | 00:59 | I'm going to go to the Viewports tab,
and then I'll come down to Configure Driver.
| | 01:05 | You're going to want to come down to
Download Texture Size and turn on Match
| | 01:09 | Bitmap Size as Closely as Possible.
| | 01:12 | Now hit OK and hit OK again.
| | 01:13 | Now let's do one more thing to
make sure this image comes in as full
| | 01:17 | resolution as possible.
| | 01:18 | I'm going to into the front viewport
and just hit Alt+W to go full screen.
| | 01:23 | So you can see that it's not
showing us very much detail.
| | 01:26 | Hit M to open up the Material Editor.
| | 01:29 | So here we've got the bitmap that is
bringing in as the material on this image plane.
| | 01:35 | Go ahead and double-click on that.
| | 01:36 | Now come down and click Reload.
| | 01:38 | Now you can close out of this.
| | 01:41 | Hopefully, you'll see the
image get much sharper now.
| | 01:44 | Unfortunately, this setting is
not saved when you close Max.
| | 01:48 | Every time you restart 3ds Max
you'll have to re-enable Maximum Texture
| | 01:53 | Resolution if you want to see the
reference image as clearly as possible.
| | 01:57 | With these options set, we're ready to
start working with the exercise files
| | 02:01 | without any complications.
| | 02:04 | If you're a Monthly subscriber or
Annual subscriber to lynda.com, you don't
| | 02:08 | have access to these exercise files, but you can
follow along from scratch with your own assets.
| | 02:14 | Let's get started.
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1. Overview of Character Modeling Tools and SkillsExtruding edges and faces| 00:00 | The Extrude tool in 3ds Max is a quick
and powerful way to create new shapes and
| | 00:05 | structures in your polygonal meshes.
| | 00:07 | The cool thing about Extrude is that
it automatically creates the right edge
| | 00:11 | flow for all kinds of body parts.
| | 00:13 | There are several ways to use it and a few
things to be careful of that I'll go over with you.
| | 00:18 | Let's use Extrude and its sister
tool called Bevel to create a very quick-
| | 00:21 | and-dirty character.
| | 00:22 | It's not going to be much to look at,
but it'll be a fun way to get used to
| | 00:26 | Extrude tools that we'll be
using all the time in this course.
| | 00:30 | Let's make a box to start with.
| | 00:32 | So I'll just go up to the
Create panel and click Box.
| | 00:35 | And here in the perspective view, I'll
just zoom in a little bit so I can get
| | 00:39 | closer to the center of the grid,
and I'll just create a box here, and then
| | 00:44 | right-click to confirm.
| | 00:46 | Now I want the character to have an edge
running down the center that splits the
| | 00:49 | model in a left and right half.
| | 00:52 | So first, let's convert this to an
editable poly object so that we can
| | 00:55 | make those changes.
| | 00:56 | I'll just right-click on it and go down
to Convert to and click Editable Poly.
| | 01:02 | Now we can select this box's subobjects.
| | 01:05 | So in here we can just click the
Polygon, and so now we can start editing
| | 01:08 | individual polygons.
| | 01:10 | Now let's make this box the same
width on both sides of the grid.
| | 01:13 | So I'll just move around here to the
other side and click on this polygon here.
| | 01:18 | We can extrude this out to
increase the width of this box.
| | 01:21 | So let's go down to Extrude and click that.
| | 01:23 | Now we just simply click and drag and
pull out the box, so it's about the same
| | 01:27 | width on both sides of the grid.
| | 01:29 | And I'll just right-click to confirm.
| | 01:31 | Something else I also want to
do is show the wireframe.
| | 01:34 | So let's go up and right-click here in
the viewport and bring down Edged Faces.
| | 01:40 | This way we can see all of the
polygons' edges that we're working with.
| | 01:43 | Now let's take things a bit further.
| | 01:45 | What we have so far is the base of the head.
| | 01:48 | Let's get the neck and body done.
| | 01:50 | I'm going to use Bevel for this.
| | 01:51 | Bevel is like Extrude but with the
added ability to size the extrusion in
| | 01:56 | addition to simply pulling it out.
| | 01:58 | So let's look at the underside of
this and select the polygons down here.
| | 02:01 | I'm just hitting Ctrl to
select multiple polygons.
| | 02:08 | So I'll just click on Bevel and now we
click and drag on the selected polygons,
| | 02:13 | and it starts out just like
Extrude. It pulls out a new extrusion.
| | 02:16 | Then when you release the mouse button,
we have the option to scale. Just by
| | 02:21 | moving the mouse up and down,
| | 02:22 | you increase or decrease the size of this.
| | 02:24 | And then another left-click locks in the Bevel.
| | 02:27 | Lots of times I like to scale
manually afterwards as well.
| | 02:31 | This is because I might want to
scale more in one axis than another.
| | 02:35 | In this case, I want the neck to be more square,
| | 02:38 | so I hit R to go into Scale mode.
| | 02:40 | Now I can scale on just one
axis. On to the rest of the body.
| | 02:47 | Let's use another function now.
| | 02:48 | We've got the bottom of the neck
already selected, so let's go and click the
| | 02:53 | Bevel options, the Settings
button right here next to Bevel.
| | 02:59 | And so it brings up this little
palette of extra options that we have.
| | 03:02 | I'm going to move this out of way,
because this is kind of on top of what I'm
| | 03:04 | working on right now.
| | 03:05 | So I'm just going to click and drag
on the word Bevel up here and move it
| | 03:08 | off to the side a bit.
| | 03:09 | With this palette, we get more
control over how Bevel behaves.
| | 03:13 | And I'm going to go into full screen
here so we can see what's going on better.
| | 03:16 | Alt+W. So you can click and drag on
these different values to change them, or
| | 03:21 | you can click and drag on these arrows
here and it changes the amount of the
| | 03:25 | extrusion, and you can also click and drag
on here and it changes the amount of scale.
| | 03:29 | We can also click and type in an exact value.
| | 03:34 | So let's type in 0.2.
| | 03:36 | One advantage of using the Bevel
options is that you can repeat the same
| | 03:40 | operation as many times as you want.
| | 03:43 | If you click on the plus sign,
that means you lock in the Bevel that you just
| | 03:47 | made and then repeat it again on either
the same polygon that was just extruded
| | 03:52 | or any of the others that you select.
| | 03:53 | So if I just moved the view a little bit,
we can see it's just created a second
| | 03:58 | extrusion using the exact same settings
that we used to make this one up here.
| | 04:02 | You can still change the
values before continuing on.
| | 04:05 | So on this new Bevel, we could go in
here and change the amount of extrusion or
| | 04:09 | the amount of bevel.
| | 04:11 | So let's continue beveling on
down to the waist of the character.
| | 04:15 | So let's get some shoulders in.
| | 04:16 | I want to increase the size of this one so
that the shoulders are wider than the neck.
| | 04:21 | And let's apply this and continue.
| | 04:24 | And I'll just zoom out a little bit,
so we can see more in the character.
| | 04:27 | I'm just going to fiddle with these settings
right here just to make a very rough character.
| | 04:33 | Let's make the shoulders a little bit wider.
| | 04:34 | I'll lock that one in.
| | 04:35 | Okay, we don't need to make it any
wider now, but we do need to continue
| | 04:39 | bringing it on down.
| | 04:40 | I'm just going to do that a
couple more times. All right!
| | 04:44 | That's about down to where the
waistline of the character would be.
| | 04:47 | Let's lock in all these bevels that
we've made by clicking on the check mark.
| | 04:50 | Well, that was easy enough.
| | 04:52 | Let's explore one more setting.
| | 04:53 | I'm going to move the view so that we
can see these selected polygons at the
| | 04:56 | bottom a little bit better.
| | 04:58 | Let's go back into the Bevel settings.
| | 05:01 | We want to make some legs on the
character, but polygons that are next to each
| | 05:05 | other will get extruded together.
| | 05:06 | They're stuck together.
| | 05:08 | By default, Bevel is set to a mode called Group
where all polys get extruded as one big chunk.
| | 05:14 | Let's click on this little down
arrow to see some more options.
| | 05:17 | So right now it's set to Group.
| | 05:19 | Let's change it to By Polygon.
| | 05:22 | Now each polygon will extrude out independently.
| | 05:25 | You might have not seen the big
change here, but if we go and scroll on
| | 05:28 | any of these settings, now you can see that
Bevel is sizing each of these independently.
| | 05:33 | I'll use the Scale tool here to change
the size of the legs so that they're a
| | 05:36 | little bit more square.
| | 05:37 | Okay, let's continue extruding down the legs.
| | 05:40 | I'll click Apply and continue once here
and adjust some of the settings here.
| | 05:45 | I don't want the legs to
get quite so skinny or pointy.
| | 05:48 | Let's bring out the size a little
bit and do that a couple more times.
| | 05:53 | Okay, that's great for some legs.
| | 05:54 | Let's get some feet on.
| | 05:55 | I'm going to lock this in so that we
can select these two polygons on the
| | 05:59 | front of the angles.
| | 06:01 | So I'll select one and then Ctrl+Click
the other and go back into Bevel, Settings.
| | 06:06 | And I'll just change the view so we can
see this a little bit better from the side.
| | 06:08 | Now we've got some feet sticking out.
| | 06:10 | Now to do some very simple eyes. We'll just
lock in this change here and go up to the eyes.
| | 06:18 | I'm just going to select these two polys,
click one, and Ctrl+Click the second.
| | 06:22 | Let's go into Bevel with Settings again.
| | 06:24 | I want the eyes to go inwards.
| | 06:27 | So actually I don't want
them to extrude outwards at all.
| | 06:29 | So we'll drag this down so that it doesn't
extrude out, but I do want it to come in like that.
| | 06:37 | Let's apply this and continue and do
that one more time, but actually this time
| | 06:41 | I don't want it to shrink inwards so
much as extrude back into the head.
| | 06:47 | So the Extrude Height value I'll set to
about -2.8, so that it goes inside the head.
| | 06:53 | Okay, let's lock that in.
| | 06:54 | Finally, I want to extrude some arms out,
| | 06:57 | so I'll come down here, select one
arm, and Ctrl+Select the second shoulder.
| | 07:03 | And we'll just go into Bevel
Settings and just do that one more time.
| | 07:06 | Now we want it to extrude outwards, so
let's make sure we get a positive number
| | 07:09 | here in the Height and bring out some arms.
| | 07:13 | And just to make it look a little bit
nicer--let's make it not so weird--
| | 07:16 | we'll just scale in size of that,
and lock in those changes.
| | 07:21 | Okay, let's get a better view of this character.
| | 07:23 | And there we have a very, very basic
character made in just a few minutes
| | 07:30 | with the Extrude tools.
| | 07:32 | As you can see, Extrude and Bevel are
great for quickly creating new limbs
| | 07:36 | off of a simple base.
| | 07:37 | You'll use it all the time to make
additional structures to your models.
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| Using Paint Deform| 00:00 | Paint Deform is a powerful character
modeling tool that can make modifications
| | 00:05 | to your models quickly and smoothly.
| | 00:07 | You'll want to use this to make artistic
organic changes to your models, because
| | 00:11 | it behaves in a very
intuitive artist-friendly way.
| | 00:15 | It differs from stand-alone
sculpting programs like Zbrush or Mudbox in
| | 00:20 | one major way, in that it doesn't subdivide
your mesh in order to create fine details.
| | 00:25 | It only works with the mesh that you give it.
| | 00:27 | If the mesh isn't dense enough to create fine
detail, Paint Deform will not be able to do it.
| | 00:34 | So we have got our exercise file open here.
| | 00:36 | Let's just click on Hank's body.
| | 00:38 | To use paint deform, we will go up to the
FreeFrom menu and then click Paint Deform.
| | 00:44 | There are lots of options to choose
from, but basically they all deform the
| | 00:49 | surface of models in a sculptural way.
| | 00:51 | The brushes are fairly
straightforward, as their names indicate.
| | 00:54 | However, there is a few special ways
that they can be used for character
| | 00:58 | modeling that I will go over with you.
| | 01:00 | Before I get into any of the specific
brushes, there are some settings common to
| | 01:04 | all of them that we should look at first.
| | 01:07 | Click on any one of the brushes and notice
that there's a second palette that pops up.
| | 01:11 | This gives you the basic size and
strength settings, but there's even more
| | 01:15 | options if you open up the Paint
Options menu and then click Brush Options.
| | 01:19 | I know there are windows and
palettes popping up all over the place.
| | 01:25 | It can get a little cluttered.
| | 01:27 | Hopefully, the next version of Max
will make this interface cleaner.
| | 01:30 | In this Brush Options window you can get
lots of control over how the brush works.
| | 01:35 | To be honest, I rarely have a need
to use anything but the basic Size
| | 01:39 | and Strength controls.
| | 01:40 | However, there is one very
useful feature in this palette.
| | 01:44 | It's the Mirror option.
| | 01:45 | So down here I will just turn on Mirror.
| | 01:48 | This makes us so that any
painting you do to one side of the model
| | 01:51 | automatically happens to the other side as well.
| | 01:53 | So right now you can see we have got
this big brush and it is mirrored on both
| | 01:59 | sides, so anywhere I move the mouse on
one side of the model, we see the same
| | 02:02 | thing happening on the other side.
| | 02:04 | If it's not quite giving you the
result that you expect, you might need to
| | 02:07 | change the Mirror Axis.
| | 02:09 | Right now, it's on X, but if we change
it to Y, now it's like mirroring from
| | 02:13 | front to back. Or if we go into Z,
now it's mirroring from top to bottom.
| | 02:18 | However, this character is mirrored on the X
axis, so that's what makes sense for us here.
| | 02:24 | Now, let's close this palette and just
use the Size and Strength controls for now.
| | 02:30 | By default, the Size and Strength
settings are way too high for the Hank
| | 02:33 | model we are using.
| | 02:34 | So if you see if we try to use it now,
the effect is just really strong.
| | 02:38 | That's just crazy, so let's undo that,
Ctrl+Z, and change some of these Size
| | 02:43 | and Strength settings.
| | 02:44 | So the Size, let's bring this way down.
| | 02:47 | You can just click and drag and keep
scrolling and see what a Size that 1 does.
| | 02:51 | Okay, this is a little bit more manageable.
| | 02:53 | Also the Strength, that was way too
strong, so let's bring that down as well,
| | 02:57 | .05. And also you see that there this
little line that's coming off of the brush.
| | 03:03 | That kind of gives you an indication
of how strong the brush is going to be.
| | 03:06 | Right now, it's a very short line.
| | 03:08 | If we crank this up, it will be higher to see.
| | 03:10 | Now that line is really long.
| | 03:12 | So just bring it back down.
| | 03:17 | Now let's see what happens.
| | 03:20 | Okay, that's a much more subtle effect.
| | 03:22 | You can see it's bulging
out the character's muscles,
| | 03:25 | making them a little bit bigger.
| | 03:26 | So it's easier to manage when
the Strength settings aren't so high.
| | 03:29 | I will just undo that.
| | 03:31 | Now let's get into some of the
individual brushes and how they can do some
| | 03:34 | really cool things for character modeling.
| | 03:36 | Okay, let's click on Paint Deform here.
| | 03:40 | The Push/Pull brush is probably the most basic.
| | 03:43 | You see we get this big pop-up
that teaches us how to use it.
| | 03:46 | It's the most basic brush.
| | 03:48 | We already played with this brush a
little bit, but let's zoom in on the model
| | 03:51 | and see what it's doing in
a little bit more detail.
| | 03:55 | So it basically just pulls up and away from
the model. Wherever you stroke it, it's
| | 03:59 | making things bulge out bigger.
| | 04:02 | Holding down the Alt key
while you brush pushes in.
| | 04:07 | So now everything is shrinking inwards.
| | 04:14 | This can be useful for sculpting
bigger muscles or simply shaping a model
| | 04:18 | more to your liking.
| | 04:19 | This brush is moving individual vertices of
the model relative to the surface direction.
| | 04:25 | The result is that those vertices
get pulled outwards or pushed inwards.
| | 04:29 | This brush therefore can be a
quick tool for making the limbs of a
| | 04:33 | character fatter or skinnier.
| | 04:35 | So I will just unto this and show a
very cool trick you can do with this.
| | 04:39 | So we will make the size of the brush
a lot higher and then click and drag,
| | 04:43 | you can see it's kind of just beefing
up the overall size of individual limbs.
| | 04:48 | So that can come in very handy.
| | 04:50 | If I hold down Alt, now you can see it's
shrinking up everything, making him much skinnier.
| | 05:00 | This method sure beats tweaking
individual vertices by hand to change the shape
| | 05:05 | of things. And I will
just hit Ctrl+Z to undo this.
| | 05:13 | Next, let's look at the Relax brush.
| | 05:19 | For this brush you may want to turn on
Edged Faces mode so that you can see the
| | 05:23 | effect more clearly.
| | 05:25 | So to change that, let's make sure that
menu goes away so we can right-click on
| | 05:28 | Shaded and bring up Edged Faces.
| | 05:31 | So make sure we've got the Relax selected
and go in here, and you can see that
| | 05:37 | it's kind of spacing out all of the verts.
| | 05:39 | It's kind of spreading them out or bringing
them closer together, so they get more even.
| | 05:44 | Relax causes all affected vertices
to move closer to verts next of them.
| | 05:48 | The result is that details get smoothed out.
| | 05:51 | It also tends to shrink things, because
it's moving verts closer to other verts
| | 05:56 | that are on the other side of the model.
| | 05:57 | Let's just undo that.
| | 06:00 | You can also set the brush to not shrink.
| | 06:02 | If you hold down the Alt key while
using this brush, now it spreads out things
| | 06:07 | without shrinking the overall shape.
| | 06:10 | That can come in very handy if the
overall shape is just the way you wanted, but
| | 06:14 | you want to spread out these
vertices so that they get more even.
| | 06:17 | All right, we will just undo that with Ctrl+Z.
| | 06:21 | Moving on to the Shift brush. This brush
simply grabs all of the vertices within
| | 06:29 | the brush size and moves, or shifts them, to
wherever you drag them. Let's try it out.
| | 06:34 | So you just click and drag, and it
pulls everything within that radius of the
| | 06:43 | brush wherever you want it to go.
| | 06:44 | So this might be a little bit more
intuitive way to reposition things on your model.
| | 06:56 | All right, we'll just undo that.
| | 06:59 | The last brush I want to give
special attention to is the Revert brush.
| | 07:02 | It's just like a selective undo.
| | 07:05 | It lets you paint the model back to the
way it was before you went in and messed
| | 07:09 | it all up with Paint Deform.
| | 07:10 | So let's make some changes
for the Revert brush to work on.
| | 07:14 | I'll go up into Paint
Deform and select Revert.
| | 07:22 | Now when we brush, let's see what happens.
| | 07:25 | Okay, everything is going back to where it was
before we went and used the Shift tool on it.
| | 07:30 | It's going kind of slow.
| | 07:34 | If we increase the
Strength, we will get there faster.
| | 07:41 | You can also just instantly undo all
paint-deformation changes with the X button.
| | 07:47 | So I just want to show you
one more thing like this.
| | 07:49 | Let's go to Paint Deform and pick the
Push brush and just make some more changes.
| | 07:54 | So now that I've made some changes to
the model, one thing I can do is commit to
| | 07:59 | them. If I like the changes that I've
made, pressing this check box will lock in
| | 08:04 | all the changes that I've made so far.
| | 08:05 | So the way the model is now is the way it
will revert to if I make any more changes.
| | 08:10 | Go back up to Paint
Deform and cancel all that.
| | 08:14 | It's going to go back to where it
was when I pressed the Commit button.
| | 08:18 | This is good for experimenting on a
model, so that you can sculpt without
| | 08:22 | worrying that you'll
permanently damage the model.
| | 08:24 | Then, when you have a result that you
will like, you can lock it in and then
| | 08:28 | continue experimenting without risk of ruining
all the great work you've done up to that point.
| | 08:32 | There are several other brushes here,
but they're fairly self-explanatory, and I
| | 08:37 | just don't use them much
for character modeling anyway,
| | 08:39 | so I will leave them to
you to play with on your own.
| | 08:43 | Paint Deform is a great FreeForm tool
for artistically modifying your models.
| | 08:48 | Be careful, however, because
it's best from minor tweaking.
| | 08:52 | Pushing things too far will make the
polygons all stretched out and not look
| | 08:56 | very good when animated.
| | Collapse this transcript |
| Working symmetrically| 00:00 | Most characters that you model
will probably be symmetrical.
| | 00:04 | By modeling one side of the model and
having Max automatically do the same thing
| | 00:08 | to the other side, you save time and effort.
| | 00:11 | It sure would be a lot more work to
manually model both sides of the character.
| | 00:15 | As you can see, Hank is
just half a man at this point.
| | 00:18 | Symmetry can be used to turn a half a
model into a fully symmetrical model.
| | 00:23 | Let's select Hank and then
go to the Modifier stack.
| | 00:27 | We want to do is add a Symmetry Modifier,
| | 00:32 | so let's scroll down to Symmetry.
| | 00:38 | Now there is a problem to
deal with right from the start.
| | 00:41 | You see this modifier bases the axis of
symmetry on the pivot point of the model.
| | 00:46 | We can either delete the Symmetry
Modifier and then move the pivot point or we
| | 00:50 | can move the axis of the symmetry
independently of the pivot point.
| | 00:54 | Let's do the latter. Let's open up the Symmetry
subobject and click on Mirror, so now we can edit
| | 01:01 | the object's mirror point.
| | 01:03 | This gives us direct access to the axis.
| | 01:06 | Now we can just move this tool to
position the mirror point to our liking.
| | 01:10 | It's kind of a fun effect.
| | 01:14 | I want to snap the axis to the center of the
grid so that I know the symmetry is perfect.
| | 01:19 | Let's go up here and turn on Snaps.
| | 01:21 | Also, let's right-click on this to
make sure it's snapping to grid points.
| | 01:26 | Grid Points is active, so that's good.
| | 01:28 | So now when we move it we you can see
that it's snapping to individual grid points.
| | 01:33 | You can see it
highlighting as it snaps to these.
| | 01:36 | So if we get it right here in the center,
we know we've got it exactly in the right place.
| | 01:40 | Let's just turn off snaps before we continue.
| | 01:42 | There are a few other
controls that you should know about.
| | 01:45 | In the Symmetry Modifier you can set
which direction you want to mirror and also
| | 01:50 | flip the symmetry to the other side.
| | 01:53 | So let's go over here in Mirror Axis.
| | 01:55 | So now this is mirroring front to back or
top to bottom, and you can also set it to Flip.
| | 02:02 | So if the result you're getting
isn't quite what you're expecting, you
| | 02:05 | might want to mess with some of these
settings to make sure that everything is correct.
| | 02:08 | I like to work on a character's left
side and then mirror over the right side.
| | 02:12 | That's just my preference.
| | 02:14 | So the default works great for me.
| | 02:16 | Another thing to notice is the
Weld Seam and Threshold controls.
| | 02:20 | This makes it so that the two halves get
welded into one whole and the threshold
| | 02:25 | controls how close individual
vertices should be so that they get welded.
| | 02:29 | Let's see what happens if
we crank up the Threshold.
| | 02:34 | At higher values, this setting can
cause unintended welding of verts.
| | 02:39 | It's always a good idea to make sure
that you set this low enough so that you
| | 02:43 | don't accidentally weld
things that shouldn't be welded.
| | 02:46 | So let's just bring this way down.
| | 02:48 | I like to zoom in on areas
where the mesh is more dense,
| | 02:53 | so let's go and look here at the
face where things are close together.
| | 02:57 | And I'll just go up to the Threshold
and just move this up just high enough so
| | 03:00 | that we don't get any
unintended verts getting welded.
| | 03:03 | Let's look around the
model to make sure it's all okay.
| | 03:08 | That looks pretty good.
| | 03:10 | When using the Symmetry Modifier you
want to make sure that all of your vertices
| | 03:14 | down the centerline of the
model are all perfectly centered,
| | 03:17 | so let's go back to the Editable
Poly and actually change some of this.
| | 03:21 | We also want to click Show end
result so that we can edit the model with
| | 03:26 | symmetry showing up.
| | 03:27 | So I'll just go into the Vertex mode and pick
one of these vertices here on the center line.
| | 03:32 | Now if any of your vertices aren't quite
perfect in the center line, you can get
| | 03:36 | weird things starting to happen. There can be,
like, strange gaps, or strange things can happen,
| | 03:41 | so you want to make sure when you're
modeling and you use symmetry that you get
| | 03:44 | everything right in the center.
| | 03:48 | Let's check how symmetry is
working on other parts of the model.
| | 03:50 | I'll just move a random vertex.
| | 03:52 | Let's pick this one here on the
cheek and see if it's working.
| | 03:56 | Any change we make to one side of the
model is going to happen to the other.
| | 04:00 | Note that a character doesn't have to
be just half of a model to use this.
| | 04:04 | You can put a Symmetry
Modifier on a whole character as well.
| | 04:07 | Let's see how that works.
| | 04:08 | I'm just going to get out of the Vertex
subobject mode and we'll just collapse
| | 04:13 | this down to in Editable Poly.
| | 04:16 | Now the model is a whole character,
and it's removed the Symmetry Modifier.
| | 04:20 | So now if we make any
changes, symmetry has been removed.
| | 04:24 | You can see it's not making the
same change on the other side.
| | 04:27 | So I'll just undo that, and I just
want to show you what happens if you put
| | 04:31 | symmetry on a whole
character, rather than a half one.
| | 04:34 | We'll just move that pivot point again.
| | 04:42 | So you can put symmetry on a whole
character just like with a half character, and
| | 04:49 | it kind of erases the other half
and replaces it with the mirror.
| | 04:54 | Now if I go back to Editable Poly mode
and move any of these vertices--oops!
| | 04:59 | One thing I forgot.
| | 05:01 | This is one thing that always happens.
| | 05:02 | The Show end result
toggle always gets turned off,
| | 05:05 | so I usually have to go and make sure I
turn that back on before the change happens.
| | 05:10 | So you can see now we have symmetry on
a model that was a whole character to
| | 05:15 | which we added the Symmetry Modifier.
| | 05:17 | You'll use symmetry often.
| | 05:19 | It's very helpful to edit the character as a
whole while only having to work on one side of it.
| | 05:24 | Just be careful that all of the
vertices at the center line of the character are
| | 05:28 | perfectly lined up so that you won't
leave any gaps or cause any problems.
| | Collapse this transcript |
| Using TurboSmooth| 00:00 | In 3D modeling the end result is often
smoothed to remove the blocky nature of polygons.
| | 00:07 | This benefits the modeler by
removing the need to create very dense
| | 00:11 | complicated models.
| | 00:12 | Instead you can make a less detailed
model and then let TurboSmooth make it
| | 00:17 | all soft and clean.
| | 00:18 | I've got the exercise file open,
and you can see it's pretty blocky.
| | 00:23 | A polygonal model is never truly round or soft.
| | 00:26 | It's always made up of flat polygons.
| | 00:29 | The only way to make a model appear
smooth is to have so many tiny polygons that
| | 00:33 | you can't see the flat faces anymore.
| | 00:35 | There's two ways you can do this.
| | 00:37 | You can make your models with tons of
polygons, or you can use TurboSmooth.
| | 00:42 | The problem with really high poly
counts is that it becomes hard for the
| | 00:45 | computer to deal with so much data,
and it becomes challenging to work with
| | 00:49 | really dense models.
| | 00:51 | The advantage of TurboSmooth is that
you can work with lighter models that get
| | 00:55 | automatically subdivided
only when you want it to.
| | 00:59 | So let's select Hank and go to our
Modifiers, and I am just going to click the
| | 01:03 | dropdown and click the
dropdown and go to TurboSmooth.
| | 01:06 | What this is doing is dividing
every polygon into four smaller polygons.
| | 01:12 | The result is more polygons
and therefore less blockiness.
| | 01:15 | Let's turn on Edged Faces
to see this more clearly.
| | 01:18 | I'm going to right-click up here and then click
Edged Faces, and then I'll just turn off the
| | 01:23 | effect of TurboSmooth really quick.
| | 01:25 | So you can see there are
four times as many polygons.
| | 01:29 | Down here you can increase the iterations.
| | 01:31 | So instead of just subdividing once,
you can also make it subdivide twice, or more.
| | 01:36 | I rarely go higher than two
iterations, because not only is it way more
| | 01:40 | smoothness than I need, but it could
also be too much for my computer to handle.
| | 01:45 | One cool feature is Isoline Display.
| | 01:48 | Let's just turn this on.
| | 01:50 | This mode makes it so that it only
shows the original edges from the model
| | 01:55 | before it was subdivided.
| | 01:57 | This can make things easier to work
with, because it can be hard to see what's
| | 02:00 | going on when the model is
showing every single edge.
| | 02:03 | Now with this mode on, let's go back down
to editable poly, and let's make sure we
| | 02:07 | turn on End Results so that we can
see the effect of TurboSmooth.
| | 02:11 | I'll just go into Vertex mode here,
and let's make some edits to the model.
| | 02:16 | Let's zoom in, and I'll just
move some vertices around.
| | 02:20 | So now you can see we edit the
simple low-poly version, but we see the
| | 02:25 | smoothed high-poly version.
| | 02:27 | This can be a big advantage, because
it's easy to work on a low poly model, yet
| | 02:32 | you get to see what the
high-poly version will look like.
| | 02:35 | There's actually one way other than
TurboSmooth to make a model look smoother
| | 02:40 | than it actually is.
| | 02:41 | That's called Normal
Smoothing. Let's try it out.
| | 02:44 | I want to undo these changes here,
and let's also get rid of the TurboSmooth.
| | 02:49 | So I'll just click on that
and then click on the Trash.
| | 02:52 | Let's pick a different modifier.
| | 02:53 | This time I am going to pick just
Smooth, and let's click Auto Smooth.
| | 02:59 | Normal smoothing keeps the number
of polygons exactly the same, but it
| | 03:03 | simply draws them on screen with smooth
gradients between them, rather than flat hard shading.
| | 03:09 | It looks at the angle between two faces and
sees if it's more or less than the threshold.
| | 03:14 | So you see we can change the threshold
and if we bring it down really low, it's
| | 03:19 | going to keep hard edges between everything.
| | 03:22 | If we increase that really high,
it's going to smooth out between all of
| | 03:26 | the different edges.
| | 03:27 | So actually it can be easier to see
if we go and turn off Edged Faces.
| | 03:31 | I'll just zoom out, so we
can see the whole character.
| | 03:35 | So in the Threshold here, if we just
bring this down, it's going to draw harder
| | 03:39 | edges, depending on the angle between faces.
| | 03:42 | I usually want to crank this all the way up
so that the model is just completely smooth.
| | 03:46 | Now with the threshold at the highest,
you can see that the model appears smoother,
| | 03:50 | yet if you look at silhouette, you can see
that it still has the same blocky edges.
| | 03:55 | So I'll just zoom in, so we
can see this more clearly.
| | 03:59 | Along the edge of the model you can
see it's still very angular and blocky,
| | 04:02 | although it seems to appear more smooth.
| | 04:06 | So when do you use TurboSmooth,
and when is Normal Smoothing good enough?
| | 04:10 | For models that will be rendered out,
I like to use TurboSmooth because
| | 04:14 | it's higher quality.
| | 04:15 | However, if I am going to do
something for real-time games, I'll go with
| | 04:19 | normal smoothing, because with games
you need to keep your polygon counts low,
| | 04:23 | and normal smoothing is a quick-and-dirty way to
make something look smoother than it really is.
| | 04:28 | You'll be using TurboSmooth a lot in
character modeling because it allows you
| | 04:32 | to work out on a simpler model while
at the same time getting an interactive
| | 04:36 | view of what a more subdivided model looks like.
| | Collapse this transcript |
| Setting up the image planes| 00:00 | Before we start modeling the character,
we will need to set up image planes.
| | 00:04 | These are pictures of the character
design that we can use as reference guides to
| | 00:08 | help us model accurately.
| | 00:10 | So here we see the concept
art for Hank that I created.
| | 00:13 | One of the most important things you
are going to want to have before you start
| | 00:16 | modeling is something called orthographic views.
| | 00:19 | That's just simply a neutral pose of
the character looking straight at you and
| | 00:25 | also one directly from the side.
| | 00:27 | So I made these drawings, and then I
scanned them into the computer and I used
| | 00:32 | an image editing program, like
Photoshop, to make sure that they were the exact
| | 00:36 | same size and that they were lined up perfectly.
| | 00:38 | So I drew guidelines to make sure that
the nose, for example, is on the exact
| | 00:42 | same level on both of these, the eyes on
the same level, and so on and so forth,
| | 00:47 | so that there's no inconsistency between these.
| | 00:49 | Something that is nice, but not
really necessary, is kind of a pose or a
| | 00:54 | personality drawing of the characters,
to kind of help you visualize what this
| | 00:59 | thing should look like in a more three-
quarter view or perspective view to help
| | 01:03 | you model things more artistically,
as well as technically accurate.
| | 01:07 | Let's start with a brand-new scene.
What we need to do is create some planes and
| | 01:12 | then map the reference image onto them.
| | 01:13 | Let's go into the Create panel and
click Plane, and what I want to do is drag
| | 01:21 | this into the front viewport.
| | 01:23 | Now how do I know how big it should be?
| | 01:25 | Well, we want to have the exact
proportions of the reference image and make
| | 01:30 | those as the proportions of the plane.
| | 01:33 | So let's look at the file in the Windows Explorer.
| | 01:36 | We've got hank_reference here,
and it's telling us that the dimensions of the
| | 01:40 | image is 1,800 pixels wide by 851
pixels tall. And now let's go back to Max
| | 01:48 | and make we sure type those numbers
into here so that we get the right
| | 01:53 | proportions for this.
| | 01:55 | So we'll go into the Modify panel here
and change the Length and Width of this.
| | 02:00 | So actually, Length is going to be how
tall it is, so I am going to type in 851
| | 02:05 | and then Width is going to 1,800.
| | 02:09 | Okay, let's zoom out to
see what this looks like.
| | 02:11 | That is pretty huge.
| | 02:13 | So what I want to do is just scale
it down to make it more manageable.
| | 02:16 | I will just make sure I am hitting R
to go in the Scale mode, and we will just
| | 02:21 | scale this in, and it is
going to scale proportionally,
| | 02:23 | so it doesn't really matter what exact
sizes it is, just as long as it's proportional.
| | 02:29 | Now to get a reference image placed on the
plane. Hit M to bring up the Material Editor.
| | 02:34 | I will just make this a little bit
larger, so we can see everything better.
| | 02:41 | And I will just create a standard
material, so I will just double-click on this.
| | 02:46 | We want to put the reference
image in the diffuse color,
| | 02:50 | so just double-click on the little
circle here next to Diffuse Color, and we
| | 02:54 | want to select a bitmap.
| | 02:56 | So I am selecting Bitmap and OK.
| | 02:58 | Now we can just go and
find that reference image.
| | 03:01 | Now the reference image is connected to color.
| | 03:13 | Let's drag one more
connection to self-illumination.
| | 03:16 | This will make sure that the image is
visible on the plane, no matter what kind
| | 03:20 | of lighting might be set up in the scene.
| | 03:22 | I will just zoom out with the scroll
wheel here, and so we have got Bitmap.
| | 03:27 | What we can do is click and drag a
connection from here to Self-Illumination.
| | 03:33 | Now to put the texture on the plane.
You need to make sure that the plane is
| | 03:37 | selected. Then we just come
here to Material and right-click.
| | 03:41 | In this pop-up menu you just
click Assign Material to Selection.
| | 03:45 | Okay, let's look in the viewport here.
| | 03:47 | I am going to zoom in. The plane has
turned gray now, but we still don't see the
| | 03:51 | reference image on it.
| | 03:53 | We need to set the material so
that it shows up in the viewport.
| | 03:55 | So let's make sure we have got the
material selected, and just go up and click
| | 03:59 | this little button with a
checkerboard and the light bulb,
| | 04:02 | Show Shaded Material in viewport.
| | 04:04 | Okay, great, now the image
has popped up on the plane here.
| | 04:07 | Let me just close this and make
sure everything is looking okay.
| | 04:11 | All right, looks good.
| | 04:17 | Depending on your computer, this image
might come in at a very low resolution.
| | 04:21 | If that's the case, go back and watch
the exercise movie where I explained how
| | 04:25 | to set the resolution of the image.
| | 04:28 | Okay, now we need to position
this plane in the front viewport.
| | 04:32 | Right now it's just set to
Wireframe mode, so we can't see the image.
| | 04:35 | We are going to right-click
here and set it to Shaded.
| | 04:38 | One thing we need to do is move this
image plane out of the way of our modeling.
| | 04:42 | So let me just zoom out here in the
Perspective view. We are going to be
| | 04:46 | building the character
in the center of the grid,
| | 04:48 | so if we have the image plane right
here, it's going to get in the way.
| | 04:50 | So I am just going to put it in Move mode and
just send it way back, so it's out of the way.
| | 04:55 | I also want the character to be
centered on the vertical axis.
| | 04:59 | So we see here in the front view, here
is the vertical axis and our characters
| | 05:03 | is just a little bit off of that,
| | 05:04 | so let's move it over so
that it's all nice and centered.
| | 05:07 | So let's go and do full screen view by
hitting Alt+W, so we can see this better.
| | 05:12 | And I will just zoom in, make
sure that the eyes are centered.
| | 05:16 | That's pretty good. And I also want
to have this feet sitting right on
| | 05:23 | the horizontal axis.
| | 05:25 | Great, this plane is done for now.
| | 05:27 | Let's get the other one created.
| | 05:29 | Let's go back to our four different
views by hitting Alt+W. By default, Max has
| | 05:33 | one of the viewports set to Left; however,
I prefer to model with the right-hand
| | 05:39 | camera rather than the left one.
| | 05:40 | So let's just click on the word Left here,
and we will select Right from the pop-up menu.
| | 05:46 | Now we need to make a copy of the front
image plane, so how you can do that is
| | 05:51 | by selecting it, and let's make sure we
can see it here in our Perspective view.
| | 05:56 | Okay, you just have to zoom out a bit.
| | 05:57 | You can simply copy objects by
holding down Shift while you move them.
| | 06:02 | So now we have got a second version of
the image plane here, and when we let go
| | 06:06 | off the Shift button it
gives us options for copping.
| | 06:09 | So I want to set to Copy.
| | 06:11 | I just want to make 1.
We can change the name here.
| | 06:13 | Let's set it to sideplane.
| | 06:17 | Now we need to rotate this so it
can be seen from the right viewport.
| | 06:20 | I am going to hit E to go
into Rotate mode. And let's see.
| | 06:24 | I probably want to rotate it--actually I
want to rotate it -90 degrees. So I will just
| | 06:31 | undo that, and I want to get a perfect
rotation, rather than doing it by hand,
| | 06:35 | so that it comes out exactly.
| | 06:36 | I figured out beforehand I want it -90 degrees.
| | 06:40 | Let's also set the Right viewport to be
shaded rather than wireframe, so that we
| | 06:44 | can actually see the reference image.
| | 06:51 | I think I might have messed something
up; the image still isn't showing up.
| | 06:55 | What I think might have happened,
| | 06:56 | I think I needed to type
in 90 instead of -90 here.
| | 07:00 | Let's see what happens.
| | 07:01 | Okay, yeah, it was flipped around that
wrong way, and we were seeing the image
| | 07:04 | plane from the back side, and polygons are by
default transparent when seen from the back side.
| | 07:10 | All right, let adjust the
placement of this image as well.
| | 07:13 | So I am going to go into Move mode and
just scoot this way back, so it's not in
| | 07:16 | the way of our modeling.
| | 07:19 | Let's also make sure in the right
viewport that we've got this image lined up.
| | 07:22 | I am going to hit Alt+W to go into full screen,
and we are working from the side view on this,
| | 07:27 | so let's get our character
roughly centered with the vertical axis.
| | 07:31 | This one doesn't need to be like
precisely lined up with any part of the
| | 07:34 | anatomy, just roughly in the center.
| | 07:36 | The last thing we need to do is lock
down the image planes so that we don't
| | 07:40 | accidentally select them while remodeling.
| | 07:42 | So let's go back to our Prospective
view, hitting Alt+W, and I am just going to
| | 07:46 | select both of these.
| | 07:48 | Now we right-click and select Object Properties.
| | 07:51 | What we need to do is turn on Freeze.
| | 07:54 | This makes the objects unselectable.
| | 07:56 | You will also want to
turn off Show Frozen in Gray.
| | 08:00 | By default, Max turns any frozen
objects gray, but if that happens, it's going
| | 08:05 | to get rid of the Reference image, so
by turning this off, it will stay frozen,
| | 08:08 | but we can still see the
reference image on top of it.
| | 08:10 | All right, let's click OK.
| | 08:12 | So now you can click on this image planes
all day long and nothing will happen to them.
| | 08:17 | With the image planes set up, we will have
the design on screen to help us as we model.
| | 08:22 | Having the image planes set up
accurately will make things a lot easier when we
| | 08:26 | get down to modeling.
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| Exploring edge flow| 00:00 | The structure of your polygonal mesh can be
thought of like the structure of a bridge or tower.
| | 00:05 | In both cases you want to get the
most use out of the fewest pieces.
| | 00:10 | The arrangement of the polygons in a
model, like the arrangement of beams in a
| | 00:13 | tower, needs to relate to the shapes
and forms that they're contributing to.
| | 00:18 | The way in which edges relate to
anatomy and to each other is called edge
| | 00:22 | flow, and it's a crucial concept for making
characters that bend and move in correct ways.
| | 00:28 | So I'm just showing this image of the
Eiffel Tower to illustrate the point that
| | 00:32 | these different struts aren't
just positioned at random angles.
| | 00:36 | They're positioned in such a way that
they relate to the overall shapes that the
| | 00:40 | architect had in mind when
he designed the Eiffel Tower.
| | 00:44 | So how do we know where our edge flow should go?
| | 00:47 | In 3D character animation modelers and
riggers use a principle called edge flow
| | 00:52 | to determine what the polygonal
structure of a model should look like.
| | 00:56 | Edge flow is a way of
relating the topology to the anatomy.
| | 01:00 | In this exercise file, I have color
coded different parts of the body according
| | 01:04 | to their flow zones.
| | 01:05 | That's the term I just
made up. It sounds fun to say.
| | 01:08 | Flow zones are sections of a model
that all have the same edge-flow pattern.
| | 01:13 | I'm going to go over some of the things
to take into consideration when planning
| | 01:18 | out flow zones for a character.
| | 01:20 | Look for where creases form. Look
for lines and edges in the model. When
| | 01:25 | the model animates, having the edge flow
follow creases will help maintain their shape.
| | 01:30 | So let's look at Hank here.
| | 01:31 | I'm going to zoom in at his shoulders and
his pec region, and we've got edges that
| | 01:36 | are following right here underneath the
pectoral muscles and going up, following
| | 01:40 | this crease that goes up to the shoulder.
| | 01:41 | If the polygon edges went against the
grain of the anatomy, it would be very
| | 01:46 | difficult to animate, let alone model correctly.
| | 01:50 | Another thing to take into consideration is
the directional movement of flesh and muscle.
| | 01:55 | When the body moves the skin
pulls in various directions.
| | 01:59 | Understanding what direction the skin
moves in will help you place edge flow.
| | 02:04 | Let's zoom in on the face.
| | 02:08 | Notice the eyes and mouth. The skin is
going to need to stretch and deform in
| | 02:13 | certain directions to make smiles,
squints, and other expressions.
| | 02:17 | The edges flow in the
direction of the most common movements.
| | 02:21 | So you see here on the mouth all
of these edges are looping around.
| | 02:26 | That's because common expressions that
the mouth takes pulls the skin either up
| | 02:31 | towards the cheekbones or pursing the
lips moves them down towards the lips and
| | 02:36 | so when the edges are laid out in this
direction, it's very easy to form all of
| | 02:40 | these different expressions.
| | 02:41 | Another thing to look for is obvious structures.
| | 02:44 | Anatomy often has a clear direction to it.
| | 02:47 | Bones, limbs, and muscles can be
indicators of where to place edge flow.
| | 02:51 | So let's zoom out and look at the arms.
| | 02:55 | Limbs are usually easy to figure out
because they're based on cylinders.
| | 02:59 | Unless there's some specific reason
to make it more complicated, limbs on
| | 03:03 | cartoony characters can be very straightforward.
| | 03:06 | So we see this flow zone here for the
forearm. I'm just going to look around at all
| | 03:11 | different angles, and you can see the
arm is really just a cylinder with some
| | 03:15 | extra little lumps
modeled into it here and there.
| | 03:18 | So you can really have a very
straightforward flow zone, with edges just going
| | 03:21 | straight down the arm and
edges looping around the arm.
| | 03:25 | Something else you can do
is play Connect the Dots.
| | 03:29 | Some parts of the anatomy will be
harder to figure out than others.
| | 03:32 | Do the simpler parts first and
then see if you can bridge the harder
| | 03:36 | spaces between them.
| | 03:37 | We're going to model the head and the
torso separately, so if you're not sure
| | 03:41 | what the edge flow for the neck should
look like, you can do the parts above it
| | 03:45 | and below it and then just
bridge the gap between the two.
| | 03:49 | Another good tip is to get ideas
from looking at other people's models.
| | 03:53 | Lots of professionals post their
work online with edge flow visible.
| | 03:58 | Study what they do, but understand that
there's not just one right way to do it.
| | 04:02 | In general, understand that there
often isn't one single edge flow pattern
| | 04:06 | that will work the best.
| | 04:08 | You may have to test out the model
with a rig or experiment with putting the
| | 04:12 | character in different
poses to see how well it works.
| | 04:15 | I often go back to the drawing board
because the edge flow that I've chosen
| | 04:18 | needs a little tweaking.
| | 04:20 | The edge flow that we're using in this
course is a generally good one that works
| | 04:24 | for most humanoid characters.
| | 04:26 | However, every character model is
different and will require some variations
| | 04:30 | to what I show here.
| | 04:31 | Luckily for you, I'll be showing
various ways of thinking about edge flow
| | 04:35 | and tricks that will help you adapt what
you learn here to many different situations.
| | 04:40 | As you get better at character
modeling, you'll certainly discover your own
| | 04:44 | techniques, tricks,
and ways to improve on the basics.
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|
|
2. Modeling the HeadCreating the basic facial structure| 00:00 | The face is one of the most detailed
and recognizable parts of a character.
| | 00:05 | Whether the model will be used in a game,
a movie, or anything else, the face is
| | 00:09 | one of the most important parts to get right.
| | 00:12 | It can also be difficult
because there's so much going on.
| | 00:16 | That's why there should be a solid
plan of attack when modeling a face.
| | 00:19 | In this movie, I'll show you a great
technique that focuses on establishing the
| | 00:23 | most important flow zones first, like
the mouth and eyes, which makes it easier
| | 00:28 | to refine details later.
| | 00:30 | The main concept to
remember here is to keep it simple.
| | 00:33 | Create the basic flow zones that
the face needs with few polygons.
| | 00:37 | It will look blocky and ugly at first,
but it's easy to add in more detail later
| | 00:42 | if the foundation is set up right.
| | 00:43 | We have got the exercise file open here
with the image plane set up and ready to go.
| | 00:48 | Let's start our modeling with
a polygon plane over the face.
| | 00:52 | So let's go into the front view and zoom
in on the face, so we can see that better.
| | 00:55 | I'm going to go into full screen with
Alt+W. Okay, go up to Create panel and
| | 01:02 | we're just going to click Plane.
| | 01:04 | Now I want this to be centered on the grid
so that the center line is right in the middle,
| | 01:09 | so let's go up to Snaps so that we
can snap it right there to the center, and
| | 01:14 | right-click to lock that in.
| | 01:15 | I want to model with the edges visible,
so let's go up and right-click on that
| | 01:20 | and click Edged Faces.
| | 01:23 | Now let's look at the
Modifier panel for this object.
| | 01:25 | Its Length Segments are set to one and
Width to one, so that's exactly what we want.
| | 01:29 | If it's not to that, go ahead
and change those numbers to one.
| | 01:33 | Now we can convert this to an
editable poly object so that we can make
| | 01:37 | modifications to it. Right-click on
it and go down to Convert To and click
| | 01:42 | Convert to Editable Poly.
| | 01:44 | You can see now that the Object Type
has changed to Editable Poly, and now
| | 01:48 | instead of seeing the Plane settings,
we see all the editing features available
| | 01:52 | to Editable Poly objects.
| | 01:55 | I want to work symmetrically on this,
but before I put on a symmetry modifier, I
| | 02:00 | need to move the pivot
point to the center of the grid.
| | 02:03 | This is because the symmetry modifier
will mirror the model across the pivot point.
| | 02:08 | So to do that let's go up to the
Hierarchy panel, and we want to affect the Pivot
| | 02:11 | Only so click on that.
| | 02:13 | Now I'll hit W to go into Move mode,
and let's just move this till it snaps on
| | 02:18 | the center point of the grid.
| | 02:20 | Make sure that Snaps is on when you do that.
| | 02:22 | We don't need snaps anymore, so now that
we moved the pivot point, I'm just going
| | 02:25 | to turn this off. And we don't need to
affect pivot only anymore, so we'll go
| | 02:29 | back to the regular mode.
| | 02:31 | Now it's time to put on the symmetry modifier.
| | 02:34 | Now as we make changes to one side of
the model, it will automatically be copied
| | 02:38 | over to the other side.
| | 02:40 | In the Modifier stack, let's go down to
Editable Poly, and we also need to turn
| | 02:45 | on Show end result, so that we can see
the result of the symmetry while we're
| | 02:48 | working in Editable Poly.
| | 02:50 | One issue that we're having before we
can start working is that the model is now
| | 02:54 | covering up the image plane
and we can't see the reference.
| | 02:58 | Let's make the model see-through.
Go ahead and right-click on it and go to
| | 03:02 | Object Properties, and we'll just
turn on See-Through and click OK.
| | 03:07 | Now let's start making
this look more like a face.
| | 03:10 | Let's go into Vertex mode and tweak
the positions of some of these vertices.
| | 03:14 | I also want to see this in more than
one view at a time, so I'm going to hit
| | 03:17 | Alt+W so that I can see it in the
front and side and perspective views.
| | 03:22 | I just want to zoom in here in all my views,
so I see what I'm working on up and close.
| | 03:30 | Okay, first thing I want to do is
move these vertices so that they kind of
| | 03:34 | form a mask over the face and they're
lined up with the anatomical features of
| | 03:37 | the face more closely.
| | 03:39 | So you can just go into these various
views here and move some of these vertices
| | 03:43 | around a little bit.
| | 03:44 | I'm just going to tweak some of these so
that it's covering the face more closely.
| | 03:53 | And also here in the side view I want
to make sure that these are all lined up
| | 03:57 | with the front of the face.
| | 03:59 | So I'm just selecting them and moving
them into place so that it lines up with
| | 04:04 | the reference more closely.
| | 04:09 | It looks like I just need to do a
little bit more tweaking here.
| | 04:20 | Okay, that's pretty close.
| | 04:20 | We might need to tweak it a little bit
more later, but at least it's in the ballpark.
| | 04:24 | Now I want to split this polygon in two
so that we have a flow zone for the
| | 04:28 | mouth and then one above it for the eyes.
| | 04:30 | I'm going to use the Quick
Slice tool to split this polygon.
| | 04:34 | So let's go up to the Graphite Modeling
Tools and go into the Edit submenu and
| | 04:40 | then click Quick Slice.
| | 04:42 | And the way this tool works is you just
click on one part of an edge and then
| | 04:47 | you click on another edge and it cuts a
new edge in between where you clicked.
| | 04:51 | All right, now let's tweak the
position of these vertices so that it lines up
| | 04:55 | better with the reference.
| | 04:56 | For example, this one needs to go
above the nose a little bit more. See what
| | 05:03 | that looks like in the side view.
| | 05:04 | I need to move that back a little bit,
maybe up a little bit more, and then this
| | 05:08 | one here on the cheek.
| | 05:09 | Let's move this one out a little bit.
Let's bring it out in the Side view some more too.
| | 05:20 | What we have now is a foundation for
the flow zones of the face that we will
| | 05:24 | build upon in the next movie.
| | Collapse this transcript |
| Creating the basic facial features| 00:00 | Now to turn these simple polygons into
flow zones that complement the circular
| | 00:04 | mouth and eye shapes.
| | 00:06 | We'll use the Extrude tool to quickly
create an edge-flow pattern that can be
| | 00:10 | easily refined later.
| | 00:12 | Everything from the chin to just
above the laugh line should be part of the
| | 00:16 | mouth flow zone. Everything above that
will be part of the eye and brow flow zone.
| | 00:21 | Now let's get the actual
edge flow for the mouth made.
| | 00:25 | I'm going to select the mouth poly and
then use Inset to extrude it inwards.
| | 00:29 | So I'm going to into Polygon mode.
| | 00:31 | Let's select the polygon over
the mouth and go down to Inset.
| | 00:34 | Now we're in Inset mode.
Just click and drag on the polygon.
| | 00:39 | Now it does something kind of weird.
| | 00:41 | It's kind of split into two,
but we'll fix that later.
| | 00:43 | I just roughly want to create an
extrusion that creates some more edges that
| | 00:47 | come down from these edges
that were already created.
| | 00:50 | To clean this up, I'm just going to delete
some of these faces that I don't need anymore.
| | 00:54 | I don't need that one.
| | 00:56 | I don't need that one. And now I'm just
going to tweak the positions of some of
| | 00:59 | these vertices so that it
lines up better with the mouth.
| | 01:03 | So let's just tweak this a little bit more.
And I'll keep making a few adjustments.
| | 01:10 | Let's zoom in a little bit closer
so we can do this more precisely.
| | 01:31 | And I just want to make sure that
these vertices right here are very close to
| | 01:34 | the center line, so we
don't run into any problems.
| | 01:37 | With the symmetry, if they're too far
away and my break apart, so let's try to
| | 01:40 | get them as close as
possible to that center line.
| | 01:42 | Okay, that's pretty close.
| | 01:43 | Now let's make the inside of the mouth.
| | 01:45 | I'm going to go into Edge mode and just
select these edges around the inside of a mouth.
| | 01:50 | So I'm just holding down Ctrl while I
click so I can select multiple edges.
| | 01:54 | Now let's extrude them back by
holding down Shift while we move them.
| | 01:57 | It's going to be easier to
zoom in Perspective view,
| | 01:59 | so just let me zoom in here.
| | 02:01 | I can hit Z and it'll just zoom in
right to anything that I've selected.
| | 02:07 | Okay, holding down Shift, I'm
just going to move these edges back.
| | 02:12 | Now let's get a basic nose and eye going.
| | 02:15 | The first thing I want to do is insert
an edge loop kind of vertically right
| | 02:19 | here that will separate the two
different eye flow zones. It's also going to
| | 02:23 | create a bridge for the nose.
| | 02:25 | So I'm just going to go into the Edit
menu, and I'm going to pick Swift Loop.
| | 02:31 | So with this tool I can just click
once and it will insert an edge loop along
| | 02:36 | any set of edges that are
parallel with each other.
| | 02:39 | Now, let's do the same thing with
the eye that we did with the mouth.
| | 02:42 | We're going to use inset to
create a flow zone for the eye.
| | 02:45 | So right-click to lock in that Swift Loop that
we just added, and let's go into Polygon mode.
| | 02:50 | Let's pick the face over the eye, or the
polygon over the eye, and go down to Inset.
| | 02:58 | Go ahead and click that and then just
click and drag to create a new polygon
| | 03:02 | inside here. And we just need to tweak
the shape of this to get it to fit to the
| | 03:06 | reference a little bit better.
| | 03:07 | So I'm just going go into Vertex
mode so we can do that tweaking.
| | 03:10 | I'll just zoom in closer and just pick
individual vertices and move them so that
| | 03:15 | they are a lot closer to
the eye and the reference.
| | 03:20 | And I'll just keep refining
this, and the side view as well.
| | 03:26 | Looks like this need some refining.
| | 03:40 | There's just a few extra adjustments I want to make.
| | 03:50 | All right, that's pretty close.
| | 03:51 | We can always tweak it a
little bit more later if we have to.
| | 03:54 | Whenever you create new geometry by
extruding or cutting edge loops or anything
| | 03:58 | else like that, you always want to
tweak it to fit the reference before you go
| | 04:02 | and make new geometry.
| | 04:03 | This is because if you go and add lots
of new edges and vertices it will be a
| | 04:07 | lot more work to tweak lots of them
at once, rather than a few of them when
| | 04:12 | geometry is relatively simple.
| | 04:14 | Okay, same as the mouth, we're going
to delete this polygon that's covering
| | 04:17 | up the eye right now.
| | 04:19 | So I'm in Polygon mode. It's already
selected, and I'll just hit Delete.
| | 04:22 | Now we need to select
all these edges right here.
| | 04:24 | We can actually use the Border
Selection mode and just click once and get all
| | 04:28 | of those edges right there, and now
let's get a better view on this so we can
| | 04:32 | just extrude them back.
| | 04:33 | I'm going to hold down Shift and move
them back a little bit, and I'll just
| | 04:36 | extrude that one more time so we can
get those eyelids kind of wrapping around
| | 04:40 | the eyeball that we're
eventually going to create.
| | 04:43 | So I just extrude it one more time,
and now we'll go into Scale mode. To go into
| | 04:47 | Scale mode, you just hit the R key and
just kind of scale that up a little bit.
| | 04:51 | So as we work on this some more, this
geometry is going to kind of wrap around
| | 04:56 | and kind of form
around the shape of the eyeball.
| | 04:59 | Now let's get the nose going as well.
| | 05:01 | First I'll cut some loops around the
nose to define where it should extrude from.
| | 05:06 | So the nose needs to extrude out of
this area, but right now there's not any
| | 05:09 | edge loops defining either the sides
or the bottom of the nose, just the top
| | 05:14 | of the nose right now.
| | 05:14 | So let's go up into Edit and grab Swift
Loop. And I'm just going to use this to
| | 05:21 | insert loops on the side of the nose,
underneath the nose. And let's just add
| | 05:26 | one more loop above the nose to separate
it from the eye flow zone a little bit.
| | 05:30 | And as always, once you've created
more geometry, you want to tweak it so it
| | 05:33 | fits your reference.
| | 05:34 | So I'll just hit W to go into Move mode
again, and we'll just move things around
| | 05:38 | so that it fits the reference better.
| | 05:49 | This tweaking can be tedious,
but it's really important to do, because
| | 05:52 | otherwise the model won't line up with the
reference and you'll have a lot more work later on.
| | 05:56 | Now there is this one edge
loop that's really important.
| | 06:00 | It's going to follow the laugh line,
or the nasolabial fold, if you want to
| | 06:04 | be medically precise.
| | 06:07 | It's a very important one to make sure
that it's lining up with your reference.
| | 06:12 | So let's just tweak this a little bit more.
| | 06:21 | Some of these edges are kind of close
together too--like these two vertices are
| | 06:24 | very close together--so I like
to spread them apart a little bit.
| | 06:33 | It looks like I could adjust this some more.
| | 06:35 | Okay, so now you can see we've got
polygons going all the way around the nose.
| | 06:48 | Now, let's go into Polygon mode so we can
select these polygons and extrude them.
| | 06:57 | And so in Extrude mode I'll just
click and drag and we will extrude out.
| | 07:00 | Now you'll notice something
really weird is happening;
| | 07:03 | it splitting the nose into two,
and we'll just fix that up.
| | 07:06 | It's kind of a similar issue
that we're having with the mouth.
| | 07:09 | So I can just select this one
polygon right here in the middle.
| | 07:12 | You see it's kind of splitting the nose in two.
| | 07:14 | I'll just select that and delete it.
| | 07:18 | And now I can go into Vertex mode
and tweak these so that it lines up
| | 07:21 | better with the reference.
| | 07:28 | It looks like I could adjust this some more.
| | 07:40 | Something I like to do when there's
vertices right on the center line is
| | 07:43 | instead of grab them right here where
you could move them at all different
| | 07:46 | angles, what I like to do is grab it
with just one axis at a time, so that no
| | 07:51 | matter how I move the mouse it's only
going to move. That way it won't go off
| | 07:54 | axis and mess anything up.
| | 08:12 | And let's see what this looks like.
| | 08:13 | I like to go into Perspective view a
lot and just look at it from all angles to
| | 08:17 | make sure there is not any big problems.
| | 08:23 | And there is the basic structure for the face.
| | 08:25 | This way of starting a face is the fastest
and most easily configurable that I've found.
| | 08:30 | You can use it for all
but the most extremely stylized faces.
| | 08:34 | It even works for many animal faces.
| | 08:36 | Although what we have so far is crude
and blocky, you can see the flow zones
| | 08:40 | have been established, so that as we
add more detail with Swift Loops and
| | 08:44 | Extrude, it will automatically follow
the major anatomical forms that we have
| | 08:48 | already established.
| | Collapse this transcript |
| Making the head and neck| 00:00 | A good head structure will set the
stage for the ear, as well as create good
| | 00:05 | anatomy for the neck.
| | 00:06 | Sure, this section doesn't deal with
parts of the body that are as exciting as
| | 00:09 | the eyes and mouths, but it's an important step.
| | 00:12 | It's also good practice
with extruding and tweaking.
| | 00:15 | We can build off of the model as we
already have it to create the head and neck.
| | 00:19 | First let's continue extending the
face out towards the rest of the head.
| | 00:23 | I want to zoom in here in Perspective
view and select a lot of these edges
| | 00:27 | around the face, and let's make sure
we go down into Editable Poly, and also
| | 00:31 | make sure that we can see the end result.
| | 00:33 | I'm going to go into Edge
mode here and just zoom in.
| | 00:37 | I'm going to hit Alt+W to go full screen.
| | 00:39 | I'm just going to hold down Ctrl as I
go around and select all these edges, and
| | 00:46 | let's just extrude them back.
| | 00:48 | Go into Move mode and hold
down Shift as you move backwards.
| | 00:52 | All right, let's see what this
looks like in the other views.
| | 00:56 | Okay, so it's not quite lining
up. And we could tweak by hand.
| | 01:00 | We can also use the Scale tool here to
scale up these edges so that they line up
| | 01:06 | better with the face, so we don't have
to tweak each vertex individually--at
| | 01:09 | least not quite so much.
| | 01:11 | Okay, let's go into Vertex mode and just
make sure these edges and vertices line
| | 01:16 | up better with the reference.
| | 01:18 | Try to get this one
a little closer to the jaw line.
| | 01:20 | I'll try to get this one back
towards the corner of the jaw.
| | 01:25 | I'll bring this one over up towards the temple
and kind of bring these up to the hairline.
| | 01:35 | Now the way I want to make the rest of
the head is by taking some edges here
| | 01:46 | along the top and the side of the face
and extrude them around the back of the
| | 01:50 | head, but right now there's no break right here.
| | 01:52 | I would need to insert a new edge loop
right here so that I could have an edge
| | 01:56 | right here to extrude over the ear.
| | 01:58 | So let's do that really quick.
| | 02:00 | We'll go up to Edit and pick Swift Loop,
and now we can just insert an edge loop right here.
| | 02:05 | I just want it to go just above
the ear and then into the eye. Great!
| | 02:10 | Now with that in place, we can go into Edge mode.
| | 02:13 | I'll hit W to get out of Swift Loop
mode, and now I can just select these
| | 02:18 | edges right around here.
| | 02:19 | It might be easier if I
go into Perspective view.
| | 02:23 | Okay, now I can extrude these so that
they go around the back of the head.
| | 02:26 | So I'm just going to hold
down Shift as I move them back.
| | 02:29 | And the shape isn't quite perfect,
so I'm actually going to use Scale and kind
| | 02:34 | of flatten these out a little bit.
I'll just move them back a little bit more.
| | 02:39 | I might go into Rotate--just
anything to tweak it so it fits the shape of
| | 02:44 | the head a little bit better.
| | 02:45 | Let's try rotating a little bit more.
| | 02:50 | And let's do that one more time.
| | 02:52 | I'm going to go into Move mode and hold down
Shift and just extrude that down once more.
| | 02:57 | And same thing here again.
| | 02:59 | I can just tweak this into
place using Move, Rotate, and Scale.
| | 03:04 | We'll just get this
fitting the back of the head.
| | 03:05 | Let's see what this looks
like in Perspective view.
| | 03:13 | I just like to check this out, make
sure there is not any big problems.
| | 03:17 | Okay, it looks like we could
space these out a little bit better.
| | 03:19 | I'm just going to go into Move mode and
pick some of these individual vertices
| | 03:23 | and get them spaced out a little bit nicer.
| | 03:27 | And let's just tweak this.
| | 03:34 | Okay, now to continue this
extrusion down the back of the head.
| | 03:38 | Let's go into Edge mode and it looks
like they're already selected from the
| | 03:43 | last time we had them, so we'll just go and
hold down Shift and extrude down once more.
| | 03:49 | One thing I need to do is close up this
gap right here, and so we've got one edge
| | 03:54 | that's right here, but we wouldn't want
to connect this edge to this one right
| | 03:58 | here, because it would kind of
create this diagonal right here.
| | 04:00 | So let's insert another edge loop right
along here so that we have something to
| | 04:04 | bridge this gap with.
| | 04:05 | I'm just going to up into Edit, get
Swift Loop again, and just throw in another
| | 04:11 | edge loop right here, just below the ear.
| | 04:14 | So there is a really cool
way to close off this gap.
| | 04:16 | I'm just going to select both of these
edges on either side of the gap, and then
| | 04:21 | up in the Edges there is an option
called Bridge, and that's just simply going to
| | 04:26 | place a new polygon in
between any two selected edges.
| | 04:30 | This is nice because it also creates this little
space right here for the ear to exist later on.
| | 04:35 | Let's see if we need to fix
anything in the front view.
| | 04:38 | Okay, we could tweak a few things
right here. It looks like we could bring this
| | 04:41 | out a little bit wider.
| | 04:42 | All right, not too bad.
| | 04:44 | Now we need to extrude down for the neck.
| | 04:48 | Same as we've been doing,
| | 04:49 | let's just select these different edges
that go around the bottom of the head.
| | 04:53 | I'm going to hit Q so this
move gizmo gets out of the way.
| | 04:56 | Now we're just going to Select mode
rather than a Move or Rotate or any
| | 05:01 | other kind of mode.
| | 05:04 | Okay, we've got all those edges.
| | 05:05 | Now we'll just go into Move mode by
hitting W, hold down Shift, and we'll just
| | 05:09 | bring it down for the neck.
| | 05:13 | And as always, tweak things to
get them into place.
| | 05:26 | All right! That's good. Let's go back into Edge
mode and just Extrude it down one more time.
| | 05:44 | So that's the basic
block-out for the rest of the head.
| | 05:46 | It's really blocky and low detail right now.
| | 05:49 | We could go in and use Swift Loop to add
a whole bunch more edges and then spend
| | 05:53 | some time tweaking it to smooth
everything out, but I've got a shortcut.
| | 05:56 | Let's put a TurboSmooth modifier on the stack.
| | 05:59 | This is going to subdivide the whole model.
| | 06:02 | It adds a new edge in between every
existing edge, and it rounds out any hard edges.
| | 06:07 | It also tends to shrink the model a little
bit, so we might have to fix that. All right!
| | 06:11 | Let's get out of Vertex mode.
| | 06:13 | Let's click on Symmetry so that we
add a TurboSmooth above that level.
| | 06:17 | Okay, so you see that TurboSmooth,
it actually shrunk things quite a bit,
| | 06:24 | especially in the chin; it lost a lot of volume.
| | 06:26 | You see if we turn that off,
the difference is pretty striking.
| | 06:30 | What we can do is actually turn on
Isoline Display and then go back into the
| | 06:36 | Editable Poly and tweak this so that
it fits the reference better again.
| | 06:52 | I want to look at this from a different view.
| | 06:57 | When you're done tweaking you can
convert the whole head to Editable poly and it
| | 07:02 | will lock in all the modifiers.
| | 07:04 | So let's go back up to TurboSmooth.
We'll turn off Isoline Display because if
| | 07:10 | you convert to Editable Poly with
Isoline Display on, it can cause some problems.
| | 07:13 | It's a little bug in Max, so I like to
make sure I turn that off. And let's just
| | 07:19 | right-click on the model now and
go to Convert to Editable Poly.
| | 07:23 | So that just locked in the symmetry,
| | 07:25 | it locked in the TurboSmooth, and it
locked in all those extra edges that we
| | 07:29 | created with TurboSmooth.
| | 07:33 | So if I go in here and turn on Edged
Faces, now you can see you got a lot more
| | 07:37 | detail than we had before without
having to go and put it all in manually.
| | 07:41 | TurboSmooth did a lot of that work for us.
| | 07:44 | So the head and neck might not be the
most exciting parts of the body of the
| | 07:47 | model, but when done well they really
support good modeling in the parts that
| | 07:51 | they connect to, namely
the ears, chest, and face.
| | Collapse this transcript |
| Refining the mouth| 00:00 | The mouth is one of the parts of the
body that undergoes extreme deformation.
| | 00:05 | Muscles all around the mouth push and
stretch the lips in a very elastic way.
| | 00:10 | Getting the proper edge flow then
becomes crucial to good animation.
| | 00:14 | Luckily, we've already established
the flow zone, so we have eliminated any
| | 00:18 | guesswork about where to cut new
edges because we can just insert more edge
| | 00:22 | loops inside of our existing edge flow.
| | 00:25 | There are three main things that
I want to do to the mouth here.
| | 00:28 | One is tweak the shape to make it more
appealing; two is create more edge loops
| | 00:33 | that I can use to increase the level of
detail; and third is to create a closed-
| | 00:38 | off mouth cavity on the inside.
| | 00:40 | So we have got the head here.
| | 00:41 | I have already got a Symmetry modifier
on the stack, so anything I do at one
| | 00:45 | side of it's going to happen to the other.
| | 00:47 | Now let's start tweaking out the shape.
| | 00:49 | There are a few tools that I like to use
here a lot when doing this type of work.
| | 00:54 | One is Soft Selection.
| | 00:55 | I want to push around some parts of the
model to make the shape more appealing
| | 01:00 | and to match the reference better.
| | 01:01 | Just be careful of using this
near the center line of the model.
| | 01:05 | If you push or pull center vertices left or
right it will cause problems with the symmetry.
| | 01:10 | Let's go onto Editable Poly mode.
| | 01:12 | I am just going to go and pick Vertex.
| | 01:15 | So the way Soft Selection works is
down here in your Modify palette, and let's
| | 01:20 | just click on this to open it up.
| | 01:21 | I am going to turn on Use Soft
Selection, and so I am just going to turn this
| | 01:25 | down because it's kind of hard to see right now.
| | 01:27 | When the Falloff is set really high,
you can't really see the gradients.
| | 01:30 | But what it's doing is any vertex you
select, there is kind of a rainbow of
| | 01:36 | gradual falloff of the effect that
is going to happen when you start
| | 01:39 | moving these vertices.
| | 01:41 | So if I go into Move mode and just move some
of this, you can see what I am talking about.
| | 01:45 | So I just had one vertex selected,
but this soft falloff is making the vertices
| | 01:50 | around it affected less and
less the farther away they are.
| | 01:53 | So you can set this Falloff to
whatever you want; 0.8 seems to be working
| | 01:58 | pretty good right now.
| | 02:00 | Let's make sure we can see
the end results of the symmetry.
| | 02:04 | Okay, so let's just start tweaking
some of these vertices around the mouth.
| | 02:07 | I am going to go into my different views,
maybe my side view, and see if we can
| | 02:12 | get this lining up to the reference better.
| | 02:20 | So this is a lot easier than
tweaking individual vertices at a time.
| | 02:23 | I want to be able to see my
reference better, actually.
| | 02:25 | Let's go into Object Properties and
make sure this is set to See-Through.
| | 02:32 | Okay, this part might be a little
tedious, but it's really important to make
| | 02:36 | sure that this stuff is
lining up with the reference,
| | 02:38 | so I am just going to come in
and start moving stuff around.
| | 02:41 | Some of these changes are going to be
fine-tuned enough where I might not want
| | 02:44 | to use the soft selection and actually
just pick individual vertices at a time.
| | 02:50 | And I'll just keep refining this.
| | 02:52 | And I am just adjusting the Falloff so
that I get a little tighter control over this.
| | 03:02 | I don't want to affect quite so many
vertices as it was selecting before.
| | 03:09 | Okay, that's one thing you can do.
| | 03:10 | Something else that helps here is Paint Deform.
| | 03:14 | So I am going to get out of Vertex
mode, and let's go into Freeform and
| | 03:20 | select Paint Deform.
| | 03:21 | I am just going to grab Push and Pull,
and the setting is way too high by default.
| | 03:28 | I am just going to bring this down
to a much more manageable number.
| | 03:31 | No, it's still pretty huge.
| | 03:34 | Let's try 0.38, maybe a little
bit bigger, 0.6. Okay, that's good!
| | 03:43 | And let's bring the Strength way
down, because that looked way too strong.
| | 03:46 | I am also going to turn off Edged Faces
because it's kind of hard to see what I
| | 03:51 | was doing before, and I'll hit
Alt+W to go into full screen.
| | 03:55 | So now what I can do is just kind of
push and pull on different parts. Actually,
| | 04:01 | as it is with See-Through,
| | 04:03 | you kind of have to go and turn it on and
off, depending on what you're doing, because
| | 04:07 | now as I'm sculpting it, it's kind of
hard to see how the shape changes if
| | 04:11 | See-Through is turned on.
| | 04:12 | So I am just going to get a very
gradual falloff on this, and just see if I can't
| | 04:22 | get the shape of this
rounding out a little bit better.
| | 04:24 | You can kind of see there is a--kind of the
centerline has kind of a sharp edge to it.
| | 04:29 | I want to kind of pull that out a little
bit so that it's not quite so sharp, so
| | 04:34 | that there is more round shape to the
forehead and to the mouth especially.
| | 04:43 | So between tweaking individual verts
and using Soft Selection and Sculpt Deform,
| | 04:49 | you can get the shape looking a lot better.
| | 04:51 | Now I would really spend probably an
hour or two tweaking this to get it just look
| | 04:56 | just right, but I am going to go
ahead and skip forward ahead right now.
| | 04:59 | On your own time you should probably
spend a lot more time making this look
| | 05:02 | nicer, but it's just kind of a process
of tweaking individual vertices and using
| | 05:07 | these different tools to
get the shape looking better.
| | 05:09 | I probably wouldn't want to invest the
time to make it totally perfect right now,
| | 05:13 | because as the rest of the model
develops, the mouth will likely be affected by
| | 05:18 | various things and I would have to
go and redo some fine-tuning anyway.
| | 05:21 | Now it's time to increase the
detail level in a few places.
| | 05:24 | I like to Swift Loop for this.
| | 05:26 | Let's just make sure we are in Edge
subobject mode, and I also want to go to Move
| | 05:31 | mode so I get out of Paint Deform.
And we can go up to the Graphite modeling
| | 05:36 | tools, and I am just going to
go and pick Edit > Swift Loop.
| | 05:40 | I want to increase the detail in
several places so that when the model is
| | 05:44 | animated there will be enough
vertices to create smooth deformation.
| | 05:49 | I also want to make sure that there's
enough detail to create the shape of
| | 05:52 | the lips that I want.
| | 05:54 | So one thing that might be a problem if
we were to animate this model right now
| | 05:56 | is there's just not a lot of edges
running vertically out of the mouth, or like,
| | 06:01 | running radially away from the mouth.
| | 06:03 | So let's go and add some more
vertices here, and some more edges.
| | 06:06 | I also want to add some more loops
going around the mouth so that we can shape
| | 06:15 | the lips a little bit more.
| | 06:17 | And then, as always, you will
probably want to tweak things.
| | 06:20 | So I will go back into Vertex mode
and I am actually going to turn off
| | 06:24 | Soft Selection for this.
| | 06:25 | I just want to go in and tweak the shape
of some of these things to just make it
| | 06:29 | look a little bit more
detailed, or anatomically precise.
| | 06:32 | You might want to bulge out the shape of
the upper lip a little bit more so that
| | 06:48 | it's not just flat edge.
| | 06:53 | Again, this is something that you
would spend a lot more time on, but I know
| | 06:56 | it's not very exciting to watch
tweaking individual vertices for hours, so I
| | 07:00 | will just go ahead and skip
forward at this point. All right!
| | 07:02 | Let's put a TurboSmooth modifier on the
stack, so we can see what that looks like.
| | 07:06 | I am going to get out of Vertex
mode and click on Symmetry so that the
| | 07:11 | TurboSmooth is added above the Symmetry.
| | 07:17 | And I'll just zoom out
and see what this looks like.
| | 07:19 | Okay, so there are some issues.
When we added those extra edge loops
| | 07:22 | things started to get a little bit crinkly,
| | 07:25 | so we can use Paint Deform again
to clean up some of those areas.
| | 07:28 | So let's go into Freeform here.
| | 07:30 | Make sure we have got it in Editable
Poly mode actually, and go into Paint Deform,
| | 07:36 | and I want to use Relax and Soften here.
| | 07:39 | So what this is going to do is
kind of work out some of those kinks,
| | 07:44 | those crinkly parts.
| | 07:48 | I probably still want to do some
tweaking on the individual vertices as well, but
| | 07:51 | this can give me a really nice head
start on fixing some of those problem areas.
| | 07:55 | Kind of a subtle effect.
| | 07:59 | You might not be able to see really
clearly what it's doing, but you might be
| | 08:02 | able to tell that some of those weird
creases are out of there now. All right!
| | 08:07 | Finally, let's close off the inner mouth.
| | 08:10 | And for this I want to turn off TurboSmooth.
| | 08:13 | I want to turn off Symmetry.
| | 08:14 | With Symmetry off actually, we can
delete half of the model, so that one side of
| | 08:20 | the mouth will be out of the way,
and we won't be able to see it.
| | 08:23 | So actually let's go into Polygon mode
here and just select half of the face
| | 08:28 | and just get rid of it.
So let's go into the front view.
| | 08:31 | I am just going to drag a selection
over half of the face and hit Delete.
| | 08:37 | Let's go back into Perspective.
| | 08:40 | Okay, so now it's going to be a lot
easier to work on the inside of the mouth
| | 08:44 | with the half a mouth gone.
| | 08:46 | Go up and turn on Edged Faces.
| | 08:49 | To make the inside of the mouth, I am
going to select these edges around the
| | 08:52 | inside of the mouth and extrude them back.
| | 08:54 | So we'll just go into Edge mode, and I will zoom
in here and just start picking these edges.
| | 09:02 | I am going to hit Q to go into
Selection mode, and I will just hold down Ctrl as
| | 09:06 | I select all these edges. All right!
| | 09:10 | Let's extrude this back.
| | 09:11 | Actually, first I will scale it up a
little bit so that the lips will curl
| | 09:14 | around a little bit.
| | 09:15 | All right! I am holding down Shift and I
am just going to push these back.
| | 09:22 | Now the inside of the mouth isn't
going to have any detail, and you're not
| | 09:29 | really going to see on the inside, so it's not
really important that it looks all that nice.
| | 09:32 | All right! Let's just make this a little bit bigger so
we have room to put the teeth in later.
| | 09:37 | And I will just extrude it back one more
time, just so we have a nice big mouth opening.
| | 09:55 | All right! To close off the opening, I am
going to use the Bridge tool.
| | 09:58 | We have used Bridge before, but I am
just going to go over it once more.
| | 10:01 | I am going to pick one edge on one
side and then another edge, Ctrl+Click on
| | 10:06 | the other side, and let's go up to the
Graphite modeling tools and go to Edges and Bridge.
| | 10:15 | And then you can just keep doing that:
| | 10:16 | select another one, then another one
on this side, go to Edges and Bridge.
| | 10:21 | And just keep doing that all the way till
you closed off the entire inside of the mouth.
| | 10:26 | Now at the very end here we have just
got three edges all the way around here,
| | 10:31 | and Bridge won't work if there
is two edges touching each other.
| | 10:34 | So what we want do is go into Border
Edge mode here and just select that whole
| | 10:38 | border edge around this
last little opening right here.
| | 10:41 | I am going to go up to Geometry and
Cap Poly, and that just puts a new polygon
| | 10:46 | just filling that hole right there. All right!
| | 10:48 | Let's zoom out and see what this looks like.
| | 10:52 | So there we have a mouth.
| | 10:53 | If you are going a realistic human
character, you would use the exact same steps,
| | 10:58 | except you would probably need to add a
little bit more detail and tweak it some
| | 11:01 | more to make it anatomically accurate.
| | 11:03 | However, you would use the same simple
flow zones and add detail the same way.
| | 11:08 | By keeping the geometry around the
mouth simple and straightforward, we
| | 11:11 | avoid hassles later on.
| | 11:13 | When the topology is simple concentric
rings it's easy to add more edge loops
| | 11:18 | and to achieve nice clean deformation
when the riggers and animators get a
| | 11:22 | hold of your model.
| | Collapse this transcript |
| Shaping the eyes| 00:00 | Eyes are a crucial part of any character model.
| | 00:03 | The window to the soul needs special
attention in order to look its best.
| | 00:08 | It's worth it to make sure that the
eyes look right, because they're going to be
| | 00:11 | conveying a lot of the character's emotions.
| | 00:14 | Proper edge flow here is crucial to good
deformations and by extension, good animation.
| | 00:19 | Luckily, we've already
established a solid flow zone for the eyes.
| | 00:23 | From here, we just need to refine
the shapes so we can really bring some
| | 00:26 | personality to them.
| | 00:28 | Before we continue shaping the eyelids,
let's get an actual eyeball in place.
| | 00:32 | Having an actual sphere at this point is
very helpful because it will give us an
| | 00:36 | actual shape around which
we can line up the eyelids.
| | 00:39 | You have got the head see-through, so
that when we make a sphere we can see
| | 00:43 | it through the face.
| | 00:44 | So let's just go to Create and make a
sphere and just click and drag one out here.
| | 00:51 | You may be asking yourself
how large it should be.
| | 00:54 | For realistic eyes on an anatomically
correct character, I make the eyeball just
| | 00:59 | a little bigger than the eyelid opening.
| | 01:01 | Cartoony characters like this one
are open to all kinds of stylistic
| | 01:05 | variations on reality.
| | 01:06 | I am going to make this eyeball even
bigger than I would for a realistic
| | 01:10 | character, so that they have
an almost plate-like shape.
| | 01:13 | If it's your own design, feel free
to make them whatever size you like.
| | 01:17 | If you're working with a team of people,
it may be a good idea to ask them what
| | 01:21 | will work best on your production pipeline.
| | 01:23 | I am just going to go into the side
view here and go into Move mode and move
| | 01:28 | the eyeball forward.
| | 01:29 | Let's get a closer look, just to make sure
we're getting it in right place. All right!
| | 01:34 | That's pretty good.
Now, just start editing the head.
| | 01:37 | First, let's put a Symmetry modifier on
here so that any changes we make to the
| | 01:41 | eyelids on one side get
mirrored over to the other.
| | 01:44 | I just want to make sure that there
are no problems with that symmetry, like
| | 01:52 | accidentally welding more
verts than it should have.
| | 01:55 | So I want to go into Object Properties,
and turn off See-Through so we can see
| | 02:00 | what's going on here better.
| | 02:01 | Okay, you see some weird things
have happened when we put on symmetry.
| | 02:04 | Let me just show you the difference here.
| | 02:07 | So turning Symmetry on and off looks like
it's welding more vertices than it should.
| | 02:11 | So let's bring the Threshold down. Okay.
| | 02:15 | It looks like that fixed
all of our problems there.
| | 02:18 | Now to fit the eyelids.
| | 02:19 | The eyeball is kind of poking through
the head right now, so let's make the
| | 02:23 | eyeball see-through.
| | 02:29 | This is going to make it easier to select
the vertices on the eyelids. All right!
| | 02:33 | Let's go down to Editable Poly and
make sure we've got End Result turned on.
| | 02:38 | Let's go in to Vertex mode and
just start tweaking these things.
| | 02:41 | So I am going to click on this and just
hit Z to zoom in a little bit closer on it.
| | 02:46 | Now, I could tweak these vertices
individually, but Soft Selection is probably
| | 02:50 | going to help us go a little bit faster.
| | 02:52 | So let's turn on Soft
Selection, and let's bring it way down;
| | 02:55 | it looks like it was way too big.
| | 02:58 | Something like that, something where
the soft-select is kind of reaching
| | 03:02 | maybe halfway around the eye is good for now.
| | 03:04 | I am just going to pick individual
vertices and push and pull it so that the
| | 03:12 | brow and the eyelid isn't
poking through the eyeball.
| | 03:15 | It looks like there is a gap right
here between the eyeball and the tear duct
| | 03:25 | area, so we can close up that gap as well.
| | 03:28 | It looks like we could bring
this part forward a little bit.
| | 03:31 | I just want to shape it around the
sphere of that eyeball.
| | 03:37 | All right! That's pretty close.
| | 03:39 | It's good enough for now.
| | 03:40 | I don't need to be super precise at this
stage because I'll be messing things up
| | 03:44 | a bit when I add more detail later.
| | 03:46 | But getting that close now while the
geometry is light will make it easier to
| | 03:50 | get precise later when there
are more polygons to work with.
| | 03:53 | The next thing I want to do is add
some more edge loops to help me form
| | 03:57 | the shape a bit better.
| | 03:58 | I am going to turn off Soft Selection,
and let's go up to Edit and pick Swift Loop.
| | 04:03 | Now you see there's some places,
like right here on the top of the eye,
| | 04:07 | there is one long edge where
there's really no detail at all.
| | 04:11 | So if we add some more edge loops,
we can actually increase the amount of detail
| | 04:14 | and make the curve of the eyelid a lot rounder.
| | 04:17 | Also, here at the corners of the eyes
we could get a lot tighter shape, like we
| | 04:22 | could build a tighter corner into the
corners of the eyes if we have more edges.
| | 04:26 | There is no exact number of
edges that you should add.
| | 04:29 | It's really just about getting a sense
for how much shape you need to add and
| | 04:33 | how much geometry you'll
need to hold that shape.
| | 04:36 | If you find that you've added too many
edges, it's easy to remove edge loops.
| | 04:41 | So I am going to go into Edge mode,
and let's make sure we are not in Swift Loop mode.
| | 04:46 | So I am just going to hit W to go into
Move mode. And so what you do is you pick
| | 04:50 | one edge and then you Shift+Select an
edge next to it, and that's actually going
| | 04:55 | to select an entire Edge Loop.
| | 04:57 | Now, to get rid of it, it's really easy:
| | 04:59 | go up to the Loops menu,
and then click Remove Loop.
| | 05:03 | But I wanted to keep that loop, so I
will just hit Ctrl+Z to bring it back.
| | 05:07 | Now, it's time to tweak to get
a more appealing eyelid shape.
| | 05:10 | I just want to make the shape nice and
clean, working out any weird kinks or angles.
| | 05:16 | So I will go into Vertex mode
and turn Soft Selection back on.
| | 05:19 | Let me zoom in here a little bit closer.
| | 05:24 | I want to work out some of these flat
spots, like where I added in an edge loop.
| | 05:28 | Now, you've got three
vertices directly in a row,
| | 05:31 | so that might create some flat spots.
| | 05:32 | So let me just go and tweak the shape some more.
| | 05:35 | I probably also want to bring in the
vertices around the tear ducts in the
| | 05:39 | corners of the eyes a little bit closer,
because as it is, it's kind of round
| | 05:43 | and soft, and I want a kind of a
sharp corner to the tear ducts.
| | 05:54 | I could go on for a long
time, but you get the idea.
| | 05:57 | I also need to add some edge loops
that circle around the eye, so that I can
| | 06:01 | define the brow and the eye bags a little bit.
| | 06:03 | So let's go back into Edit and pick Swift Loop.
| | 06:08 | Now, I can just add some edge loop
to go around the eyeball and maybe up
| | 06:14 | around the brow as well.
| | 06:16 | Again, there's no exact number that I'm picking.
| | 06:18 | It's really up to you and how much
geometry you need to hold the detail that
| | 06:22 | you want to create.
| | 06:24 | Now that we've added some geometry,
it's a really good time to go in and tweak.
| | 06:28 | So I'll get out of Swift Loop mode,
and let's go in and create a little bit more
| | 06:32 | of a bag underneath the eyes.
| | 06:34 | It looks like it's flattening
out a little bit right here.
| | 06:35 | So I am just going to zoom in and pick
some of these vertices, and we'll go ahead
| | 06:42 | and turn Soft Select back on,
| | 06:44 | maybe drop the Falloff a little bit more.
| | 06:46 | It looks like it's selecting a little
bit more than we need at this point.
| | 06:48 | You can just kind of pull
out the bag underneath the eye.
| | 06:54 | You could use Paint Deform at this point.
| | 06:56 | Soft Select is working great for me right now.
| | 06:59 | It's really just about how you like to
work and getting the shapes that look
| | 07:03 | appealing at this point.
| | 07:04 | Something that can help you evaluate
how the model looks at this point is
| | 07:08 | turning on TurboSmooth.
| | 07:09 | Let's go ahead and do that right now.
| | 07:11 | Let me get out of our Text
mode, and let's put on TurboSmooth.
| | 07:17 | Also, let's turn off Edged Faces
and zoom out and just evaluate.
| | 07:24 | I like to do this a lot, just stepping
back from the model and getting a sense
| | 07:27 | of how everything is working together.
| | 07:30 | If I was really going to make a
finished model at this point, I could spend a
| | 07:33 | long time getting everything shaped perfectly.
| | 07:36 | I would spend probably several hours
just tweaking vertices and making sure
| | 07:40 | there were no kinks, or weird
things happening in the model.
| | 07:42 | But for the sake of this movie and not
boring everybody with endless tweaking,
| | 07:46 | I will end it here.
| | 07:47 | Feel free to take as long as you need to
get the model looking the way you like.
| | 07:51 | The main idea here is to get the shape
looking appealing and work out any weird lumpiness.
| | 07:56 | You will want to work on the spacing of
the vertices, so that there are not any
| | 07:59 | harsh angles or overly stretched
polygons and make sure that there's enough
| | 08:04 | edges for animators to use for deformations.
| | 08:07 | Finally, let's duplicate the eye.
| | 08:09 | There is many ways you can do it,
but one way that I like to use is with
| | 08:13 | the Mirror modifier.
| | 08:14 | So let's just click on that eyeball.
| | 08:15 | I am going to go up to the
modifiers and let's pick Mirror.
| | 08:23 | Now, what I want to do is
create a copy of the eyeball,
| | 08:27 | so let's click on Copy. And you don't
really see a new eyeball right now because
| | 08:32 | it's sort of mirroring it
right on top of the old one.
| | 08:35 | Actually, to make this easier to see,
let's go to the Object Properties and
| | 08:38 | turn off See-Through.
| | 08:40 | The next thing we need to do is to
move the mirror axis to the center of the
| | 08:44 | character so that it actually
mirrors across to the other side.
| | 08:48 | So let's go down to the Mirror
Center and let's move this to the side.
| | 08:52 | You can see as we move the mirror to
center, the other eyeball is going to
| | 08:55 | get mirrored across.
| | 08:56 | In order to make it precise,
let's go into the top view.
| | 08:59 | So I am going to hit Alt+W and Alt+W
again to go into the top view, and let's
| | 09:05 | make sure we line this up
with the center of the grid.
| | 09:07 | So I am going to zoom out a little bit
and turn on Snaps and then just move this
| | 09:11 | till it snaps the center.
| | 09:12 | Now, we know that the
eyeballs are precisely even.
| | 09:16 | Now let's lock in that mirror.
| | 09:18 | I am going to convert the
eyeballs to an editable poly object,
| | 09:22 | so right-click Convert To > Editable Poly.
| | 09:26 | It's still one object
with two different elements,
| | 09:29 | so if we go into Element
mode, we can break one off.
| | 09:32 | So one eyeball is already selected as a
separate element, and I am just going to
| | 09:37 | go down until I find Detach. All right!
| | 09:39 | Detach right there. This is going to
break it off into a separate object, and we
| | 09:43 | can name it right here,
and let's call it eyeRight and click OK.
| | 09:47 | You can also change the
name of the original eyeball.
| | 09:52 | Up here it's originally called just Sphere001.
| | 09:54 | Let's call it eyeLeft. And there is
just one last thing to do. The second eye
| | 10:00 | that we created still maintains the
pivot point of the original eyeball.
| | 10:06 | So let's get out of Element mode.
| | 10:10 | We had Element mode on, so let's make
sure we turn that off. And then I am just
| | 10:14 | going to select on the second eyeball,
and you see that its pivot point is right
| | 10:17 | here at the first eyeball.
| | 10:20 | So we'll go up to Hierarchy >
Affect Pivot Only > Center to Object.
| | 10:24 | We will turn off Affect Pivot Only,
and we are done. And let's just go back to
| | 10:29 | our Perspective view and check out
the great work we did in this video.
| | 10:34 | With attention to detail, patience,
and a lot of tweaking, the eyes that you
| | 10:38 | model can truly show personality and emotion.
| | 10:41 | The great thing about this method is
that it's easy to adapt to almost all
| | 10:46 | cartoony and realistic eyes;
| | 10:47 | just line up your model with whatever
reference you're using and then keep
| | 10:51 | tweaking until it looks right.
| | Collapse this transcript |
| Building the nose | 00:00 | Noses come in all shapes, sizes,
and levels of complexity, especially cartoony noses.
| | 00:07 | In this movie, we'll show you how to
get a basic structure for an average nose.
| | 00:11 | Most of the work on the
nose is already done for us.
| | 00:14 | We built the main mass of
the nose in the face movie.
| | 00:17 | Also, some extra edge loops have already
been created on the nose when they were
| | 00:21 | added for the eyes and the mouth.
| | 00:22 | From here, we just need to tighten up
a few creases and add the nostrils.
| | 00:26 | Let's make sure we've got Symmetry
turned on, as well as the TurboSmooth.
| | 00:30 | I am going to add a symmetry,
and let's make sure we're not getting any
| | 00:34 | threshold problems.
| | 00:35 | It looks like I need to tern this down a bit.
| | 00:38 | About 0.4 or 0.5 should work good.
And now let's put on a TurboSmooth.
| | 00:43 | I'm going to turn on Isoline Display
to make it easier to see everything.
| | 00:49 | Let's go back down to Editable
Poly and turn on Show end result.
| | 00:52 | Also, I'm going to make
this not see-through anymore.
| | 00:56 | It's just kind of hard to see now.
It's kind of a jumble.
| | 00:58 | Let's see this full screen and just
kind of evaluate what's happening.
| | 01:05 | So the nose right now is kind of soft.
| | 01:07 | I'd like to have a crease that kind of
separates the nose from the face a little bit more.
| | 01:12 | So let's go ahead and add that in.
| | 01:13 | Let's go up to Edit > Swift Loop.
| | 01:18 | I am just going to add
in another edge loop here.
| | 01:21 | Now I'm going to go in and tweak
some of these vertices so that this new
| | 01:25 | geometry that we've created kind of creates
a little depression on the side of the nose.
| | 01:28 | It looks like I need to turn off Snaps
because it was causing a problem.
| | 01:39 | And maybe I'll pull some of these vertices
out a little bit, just kind of make the
| | 01:43 | nose bulge a little bit.
| | 01:44 | Now, we've got this depression on the
side of the nose, but let's say we want to
| | 01:50 | make a crease that's a little bit tighter.
| | 01:51 | What I can do is one of two things.
| | 01:54 | I can push some of the existing
edges closer to the depression,
| | 01:58 | so the closer I get these edges here to
the depression, the tighter the crease
| | 02:03 | is going to form here.
| | 02:05 | This can work, but it forces me to
stretch out a lot of polygons in a way that
| | 02:09 | doesn't work so well.
| | 02:10 | All these polygons right here are really
stretched out, and then they are really
| | 02:14 | tight together here.
| | 02:15 | So let me just undo this.
| | 02:17 | I'm going to add some more edge
loops on either side of the depression.
| | 02:21 | After tweaking, it's really going
to look more like a crease than a
| | 02:24 | simple indentation.
| | 02:26 | So back up to Swift Loop,
and let's get a better view on this. Okay.
| | 02:32 | I just want to add maybe a loop
here and then maybe another loop here.
| | 02:41 | So now, that crease is looking much more
like an actual crease that's separating
| | 02:45 | the nose from the face
than just a simple depression.
| | 02:48 | Now, I'm just going to tweak things to
make them look just a little bit cleaner,
| | 02:52 | say, for example, like some of these
up here got a little too close together.
| | 02:56 | The threshold on the symmetry was
actually forcing them to get welded together.
| | 02:59 | So if you'll space them apart a little
bit where you don't need a crease, like on
| | 03:03 | the top of the nose, then things
are going to look a little bit better.
| | 03:10 | We can actually make that crease look a
little bit sharper if we select some of
| | 03:15 | these vertices on either side of it and
kind of pull them away from the crease.
| | 03:20 | There, you notice how it's, like, kind of
bulging out, making that crease feel deeper.
| | 03:24 | We could also select some of the
vertices down inside that crease and push them
| | 03:29 | in a little bit more.
We can intensify things too.
| | 03:32 | It looks like we're getting a little
bit of that trouble with the Weld
| | 03:36 | Threshold down here as well,
| | 03:38 | so I'm just going to move things.
Actually, what I might do is go and take that
| | 03:42 | Threshold and just move it down,
so that it gets rid of that problem.
| | 03:45 | Now, it's going to be easier
to see what I'm doing. Okay.
| | 03:54 | So I can spend a long time tweaking
that to make it look just right, but I'm
| | 03:58 | sure you get the idea. You just really want to
smooth things out, make sure there are not any weird
| | 04:03 | creases or crinkles or strange things happening.
| | 04:06 | Now, for the nostril. This will be easy
since we've already practiced with all
| | 04:10 | the same techniques we're about to use.
| | 04:11 | I want to extrude some faces inward to
form the nostril on the underside of the nose.
| | 04:17 | Let's go into Polygon mode.
| | 04:19 | Now, let's see, which
polygon should I extrude upwards?
| | 04:23 | I could use this one right here, but it's a
little bit too close to the front of the nose.
| | 04:28 | It would start the nostril too far forward.
| | 04:30 | Let me add an edge loop around here
so that the faces I extrude are more
| | 04:34 | centered underneath the nose.
| | 04:39 | So I'll just go to Swift Loop, and let's
add another edge loop for right about here.
| | 04:49 | All right! Maybe I'll pick this face as well.
| | 04:51 | Let's see what happens if I grab maybe
all four of these right here. And we'll
| | 04:56 | go down to Extrude.
| | 04:58 | Wrong direction. Okay, that's cool.
| | 05:07 | So it's looking a little rough and blocky.
| | 05:09 | Let's use Paint Deform to get that
looking a little bit more smooth.
| | 05:12 | So I'll just right-click to get out
of the Extrude mode and lock in that
| | 05:17 | change. And let's get out of
Polygon mode and go up to Freeform > Paint
| | 05:23 | Deform > Relax/Soften.
| | 05:26 | Let's bring the Size down to something
more manageable, and the Strength down
| | 05:34 | too. And just simply brush and a lot of
that weird blockiness just kind of goes away.
| | 05:47 | Now, you notice one thing happened:
| | 05:49 | I was using that a little close to the
center line and actually caused some of
| | 05:53 | those vertices there to stretch and pull apart.
| | 05:55 | So I could fix those manually, or I
could just undo and make sure I don't take
| | 05:58 | it too close to that centerline. All right!
| | 06:00 | Let's take a step back
and see what it looks like.
| | 06:06 | I'll turn off Edged Faces. And of
course there is still some more tweaking we
| | 06:13 | could do to work out the shape of this.
| | 06:15 | I might want to relax that some more.
| | 06:16 | It's kind of looking a little bit blocky.
| | 06:18 | You can see kind of some edges
and some strange corners going on.
| | 06:23 | But those fixes will just come with tweaking.
| | 06:26 | Although I've demonstrated how to make a
cartoony nose in this movie, modeling a
| | 06:30 | realistic nose is very similar.
| | 06:32 | The main difference is that for a
realistic nose, you would spend more time
| | 06:35 | refining the shape and tweaking
it to be anatomically correct.
| | 06:39 | However, the edge flow I show
here should work fine with little, if
| | 06:43 | any, adjustment.
| | Collapse this transcript |
| Crafting the ears| 00:00 | Most human ears are almost identical
in the real world, but when it comes to
| | 00:05 | cartoony stylization, the ears are one
of the most varied parts of the body.
| | 00:09 | They can be complex and detailed,
or they can be nothing more than simple nubs
| | 00:13 | that stick out from the head, or
they might be done away with altogether.
| | 00:17 | This video will show you one way to
make a middle-ground ear--one that's pretty
| | 00:22 | common in cartoony animation.
| | 00:24 | After learning these techniques, you
should be able to modify them to make
| | 00:27 | almost any kind of ear you want.
| | 00:28 | I want to start out making the ear as a
separate object that I'll then combine
| | 00:33 | to the head when it's done.
| | 00:34 | Let's start out making a box, and we'll
position it over the ear in the reference.
| | 00:38 | Let's go up to the Create panel and click Box.
| | 00:41 | I'll just click and drag in the front
view and click again once we got a nice
| | 00:46 | size of that box and then
right-click to lock it in.
| | 00:49 | Let's use Rotate and Move to get
this looking a little bit more lined up
| | 00:53 | with the reference.
| | 00:54 | It's kind of got an angle to it.
| | 00:56 | I'll use the Move tool here.
| | 00:58 | Let's move it into place. All right!
| | 01:00 | That's pretty close.
One thing I want to do is turn on Edged Faces,
| | 01:04 | so I'm just going to
right-click here and click Edged Faces.
| | 01:10 | It's going to make it
easier to see what we're doing.
| | 01:12 | So we've already got an opening in the head,
| | 01:15 | so let's make an opening in the ear
so both of them can connect together.
| | 01:18 | I am going to convert this
box to an editable polygon.
| | 01:24 | Now, let's go ahead and make a little
bit of a stalk that's going to connect
| | 01:30 | the ear to the head.
| | 01:31 | So I'm going to select this polygon
right here and extrude it out once.
| | 01:35 | It looks like it's a little bit unwieldy.
| | 01:42 | It's kind of hard to get a
nice graceful extrude off of that,
| | 01:46 | so let me just undo that
and use the Settings here.
| | 01:49 | Let's kind of dial this back to
something that's more manageable.
| | 01:53 | I will just hit R to go into Scale mode and
just kind of shrink it a little bit too.
| | 01:57 | Actually, let me lock that in first,
and then I'll shrink it. All right!
| | 02:03 | Then I'll just hit Delete to get rid of that.
| | 02:05 | So now we've got an opening in the ear.
| | 02:08 | Now, to put some detail in the ear.
| | 02:09 | Let's select the big front-facing polygon
and use Insets to give it some more geometry.
| | 02:15 | So we're already in Polygon mode.
| | 02:17 | I'll select that one right there,
and let's go to Inset with Settings.
| | 02:21 | It's a little bit crazy right now,
| | 02:23 | so let's just dial this back, set it to 0,
and just slowly bring it up a little bit more.
| | 02:28 | All right! That's pretty good.
| | 02:30 | I'll apply and continue, do that one more time.
| | 02:32 | Looks like it did it too much there. All right!
| | 02:38 | I'll hit OK to lock that in.
| | 02:40 | So now we've got some more geometry
that will give us some vertices and
| | 02:43 | polygons to play with, to make the
shape of the inner ear a lot better.
| | 02:46 | Let's extrude some of these polygons inward,
so we get kind of a C shape in the ear.
| | 02:50 | I'm going to go to Move mode and just
Ctrl+Click some of these polygons so that
| | 02:55 | we can extrude them inwards.
| | 02:57 | Let's go use the Extrude with Settings
and set this to a negative number, because
| | 03:01 | we want kind of an
indentation right here. All right!
| | 03:05 | That looks good. Let's lock that in.
| | 03:07 | Now, I want to see what this
looks like with a TurboSmooth on it.
| | 03:11 | Let's get out of Polygon mode and then
add a TurboSmooth to the stack. All right!
| | 03:20 | That looks pretty interesting.
| | 03:26 | With the TurboSmooth on, let's go back
to Editable Poly and just modify the
| | 03:30 | shape of this a little bit.
| | 03:31 | It's looking a little mechanical, a little cold,
| | 03:34 | so let's put a little bit more
interesting shape into it and make sure we
| | 03:37 | turn on End Result.
| | 03:38 | I just want to tweak some of these vertices.
| | 03:41 | So let's make sure we're in Vertex mode,
and I'll just select some of these and
| | 03:45 | tweak the shape around a bit.
| | 03:56 | I also might want to use some paint
deformation to get the shape looking a
| | 03:59 | little bit smoother.
| | 04:00 | So I'll go to Freeform > Paint Deform,
and I'll turn on Relax and just kind of
| | 04:06 | work out any weird things
that might be happening here.
| | 04:09 | Okay, let's get this ear attached to the head.
| | 04:12 | In order to do that, we need to make
sure that the opening in the ear has the
| | 04:15 | same number of edges as the opening in the head.
| | 04:18 | Now, with the TurboSmooth the ear
has eight edges around the opening.
| | 04:22 | I know that head also has eight edges,
but let's lock in the TurboSmooth to make
| | 04:28 | sure those eight edges stay on the ear.
| | 04:29 | So I'll just right-click on it
and Convert To > Editable Poly.
| | 04:34 | To make the head and the ear one
object, we need to attach them,
| | 04:39 | so let's click on the head
and go down to Attach.
| | 04:43 | Just click Attach and then any other
objects that we select will get added
| | 04:49 | to the head object.
| | 04:50 | Now, the ear is part of the head,
and we'll just right-click to lock that in.
| | 04:54 | Now, let's sew up the gap between them.
| | 04:56 | It's kind of hard to see what this
jumble of lines everywhere, so let's make
| | 05:00 | sure we turn off See-Through.
| | 05:03 | Now, we need to close up the
gap between the ear and the head,
| | 05:06 | so let's go into Vertex mode.
| | 05:10 | In order to close up the
gap, let's use Target Weld.
| | 05:14 | Simply click Target Weld and then click
and drag from one vertex to another, and
| | 05:18 | it automatically snaps the
first vertex to the second.
| | 05:21 | I'm just going to go through the
whole gap here and just keep doing that.
| | 05:26 | Let's go into full screen here, so we
can see more up close what we're doing.
| | 05:39 | It looks like there is just
one more to do. Okay, great!
| | 05:44 | Now that the surface is welded and
shut, you can go in and tweak things to
| | 05:48 | make it look better, or use Paint Deform
to clean up any weird kinks that there
| | 05:51 | might be in the mesh.
| | 05:53 | But there is the ear sewn
together. That's all done.
| | 05:56 | When doing cartoony modeling, you'll
often find that the simplest and easiest
| | 06:00 | approach is the best.
| | 06:01 | Making this ear is bare-bones basic,
| | 06:03 | but it gives a good toony result that
can be modified into lots of different
| | 06:07 | ear shapes.
| | Collapse this transcript |
| Making the teeth and gums| 00:00 | Making teeth is a good opportunity
to learn about the power of instances.
| | 00:04 | Instances are when you make copies of
an object and then any changes that you
| | 00:09 | make to either the original or
the copies happens to all of them.
| | 00:12 | There are also just a bunch of
little modeling tips and tricks sprinkled
| | 00:16 | throughout this movie that will help
you in all kinds of ways, not just when
| | 00:19 | modeling these specific body parts.
| | 00:21 | First thing I want to do is hide the
eyes and the head, just to get them out of
| | 00:25 | the way so they are not bothering me
while I am trying to make the teeth.
| | 00:27 | Go ahead and select them all and go to
Object Properties and click Hide and hit OK.
| | 00:33 | Let's start by making a base for the gums.
| | 00:36 | I am going to go up to the
Create panel and create a tube.
| | 00:39 | I want to create this tube right at the
center, so let me hit S to turn on Snaps.
| | 00:45 | Now, when I create this it's going to
make it right at the center, and I will
| | 00:49 | just make a rough shape, kind of like this.
| | 00:50 | It doesn't have to be exact.
| | 00:52 | Snaps is still on, and so it's making the
height snap either really high or really low.
| | 00:57 | So I am just going to hit S again to
turn that off and just make something
| | 01:00 | that's roughly about this shape.
| | 01:01 | So I will just click once more and
then right-click to lock that in.
| | 01:05 | From this polygon tube, I will be
creating the gums and extracting the teeth.
| | 01:09 | First, let's turn on Edged Faces so
we can see exactly what we're doing, and
| | 01:14 | let me go to the Modifier and make sure
the settings are exactly the way I want.
| | 01:19 | I want the Sides to be 20.
| | 01:21 | By default, it might be 18.
Go ahead and change that to 20.
| | 01:24 | Also, the Height segments might be 5 by
default. Go ahead and change that to 1.
| | 01:28 | In order to keep modifying this,
I need to make it an editable poly,
| | 01:31 | so go ahead and right-click on it.
Go to Convert To > Editable Poly.
| | 01:35 | Let's delete some of the
polygons that we don't need.
| | 01:38 | So go into Polygon mode.
| | 01:39 | I am just going to rotate this
round, so I can see this better.
| | 01:42 | I want to select all of these
on the back side and delete them.
| | 01:46 | I also don't need any of the
polygons that are underneath.
| | 01:49 | If I just click one and then
Shift+Click one next to it,
| | 01:52 | I'll get entire row of polygons,
and just go ahead and delete those.
| | 01:57 | Now it's easy to make a tooth based on the gums.
| | 02:00 | Let's look at this from the top view.
| | 02:02 | Select one of these polygons here at
the back, and we are going to separate it
| | 02:06 | out into a separate object by going in the Move
mode and then Shift+Moving it up a little bit.
| | 02:12 | This breaks it out as a separate object.
| | 02:14 | Make sure Clone to Objects is turned
on, and we will just name this tooth.
| | 02:18 | I want to work with that tooth now,
| | 02:21 | so let's get out of Polygon mode for the
gums and go ahead and click on the tooth.
| | 02:25 | I also want to make it white, so that's
easy to see it separate from the gums,
| | 02:28 | so go ahead and click on this box up here.
| | 02:31 | It might be a different color on your
computer, but we just want to change that to white.
| | 02:36 | Now, we need to give the tooth some size.
| | 02:38 | Go in to its Polygon mode and just simply
extrude upwards, and right-click to lock it in.
| | 02:47 | Okay, let's get out of Polygon mode.
| | 02:51 | Notice that the pivot point is
still right in the center of the grid.
| | 02:55 | That's very important, because we are
going to make instances of this tooth that
| | 02:58 | are rotated around the z axis.
| | 03:01 | In order to create those instances,
let's go up to the Tools menu and click Array.
| | 03:06 | Let's move this off to the side,
so we can see both things at once.
| | 03:10 | Now this panel looks kind of
intimidating, like the instrument panel of a jumbo
| | 03:14 | jet, but it is really not so bad.
| | 03:16 | Down here we can select what
type of object we want to make.
| | 03:19 | It's by default set to Instance. That's good.
| | 03:21 | That's what we want.
| | 03:22 | Also, by default it's set to 10.
| | 03:24 | We want 10 teeth, so that's good.
| | 03:26 | So what we want to do is
rotate around the z axis.
| | 03:30 | So it's kind of like a grid up here.
| | 03:33 | You see Rotate, so it's the second
row, and then Z is the third column.
| | 03:36 | So right here is the
numbers that we want to play with.
| | 03:40 | Now I've already set it to -18, because
I've figured out 360 divide divided by 20 is 18.
| | 03:47 | So let me just set that back to 0,
like you're likely to see by default, and I
| | 03:51 | also want to turn on Preview
| | 03:52 | so we can see what the result is
going to be before we lock it in.
| | 03:56 | Now let's see what happens as
we scroll this slider right here.
| | 04:00 | All of those instances fan out around
the z axis, depending on how many degrees I
| | 04:05 | input into this box.
| | 04:07 | So it looks like -18 is exactly
what we want. Go ahead and click OK.
| | 04:11 | Now let's start adding some shape to the teeth.
| | 04:13 | These are going to be simple cartoony
teeth, but if you want realistic teeth,
| | 04:17 | it's really the same approach.
| | 04:19 | You just have to keep adding detail
and tweaking it for anatomical accuracy.
| | 04:23 | Let's put a TurboSmooth on this
to make it all nice and round.
| | 04:29 | Let's go back to Editable Poly, so we can
add some more edge loops to give it some shape.
| | 04:33 | I am going to turn on Show End
Result, so we can see what it looks like
| | 04:36 | smoothed. And let's just zoom
in on one of these teeth here.
| | 04:39 | I want to insert some edge loops, so
I will go up to Edit and Swift Loop.
| | 04:44 | Now let's add a loop.
| | 04:46 | It's kind of hard to see, because it
doesn't show you where the original edges
| | 04:49 | were, but you can kind of guestimate
by looking at where the new loop is
| | 04:52 | going to get inserted at.
| | 04:53 | I just want to add some more edge
loops because that's going to help add some
| | 04:56 | harder edges to the shape
of these cartoony teeth.
| | 04:58 | I will just add another edge here
and another one here. All right!
| | 05:04 | And I just lock that in by right-clicking.
| | 05:06 | Let's go to Polygon mode.
| | 05:08 | I just want to edit the shape
of these teeth just a little bit.
| | 05:11 | I will just click this one polygon
here in the middle and just lift it up a
| | 05:15 | little bit. It kind of rounds
out the shape a bit. All right!
| | 05:19 | Looking pretty good.
| | 05:21 | Now to work on the gums.
| | 05:22 | I want to create kind of a wavy shape,
kind of an undulation where the gums
| | 05:26 | raise up in between the teeth and then
sink down in the middle of each tooth,
| | 05:30 | so let's give it some more
geometry that we can do that.
| | 05:33 | I could go in and add edge loops by
hand, but let's put a TurboSmooth on that
| | 05:38 | and let Max do it for us.
| | 05:41 | So one TurboSmooth, and then what we
can do is go to Convert to > Editable Poly.
| | 05:46 | That will lock in all those
extra subdivisions we just created.
| | 05:49 | Now, I want to select every other edge
loop along these gums and move it upwards.
| | 05:54 | Go into Edge mode and then let
me hit Q to go into Select mode.
| | 05:59 | Now I want to select every other edge
loop, so that I can move it upwards to form
| | 06:04 | some gum shape in between each tooth.
| | 06:07 | So select one edge and then
Shift+Select an edge right next to it.
| | 06:11 | That will select the entire edge loop.
| | 06:12 | Then Ctrl+Click this next edge here
and then Shift+Click the one next to it.
| | 06:17 | Go ahead and keep doing that all the way around:
| | 06:19 | Ctrl+Click to add to the selection and then
Shift+Click to select the whole edge loop.
| | 06:29 | Now, if we go into Move mode and pull
this up, well, we might not actually want
| | 06:33 | that jagged edge on the bottom, so let
me undo that and then deselect some of
| | 06:39 | these edges along the bottom.
| | 06:40 | So I am going to hold down Alt to deselect
and then just drag across the entire base here.
| | 06:47 | Now when I move them up I only get the
part on the top of the gum and not the bottom.
| | 06:55 | Okay, another thing I want to do is
expand the size of the gums a little bit,
| | 06:59 | so let's get out of Edge mode
and go put a Push Modifier on.
| | 07:08 | What the Push Modifier is going to do
is expand the shape of the object
| | 07:12 | out in all directions.
| | 07:13 | That looks like it might be about right.
| | 07:15 | I also want to put another TurboSmooth
on to see what this looks like when it
| | 07:19 | gets all smoothed out.
| | 07:20 | Let's turn on Isoline
Display, set the Iterations to 2.
| | 07:27 | Let's have a look all the way around.
| | 07:28 | Yeah, that's looking pretty good.
| | 07:31 | Now let's link the teeth to the gums.
| | 07:33 | This will make it so that moving the gums
will make all the teeth move along for the ride.
| | 07:38 | Let's select all the teeth.
| | 07:40 | So I am just going to get into
view where I can select the teeth
| | 07:42 | without selecting the gums.
| | 07:45 | Now, I want to click the Link button up here.
| | 07:48 | If I click and drag from the teeth
to the gums, it makes the teeth be
| | 07:53 | connected to the gums.
| | 07:56 | What that means now is if I move the gums,
the teeth are going to go along with it.
| | 08:00 | Okay, so that's done.
| | 08:02 | Now, let's make an upper set of teeth and gums.
| | 08:05 | Let's select everything, the teeth and
the gums, and go into Rotate mode.
| | 08:08 | Now, let's just rotate this around.
| | 08:11 | Actually, let me undo that.
| | 08:12 | If you hold down Shift while you rotate,
it will make a duplicate of everything.
| | 08:18 | So let's get around to exactly 180.
| | 08:20 | Now, it wants to know if you
want to make a copy or an instance.
| | 08:25 | Let's go ahead and make an instance,
so that changing any of the bottom teeth
| | 08:28 | will change the top teeth as well.
| | 08:30 | Now, go onto Move mode and select
these upper gums and move them up a little
| | 08:37 | bit, so we get the teeth nice and together.
| | 08:40 | Okay, now we need to bring back
the head that we had hidden earlier.
| | 08:44 | We can just right-click
anywhere and click Unhide All.
| | 08:48 | Let's zoom out to see where that is.
| | 08:51 | Okay, so these teeth are
maybe a little on the big side.
| | 08:54 | Go ahead and Ctrl+Click both gums,
and we'll hit R to go into Scale mode, and
| | 08:59 | we'll just scale those down.
| | 09:01 | We will move them up as well.
| | 09:09 | Let's see, it looks like I
need to move them back too.
| | 09:11 | I hit Z to zoom in.
| | 09:14 | Still maybe a little big. All right!
| | 09:27 | Pretty good! This method of making teeth works
really well for clean regular cartoony teeth,
| | 09:33 | but it's also a solid foundation
upon which to build realistic teeth.
| | 09:37 | From here, all you do is tweak and add
complexity to create different types of teeth.
| | 09:42 | It would also be a good idea to get
reference images of skulls and dental
| | 09:46 | diagrams to help position everything.
| | 09:48 | We also learned a lot about some
cool modeling tricks that come in handy
| | 09:52 | anytime you need a lot of objects to be the
same as, or at least based on, a single object.
| | 09:57 | Using Array and instancing will make
your life a lot easier when you have many
| | 10:02 | objects in your scenes.
| | Collapse this transcript |
| Modeling the tongue and eyebrows| 00:00 | Now that we've got some of the heavy
lifting out of the way, let's have a nice
| | 00:04 | relaxing section where we can casually
make some of the simplest parts of the
| | 00:07 | character: the tongue and eyebrows.
| | 00:10 | They are pretty much just tweaked-out
boxes, so it's not much work to make them.
| | 00:14 | This will also be a good review of some
of the simple modeling techniques that
| | 00:18 | come in handy when doing all
kinds of other modeling work.
| | 00:21 | Let's do the tongue first.
| | 00:22 | I want to move the view back a
little bit so I can see the grid.
| | 00:28 | Let's start with making a box.
| | 00:29 | I'll go to the Create palette and click Box.
| | 00:32 | Let's turn on Snaps, so that we can get
this snapped more precisely to the grid.
| | 00:36 | I'll hit S. And I'll just drag out a box,
so that it's equally spaced over the grid.
| | 00:45 | And right-click to lock it in.
| | 00:46 | I'll just hit S again to turn off
Snaps, and let's turn on Edged Faces.
| | 00:50 | I'm going to change some of the
creation parameters on this box.
| | 00:56 | I want a few more segments down the
Width and the Length. Let's see, about
| | 01:00 | three Length Segments. Let's get 4 Width.
| | 01:03 | I'll just leave at 1 Height.
| | 01:06 | Let's go ahead and convert this to an
editable poly so we can make some changes to it.
| | 01:10 | I want there to be kind of a groove or a
crease down the middle of the tongue, so
| | 01:14 | let's go into Vertex mode and
just edit some of these vertices.
| | 01:16 | I'll push some of these vertices down in
the middle, and also let's bring in some
| | 01:26 | vertices, and let's go into a different view.
| | 01:29 | I want to go into the front view.
| | 01:31 | And I want to bring some of these
vertices that are here on either side of the
| | 01:34 | center groove and bring them in a little bit,
| | 01:36 | so I want to go in Scale
mode and just scale on one axis.
| | 01:40 | Okay, let's see what this looks like
really quick with a TurboSmooth turned on.
| | 01:43 | Okay, that's looking not too bad.
| | 01:49 | Let's make the front of the tongue come
to a little bit more about point. I'll go
| | 01:53 | back to Editable Poly mode and let's
make sure we turn on End Result, back to
| | 01:58 | Vertex mode, and let's tweak some of this.
| | 01:59 | I just want to move some
of these vertices forward.
| | 02:05 | All right, that's looking great!
| | 02:13 | Let's lock in all of these changes by
converting it back to an editable poly.
| | 02:16 | Now I can just position
this tongue inside the head.
| | 02:21 | It's a little bit big right
now, so let's just scale it down.
| | 02:25 | As a reminder, scale is the R key.
And back to Move, W key. And I'll zoom in with
| | 02:35 | Z. All right, not too bad. And let's
just change its color to something a little
| | 02:48 | bit more tongue-like.
| | 02:49 | All right, let's move on to the eyebrows.
| | 02:55 | Let's go into the front view for that.
| | 02:58 | Alt+W to expand that, and I want to be
able to see the reference through the head
| | 03:03 | model, so let's make the head
see-through: Object Properties and See-Through.
| | 03:09 | And let's go and create a box, and we'll
drag it out pretty much to this roughly
| | 03:14 | over the reference, where the eyebrow is.
| | 03:17 | And I can't really see how much
height it's dragging up in the box, so I'll
| | 03:21 | just drag it up a little bit--I can always edit
it later--and then right-click to lock it in.
| | 03:25 | See what that looked like in some other view.
| | 03:30 | Okay, yeah, it's a little bit back towards the back
of the head. We'll just scoot that forward.
| | 03:34 | Z to zoom in.
| | 03:38 | Okay, let's change some of the creation
parameters of that box. I want to change
| | 03:41 | the number of segments that it gave us.
| | 03:43 | So let's see, Length Segments, let's drop
that to 1; Width, 3 is good; and Height, I
| | 03:51 | like 3--that works too.
| | 03:53 | Okay, let's convert this to an editable
poly so we can make some more changes to it.
| | 03:58 | And I'm going to go into the
front view so I can see this better.
| | 04:01 | I'll turn on Edged Faces, so I can
see my polygons a little bit more easy,
| | 04:08 | and we'll go into Vertex mode and just
adjust some of these vertices around.
| | 04:23 | Let's see what this looks
like what TurboSmooth turned on.
| | 04:25 | It's going to shrink a little bit;
that's why I made it a little bit bigger.
| | 04:29 | Okay, let's go back to Editable
Poly and just make a few more changes.
| | 04:34 | I'll turn on Show end result here.
| | 04:41 | Okay, I could probably keep tweaking a little bit,
| | 04:42 | but let's move on. I want to
make sure that the eyebrow is properly
| | 04:46 | positioned over the forehead.
| | 04:49 | Here in the Perspective view I'm actually
going to turn off See-Through on the head.
| | 04:54 | The see-through is making a little
bit hard to tell what's going on.
| | 04:58 | Okay, so it looks like I might need to
rotate this eyebrow to fit a little bit
| | 05:01 | better to the forehead.
| | 05:02 | Let's see that from above.
| | 05:05 | So it looks like we need to rotate the
eyebrow to fit it to the head a little
| | 05:08 | bit better, but if we rotate the
object it will throw off the pivot point and
| | 05:12 | the symmetry won't work correctly.
| | 05:14 | So what we need to do is rotate the
polygons of the object without actually
| | 05:19 | rotating the object itself.
| | 05:20 | All right, let me explain.
| | 05:21 | Let's go back to Editable Poly,
and we'll go into Element mode.
| | 05:26 | And now we're selecting all of the
polygons of the object but not the object
| | 05:30 | itself, so the pivot point is not going to move.
| | 05:33 | Now we can go into Rotate mode and
move all of the polygons, but the pivot
| | 05:38 | points stays in the same place.
| | 05:39 | Let's make sure I've got this positioned nicely.
| | 05:42 | Okay, that looks pretty good.
| | 05:43 | Now if I go out of Element mode, you can see
that the rotation hasn't changed at all down here.
| | 05:50 | If I go in and rotate now in Object
mode, now you see that the rotation changes.
| | 05:54 | So I'll just undo that.
| | 05:55 | Now to put on the Symmetry modifier. And we
need to move the mirror axis over a little bit,
| | 06:04 | so let's go inhere and pick Mirror. I'll go
into Move mode with W and just scoot this over.
| | 06:10 | I'm going to go into top view and make
sure that axis is locked to the center.
| | 06:17 | Turn on Snaps, and I'll just
move this till it snaps to the center.
| | 06:20 | All right, turning off Snaps, and let's
go back and see what this looks like.
| | 06:25 | Hitting Z to zoom in.
| | 06:30 | Okay, that looks pretty good.
| | 06:32 | The last thing we want to do is collapse to
an editable poly to lock in all of these
| | 06:36 | changes and then we will detach the two
eyebrows to make them separate objects.
| | 06:40 | I'll go back into Element mode and
select just one of these eyebrows.
| | 06:48 | And let's go down to Detach. And let's
just call this browRight. And then the
| | 06:58 | other brow is selected by default.
Let's change its name to browLeft.
| | 07:06 | And we'll just get out of Element mode
here and go back to the regular Object mode.
| | 07:10 | It looks like there's just one little thing we
need to change. The pivot point of this brow
| | 07:15 | is still over here where the other brow is,
| | 07:17 | so let's go up to Hierarchy and affect
the pivot only and Center to Object and
| | 07:24 | turn off Affect Pivot Only.
| | 07:27 | There you have it: toony eyebrows.
| | 07:30 | Even though this part was relatively
simple, keep in mind that sometimes simple
| | 07:34 | is better, especially for toony characters.
| | 07:36 | We also practice some ways to work
quickly with symmetry and swift loops
| | 07:40 | and TurboSmooth.
| | Collapse this transcript |
|
|
3. Modeling the BodyModeling the upper body| 00:00 | The shoulder area is a particularly
tricky part of the anatomy to model because
| | 00:05 | of the wide variety of movements
that shoulders must be able to make.
| | 00:08 | Shoulders can move, rotate, and twist in
so many different ways that there is no
| | 00:13 | one single topology that will work
perfectly for all animation needs.
| | 00:17 | The approach that we will take in this
video is for an average setup that should
| | 00:21 | work well for most character designs.
| | 00:24 | As you get better at modeling, and as
you work with setup artists, you should be
| | 00:28 | able to adapt what you learn
here to a variety of situations.
| | 00:32 | Before getting into the body, let's
do one thing: I am going to make the
| | 00:35 | head objects frozen so that they don't get
in the way of what I am doing with the body.
| | 00:38 | I'm just going to select everything and right-
click. Go to Object Properties and Freeze.
| | 00:46 | The first thing I want to do with
the body is establish the flow zone for
| | 00:49 | the shoulder and chest.
| | 00:51 | This part of the body has very specific
ways that the muscles and joints move.
| | 00:54 | We want the edge flow to
complement those deformations.
| | 00:57 | So let's take a better look at the reference.
| | 01:00 | I am going to go out to the front view here.
| | 01:06 | Looking at Hank, notice how there's a
line underneath the pectoral muscles and
| | 01:10 | it goes up to the division
between the shoulder and the arm.
| | 01:13 | This is a common feature in real humans as well.
| | 01:16 | Start with a plane in the front view.
| | 01:19 | So we'll go up to the
Create palette and click Plane.
| | 01:22 | I also want to make sure
it snapped to the center.
| | 01:23 | So I am going to hit S, turn that on,
and we'll just draw this plane out, roughly
| | 01:29 | over the chest, and right-click to lock that in.
| | 01:32 | Let's go up and turn on Edged Faces
so we can see better what's happening.
| | 01:36 | So we want to get rid of some of
these extra edges that were created,
| | 01:39 | so let's go up to Modify and just set
Length Segs to 1 and Width to 1 as well.
| | 01:46 | Okay, let's convert this to an editable
poly. And we can also turn off Snaps now.
| | 01:52 | And I just want to tweak the vertices
of this plane so it fits a little bit
| | 01:55 | better over the chest.
| | 01:56 | So let's go into our Multiple
views and go into Vertex mode.
| | 01:59 | I am going to zoom out here.
| | 02:02 | I just want to move some of these
verts so that they line up better with the
| | 02:05 | reference, and I will just keep refining this.
| | 02:17 | It doesn't have to be terribly precise at this point.
| | 02:28 | Now we want to continue building off of this,
| | 02:30 | so let's go into Edge mode and select
this edge right here on the outside edge
| | 02:35 | of this plane, and we'll Shift+Move
it out. So this is basically going to
| | 02:39 | extrude that edge so we get more geometry
to work with. And let's just tweak this shape.
| | 02:43 | I will go back into Vertex mode, and I
want to make it go roughly from top of
| | 02:47 | the clavicle and then, let's see, from,
roughly from the top of the clavicle to the armpit.
| | 02:58 | And we might want to tweak this
from the front view a little bit too.
| | 03:09 | Okay, let's do that same thing but move
it again up to the top of the shoulder.
| | 03:15 | So I am Shift+Moving up, and we'll
just rotate this and tweak it into place.
| | 03:24 | And I will keep making a few adjustments.
| | 03:30 | Let's see, Perspective view might be
easier to see what's going on here.
| | 03:38 | Let's adjust some other things. All right!
| | 03:44 | Let's do the same thing again.
| | 03:46 | I am just going to keep extruding this back,
| | 03:48 | now this time to the back of the shoulder.
| | 03:50 | Shift and move it back.
| | 04:03 | And this time I am going to make the
object see-through because I want to be
| | 04:06 | able to see what's going on in
the backside of it. And click OK.
| | 04:12 | It doesn't have to be terribly precise.
| | 04:20 | We're going to be making major changes
to this later, so just something basic to
| | 04:24 | get it to blocked in.
| | 04:27 | Let's do that extrude a couple of more
times: holding down Shift and just move
| | 04:32 | it down, and then lining
it up with the reference.
| | 04:48 | Now for one final extrude.
| | 04:54 | I can use Scale here to make sure it
flattens out. I can just scale it in one axis
| | 04:58 | and that all gets straight. Okay.
| | 05:08 | So there is the basic flow
zone for the chest and shoulder.
| | 05:11 | It's blocky and unrefined right now,
but any edge loops that you add will
| | 05:15 | automatically follow the right edge flow.
| | 05:17 | So you don't have to do any tricky
re-cutting or welding vertices or any
| | 05:20 | of that kind of thing.
| | 05:21 | This shape that we have right now is
what's called a cowl, named after the piece
| | 05:25 | of clothing that's kind of like a
scarf that goes around your neck and hangs
| | 05:28 | over your chest and shoulders.
| | 05:30 | Let's continue building the upper body.
| | 05:32 | We want to close off this
ribcage area underneath the armpit.
| | 05:35 | So what I will do is I will grab this
edge right here--it kind of goes between
| | 05:39 | the chest and the armpit--and
we're just going to extrude that back.
| | 05:43 | So holding down Shift and move. I will
just move that back, and I'll just rotate
| | 05:47 | it and move it into place. I'll just get it
a little bit more down below the arm.
| | 05:51 | And let's see if it lines up in this view
too, just a little tweak. And let's just
| | 05:57 | move that one more time.
| | 06:00 | Shift and move and rotate.
| | 06:02 | We'll use Target Weld to connect
this piece to the back of the cowl.
| | 06:12 | So let's go into Vertex
mode and go find Target Weld.
| | 06:16 | With that on, we'll just click and
drag from one vertex to the one we want to
| | 06:20 | weld it to. And right-click to lock it in.
| | 06:25 | Now with the upper torso done,
we have a hole right here from which we
| | 06:28 | can extrude the arm.
| | 06:29 | I just want to tweak this a little bit to
get it looking a little bit more square.
| | 06:36 | We can select this entire opening at once
if we go into the Border Sub-Object mode.
| | 06:43 | And now let's go in the front view
and just Shift+Move this out and extrude
| | 06:47 | it down to the wrist. I want to use Scale here just
to get this a little bit flatter and also scale it
| | 06:54 | down so it matches the size of the wrist better.
| | 06:56 | Let's move this into place.
| | 07:01 | Now we need to add some more
subdivisions along the length of the arm for the
| | 07:04 | elbow and the muscles and stuff like that.
| | 07:06 | So let's go up into Graphite modeling
tools and Edit and add a Swift Loop, right
| | 07:11 | about here at the elbow. And then I
will just go into Scale mode and kind of
| | 07:16 | scale this so it's a little bit more
flat, maybe make it a little bit larger.
| | 07:21 | Let's move that over the elbow.
| | 07:24 | Let's go back and select
this loop around the wrist.
| | 07:27 | What I want to do here is rotate a little bit.
| | 07:30 | I want to rotate it for two reasons.
| | 07:32 | There is a natural twist to the bones
and muscles of the forearm when the palm
| | 07:36 | is facing down like this.
| | 07:38 | It's also so that the hole where the
hand connects to the wrist is rectangular
| | 07:43 | rather than diamond-shaped.
| | 07:44 | So let's rotate this.
| | 07:46 | I am going to go into Rotate mode
with E and just twist this a little bit.
| | 07:52 | The wrist is a little bit wider than it is
tall, so I am going to scale that out a little bit.
| | 07:56 | It will be easier to attach the
hand when the wrist is at this angle.
| | 08:01 | Now to do the lower torso. Let's go
into Edge mode and select all the edges
| | 08:05 | around the bottom of the
torso that we've created.
| | 08:08 | So I am just going to hold down Ctrl.
| | 08:12 | Let me change this actually
so it's not see-through anymore.
| | 08:16 | It's kind of hard to see.
| | 08:17 | Okay, we've got all those edges selected.
| | 08:28 | I will just go into Move
mode and Shift+Move down.
| | 08:30 | I will bring them roughly down to the waist.
| | 08:34 | I am actually going to go make it
see-through again so we can see the reference
| | 08:39 | through it and just tweak so it fits.
| | 08:41 | Let's see what this looks
like from Perspective view.
| | 09:04 | Sometimes it's hard to tell from the
front and side views what's going on.
| | 09:07 | I want to just round out
the shape a little bit more.
| | 09:16 | Okay, and there is a rough
block-out for the upper body.
| | 09:19 | This approach to modeling a torso is a
nice balance of simplicity and functionality.
| | 09:23 | It can be used for most character
designs, with little or no alteration.
| | 09:27 | Even highly detailed anatomically
correct bodies can be done this way.
| | 09:32 | All you do is add more edge loops
and tweak them to fit the anatomy.
| | 09:35 | We'll work more on fleshing out the
detail in the body in a later movie.
| | 09:39 | For now, we have the flow zones
established, so adding more edge loops will be a snap.
| | Collapse this transcript |
| Building the hips, legs, and feet | 00:00 | The hips are another area that require
special attention, because of the way the
| | 00:04 | legs can move in complex ways.
| | 00:06 | We'll be setting up a flow zone for
the hips that follows major creasing
| | 00:10 | and bending angles.
| | 00:12 | Let's look at what it is we are
trying to accomplish with the hips.
| | 00:14 | I am going to zoom in here and hit
Alt+W to go see the reference full screen.
| | 00:19 | Notice the diagonal nature of
the edge flow with the hips.
| | 00:23 | This is because the legs rotate around the
angle that goes from the crotch up to the hip.
| | 00:28 | Creases also form along this line, so it's
natural to put the edge flow in that direction.
| | 00:32 | Let's go into the Perspective view.
| | 00:34 | I will continue building from
where we left off in the last video.
| | 00:38 | Go ahead and select the edges at the waste
and continue extruding them down to the hips.
| | 00:43 | I'll hit Q to go into just Select mode,
so we don't have that thing in our way.
| | 00:53 | All right, I am just going to
Shift+Move down to extrude these edges,
| | 01:02 | and let's tweak the vertices
to fit the reference better.
| | 01:10 | So notice how I've got the edges
lined up with crease that forms from the
| | 01:14 | crotch that goes up to the hip.
| | 01:15 | I also want to take a look at the back side.
| | 01:17 | There is also going to be the same
line that forms the crease underneath the
| | 01:21 | buttocks, so I am actually going to make
this line a little bit more horizontal here.
| | 01:24 | I'll tweak this shape and
make it a little bit nicer.
| | 01:30 | Now on to the legs. We can't really
extrude legs out of what we have right now,
| | 01:35 | because there's no divider in the
crotch that would separate the two limbs.
| | 01:39 | Let's make some new edge loops so
that we have a place to build the crotch.
| | 01:42 | I'm going to get out of Vertex mode,
and let's go up to Graphite Modeling Tools >
| | 01:48 | Edit and get Swift Loop.
| | 01:49 | And I just want to create a new loop,
kind of up the middle of the chest, down
| | 01:56 | to the crotch on the front side and then also
on the backside, and then kind of down the spine.
| | 02:04 | Now let's use the Bridge tool to
make a new polygon across this gap.
| | 02:07 | Let's go into Edge mode here, and I'll
hit W to get out of Swift Loop mode, and
| | 02:15 | let's just select these two
edges down here along the crotch.
| | 02:21 | And let's go up to Edges and Bridge.
| | 02:23 | All right, it just created a nice
new polygon right there in between.
| | 02:26 | I want the crotch to bend downward as
it goes back, so I'll add a loop in the
| | 02:31 | middle and tweak it.
| | 02:32 | So go back up to Edit > Swift loop,
and we'll just put a loop roughly here in the middle.
| | 02:39 | And we'll go into Move and just scoot
it down, so we get a nice little bend in
| | 02:43 | the middle of the crotch. Great.
| | 02:45 | Now there's a place from
which we can extrude the leg.
| | 02:47 | Let's go into Border mode
and select this open edge here.
| | 02:50 | I am going to go into the Front view
and just hold Shift as I move this down, to
| | 02:54 | extrude down to the knee.
| | 02:57 | I want to get rid of this angle, so
let's go into Scale mode and I am just going
| | 03:00 | to scale this down to flatten it.
| | 03:01 | Let's make sure it
lines up in the different views.
| | 03:06 | Okay, looking pretty decent.
| | 03:15 | Now let's extrude once more down to the ankle.
| | 03:22 | And I'll just scale it a little bit
more to fit it to the reference.
| | 03:24 | Now I am going to extrude once more
down to the bottom of the foot. And I'll use
| | 03:40 | scale here to flatten it out.
| | 03:41 | So it might have a little
bit of an angle to it still.
| | 03:44 | I am just going to make it totally flat.
| | 03:46 | Let's see the bottom of the
foot here from Perspective view.
| | 03:48 | Okay, so it's open. We need to fill this.
| | 03:51 | So let's go up to Geometry (All) > Cap Poly.
| | 03:55 | Now we just filled in that whole at the bottom.
| | 03:57 | Let's finish up the foot by
extruding the front-most polygon.
| | 04:00 | I am going to go into Polygon mode,
and let's go ahead and pick this polygon
| | 04:09 | right here, and we'll just extrude it forward.
| | 04:11 | All right, let's just tweak this shape.
| | 04:20 | It's looking a little bit weird.
| | 04:22 | I'll just select a few vertices and shape
this so it looks a little more like a foot.
| | 04:27 | Okay, it's pretty blocky, but we are going to
be doing much more refining in later movies.
| | 04:40 | The important thing is that we've got
the flow zones nailed down at this point,
| | 04:44 | so adding more edge loops in the
future is going to be a breeze.
| | 04:48 | Again, this method is ideal for the
majority of character designs, but it may
| | 04:52 | need to be simplified or
augmented for more extreme needs.
| | 04:56 | By understanding how the edge flow
of the hips relates to the anatomical
| | 05:00 | structure, you can also better create
all kinds of limbs on fantasy creatures or
| | 05:05 | any other type of design.
| | Collapse this transcript |
| Constructing the palm and thumb | 00:00 | Hands are widely regarded as one of the most
complex anatomical structures for the artist.
| | 00:06 | The following steps, however, show you
how to simplify it and focus on the most
| | 00:09 | important shapes first.
| | 00:11 | Many modelers struggle for days to make
good hands because they don't establish
| | 00:15 | a solid base structure.
| | 00:17 | This video will show you how to start off right,
so that the details have a good foundation.
| | 00:22 | Let's start making the hand with a new
object, rather than building off of the arm.
| | 00:27 | You could extrude from the arm,
but my preference is to start it separately,
| | 00:31 | because I can insert edge loops without
worrying about those loops shooting down
| | 00:35 | the arm and body without my control.
| | 00:37 | I find it easier to make the hand
first and then think about how I'm going to
| | 00:40 | attach it to the body.
| | 00:42 | Let's freeze the body so it stays out
of the way for now. Right-click, Object
| | 00:47 | Properties, and Freeze.
| | 00:51 | Let's start off by making a box
and positioning it over the palm in
| | 00:54 | the reference image.
| | 00:55 | Let's go to Create > Box.
| | 00:58 | I am just going to click and drag the
box roughly over the palm and then look
| | 01:04 | at the size--we can reposition that later--
and click again and right-click to lock it in.
| | 01:10 | Let's make sure that we
can see all our edged faces.
| | 01:14 | So I am actually going to change this
up here, all of these, to edged faces and
| | 01:21 | set it to Shaded. Same thing here,
okay, Shaded, Edged Faces, good.
| | 01:26 | Then I am also going to change the
Perspective view to Shaded instead of Realistic.
| | 01:34 | Okay, let's go and change some
of the parameters of this box.
| | 01:37 | It's got a few too many
edge loops to begin with.
| | 01:40 | So I'll click on it and go to Width Segments.
| | 01:42 | I am going to change that to
just 1 and also 1 Height Segment.
| | 01:44 | It looks like I might need to move this box
over a little bit in the right-hand view.
| | 01:51 | Let's move this over here.
| | 01:52 | Okay, that's pretty well lined up.
| | 01:56 | One thing I want to do is make a wrist.
| | 01:58 | We've got the palm right now, but I
want to create a little extra edge loop
| | 02:02 | for the wrist. So let's convert this to an
editable poly so we can make those changes.
| | 02:06 | I am going to select the polygon
that's closest to the wrist and we'll
| | 02:11 | just extrude it out.
| | 02:12 | And I am actually going to hit Delete
because we want to have an open edge to be
| | 02:22 | able to connect it to the wrist later.
| | 02:26 | I'm actually going to go into Vertex and
scoot some of these vertices a little
| | 02:29 | bit closer up here.
| | 02:31 | Okay, now we want to insert some edge
loops into this box so that we can start
| | 02:35 | giving it some shape.
| | 02:36 | Let's get out of Vertex mode, and I
want to go and get the Swift Loop tool.
| | 02:44 | And what I want to do is make a loop that
goes around the palm. And it's going to
| | 02:49 | kind of form that crease that happens
when you bend your fingers and the top
| | 02:54 | part of the palm bends along with the fingers.
| | 02:56 | So let's make a loop there, and I also want
to make a loop down the length of the palm.
| | 03:00 | Let's kind of divide the palm into
the half where the thumb is and the half
| | 03:04 | where the thumb is not,
and just right-click to lock that in.
| | 03:09 | Something else I want to do is
delete these polygons at the tip.
| | 03:13 | This will leave an opening where
we can put the fingers in later.
| | 03:17 | And right now the hand is
looking a little too thick.
| | 03:20 | Let's just widen it out a little bit.
| | 03:22 | I am just going to select some of
these polygons and move them around. Maybe
| | 03:26 | scoot these down too.
| | 03:27 | Okay. Now to make the thumb. We are
going to make the thumb coming out of this
| | 03:43 | side of the hand, but one common mistake
that a lot of people make is to extrude
| | 03:48 | the thumb directly out of the side of
the palm, out of this polygon right here.
| | 03:53 | However, if you take a look at your
own hand and move your thumb around, you
| | 03:56 | will see that about a third of your palm
is really the base of your thumb joint.
| | 04:01 | So let's include that part of the
palm in the thumb when we extrude it.
| | 04:05 | So I am going to Shift+Select this polygon
here as well, and let's go down to Extrude.
| | 04:16 | Okay, and now we can just tweak this.
We'll use Move and Rotate and Scale to
| | 04:20 | make something that gets a little bit
narrower at the tip. And let's scoot it
| | 04:26 | forward a little bit, so it
kind of has an angle to it.
| | 04:29 | I might use Rotate at this point.
| | 04:30 | I think I might need to tweak some
individual vertices as well. And I'll keep
| | 04:45 | making a few adjustments.
| | 04:46 | I am going to tweak this a little bit more.
| | 04:54 | Let's see if I can get this a little
bit rounder, go into Edge mode and scale
| | 05:11 | some of these edges down. And let's
try moving a few more vertices. I'm just
| | 05:28 | tweaking it to make it line up
with the reference better.
| | 05:30 | I am going to go ahead in full screen mode and
show just one more adjustment I want to make.
| | 05:38 | There is an edge at the very tip of
the thumb that I want to remove and re-cut
| | 05:42 | at a different angle.
| | 05:43 | This is because one poly here is
going to be the top of the thumb.
| | 05:47 | I am going to go full
screen in Perspective view.
| | 05:50 | There is one extra adjustment I want to make.
| | 05:52 | The top of the thumb is going to be out
of this polygon right here, but there is
| | 05:57 | this edge right here at the tip of the thumb,
| | 05:59 | it's kind of going at this angle
that's not very complementary to that.
| | 06:03 | If I have an edge actually going at
this angle, it's going to be more parallel
| | 06:08 | with the angle of the top of the thumb.
| | 06:10 | So what I am going to do is go into Edge mode
and pick this edge right here and delete it.
| | 06:15 | Now I can go into Border Edge mode,
and let's go up to Geometry and Cap Poly.
| | 06:22 | All I want to do is cut a new
edge that goes in this angle.
| | 06:26 | I will going to go up to Edit > Cut,
and we'll just click from this vertex down
| | 06:37 | to this one and right-click to lock it in.
| | 06:44 | It's not really a big deal, but it
helps me visualize how the model relates to
| | 06:47 | the anatomy at this early stage of the modeling.
| | 06:50 | So let's just take a look all the way
around the hand to see what we've got.
| | 06:56 | I might just want to make
one little change right here.
| | 06:58 | There is this one vertex, and I just
want to scoot if forward a little bit so we
| | 07:02 | don't have a weird depression
there at the base of the thumb.
| | 07:06 | So that's the basic edge flow for a hand.
| | 07:09 | Adding joints and details will be
easy because the underlying edge flow has
| | 07:12 | been established.
| | Collapse this transcript |
| Making fingers and finishing the hand| 00:00 | The fingers are a fun chance to do
some stylization on toony characters.
| | 00:05 | It's also a good way to learn some
timesaving techniques, by modeling just one
| | 00:09 | finger and then copying it for the rest.
| | 00:11 | Let's start out by freezing the hand
so that it doesn't get in the way of
| | 00:14 | the fingers for now.
| | 00:15 | I am just going to select it, right-
click, Object Properties, and Freeze.
| | 00:22 | Let's start by making just one finger.
| | 00:24 | Then we'll duplicate it.
| | 00:25 | This is going to save time, so that we
only really have to work on one finger.
| | 00:28 | Let's make a box and drag it over the
reference and right-click to lock it in.
| | 00:37 | Let's look at this in the Perspective view.
| | 00:39 | I am just going to hit Z to zoom in.
| | 00:41 | We want to convert this to an editable
poly so we can make some changes to it.
| | 00:45 | Let's go into Polygon mode.
| | 00:47 | I want to delete this face here
that's closest to the palm so that we can
| | 00:52 | connect it to the hand later.
| | 00:53 | I'm also going to put a TurboSmooth on
this, just to make it easier to see what
| | 00:57 | this is eventually going to look like.
| | 00:59 | So let's get out of Polygon mode
and go put on a TurboSmooth.
| | 01:06 | Let's give it Isoline Display and two iterations.
| | 01:10 | This is a good opportunity to see
the effect that smoothing has on
| | 01:13 | different types of topology.
| | 01:15 | Notice how the finger is
tapering a lot at the tip of the finger.
| | 01:18 | This is because there's just one edge running
the entire length of the finger right now.
| | 01:23 | As I add Edge Loops to define
the knuckles, watch what happens.
| | 01:27 | So I am going to go back to Editable
Poly, and let's turn on Show End Result, and
| | 01:32 | let's just go up to Edit > Swift Loop.
| | 01:37 | So now watch what happens as I make
some new edge loops for the knuckles.
| | 01:44 | Adding more detail to the low-res
mesh restrains the effect of the smooth.
| | 01:49 | For this character, I want him
to have stubby flat fingertips.
| | 01:52 | I can do this by placing a final edge
loop very close to the tip of the finger.
| | 01:59 | This kind of edge loop is
known as a holding edge.
| | 02:02 | You can use it whenever you want a corner
to be slightly rounded but mostly sharp.
| | 02:07 | It's useful for making bevels.
| | 02:09 | Most corners in the real world have at
least a very slight roundness to them.
| | 02:13 | Placing an edge loop close to a corner
like this and then using TurboSmooth is a
| | 02:17 | great way to replicate such corners in 3D.
| | 02:20 | The closer the holding edge is to
the corner edge, the tighter the bevel.
| | 02:25 | We can actually see that effect in real time.
| | 02:28 | If we go into Vertex mode--I am just
going to rotate this so we see it more easily--
| | 02:33 | I am going to go into Move mode,
and just watch what happens as we move this
| | 02:37 | holding edge closer to that corner.
| | 02:39 | We get a tighter bevel--there's really close--
or a little looser one if it's farther away.
| | 02:46 | Let's go ahead and add one more
edge loop to the base of the finger.
| | 02:53 | The surface doesn't change at all here
because the model is already open at this side.
| | 02:58 | There's no polygon at the base for
the TurboSmooth to curve towards.
| | 03:02 | Now, let's make the other fingers.
| | 03:04 | I am going to go into Move mode, and I'll just
hold down Shift while I move this finger over.
| | 03:09 | Actually, at first, I am going to
move the whole finger a little bit more
| | 03:14 | towards the end of the palm.
| | 03:15 | Then I will hold down Shift as I move it.
| | 03:17 | Now it is asking me what
type of copy I want to make.
| | 03:22 | I am going to make little bits of
changes to each individual finger, so I don't
| | 03:26 | want it to be an instance, because
changing one would change all of them.
| | 03:30 | So I'll just leave it on Copy,
and let's do that one more time.
| | 03:37 | Now let's unfreeze the hand and
get the fingers attached to it.
| | 03:41 | Go ahead and click anywhere you
want and then go up to Unfreeze All.
| | 03:45 | Before we move on, let's delete
the TurboSmooth from the fingers.
| | 03:49 | TurboSmooth will cause problems if
you attach an object that doesn't have
| | 03:53 | TurboSmooth to an object that does.
| | 04:02 | Let's see if the size of the palm is
roughly about the size of the fingers.
| | 04:07 | Okay, yeah. It looks pretty good all the
way around. There might be a little bit of
| | 04:09 | adjustments that we need to
make, but it's not too far off.
| | 04:13 | Let's select the hand.
| | 04:14 | It looks like I moved it a little bit.
| | 04:15 | I am just going to hit Ctrl+Z to undo that.
| | 04:17 | Now what we want to do is go down to
Attach, and now we can just select each
| | 04:22 | finger, click once, twice, three
times and right-click to lock it in.
| | 04:27 | We need to create some edge loops
on the hand so that the fingers have
| | 04:31 | somewhere to connect to.
| | 04:32 | I am going to use Swift Loop to make
two more edges down the back of the hand
| | 04:36 | and one more down the palm.
| | 04:38 | Let's go into Edit > Swift Loop.
| | 04:42 | Let's see, about one right here that
will go in between the middle and index
| | 04:46 | finger and then one right here
between the pinky and the middle finger.
| | 04:51 | Let's see. On the palm side--
| | 04:53 | Let's see. I think I am going to scoot this vertex
over to here, so I'll just add one more
| | 04:58 | edge right here and right-click to lock it in.
| | 05:01 | Go into Vertex mode so I can
make that change I was talking about.
| | 05:04 | There, now this vertex could be
welded to these up here on the finger.
| | 05:09 | Now, it's time to weld these verts.
| | 05:11 | I am going to hit Alt+W so
I can see this more clearly.
| | 05:14 | I am going to use Target Weld.
| | 05:19 | So I will just simply click and drag
from a vertex that you want to weld and
| | 05:23 | then the vertex that you want to weld it to.
| | 05:28 | Okay, let's put a TurboSmooth on
to see what it's going to look like.
| | 05:31 | I am going to get out of Vertex mode.
| | 05:34 | A lot of times TurboSmooth
can help you spot problems.
| | 05:41 | For example, if two verts didn't weld
properly but still happen to be on top of
| | 05:46 | each other, you might be able to see it now.
| | 05:48 | If that's a problem, TurboSmooth will make
a hole in the model, and you will see a gap.
| | 05:53 | Looks like everything's okay here.
| | 05:54 | I am just going to make a few more
edits before I call this hand done for now.
| | 05:59 | Let's add a few more edges around the thumb.
| | 06:04 | Right now there are not enough edges to
hold any movement that this thumb would make,
| | 06:08 | so I need to add some more
loops to hold those joints.
| | 06:10 | Let's go back down to Editable Poly,
and I am just going to insert some more
| | 06:16 | loops with Swift Loop.
And right-click to lock it in.
| | 06:25 | Finally, I'll space the fingers out a little
bit so that they're not so close together.
| | 06:29 | There is a little trick I have for this.
| | 06:31 | I am going to select a polygon at the
tip of one of the fingers, and then I am
| | 06:35 | going to click Grow.
| | 06:36 | This increases the size of the
selection to include adjacent polygons.
| | 06:41 | Now, let me just look at this from the top.
| | 06:43 | I want to rotate this out just a little
bit and then move it a little bit, just
| | 06:49 | so we have a little bit more of a gap
between the two fingers. And let me do the
| | 06:53 | same thing with the pinky.
| | 06:54 | I'm just going to rotate it
out a bit and move it a bit.
| | 07:02 | One last thing I want to do to the
middle finger: make it just a little bit
| | 07:05 | longer than the others.
| | 07:07 | So I am going to do the same thing here.
| | 07:08 | I am going to grow the selection.
| | 07:11 | Then I will go into Scale mode by
hitting R, and I'll just scale it a little bit
| | 07:16 | in this direction and then move it
forward just a bit too. All right!
| | 07:21 | Let's step back for a
second and evaluate what we have.
| | 07:26 | Looking pretty good.
| | 07:27 | Now we have all the flow zones and
proportions established for the hand and fingers.
| | 07:31 | This method of duplicating fingers can
come in handy for all types of situations
| | 07:36 | where a character may have a series of
similar parts, where modeling all of them
| | 07:40 | separately would be time consuming.
| | 07:42 | Toes can also be done this way.
| | 07:44 | For realistic anatomy, you can also
refine each finger individually in order to
| | 07:49 | avoid the effect that all the
fingers look unnaturally identical.
| | Collapse this transcript |
| Fleshing out the body| 00:01 | Now that we have the basic flow zones
established for all the major body parts,
| | 00:05 | it's time to add detail.
| | 00:07 | Fleshing out the character is relatively
easy at this point, because most of the
| | 00:10 | thinking has already been done.
| | 00:12 | Because we planned ahead, we avoid
having to tediously rework the geometry.
| | 00:17 | Although we have a lot of tweaking to
do, it will be mostly based on artistic
| | 00:21 | decisions, rather than
struggling with the technology.
| | 00:24 | In order to flesh out the body, we will
be using a combination of TurboSmooth,
| | 00:28 | Swift Loop, Paint Deform,
and good old-fashioned tweaking.
| | 00:32 | Let's get down to it. Let me zoom out in these
different views so that we can compare the body to the model.
| | 00:38 | There are still some big ways that the model is
falling short of the shapes in the reference.
| | 00:44 | Let's address that by inserting some
edge loops and tweaking them to fit
| | 00:47 | the reference better.
| | 00:48 | I'm going to select the body, and then
we'll just go up to Edit and pick Swift Loop.
| | 00:56 | So it looks like the chest
is one of the biggest areas.
| | 00:59 | There is a lot of volume here in the
back and the front of the chest that we
| | 01:03 | were missing out on,
| | 01:04 | so I am just going to insert some edge loops
so we have some more geometry to work with.
| | 01:08 | We are also going to need a lot
more geometry around the shoulder for
| | 01:12 | deformations to happen there,
| | 01:13 | so let's insert some more loops
here and here, and also down the arm.
| | 01:18 | We are going to need some more loops here
around the ribcage underneath the armpit.
| | 01:23 | He is going to need to bend a lot
more here at the waist and at the hips.
| | 01:31 | And let's see about the legs here too.
| | 01:38 | Now I will just go in and use good
old-fashioned tweaking to position these
| | 01:43 | closer to what the reference is showing us.
| | 01:45 | So let's just go into Vertex mode,
and I also want to turn on TurboSmooth.
| | 01:52 | So actually, let me get out of Vertex
mode, and we'll put on the TurboSmooth first.
| | 01:57 | And we will give it Iterations
of 2 and use Isoline Display.
| | 02:02 | Back to Editable Poly, and let's
make sure we can see the end result.
| | 02:07 | So with the TurboSmooth done, we are
going to get a much closer approximation of
| | 02:11 | what this model is going to look like
when it has a lot more geometry. And as we
| | 02:16 | were tweaking these shapes, we can
actually line up the TurboSmooth version with
| | 02:19 | the reference, rather than the low-poly
version, and it's actually going to give
| | 02:23 | us a more accurate result.
| | 02:24 | It looks like there are big changes to
be made here in the shoulders and arms.
| | 02:32 | And the back of the character
definitely need some adjustments to be made.
| | 02:50 | Let's also see what this looks
like when we have Symmetry applied.
| | 02:54 | So I am going to get out of Vertex mode
and put a Symmetry on. And it looks like
| | 03:02 | we are going to have to
move that axis of symmetry,
| | 03:04 | so let's go into its
Mirror mode and move it over.
| | 03:11 | I'll hit S to turn on Snaps so we can make
sure that that's snapped right to the center.
| | 03:14 | It looks good, and I'll
just hit S to turn Snaps off.
| | 03:19 | I just want to make sure that that
symmetry isn't accidentally welding anything
| | 03:24 | that we don't want to get welded.
| | 03:26 | So it looks like we might have a
little bit of a problem here in the back.
| | 03:29 | Let me zoom in here.
| | 03:32 | I want to turn off TurboSmooth just for
now, so that we can see a little bit more
| | 03:36 | accurately what's going on.
| | 03:37 | Okay, it looks like something
strange has happened right here.
| | 03:40 | So let's turn down the Threshold and see
if that helps anything. Okay, that's good.
| | 03:45 | That fixed that problem.
| | 03:46 | Let me see if there are any issues down in here.
| | 03:49 | No, that looks good all the
way through the rest of it.
| | 03:53 | Let's just make more tweaks to get
the shape we want on some more specific
| | 03:56 | parts of the anatomy.
| | 03:57 | For example, I want to get more
definition under the buttocks.
| | 04:01 | So let's come in here. And it looks like I
am going to need to add some more edge loops,
| | 04:05 | so let's go back to Editable
Poly and turn on End result.
| | 04:09 | Go to Edit > Swift Loop, and we'll
just add another loop or two so that we can
| | 04:15 | define the shape underneath there.
| | 04:17 | Okay, so I am just going on under
Vertex mode and just pick a few of the
| | 04:22 | verts and push them around a little
bit so we get a little bit of crease
| | 04:25 | underneath the buttocks.
| | 04:26 | Also, let's look at the chest some more.
| | 04:31 | I want there to be kind of a
crease underneath the pec muscles,
| | 04:36 | so let's tweak this a little bit so
that we get kind of a bulge in the chest.
| | 04:40 | I am just going to Ctrl+Click a few of
these vertices and push them forward.
| | 04:47 | You can even grab some of these vertices
underneath the crease and push them upwards.
| | 04:54 | Let's also add some edge
loops going down the arms.
| | 04:57 | It looks like it's a little too blocky right now.
| | 04:59 | If we have some more loops, we could
really define that area a little bit better.
| | 05:02 | So let's get out of Vertex
mode and go get Swift Loop.
| | 05:06 | I will just throw in a loop
there and one on this back side.
| | 05:11 | You might want to turn off
See-Through if it's getting in your way.
| | 05:14 | Then you just go into Move mode and
grab those edges that you just made and you
| | 05:20 | can just push them around a little bit
so that you can get a little bit more
| | 05:23 | round shape out of it.
| | 05:32 | So by tweaking this, I kind of work a little
bit more roundness and softness into the shape.
| | 05:37 | I'm going to turn off See-Through mode so I
can see things more clearly. And I just
| | 05:55 | want to take a step back and
evaluate things for a second.
| | 05:58 | It's always good to step back and
just make sure there is not any big major
| | 06:01 | problems, like this happening
right here in the back where there's a giant
| | 06:04 | collapse happening.
| | 06:05 | I will just go in and tweak
this and fix this, pull these back.
| | 06:19 | Also, you want to be on the lookout
for any polygons that get really long.
| | 06:23 | So let's see if there are
any unusually long polygons.
| | 06:27 | Actually, right here in the middle, we
could probably space these out a little
| | 06:31 | bit more so that there's not
these edges really close together.
| | 06:35 | Now there are sometimes where you're
going to want some edges closer together,
| | 06:42 | but that's only for specific reasons,
like where you want to hold a crease,
| | 06:45 | like, for example, underneath the pecs.
Now these edges are going to have to
| | 06:55 | get a little bit closer underneath the
crotch, because they just have to get
| | 06:59 | close together there.
| | 07:00 | This phase of modeling where you
work out all the anatomical details can
| | 07:04 | be boring to watch.
| | 07:05 | There's not really anything to say
about it other than just keep tweaking
| | 07:08 | and using everything you've learned
so far about edge loops and modeling to
| | 07:12 | keep shaping it out.
| | 07:14 | I would probably spend several hours
tweaking and sculpting to get this just
| | 07:18 | right, but we'll skip ahead
now to the last few steps.
| | 07:21 | Let's use the power of
TurboSmooth to do some of this work for us.
| | 07:25 | So let's get out of Vertex mode, and we
are going to up to the TurboSmooth that
| | 07:29 | we made and turn it on, and also I
want to turn off Isoline Display and just
| | 07:34 | make one iteration.
| | 07:36 | So let's see the difference between this
TurboSmooth version and the way it was originally.
| | 07:42 | Okay, so TurboSmooth is adding a lot
of geometry for us, and it's also helping
| | 07:46 | to smooth things out.
| | 07:47 | What I want to do is convert it to
editable poly so we can lock in that TurboSmooth.
| | 07:53 | With this extra geometry,
you can tweak in even more detail.
| | 07:57 | If there's too much geometry in some
areas, you can simply select an edge and go
| | 08:01 | to Loops and Remove Loop.
| | 08:03 | So let's experiment with that right now.
| | 08:04 | Let's say that you've got too
many edges going around the waist.
| | 08:08 | I actually kind of like it right now,
but let's just do this as an example.
| | 08:12 | Pick one loop and then
Shift+Click an edge next to it.
| | 08:18 | Then you just simply go up to Edges and Remove.
| | 08:24 | And I will just undo that,
because I actually like that loop there.
| | 08:28 | Now you use everything you've learned
up to this point to flesh out the body.
| | 08:31 | It's simply a matter of inserting
edge loops where needed and tweaking the
| | 08:34 | geometry until it looks good.
| | 08:36 | This part of the process relies
more on your artistic ability than
| | 08:40 | your technical skill.
| | 08:42 | Fleshing out character models can
be both rewarding and frustrating.
| | 08:46 | It's easy in a sense that there are not
a lot of technical issues to deal with.
| | 08:49 | It's more about being an
artist and a craftsperson.
| | 08:52 | It's about looking at the shapes and
making artistic decisions about how to edit it.
| | 08:56 | By the same token, it can be hard,
because there's no step-by-step guide for
| | 09:01 | making any specific
character--well, except this one.
| | 09:04 | Every model's anatomy will be
different and require you to think on your feet
| | 09:08 | about how best to shape it.
| | 09:10 | Hopefully, with this course you'll be
able to practice the concepts and refine
| | 09:14 | your artistic skill so that when you do
your own character models you'll be able
| | 09:18 | to apply what you learned here to
any modeling project you have.
| | Collapse this transcript |
| Attaching body parts with different numbers of edges| 00:00 | We've already learned how to attach
body parts that have the same number of
| | 00:04 | edges when we welded the ear to the head,
| | 00:06 | but what if body parts have
different numbers of edges?
| | 00:09 | This is a common issue that modelers
run into because many times we make new
| | 00:13 | models by cutting up and
reusing existing models.
| | 00:16 | It's also an issue if we make body parts
separately, like we've been doing in this course.
| | 00:21 | There are just a few strategies to
keep in mind when doing this and once you
| | 00:24 | learn them, attaching anything
to anything else will be simple.
| | 00:27 | There are three basic techniques
to equalizing the number of edges on
| | 00:32 | either side of a gap.
| | 00:34 | The first two are really easy to remember.
| | 00:36 | Simply add edge loops to one
side or remove them from another.
| | 00:41 | However, there are times when adding or
subtracting edge loops isn't an option.
| | 00:44 | For example, if more geometry will
make you go over your poly limit, or if it
| | 00:50 | would just make things too
complicated and removing them isn't an option
| | 00:54 | because there is just no geometry to spare,
| | 00:58 | in these cases you want to do a reduction.
| | 01:01 | This is a neat little trick that takes
three edge loops and closes out two of
| | 01:04 | them, leaving just one behind.
| | 01:07 | Let's take a look at the neck connection.
| | 01:09 | I'm just going to zoom in here, and also
let's turn on Edged Faces so we can see
| | 01:15 | what we're dealing with.
| | 01:17 | I've already counted out the number of
edges on all the borders that we need to attach.
| | 01:22 | The head currently has 19 edges, and the
collar area has 21, a difference of two edges.
| | 01:29 | That means that this is a perfect place to
use a reduction because it removes two edges.
| | 01:35 | Let's look at the hand very quickly.
| | 01:39 | The hand has 16 edges, and the arm
has 18, also a difference of two.
| | 01:45 | If their difference was close to double,
say one had 10 and the other had 20,
| | 01:50 | you may consider simply subdividing
the smaller of the two so that they would
| | 01:54 | instantly have the same number of edges.
| | 01:57 | Let's put this into practice.
| | 01:58 | I am going to go up and start with the neck.
| | 02:04 | We need to reduce two edges
on the body side of the neck.
| | 02:08 | It's usually a good idea to do
reductions in a place that's less visible, like on
| | 02:13 | the back side of a character or in a
place that won't deform very much.
| | 02:18 | So let's look at the back side of the character.
| | 02:19 | I'm going to do a reduction on
these three edges right here.
| | 02:26 | So the way I'm going to do it is go
to Edge mode and select two of these.
| | 02:33 | Now over here in your
Editable Poly panel click Collapse.
| | 02:39 | Finally, click on the edge that's left
behind here, and let's go up to Edges > Remove.
| | 02:45 | The result is clean and
uses only four-sided polygons.
| | 02:49 | Now we can attach the two meshes and
use Target Weld to close up the seam.
| | 02:56 | So now let's attach the two together.
| | 02:58 | I want to select the head and then
go down to Attach and select the body.
| | 03:05 | So now it's one object.
| | 03:07 | I'll right-click the lock that in.
| | 03:10 | Now we can just to use
Target Weld to close up this gap.
| | 03:13 | So we've got all those welded up.
| | 03:19 | The seam between the head and neck can
look a little jagged, so I'll just use
| | 03:22 | Paint Deform to smooth
out some of the unevenness.
| | 03:24 | Go up to Freeform > Paint Deform,
and I'll use Relax, and I'll just crank some of
| | 03:32 | these settings down because they are too big.
| | 03:39 | And I'll keep making a few adjustments.
| | 03:45 | Now to do the wrist.
| | 03:46 | Let's get out of this object here.
| | 03:52 | Let's take a look at this from over here.
| | 03:55 | The arm has two more edges than the hand,
but instead of reducing edges on the
| | 03:59 | arm, I'll do a little variation on
the reduction that we just learned.
| | 04:04 | This time I'm going to add a reduction
to the hand. And watch how this works.
| | 04:08 | We use the Cut tool to cut through some edges.
| | 04:10 | So let's go up to Graphite Modeling
Tools and select the hand, and actually let's
| | 04:15 | go back down to Editable Poly in this object.
| | 04:18 | We can actually remove the TurboSmooth,
| | 04:21 | so I'll just delete that.
| | 04:22 | Let's go up to Edit > Cut.
| | 04:29 | Let's see, let's cut some right here.
| | 04:31 | It looks like this is a pretty broad area
where there is not a lot happening anyway.
| | 04:35 | Let's cut from, let's see, right about here,
and let's cut up through a few of these
| | 04:40 | and then up to a vertex and
then back down on the other side.
| | 04:46 | Right-click to lock that in. And let's
go into Edge mode select this edge that's
| | 04:51 | in between these two triangles right here.
| | 04:53 | Go up to Edges > Remove. Great!
| | 04:57 | Now we've just added two edges to the hand.
| | 05:00 | Go ahead and weld and
smooth just like we did before.
| | 05:04 | Making different parts of the body flow
smoothly into each other is a task that
| | 05:08 | character modelers are constantly faced with.
| | 05:10 | Armed with these skills, you'll be
ready to take it on with the least amount
| | 05:14 | of stress possible.
| | Collapse this transcript |
|
|
4. Modeling the HairDrawing the NURBS curves for hair| 00:00 | Hair is probably the part of a
character that can be approached in the greatest
| | 00:04 | number of different ways.
| | 00:06 | First there's an infinite
variety of hairstyles to choose from.
| | 00:09 | And then there's all different
types of hair systems to choose from,
| | 00:12 | like dynamically simulated hair,
textured planes, NURBS surfaces,
| | 00:17 | polygons, et cetera.
| | 00:19 | Every hairdo in 3D is a fresh challenge.
| | 00:22 | This course has to focus somewhere,
so I've given this character a hairstyle
| | 00:25 | that is relatively common,
| | 00:27 | and I am going to create it in a method that
works for a fairly broad range of cartoony looks.
| | 00:33 | Since this is a modeling course and
not a dynamics or effects course, I'll be
| | 00:37 | making modeled hair.
| | 00:39 | It's very much a different workflow
from what we've been doing so far,
| | 00:42 | so I'll take it slow, and I'll
explain everything that you need to know.
| | 00:46 | Once you get good at this technique,
you'll find yourself using it to create all
| | 00:50 | kinds of things, not just for hair.
| | 00:53 | So let's look at the character's
hair for a second in the concept art.
| | 00:56 | You can see that it's kind of clumpy,
and it's got all these different strands to it.
| | 01:01 | There's lots of ways you could make this.
| | 01:03 | One tedious way would be to build all
of these clumps out of polygon cubes and
| | 01:08 | tweak their shapes one by one.
| | 01:09 | But there is a way that's faster and more fun,
| | 01:12 | and it can teach us some really
powerful modeling tools along the way.
| | 01:16 | What we're going to do is use NURBS
curves to get the basic clump pattern
| | 01:21 | drawn in really quickly.
| | 01:23 | Some people get frightened by the
complexity of NURBS, but not to worry;
| | 01:27 | I'm only going to use their
most simple functions for this.
| | 01:30 | What we are going to do in this video is
draw curves on the surface of the model.
| | 01:34 | Each curve is going to establish the
shape and length of each hair clump.
| | 01:39 | Let's set some of the
Object Properties for Hank.
| | 01:41 | He is frozen right now, so let's
unfreeze him, and let's click on him and go to
| | 01:47 | his Object Properties.
| | 01:48 | We want to make him see-through,
and then let's Freeze him again so it doesn't
| | 01:52 | get in the way of what we are doing, okay.
| | 01:55 | Okay, we are going to be using Snaps.
| | 01:58 | Let's go up to Snaps and right-click.
| | 02:00 | We want to build a snap to faces and polygons,
| | 02:04 | so let's turn on Face.
Also, let's look in the Options.
| | 02:08 | We want to make sure that we
can snap to frozen objects.
| | 02:11 | Okay, that should be good.
| | 02:12 | Let's get Snaps turned on here.
| | 02:15 | Now let's start making these NURBS curves.
| | 02:17 | So let's go up to Create > NURBS, and pick CV Curve.
| | 02:22 | Now I just want to test this out
so it make sure it's working right.
| | 02:24 | So I am just clicking on the Hank
model--I am going to right-click to
| | 02:30 | lock that in--and let's
rotate around and see what happened.
| | 02:32 | All right, looks like the curve is
being created on the surface of the model;
| | 02:36 | that's exactly what we want.
| | 02:37 | I am just going to delete that.
Okay, before we continue, let's get any
| | 02:42 | unnecessary objects out of the way.
| | 02:43 | So I am just going to go into Move mode
and select all of these objects here and
| | 02:49 | let's right-click and go to Hide Selection.
| | 02:51 | All right, let's get back into CV Curve mode,
| | 02:54 | so let's click CV Curve. And I want to
draw these curves from kind of the crown
| | 02:59 | of the head and then have
them all fanning out from there,
| | 03:02 | so just click and just start
creating these different points.
| | 03:08 | I make roughly four to
seven clips per hair clump.
| | 03:12 | Then when you are done, just right-click
to lock that in. And we are still in CV
| | 03:16 | Curve mode, so you can just go ahead and
create as many different clumps as you want.
| | 03:27 | You can always add more later, so don't
worry about getting them exactly right,
| | 03:31 | and you can always adjust your
position and tweak them later.
| | 03:34 | But I just want to kind of get a
general sense of where these different hair
| | 03:37 | clumps are going to be flowing.
| | 03:39 | So after skipping ahead, you can see
that we've got a bunch of hair curves here.
| | 03:42 | I am going to right-click to lock that in
and hit W so that I get out of CV Curve mode.
| | 03:49 | So that's a start to our hair clumps.
| | 03:51 | You'll find that there's lots of times
when it's useful to snap curves on the
| | 03:55 | surface of other objects.
| | 03:56 | Not just to make cartoony hair; you
could also make wires that wrap around a
| | 04:00 | telephone pole or vines wrapping around a tree,
or pretty much anything else you can imagine.
| | 04:05 | This technique can save hours of work
that would otherwise be spent manually
| | 04:09 | fitting curves to a surface.
| | Collapse this transcript |
| Sweeping the NURBS curves into polygon objects| 00:00 | Continuing from the last video, we need
to make these curves into actual objects
| | 00:05 | that have shape and volume.
| | 00:06 | For this we are going to use NURBS Extrusion.
| | 00:09 | This is just one way out of an
almost infinite variety of options;
| | 00:13 | however, learning this method will
apply to all kinds of different modeling
| | 00:17 | tasks, in addition to hair.
| | 00:19 | Now that we are done drawing out
the curves, we can turn Snaps off.
| | 00:22 | I want to hit S. I'm going to select all
of the curves and move them up and away
| | 00:27 | from the hair a little bit.
| | 00:28 | So I'm going to select them all and just
go in the Move mode, and let's pull them
| | 00:33 | just up off the head.
| | 00:34 | That's going to give them some
space for the thickness of the clumps.
| | 00:38 | Now we want to tweak the
shape of each curve a little bit,
| | 00:41 | so I am just going to
select one curve at a time.
| | 00:44 | Let's see, let's get this one up here at
the top. And we can go into its Modifier
| | 00:47 | here and go down to Curve CV.
| | 00:52 | So now we can control the
individual points that made up this curve.
| | 00:55 | I am just going to select this
one here and move it a little bit.
| | 00:58 | I want the hairs to kind of puff out of
the crown shape of the top of the head.
| | 01:08 | You can add any curves and waviness
that you want at each individual hair here.
| | 01:14 | You can make this little bit kind of flip up at the end.
| | 01:18 | It's really up to you.
| | 01:20 | You can just generally shape
these curves to your liking.
| | 01:23 | Don't worry about being too precise;
| | 01:24 | you can always adjust the hair clumps later.
| | 01:26 | When you are done adjusting this one
you just want to go out of Curve CV mode
| | 01:31 | and select another one.
| | 01:32 | I am going to cut ahead now to a
scene where I have got all of these tweaks
| | 01:36 | the way I want them.
| | 01:37 | Let's take a look at what we have got.
| | 01:39 | So each individual curve has been
tweaked to give it a little bit more shape.
| | 01:45 | Now it's time to create some actual
geometry in place of these curves.
| | 01:49 | Let's select one of them.
| | 01:51 | It doesn't matter which one.
| | 01:53 | Let's go to its Modifiers.
| | 01:55 | I want to give it a Sweep Modifier.
| | 02:03 | And that's a little crazy.
| | 02:04 | I am not quite sure if it's exactly
what we want, but let's look at some of the
| | 02:08 | settings and see how we can change this.
| | 02:10 | By default, Sweep is set to
use an L-shaped sort of shape.
| | 02:16 | Let's change this to Cylinder.
| | 02:18 | The biggest problem right
now is that our result is too big.
| | 02:22 | Let's go down to Radius and drag
that down to a reasonable size.
| | 02:30 | That's looking more like it.
| | 02:31 | Finally, let's open up
the Interpolation subpanel.
| | 02:34 | I think I'll turn on my Edged Faces so
I can see what's happening here better.
| | 02:38 | I am going to drag these steps
down, all the way down to 0 actually.
| | 02:44 | And I want to show you why I did this.
| | 02:47 | Right now, we've got a square,
four-sided polygon at the end here.
| | 02:52 | If I have more than zero steps, I might
end up with eight or more sides to this,
| | 02:57 | but I want to keep
four-sided polygons wherever possible.
| | 03:01 | Now this is pretty low poly, but we
are eventually going to smooth this.
| | 03:04 | But keeping it low poly makes
it easier to work with for now.
| | 03:08 | Now let's put the same Sweep
Modifier on all the other curves.
| | 03:13 | Now we just need to click on the
Modifier stack and Paste Instanced.
| | 03:17 | Go ahead and do the same thing for all the
other curves, and we'll pick it up in the next video.
| | 03:22 | Using this method of sweeping
curves is great for all kinds of things.
| | 03:26 | You could use it to make tentacles or
tree branches or really anything with
| | 03:30 | a tubular shape.
| | Collapse this transcript |
| Sculpting the polygon hair clumps| 00:00 | Now that the basic geometry for the
hair is created, we need to sculpt it and
| | 00:04 | form it into an appealing shape.
| | 00:06 | This will be another great chance to
practice some of the options available in
| | 00:09 | the Paint Deform tool.
| | 00:10 | So we've got a bunch of crude hair clumps.
| | 00:13 | Before we can start really shaping them,
we've got to convert them to editable polys.
| | 00:18 | So I'm just going to Drag+Select over all of
them and right-click, Convert To > Editable Poly.
| | 00:23 | I'm also going to attach all the clumps
into one object, so that I don't have to
| | 00:27 | switch objects every time I
want to edit a different clump.
| | 00:31 | You can always detach the clumps if you
need to edit them separately later on.
| | 00:36 | So the way I'm going to do that is just
select one of these, and let's go down to
| | 00:40 | Attach and now just start
clicking every single clump.
| | 00:44 | It looks like I got them all,
and right-click to lock it in.
| | 00:55 | Let's also see what this is
going to look like smooth.
| | 01:02 | Let's give it 2 Iterations and turn on
Isoline Display to make it easier to look
| | 01:05 | at, and back down to Editable Poly,
and make sure we can see the end result.
| | 01:10 | I also don't need the body to be
see-through anymore, so let's turn that off.
| | 01:14 | It will be easier to see if the hair is
stuck inside the head if the body is opaque.
| | 01:19 | So first I need to Unfreeze All and
right-click on the body and then go to
| | 01:25 | Object Properties and turn off See-Through.
| | 01:32 | Okay, let's start paint-deforming the hair.
| | 01:35 | Go ahead and click on it and make sure
you're in Editable Poly mode, and let's
| | 01:39 | go up to Freeform and click Paint Deform.
| | 01:41 | I want to shape the clumps so that
they're bigger at the base and then taper
| | 01:46 | off to a point at the tips.
| | 01:48 | This is really easy to do with Paint
Deform; simply use the Pull settings and
| | 01:52 | the geometry expands.
| | 01:53 | So I want to select Pull here, and it looks
like this brush might be about the right size.
| | 01:58 | Let's see. Let's bring the Strength down,
and let's just test to see how this works.
| | 02:04 | Okay, so I'm just brushing,
and it expands the clumps of hair.
| | 02:08 | That's looking pretty good.
| | 02:10 | Now if you're in the Push/Pull brush
and you hold down Shift, the brush
| | 02:18 | temporarily gets set to Relax. And when
geometry is low detail like this, Relax
| | 02:24 | actually acts kind of like a shrink ray.
| | 02:27 | So let's see how that works.
| | 02:28 | I'm holding down Shift now, and now when I
stroke on the hair clumps, they kind of shrink up.
| | 02:35 | It really makes a nice effect, kind
of bring these to a little point at the
| | 02:39 | tips. It looks pretty appealing.
| | 02:41 | So I'm just going to go through
here and shrink up some of these tips.
| | 02:45 | Okay, that's good enough for now.
| | 02:47 | We can always go back and edit it later.
| | 02:49 | You could also use the Push/Pull brush
instead of Relax to do this, by holding
| | 02:53 | down Alt, and it will actually push.
And so let me show you how that works.
| | 02:57 | I'm just going to hold down Alt.
One problem now is that sometimes the
| | 03:00 | geometry can push through itself and
get larger on the other side, and it
| | 03:05 | looks kind of weird.
| | 03:06 | So I usually prefer to use
Relax by holding down Shift.
| | 03:09 | All right, that's enough Paint Deform for now.
| | 03:12 | I'm going to right-click to lock that in
and show you something else you can do.
| | 03:16 | I am going to go into Vertex
mode and turn on Soft Selection.
| | 03:21 | So now I can click on a single
vertex and turn on Soft Select.
| | 03:27 | Let's bring the Falloff down somewhat.
| | 03:31 | By default, Soft Select is going to
select any vertex on the object that is
| | 03:35 | within the falloff distance.
| | 03:37 | This can be great if you want to
nudge around the hair as a whole, like
| | 03:41 | this. But if you only want to affect a
single clump at a time, this is less than helpful.
| | 03:48 | Let's say that I want to move some
of these clumps around individually.
| | 03:51 | So what I do is turn on Edge Distance mode.
| | 03:54 | This makes the falloff happen
over the surface of the object.
| | 03:58 | Since the different clumps don't share
the same surface, the falloff will never
| | 04:02 | cross over the space between them.
| | 04:04 | Now I can move, rotate, and scale
these clumps separately in order to edit
| | 04:08 | them more precisely.
| | 04:09 | So let's see what happens if I increase
the Falloff a little bit here, and let's
| | 04:14 | see. Yeah, now I can move this clump individually.
| | 04:21 | You may find that you've got bald spots
where you want to add some more hair clumps.
| | 04:25 | You can go to Element mode
and select a single clump.
| | 04:28 | So let me get out of Vertex mode, go into
Element mode. Now I'll select a single clump.
| | 04:34 | Actually, let me select one of these back here.
| | 04:38 | Now I'm going to hold
down Shift while I move it.
| | 04:42 | Now I've just made a copy of it.
| | 04:43 | I want to clone it to an element so
that it stays part of the same object.
| | 04:49 | Now I can just kind of rotate this a
little bit so it's different and not quite
| | 04:53 | so recognizable as being a
copy of that original one.
| | 04:58 | By copying clumps, you can
fill in some bald areas.
| | 05:01 | You could also go through the steps of
creating curves and sweeping them again
| | 05:04 | to fill in more hair.
| | 05:06 | From here on out, it's really about
using your artistic judgments to style the
| | 05:10 | hair the way you think it looks best.
| | 05:12 | When you're happy with the hair, go ahead and
mesh-smooth it once and remove the TurboSmooth.
| | 05:17 | So I'm going to get out of Element
mode here, and let's go up to TurboSmooth.
| | 05:21 | Let's turn off Isoline Display
and turn Iterations down to 1.
| | 05:27 | Now I'll just right-click on the hair,
go to Convert To > Editable Poly, and lock
| | 05:32 | in the TurboSmooth.
| | 05:33 | Styling the hair is time consuming, and it will
probably take a while to get it looking right.
| | 05:38 | With patience, you'll get more
comfortable with the tools and techniques.
| | 05:41 | Keep in mind that there are a million
different approaches to making hair and
| | 05:45 | that this is far from the only option.
| | 05:48 | In your own projects, you may have to
experiment with several different methods
| | 05:51 | before you find the one that
looks right and fits your design.
| | Collapse this transcript |
|
|
5. Modeling the ClothesModeling the pants| 00:00 | Modeling clothing can be tricky
because of the way it comes into such close
| | 00:04 | contact with the skin.
| | 00:06 | By creating the clothing directly from
the body, not only does it become easier
| | 00:10 | to manage, but it's faster, since you
already have the geometry created for it.
| | 00:15 | Because the pants are pretty much the
same shape of the legs, we can just steal
| | 00:18 | what we've already made for the
legs and repurpose it for the pants.
| | 00:23 | In order to extract the pants, we need
to select polygons on the body that are
| | 00:27 | roughly in the same place as
where the pant should be.
| | 00:29 | Let me show you a few selection
tricks that will help us get what we want.
| | 00:33 | I am going to go ahead and select Hank
and make sure we can see our polygon edges.
| | 00:37 | And I want to move down to the legs
where we can see those more closely.
| | 00:42 | Let's go into Polygon mode.
| | 00:43 | I am going to select one polygon here
on the leg and then Shift+Select the
| | 00:48 | polygon next to it, and then do the
same thing on the other leg, in the same
| | 00:52 | location. Ctrl+Click one and
then Shift+Click one next to it.
| | 00:57 | Now I can grow the selection until it
includes all of the legs and some of the waist.
| | 01:07 | That's pretty good.
| | 01:08 | You might realize that your original
ring selections were too low or too high.
| | 01:13 | To correct it just deselect everything
and then redo those rings selections a
| | 01:17 | little higher or lower.
| | 01:18 | Now to create a new
object based on the selection.
| | 01:21 | We already know that by shift-moving
polygons, we can break them off into new objects.
| | 01:26 | But with the pants, we need them to be
in the same place, just a little bigger.
| | 01:31 | Here in the Editable Poly menu, I will
just scroll down to the Edit Geometry section.
| | 01:36 | Right now, Constraints is set to None.
| | 01:38 | We want to change this to Normal.
| | 01:41 | Now let's go into move mode and see what
happens when we hold down Shift and move this.
| | 01:47 | Now all the polygons are expanding
outwards according to their normals, or the
| | 01:53 | direction that they're facing.
| | 01:54 | Let's get this just a
little bit bigger than the body.
| | 01:58 | When I let go of Shift and the mouse
I get the option of cloning To elements
| | 02:02 | or to a new object.
| | 02:03 | Let's make it a whole new
object. And I will name it pants.
| | 02:11 | Okay, let's get out of Polygon
mode and switch to the pants object.
| | 02:15 | Now I am just going to take a step
back here and evaluate, see how this is
| | 02:19 | looking. All right, pretty decent.
| | 02:21 | I am going to need to change the shape
of it a little bit, however, because
| | 02:24 | pants don't usually droop down in the
front like this, so I want to change the
| | 02:28 | shape a little bit so it looks more like pants.
| | 02:30 | Let's go down to the Edit Geometry
section and make sure that is the way we want.
| | 02:34 | We no longer need to move things
according to the polygon normals, so let's
| | 02:37 | set this back to None.
| | 02:38 | All right let's go back up
and go to border selection.
| | 02:42 | I want to change the shape of the top of
the pants, so I am just going to select
| | 02:46 | the top border edge. And then let's go
the Soft Select and turn that on.
| | 02:52 | And let's see, let's bring down the
Falloff, so it's not selecting everything.
| | 02:58 | That's pretty decent.
| | 02:59 | Now I am just going to use scale,
move, and the rotate tools in order to get
| | 03:04 | this better into shape.
| | 03:05 | So see I just hit R to go into Scale
mode. And let's just flatten this out a
| | 03:09 | bit, and also rotate it forward a little bit.
| | 03:13 | I am just going to move this around
till it looks good, just scaling and moving
| | 03:21 | and pushing and tweaking.
| | 03:35 | It looks like I might need to push and
pull some individual vertices here, so I am
| | 03:39 | just going to grab one of these and just
move it around till it looks good. I want
| | 03:45 | to make the body see-through so I can
see what's going on with the pants
| | 03:51 | I'm going to make the body
see-through and then click OK.
| | 03:58 | Back to the pants. I am just going
to keep tweaking a few things. And I will
| | 04:05 | just keep refining this. It looks like
this needs some tweaking. Okay, that's
| | 04:19 | generally pretty good, although there
are some weird things happening where
| | 04:23 | things are bending at kind of strange
angles, so I am going to use Paint Deform
| | 04:26 | to smooth those things out.
| | 04:28 | Let's get out of Vertex mode.
| | 04:30 | Now what I want to do is go to Paint
Deform. And I want to make sure that I turn
| | 04:34 | on Mirroring so that same
thing happens to both sides.
| | 04:37 | However, there is a little bug in 3ds Max
where you can't change those settings
| | 04:42 | if you have Relax/Soften selected as
your brush; you can only do it with one of
| | 04:46 | the other selections.
| | 04:48 | So I want to choose Push and Pull
and go to Paint Options and click this
| | 04:53 | little arrow here and click Brush
Options, and we will just make sure that
| | 04:57 | Mirror is turned on here.
| | 04:58 | Okay, let's close that,
and now we can go to Relax/Soften,
| | 05:02 | because when Relax/Soften is chosen as
a brush, you don't have the Option of
| | 05:08 | changing the mirror settings. Hopefully
they will fix that in later versions of Max.
| | 05:14 | Okay, so the brush is a little big.
| | 05:16 | Let's just the Size down.
| | 05:25 | That's pretty good. And the
Strength, let's bring that down too.
| | 05:28 | And I am just going to use this
Relax/Soften to even out some of the spacing of
| | 05:37 | these vertices. It looks like I might
have gone a little too far there, maybe a
| | 05:47 | little bit more careful with this.
| | 06:04 | And maybe I want to use Push and
Pull to make sure that the pants don't
| | 06:06 | penetrate inside the body, so I will
just switch to Push and Pull, and let's
| | 06:11 | see how this works.
| | 06:13 | I just want to make sure the pants are
kind of evenly the same distance away
| | 06:24 | from the body all the way around.
| | 06:28 | Okay that's pretty close.
| | 06:29 | I am just going to do one more pass of
relaxing, just to work out any rough spots.
| | 06:44 | Okay, now let's select the body and go
to its Properties and make sure
| | 06:48 | it's not see-through anymore.
| | 06:50 | I just want to check the distance
all the way around. All right. That's pretty even.
| | 06:56 | Anytime that you need clothing or
accessories that closely relates to the shape
| | 07:01 | of the body, you can use this
technique to quickly create them.
| | 07:04 | It works well for belts and wristbands,
masks and hats, anything like that.
| | 07:09 | It sure saves time over modeling these
things from scratch and then trying to
| | 07:13 | force them to fit onto the body you've already made.
| | Collapse this transcript |
| Making wrinkles in the pants| 00:00 | Making wrinkles in clothing
is a very unique challenge.
| | 00:04 | It's a different kind of
modeling from what we've done so far.
| | 00:07 | It's also an artistic challenge that
painters and sculptors have been struggling
| | 00:11 | with since the caveman days.
| | 00:13 | In digital art there's many
ways to make clothing and wrinkles.
| | 00:17 | Dynamic cloth effects is a common solution,
| | 00:19 | but this being a modeling course and a
cartoony character, let's find a modeling
| | 00:23 | solution to the problem.
| | 00:25 | Modeled wrinkles are still commonly
used in video games, because it's hard to
| | 00:29 | calculate dynamic cloth
in real-time game engines.
| | 00:33 | The skills you learn here can help not
only with modeling cloth, but also with
| | 00:38 | all kinds organic irregular shapes.
| | 00:40 | Our exercise file contains the basic
pants as we made them in the last movie.
| | 00:45 | Since wrinkles happen asymmetrically,
let's delete the Symmetry modifier.
| | 00:50 | Let me go in here and select the pants.
And they have a Symmetry modifier on them,
| | 00:55 | so I'll just get rid of that.
| | 00:57 | I'm also going to add a TurboSmooth
modifier, so I can what a smoothed version
| | 01:01 | of the pants looks like while being able
to work on a lower-density version of them.
| | 01:10 | I'll just turn on Isoline Display
so it's easier to see what I'm doing.
| | 01:14 | Go back to Editable Poly
and turn on Final Result.
| | 01:17 | A lot of times you can think of wrinkles
as forming like mountain ranges and valleys.
| | 01:22 | I'm going to use the Cut tool to
define certain chunks of the pants as being
| | 01:27 | valleys and other parts as being mountains.
| | 01:29 | Then I can tweak vertices to push in the
valleys and pull out the folds around them.
| | 01:34 | So let's zoom in on the pants,
and I'm going to go full screen with Alt+W.
| | 01:36 | A common place for wrinkles to
happen is around the pant's cuff.
| | 01:42 | Let's say that I want a fold
to happen right around here.
| | 01:45 | I'll just push in a little row of vertices.
| | 01:48 | So I'll go into Vert mode, and I
just have Ctrl held down so I can
| | 01:51 | select multiple vertices.
| | 01:54 | Now let's go down to the
Edit Geometry section of this.
| | 01:57 | Here, Edit Geometry. We want to turn on
Normal because I want to push and pull
| | 02:02 | these different vertices relative to
the facing direction of the geometry.
| | 02:06 | All right, let's hit W to go
into Move mode and see what happens.
| | 02:12 | So we can push in and out
relative to the surface.
| | 02:15 | So I'm just going to push these in,
and you can actually push them farther than
| | 02:19 | you think they should be, because
we're actually going to do a technique that
| | 02:22 | makes them come back out again.
| | 02:23 | So I want to push them in pretty far.
| | 02:26 | Now let's go up to Grow.
| | 02:29 | So I want to grow this selection,
and now I want to push them the other way.
| | 02:34 | You can always tweak it later if
it's too far or not far enough.
| | 02:38 | Now we're starting to get a
valley surrounded by mountains.
| | 02:41 | Now this is looking okay, but I think we
could define the shape a little bit better.
| | 02:45 | Notice how these corners are
getting kind of soft and undefined.
| | 02:49 | We can reinforce the wrinkle
shape by cutting some more edges here.
| | 02:52 | So I'm going to get out of Vertex mode
and go up to Graphite Modeling Tools and
| | 02:58 | let's go to Edit > Cut.
| | 03:01 | What I want to do is cut some
diagonal edges that will help reinforce the
| | 03:05 | shape of this wrinkle.
| | 03:07 | So you want the Move tool here so
that it forms this little X shape.
| | 03:12 | If it's kind of like this shape,
that means it's going to cut through an edge,
| | 03:16 | but I actually want to cut
starting at the vertex here.
| | 03:19 | So just cut from vertex to vertex.
| | 03:22 | It kind of gives you a little preview of what
the cut is going to be before you finish it.
| | 03:28 | Cut from there to there. Now I'm going
to right-click to lock that in, and let's
| | 03:32 | do another cut from up here.
| | 03:39 | Actually, there's a bug sometimes
with Max where it accidentally cuts where
| | 03:43 | it's not supposed to, so we're going
to have to clean that up manually.
| | 03:46 | So right-click and let's go back to
Vertex mode and see what happened here.
| | 03:52 | Let's turn off TurboSmooth for now.
| | 03:55 | So what did it is it accidentally
created all these extra vertices, and they're
| | 04:00 | causing some problems.
| | 04:01 | I'm going to hit Z to zoom in on that. Yeah.
| | 04:06 | Let's fix that up.
| | 04:10 | Let's just go down to Target Weld,
and let's make sure we can weld all these
| | 04:16 | stray verts together.
And let's turn TurboSmooth back on.
| | 04:20 | Okay, that's looking a lot better.
| | 04:21 | Let me zoom out and evaluate this.
| | 04:24 | Let's turn off Edged Faces so that
we can see what's going on without
| | 04:28 | those edges in the way.
We'll also need to get out of Vertex mode.
| | 04:31 | That's pretty nice.
| | 04:35 | It's a little bit neat, however.
| | 04:37 | Clothing and wrinkles tend to
form a little bit more messy shapes.
| | 04:40 | So we can go in and mess this up.
| | 04:42 | I'm going to go into Editable Poly,
go into Vertex mode. And you just can
| | 04:46 | select individual vertices and turn
on Soft Selection and just push things
| | 04:50 | around a little bit.
| | 04:51 | I'm going to drop the
Falloff down a little bit more.
| | 04:53 | So you can just move things around a bit.
| | 04:59 | I'm also going to the go down to Edit
Geometry and set it to None, so that we
| | 05:05 | can move in certain directions that aren't
the normal facing direction of the polygons.
| | 05:10 | When you like the result,
go ahead and make another wrinkle.
| | 05:17 | Folds in clothing tend to happen
in patterns next to each other.
| | 05:21 | I'll start making another
one to the side of this one.
| | 05:23 | I want to offset it little bit so that it's
not right at the same level as this existing one.
| | 05:29 | So I'll just come in here
and maybe select this vertex.
| | 05:34 | And let's set it to Normal so that
we're pulling and pushing according to
| | 05:38 | the facing direction of the geometry.
And also, I want to turn of Soft Selection again.
| | 05:43 | I'm just Ctrl+Clicking a few more
vertices here. And let's push these in.
| | 05:52 | Again, like I did before, I'll just grow
the selection a bit and pull it out.
| | 06:02 | And let's get out of Vertex mode,
and actually let's bring back Edged Faces.
| | 06:07 | I know it's a lot of going back and forth between a
lot of things that you have to turn off and on.
| | 06:11 | Let's go back to Editable Poly, and let's
just cut some more angles here into this.
| | 06:18 | It looks like the TurboSmooth might be
conflicting with how we're viewing this,
| | 06:30 | so I'm going to turn that off
really quick so I can cut this without
| | 06:33 | that getting in the way.
| | 06:34 | Okay, and just right-click to lock that in.
| | 06:40 | The challenge with cloth folds is that
you want to maintain a pattern while at
| | 06:44 | the same time randomizing it enough
so that it doesn't look artificial.
| | 06:48 | You want to add variation to the size,
placement, length, depth, and shape of all the folds.
| | 06:54 | Also be sure to leave some parts of
the clothing without any folds, or at least
| | 06:58 | less folds than other parts.
| | 07:00 | Be sure to examine a real-world reference
to see the patterns and chaos in reality.
| | 07:05 | I'm going to open up the other
exercise file where I have gone through and
| | 07:09 | completed all of these wrinkles.
| | 07:18 | Notice how I localized the
wrinkles in specific places.
| | 07:21 | Not only does it help it look more natural,
it also adds to the stylization of the character.
| | 07:27 | So for example, there's a lot of
baggy wrinkles down here at the pants where
| | 07:31 | they bunch up at the bottom of the cuff.
| | 07:34 | Then there's less around the knees
where pants tend to stretch and smooth out.
| | 07:37 | There's one more step to do
to the pants at this point.
| | 07:41 | Right now, the pants are just one single
polygon thin, but I want to give them a
| | 07:45 | certain amount of thickness.
| | 07:47 | One way to do that is by
extruding the border edge inwards.
| | 07:51 | So let's go into the pants here and go
to Editable Poly and select Border Edge,
| | 07:56 | and I just want to select
this Border Edge at the top.
| | 07:59 | Let's turn on Edged Faces so
we can see that more easily.
| | 08:04 | And I'll go into Scale mode by hitting R,
and I'll hold down Shift while I scale this.
| | 08:11 | So I'm just scaling this new extrusion
inwards, and this is going to add some
| | 08:15 | thickness for the pants.
| | 08:16 | Then I'll go into Move
mode and do the same thing.
| | 08:19 | I'm just going to Shift+Move downwards.
| | 08:24 | Let's go out of Border mode and turn on
TurboSmooth to actually show the end result here.
| | 08:29 | So now we've got some
thickness to the top of the pants.
| | 08:33 | Go ahead and repeat that same thing
for the bottom of the pants as well.
| | 08:36 | Select the border edge and
Shift+Scale it in and then Shift+Move it up, just
| | 08:41 | like we did up above.
| | 08:42 | There is the foundation for the pants.
| | 08:44 | This way of doing it is far from the only way,
| | 08:47 | but it's a straightforward method that
also works well for modeling all kinds of
| | 08:51 | other things that are based
on the shape of something else.
| | 08:54 | Feel free to experiment with your own
techniques for making wrinkles, as my way
| | 08:58 | is not the only way.
| | Collapse this transcript |
| Modeling the belt| 00:00 | Modeling the belt is another
opportunity to practice some modeling tricks that
| | 00:04 | go beyond the basic tools.
| | 00:06 | Again, we can base the belt off of the
existing pants model so that we can be
| | 00:10 | guaranteed that it will fit perfectly.
| | 00:12 | This is a cartoony character so I'll be
simplifying things, rather than going for realism.
| | 00:17 | My first thought when going to make the
belt might be to extract some of these
| | 00:20 | polys that are going around the waist.
| | 00:23 | Let me turn on Edged Faces to
show what I'm talking about.
| | 00:25 | So I can grab some of these polygons
right here around the waist of the pants;
| | 00:29 | however, the edge loops in
this area aren't evenly spaced.
| | 00:33 | If I were to extract these polygons,
the belt would have uneven height.
| | 00:37 | In this case, I'll first extract
from a piece that I know to be even.
| | 00:42 | The top edge of the pants where I extruded
inwards for thickness has a uniform width,
| | 00:47 | so let's select that ring of polys.
| | 00:49 | I'm going to go into Editable Poly mode and
go into Polygon mode, pick one of these,
| | 00:55 | and then Shift+Select one next to it.
| | 00:56 | Then we can extract
these into a separate object.
| | 01:00 | Go into move mode by hitting W and then
just Shift+Move them down a little bit.
| | 01:07 | And I want to clone them to a separate object.
| | 01:09 | I'll call this belt.
| | 01:11 | Now we need to scale it just a little bit
bigger so that it's larger than the pants.
| | 01:15 | We need to get out of Polygon mode and
then select the object that we just made.
| | 01:20 | Hit R to go into Scale mode.
| | 01:24 | Now when we extracted, it created a new
pivot point here at the center of the world.
| | 01:29 | So what I need to do is move this
pivot point so that it's more centered
| | 01:33 | around our belt objects.
| | 01:34 | So go into the Hierarchy panel here, Affect
Pivot Only, and we're going to center to object.
| | 01:40 | We can turn this off now.
| | 01:41 | Now right now we're ready to scale.
And now we'll to scale this out.
| | 01:54 | It looks like Max accidentally got in
a mode that I don't want it to be in.
| | 01:58 | The scale is set to Select and Squash.
| | 02:00 | So I'm just going to change this now to
the normal scaling mode so that it scales
| | 02:04 | uniformly in all directions.
| | 02:06 | I'll just make this a little bit bigger.
And it looks like I might want to move
| | 02:12 | it back a little bit too.
| | 02:13 | Let's see how this looks all
the way around. Pretty good.
| | 02:20 | This is going to be the top edge of the belt.
| | 02:22 | Now to get the height of the belt.
| | 02:24 | I'll get that by using a Shell Modifier.
| | 02:27 | The Shell Modifier takes any polygon
surface and basically extrudes the whole
| | 02:31 | thing to give it a thickness.
| | 02:32 | So I'll find Shell in here. And it looks
like it shot it up in the wrong direction,
| | 02:41 | so let's go into the parameters here.
| | 02:43 | Let's bring the Outer Amount all the
way down to 0. And actually we want to make
| | 02:49 | the shell go in the other direction,
| | 02:50 | so I'm just going to bring up Inner
Amount and go ahead and set it to a height
| | 02:55 | that basically looks good for a belt.
| | 02:57 | That's pretty good.
| | 02:58 | Let's tweak the shape of this so that
it fits the pants a little bit better.
| | 03:02 | I want to lock in the Shell Modifier,
| | 03:04 | so let's convert it to an editable poly.
| | 03:08 | Now I can go into Polygon mode and select
the ring of polygons around the bottom edge.
| | 03:12 | So I'm going to select one and
then Shift+Select one next to it.
| | 03:18 | Now I can move this forwards or
backwards or however I need to to get it to
| | 03:22 | fit the pants better.
| | 03:24 | So it looks like I might need to
scale a little bit in this direction and
| | 03:31 | actually maybe widen it a bit too.
| | 03:45 | There may be some places where the
pants are poking through the belt or the
| | 03:48 | belt through the pants.
| | 03:50 | This would be a good place where you
could go use the Paint Deform tools to push
| | 03:54 | the pants in a little bit so that
they're not intersecting with the belt.
| | 03:57 | For now I'm just going to put it a
TurboSmooth on the belt to see what it
| | 04:00 | looks like smoothed out.
| | 04:01 | So let's get out of Polygon
mode and go get the TurboSmooth.
| | 04:09 | It looks like the belt rounds out a little
too much and gets kind of soft and mushy.
| | 04:13 | We can fix that by adding some
holding edges like we did with the fingers.
| | 04:16 | So I'm going to go back into Editable
Poly, and let's go grab the Swift Loop tool.
| | 04:23 | I just want to insert some edge loops
towards the top and the bottom and then
| | 04:30 | also on the inside of the belt.
| | 04:32 | So actually, I just zoomed in really
close here, and we can through in some loops
| | 04:35 | on the inside and right-click to lock that in.
| | 04:42 | Now let's see what happens
when we show the end result.
| | 04:45 | So we're getting a much
tighter edge here on the belt.
| | 04:49 | Now to do the belt buckle. There are lots of
buckle designs and shapes we could go with.
| | 04:55 | Now that you've got a lot of modeling
techniques under your own belt, you can try
| | 04:58 | flying solo and make a
buckle that's all your own.
| | 05:01 | You could extract the belt, you could
start from a new box or a sphere, or you
| | 05:05 | could combine different methods.
| | 05:07 | This is a good chance to practice what
you've learned so far and try something new.
| | 05:11 | So let's zoom out and see what this
belt looks like. It's looking good.
| | 05:16 | We extracted the polygons of the belt
from a place of known thickness and then
| | 05:21 | used the Shell Modifier to add uniform height.
| | 05:24 | Now we've got a belt that doesn't have
any of the waviness that we would have
| | 05:27 | got from simply extracting off the pants.
| | Collapse this transcript |
| Making the belt loops| 00:00 | All right, on to the belt loops.
| | 00:02 | I am going to use some more
extracts and Shell Modifiers here.
| | 00:05 | There are also some fancy tricks
that you can use to fix pivot points and
| | 00:09 | rotations that get out of control.
| | 00:11 | We'll be basing the belt loops off of the belt.
| | 00:14 | Let's zoom in on it and select it.
| | 00:15 | Let's turn on the Edged Faces so
we can see what we are doing better.
| | 00:21 | I am going to go into its editable poly
and select Polygon mode, and let's just
| | 00:27 | Ctrl+Select some of these polygons
from top to bottom here on the belt.
| | 00:31 | I'll use Shift+Move to
extract these polygons into a new object,
| | 00:37 | but first I want to make sure that the
movement is constrained to the surface normal.
| | 00:41 | So let's go back down to Edit Geometry
and set the Constraints to Normal. Okay,
| | 00:48 | it's already there, so that's good.
| | 00:49 | And let's just go into Move mode
and hold down Shift while we move it.
| | 00:54 | All right, so it's pulling a
new object up off the belt.
| | 00:59 | Let's clone to a new object,
and we'll call it loop. Okay, that's set.
| | 01:06 | Now to give it some thickness with
Shell. I am going to get out of the belt's
| | 01:11 | Polygon mode, so we can select this
new belt loop. And let's go up to the
| | 01:16 | Modifiers and pick Shell.
| | 01:21 | And it looks like it's
already giving a pretty good result.
| | 01:24 | I am just going to change the Inner
Amount to something lower, something a
| | 01:28 | bit more like that.
| | 01:30 | Okay, now to tweak the shape a little.
It's a bit too wide for a belt loop,
| | 01:35 | so let's lock in the Shell Modifier
that we made: right-click, Convert To >
| | 01:39 | Editable Poly. And let's select
the polygons on the side now.
| | 01:44 | I am just going to Ctrl+Click all of them.
| | 01:46 | I am going to hit Z to zoom in on this,
and we'll just move these a little bit
| | 01:53 | closer to the other side of the belt loop here.
| | 01:56 | All right, that's looking pretty good.
| | 02:06 | Now let's put a
TurboSmooth on this to round it out.
| | 02:09 | I am going to get out of Polygon
mode here, and let's add the TurboSmooth.
| | 02:16 | Now let's make some copies of the
belt loop all the way around the pants.
| | 02:20 | So I am going to go into Move mode.
And it looks like we need to move the pivot
| | 02:27 | point up to the center of the belt loop,
| | 02:29 | so I am going to go into Hierarchy >
Affect Pivot Only and Center To Object.
| | 02:35 | And now we can go out of
the Affect Pivot Only mode.
| | 02:39 | We'll make all of the belt loops on one
side and then use symmetry to copy it
| | 02:42 | over to the other side.
| | 02:43 | So I am just going to
Shift+Move this one belt loop.
| | 02:46 | I'll just move it over here. And actually
let's make them instances so if I change
| | 02:51 | one the others change as well.
And let's make two copies.
| | 02:55 | Now it's just a simple matter of
moving these different loops around and
| | 03:00 | rotating them or whatever you need to do
to get them placed nicely on the pants.
| | 03:03 | I hit Z to zoom in on this.
| | 03:09 | It might be kind of messy, but I am just
going to rotate this and push it into place.
| | 03:13 | I am going to tweak this a little bit more.
| | 03:23 | There are just a few extra
adjustments I want to make.
| | 03:36 | And let me just take a look all the
way around, make sure that's working all
| | 03:45 | right. Okay, pretty good.
| | 03:46 | Let's do the other one.
| | 03:54 | Let's take a look at this from over here.
| | 04:00 | And I'll just keep refining this.
| | 04:08 | Okay, that one is pretty good too.
| | 04:10 | Now I want to combine all of
these loops into one object.
| | 04:14 | So let's lock in the
TurboSmooth for all of these.
| | 04:16 | I am going to right-click and Convert To >
Editable Poly on all three of these loops.
| | 04:30 | And now here in Editable
Poly let's go find Attach.
| | 04:34 | Let's click that and now
click on the other two belt loops.
| | 04:37 | Now they are all part of one object.
| | 04:40 | Now before we use Symmetry, there's
one problem we are going to have to fix.
| | 04:44 | Symmetry is based on the object's
pivot point, and since we've been moving and
| | 04:48 | rotating and making all kinds of
changes to the angle of these belt loops, the
| | 04:52 | symmetry will be all out of whack.
| | 04:54 | So we need to base the symmetry off of an
object that's already centered to the grid.
| | 04:58 | I am going to create a new primitive
that's centered in the middle of the grid.
| | 05:03 | So I am going to zoom out
here so I can see it better.
| | 05:05 | I am going to go to Create,
and let's just make a sphere.
| | 05:10 | I am going to hit S to turn on Snaps and
just grow the sphere right out of the middle.
| | 05:14 | It doesn't matter how big I make it.
| | 05:16 | Now I am going to right-click to lock
that in and hit S to turn off Snaps.
| | 05:22 | Now I want to convert this to an
editable poly, and I want to attach the
| | 05:27 | other belt loops to it.
| | 05:29 | So I've got Attach, and now I'll
just go click the belt loops.
| | 05:34 | So now, all of these belt loops are
part of the same object as the sphere.
| | 05:39 | Right-click to lock that in.
| | 05:40 | Now let's get the symmetry put on here.
| | 05:48 | By default, Symmetry goes from the
left side of the character to the right
| | 05:52 | side, but we built the loops on the right side,
so we are going to need to flip this around.
| | 05:56 | So in the Symmetry Settings click on Flip.
| | 06:00 | Now it's going to do it the other
direction like we want it to. Great!
| | 06:03 | Let's lock all of this in by
converting to editable poly.
| | 06:06 | Let's go into Element mode so that we
can select just the sphere, and delete it,
| | 06:13 | because we don't need that anymore.
| | 06:15 | And now we are done with the belt loops.
| | 06:17 | Along with some practice of things
you've already learned, this movie covers a
| | 06:21 | cool trick that can help you get out of a jam.
| | 06:23 | There will be lots of times when an
object has been rotated and you'll need to
| | 06:27 | reset its orientation to
be in line with the grid.
| | 06:29 | Using the techniques shown in this
video will really prevent a lot of
| | 06:32 | headaches when models get complicated.
| | Collapse this transcript |
| Creating the shirt| 00:00 | Modeling clothing based on the body
is quick and easy, like we saw in the
| | 00:03 | previous video on the pants,
| | 00:05 | but what if the article of clothing
doesn't match the geometry of the body?
| | 00:09 | In this video, I will show you some
ways of modifying the initial clothing
| | 00:12 | creation for other styles.
| | 00:15 | Let's look at the Hank concept art.
| | 00:16 | I am going to go into the side
view here and zoom out a little bit.
| | 00:20 | He is wearing a tight-fitting
tank top that's a good candidate for
| | 00:25 | extracting from the body.
| | 00:26 | Although the neckline of the shirt
closely matches the edge loops on Hank's
| | 00:30 | neck, the sleeveless cut of the shirt
doesn't follow the geometry of the body at all.
| | 00:34 | I will be using a cutting tool to cut
that sleeveless edge, but first let's just
| | 00:39 | extract the shirt as if
it were a typical T-shirt.
| | 00:42 | I am going to go into Perspective view
here, and let's turn on Edged Faces, so
| | 00:47 | we can see what we are doing.
| | 00:48 | I am going to select a ring of polygons
just underneath the pectoral muscles and
| | 00:53 | grow the selection until it looks like a shirt.
| | 00:55 | So I am going to select one and then
Shift+Select the one next to it, and let's grow
| | 01:03 | the selection to see what happens.
| | 01:04 | You may have to experiment with just
the right row of polygons to start with.
| | 01:15 | I will just grow it one more time.
| | 01:17 | Okay, now we are going to extract
these polygons off of the body like we
| | 01:21 | did with the pants.
| | 01:22 | Let's go down to Edit Geometry and make
sure that it's set to Normal. Okay, it is.
| | 01:28 | Let's now use the Move tool
to pull this off of the body.
| | 01:31 | I am going to hold down Shift
while I move this, too. All right!
| | 01:35 | And we will just expand it out a
little bit. And let's call this shirt.
| | 01:42 | If we were making a regular T-shirt,
we would almost be done by now, but let's
| | 01:46 | practice with a tool called Quick Slice.
| | 01:49 | Okay, let me get out of the body's Polygon
Selection mode, so we can go into the shirt.
| | 01:54 | Now I want to make sure that any
cutting I do to one side of the shirt
| | 01:57 | happens to the other,
| | 01:58 | so let's put a Symmetry modifier on
this. And I want to make sure that it didn't
| | 02:06 | accidentally weld anything
I don't want to be welded.
| | 02:11 | Okay, it looks pretty clean.
| | 02:12 | If I crank up the Threshold then you
see we have problems, but it looks like at
| | 02:16 | 0.1 it's doing a good job.
| | 02:17 | I also want to hide
everything except the shirt for now,
| | 02:23 | so I am just going to drag over
everything and then Alt+Click on the shirt and
| | 02:28 | right-click, and we will go to Hide Selected.
| | 02:31 | I am also going to make the shirt
see-through so that I can see the
| | 02:35 | reference through it.
| | 02:42 | Now to go into the front view. And it
looks like this view is set to Wireframe,
| | 02:50 | so let me go to just change this to
Shaded so that we can see the reference.
| | 02:54 | Now I would start making
this cut we are talking about.
| | 02:56 | I want to change it from Shaded to Edged
Faces, and let's go down to Editable Poly.
| | 03:03 | Now let's use Quick Slice.
| | 03:05 | I'm going to go into Edit and select Quick Slice.
| | 03:08 | What this is going to do is draw a line
on the model and then cut every single
| | 03:13 | polygon along that line.
| | 03:15 | So what I want to do is see where
the line of the shirt is here on the
| | 03:19 | reference and then just click once and
then drag and then click a second time
| | 03:24 | along that line and then right-
click to lock it in. All right!
| | 03:28 | Let's look in the Perspective
view and see what happened here.
| | 03:30 | I want to turn on the end result so we
can see that cut on both sides, and I am
| | 03:37 | actually going to turn off See-Through.
| | 03:42 | Okay, so you can see that Quick Slice
created this new cut all the way through the model.
| | 03:47 | Now let's go into Edge mode.
| | 03:51 | Edge mode automatically selects the
last edge that was created, whether it's
| | 03:54 | through Quick Slice or Swift Loop.
| | 03:57 | I am just going to hit
Delete to get rid of that.
| | 03:59 | It might be a bug in Max, but for some
reason it also looks like it's selecting
| | 04:03 | the centerline, but it's not really. It's okay.
| | 04:06 | Now the sleeves are a separate object,
so I can go into Element mode and just
| | 04:10 | select the sleeve and delete it.
| | 04:12 | As it is, this edge is pretty ragged,
so let's straighten it out a bit.
| | 04:16 | I am going to go into the Border Edge
Selection mode, and select this border edge.
| | 04:20 | I am going to start moving and scaling
this around, so I want to make sure that
| | 04:25 | my Constraint is set to
None, rather than Normal.
| | 04:27 | Then I am going to use
Scale to flatten this out.
| | 04:30 | So I just hit R, and I am just going to
scale in one axis until it all flattens out.
| | 04:40 | And let's look at this in the front view
so we can line it up with the reference.
| | 04:43 | It looks like I might need to
move and rotate it a little bit.
| | 04:46 | Okay, that's looking pretty good.
| | 05:01 | Let's get out of Border Select mode and
go to Vertex mode, and I want to go into
| | 05:06 | Perspective view for this.
| | 05:11 | Another thing we need to clean
up now is some stray vertices.
| | 05:14 | When we flattened that border edge some
polys effectively turned into triangles
| | 05:19 | with verts left along the edge.
| | 05:20 | So you can see there are some stray
vertices, like right here, like right here and here.
| | 05:26 | We just need to get rid of those.
| | 05:27 | So I'm going to Ctrl+Select all of these
stray vertices, and then we will remove them.
| | 05:37 | And let's click on this and just click here.
| | 05:43 | Now I will just go into
Vertices and click Remove.
| | 05:54 | Let's take a step back and
see what this looks like.
| | 05:59 | Okay, it looks like a few things might
need some tweaking to look a little bit
| | 06:02 | nicer, but for most part, that's pretty good.
| | 06:05 | Now let's unhide the rest of the
character and see how the shirt fits.
| | 06:09 | I am going to get out of Vertex mode
and just right-click in the viewport
| | 06:13 | and go to Unhide All.
| | 06:16 | It looks like there's one little place up
by the shoulder where the shirt is poking
| | 06:19 | through the body. For the most,
the rest of it looks pretty good.
| | 06:22 | I will just go into Vertex mode
and use Soft Select to fix that up.
| | 06:27 | I am going to tweak this a little bit
more, and I will go ahead and fix this area
| | 06:41 | that got a little weird
down here. Okay, not bad.
| | 06:54 | Let's check out the bottom of the shirt.
| | 06:56 | It looks like I could get it tucking
into the pants a little bit better.
| | 07:00 | I am going to use Soft Select and the
Move tool to kind of tuck this in. Pretty
| | 07:13 | much all the way around the shirt,
it could be tucked in better.
| | 07:20 | Let's take a look at this from over here.
| | 07:21 | You might have to do a little bit of back
and forth in adjusting the Soft Select to
| | 07:33 | get just the area that you
want to move. Okay, great!
| | 07:45 | Now the shirt is between the body and the
pants, just like it would be in real life.
| | 07:51 | Finally, we need to give the
shirt the appearance of thickness.
| | 07:53 | I am going to go into Border
Edge mode and select the collar.
| | 08:02 | We can turn off Soft Select for this.
And I am going to hold down Shift as I
| | 08:09 | move this down, and maybe I
will scale it a little bit too.
| | 08:23 | And now I am just going to extrude that
edge one more time so that the thickness
| | 08:27 | kind of curls around to the inside.
| | 08:28 | So I am going to go into Scale mode and
hold down Shift while I scale. And now I
| | 08:34 | will just move that down a little bit too.
| | 08:36 | It doesn't have to be terribly precise.
| | 08:39 | Okay, that's pretty good.
| | 08:42 | It looks like there is one little
issue where the Symmetry is merging some
| | 08:46 | things that shouldn't be merged,
| | 08:47 | so I am going to go to the threshold, bring
that down a little bit so I fix that problem.
| | 08:51 | Okay, back to Editable Poly.
| | 08:54 | Now to do the same thing for the
cutoff sleeve. I am going to go into Scale
| | 09:00 | mode, hold down Shift, and just scale this
in a little bit. And I will go into Move
| | 09:07 | mode and Shift+Move one more time.
| | 09:12 | So there is some more tweaking that you
could do to get that shirt looking just
| | 09:16 | right, but it would take a while,
and it would be kind of boring to watch.
| | 09:19 | Along with practicing some techniques
from before, like Shell, Symmetry, and
| | 09:23 | extracting, we also learned a few
tips and tricks when it comes to cutting
| | 09:26 | existing models to form different shapes.
| | 09:29 | These methods can really be
useful in all kinds of situations.
| | Collapse this transcript |
| Making the shoes| 00:00 | Modeling the shoes is a good
exercise in creating hard-surface objects.
| | 00:05 | Those are objects that require a
certain precision, or edge hardness, and can be
| | 00:09 | tricky because you have to be a lot
more careful with their construction.
| | 00:13 | Organic objects like characters and clothing
can get away with varying levels of imperfection;
| | 00:18 | however, many manufactured objects
need to be made with a close attention to
| | 00:22 | surface and the edge quality, so
that they don't appear soft or mushy.
| | 00:26 | As before, we can build a shoe with
polygons borrowed from the body, but first
| | 00:31 | let's shape the foot a little bit
so that it fits better in the shoe.
| | 00:35 | For one, the bottom of the shoe is
flat, and the foot has weight on it, so it
| | 00:39 | should be flat as well.
| | 00:40 | I am going to select the body, and let's
make sure we can see all the edged faces.
| | 00:46 | And I also want to put a Symmetry
Modifier on it so that the changes we make to
| | 00:50 | one side of the body will happen to the other.
| | 00:56 | And every time I put a Symmetry on
I want to make sure that it didn't
| | 00:59 | unintentionally weld any verts.
| | 01:01 | You can see that there are some
vertices close to each other in the face and
| | 01:04 | they're getting merged together.
| | 01:05 | So I am just going to bring this
threshold down till that problem goes away.
| | 01:12 | If you don't check for things like this
and then you collapse the object to an
| | 01:16 | editable poly, it will lock in all of
those welds, and it's going to be a lot of
| | 01:20 | work to undo that and go and
re-cut that to make it all better.
| | 01:24 | So I always find it beneficial
to check that before I move on.
| | 01:29 | Okay, let's go down to
Editable Poly and check out the feet.
| | 01:32 | I am going to hit Alt+W
and go into the side view.
| | 01:40 | I want to drag a selection across a lot of
these polygons on the bottom of the foot,
| | 01:45 | so I am just going to drag
and then unselect with Alt.
| | 01:51 | And let's go back to
Perspective view and see if we missed any.
| | 01:54 | Okay, it looks like there is some
polygons right here to clean up.
| | 01:57 | I am just going to
Alt+Click+Drag. All right!
| | 02:06 | That's looking good.
| | 02:06 | I also want to turn on end result to
make sure that we are seeing the same
| | 02:10 | thing on both sides.
| | 02:11 | Now that we have got the selection
made, I am going to hit R to go into Scale
| | 02:14 | mode and just scale this
vertically so it flattens out.
| | 02:22 | In the concept art Hank is
wearing a work boot with a heel,
| | 02:25 | so we need to make the toes
drop a little lower than the heel.
| | 02:28 | I am going to go into the Vertex mode here
and select some of the verts along the toe.
| | 02:34 | Maybe I will grow that just a little bit more.
| | 02:41 | Okay, now I am going to turn on soft
selection, and let's drop this value down so
| | 02:48 | it's not selecting quite so much.
| | 02:49 | I just want the soft selection to go
pretty much just in between the toe part of
| | 02:54 | the shoe and the heel.
| | 02:56 | And now I can just go into Move mode
and let's see what happens. Okay, great!
| | 03:00 | Now we have got space for a heel here.
| | 03:04 | Before moving on, let's hide everything
but the body so that the pants don't
| | 03:07 | get in the way while we model the boot.
| | 03:09 | I am going to turn off Soft Select here,
and I am going to get out of Vertex mode,
| | 03:14 | and let's select the pants.
| | 03:16 | I'm going to right-click and Hide Selection.
| | 03:18 | I am going to go into Editable Poly
now on our Hank body, and let's select all
| | 03:25 | the polygons where the boot should be.
| | 03:27 | So I am going to go into Polygon mode here.
And it looks like we have already got some selected,
| | 03:32 | so I am just going to grow that selection.
| | 03:38 | Now let's extract these polygons off the body.
| | 03:41 | So I am going to go down to Edit
Geometry and make sure that we have got it set
| | 03:45 | to Normal, because we want to
pull these away from the body.
| | 03:48 | Now I am going to hold down Shift
while I move and pull the boots up off the
| | 03:53 | body. And let's clone this to a separate object.
| | 03:56 | We will call it boot.
| | 03:58 | Let me just take a look around this boot
to make sure there is no problems with it.
| | 04:02 | Okay, that looks pretty good.
| | 04:02 | I also want to take a look underneath
just to make sure everything is okay on this.
| | 04:11 | I am going to get out of Polygon mode,
and I am going to hit Z to zoom in on the boot.
| | 04:24 | Okay, everything looks ready to go.
| | 04:26 | Next, we are going to extrude the sole
from the bottom of what we already have.
| | 04:30 | So go ahead and select the
flat polygons under the shoe.
| | 04:33 | I am going to go into Edit Poly mode
and select Polygon, and let's look at
| | 04:39 | this from underneath.
| | 04:40 | I want to select all of these
polygons here on the bottom.
| | 04:46 | I could get select them all one at a
time, but I am going to do something to
| | 04:48 | speed it up a little bit.
| | 04:49 | I am just going to select, holding down
Ctrl, and just select some of these along
| | 04:54 | here, and then I will grow the
selection and see how this works.
| | 05:04 | And it looks like I am still going to
have to select some by hand. All right!
| | 05:07 | Now we are ready to extrude the sole.
| | 05:12 | Let's actually use Bevel. And I want to use the
options here so I can control it more easily.
| | 05:20 | Now, that was a little bit out of control.
| | 05:22 | Let's bring that way down.
| | 05:23 | I am going to change the
height so it's much less pronounced.
| | 05:28 | Actually what I want to do is let's
bring all of these to 0 actually so we
| | 05:31 | are starting fresh.
| | 05:32 | What I want to have the sole do is expand
outwards a little bit before it drops down.
| | 05:42 | So let's change this to a reasonable number.
| | 05:48 | Actually let's set it to 0 and
then just click once here so we get a
| | 05:52 | really precise amount.
| | 05:53 | Let's see, maybe about 0.04 is good. All right!
| | 06:00 | Let's Apply and Continue so
that we can make another bevel.
| | 06:04 | This time I want it to drop
down without expanding out at all,
| | 06:07 | so I am going to drop this to 0
and start bringing up this value.
| | 06:17 | That looks about good.
| | 06:19 | Okay, let's lock in those changes.
| | 06:21 | Now to bring down the heel.
| | 06:22 | I am going to deselect
everything except the heel.
| | 06:26 | So I want to hold down Alt while I
drag a selection over this. Maybe I
| | 06:34 | deselected a bit too much,
make it this. All right!
| | 06:36 | That should make for a good heel.
| | 06:40 | I am going to go back into Bevel with
the options here. And it remembered the
| | 06:45 | same settings that I extruded down before,
| | 06:48 | so that actually brings up down to
about the same level so that's good.
| | 06:51 | I will just leave it there. All right!
| | 06:52 | Let's lock that in.
| | 06:54 | Now I have got something
that's recognizable as a boot.
| | 06:56 | Let's put a TurboSmooth on
here and see what that does.
| | 06:59 | I am going to get out of Polygon
mode and go get our TurboSmooth.
| | 07:06 | As you can see, the sole which should be hard
and sharply defined now look soft and doughy.
| | 07:12 | Let's use some holding edges
to control that edge quality.
| | 07:16 | We've been using Swift Loop until
now for this kind of job, but let's do
| | 07:19 | something different.
| | 07:20 | Let me go back to Editable Poly
mode, and let's go into Edge mode.
| | 07:24 | What I want to do is select all
of the edges that should be hard.
| | 07:28 | So I want to pick this one and
Shift+Click the one next to it and then
| | 07:35 | Ctrl+Click this one and then Shift+
Click the one next to it and just keep doing
| | 07:39 | this until I have selected all of
these edges that should be hard.
| | 07:43 | Let me look around, see if I missed anything.
| | 07:46 | Need this one here.
| | 07:48 | Oh, actually I don't need
to do this one around here.
| | 07:57 | I am going to hold down Alt
while I click around here. Okay, Good!
| | 08:03 | In our Edge Selection mode there
should be a button called Chamfer.
| | 08:08 | Let's go find that. All right!
Here it is Chamfer.
| | 08:10 | I'm going to do it with options
so we can see what happens.
| | 08:13 | Now that's a little bit crazy.
Let's set everything to 0, just so we can start
| | 08:19 | from a fresh perspective.
And then let's slowly bring this up.
| | 08:35 | Actually, that's still way too much.
| | 08:37 | I can actually type in a number
that's even smaller than that.
| | 08:39 | I am going to type in
0.004 and see what that does.
| | 08:43 | Okay, let's zoom in.
| | 08:48 | That's actually pretty nice and tight.
| | 08:49 | I kind of like that.
| | 08:50 | What Chamfer is doing is it's simply
takes the edges that you have selected and
| | 08:54 | splits them into two.
| | 08:56 | The smaller the number the closer
together the two split edges will be, and the
| | 09:01 | closer together they are the
sharper the edge when it's smoothed.
| | 09:05 | Okay, let's lock that in.
| | 09:06 | Okay, let's turn on the end result and
see what that looks like with TurboSmooth.
| | 09:12 | I'm also going to turn off Edged
Faces because those are just getting in the way
| | 09:16 | right now. And let's get out
of Edge mode. All right! Great!
| | 09:21 | That's looking pretty nice.
| | 09:22 | We are almost done.
| | 09:25 | I'm not worried about editing the top
of the boot because it's going to be
| | 09:28 | covered by the pants,
but let's get the boot mirrored over.
| | 09:32 | And actually we extracted two boots,
but it wasn't doing symmetry so I will just
| | 09:36 | go into Element mode and
select this boot and delete it.
| | 09:39 | Now we will just use
Symmetry to get it mirrored over.
| | 09:42 | Let's get out of Editable Poly Element
mode and then put on a Symmetry Modifier.
| | 09:47 | All right! Great!
| | 09:52 | And the pivot point was already in the
center, so we don't even have to worry about that.
| | 09:56 | Let's show Edged Faces because I want
to collapse this to an editable poly.
| | 10:02 | Let's turn off that so we don't lock
in the TurboSmooth when we do this, and
| | 10:08 | I'll just go to Convert To > Editable Poly.
| | 10:12 | And let's break off the two
boots into separate objects.
| | 10:15 | So I am going to go into Element mode
and select one of the boots. And let's see.
| | 10:19 | Let's go find Detach,
and let's call this bootRight.
| | 10:29 | Let's get out of Element mode here on this
one, and we will call the other one bootLeft.
| | 10:36 | One last thing.
| | 10:37 | The boots might be sticking through the
pants a little bit, so let's unhide the
| | 10:40 | pants and fix any problems that we have.
| | 10:42 | I am just going to
right-click anywhere and Unhide All.
| | 10:50 | Okay, so there are a few problems with that.
| | 10:52 | Let's just go to the pants and use Soft
Select to push and pull these pants away
| | 10:56 | from the boot a little bit.
| | 10:57 | I will go into Editable Poly and
picking Vertex, and let's go to Soft Select.
| | 11:16 | And we will just move this a little bit
so it's not intersecting the boot.
| | 11:43 | Great! Just go ahead and do the
same thing on the other side.
| | 11:46 | Lots of situations require hard
edges with a precise corner.
| | 11:50 | The skills you learned while making
this boot, such as beveling, holding edges,
| | 11:54 | and flattening surfaces, will come in
handy in all kinds of situations like this.
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|
|
6. Finishing the ModelPutting on the finishing touches| 00:00 | 3D models are one of the first
things created in a CG pipeline.
| | 00:04 | Everything from texturing to rigging,
to animation, to rendering is affected by
| | 00:09 | how the model is created.
| | 00:11 | Small little problems in a model can cause
bigger problems for other people down the road.
| | 00:16 | As a character modeler, you want to
minimize the number of times that people
| | 00:19 | later in the pipeline come knocking at
your door asking you to make changes.
| | 00:23 | For that reason, I made this video about
how to clean up problem areas in your models.
| | 00:27 | Depending on who you're working for
and what kind of pipeline they have, there
| | 00:31 | may be different expectations as
to what a good model should be like.
| | 00:35 | However, there are a few things
that are common to virtually all 3D
| | 00:38 | projects. One thing that is a must for
character models is removal of all six-pointed stars.
| | 00:44 | Let's get up close to the face
and see what I am talking about.
| | 00:46 | I'm going to click on Hank and zoom in on the face.
| | 00:50 | I want to show Edged Faces,
so we can see what's going on.
| | 00:55 | Right here on the cheek, this is
what's called a six-pointed star.
| | 00:58 | That's because there are six edges
leading into one single vertex right here.
| | 01:03 | These are sometimes caused by extruding
from two different adjoining polygons.
| | 01:07 | This star is at the corner of where the
eye flow zone and the mouth flow zone meet.
| | 01:14 | Stars are a problem because when the
character is rigged, this one vertex will
| | 01:18 | have a huge influence
over this whole cheek area.
| | 01:21 | That can result in weird stretching,
pinching, or other undesirable effects.
| | 01:26 | So let's get this one cleaned up.
| | 01:28 | What we want to do is remove some of
these edges that are running through this
| | 01:31 | vertex, but we also want to keep some of them.
| | 01:35 | Figure out which edges are most important
to the overall edge flow of the character.
| | 01:39 | So for this character, I think that
the most important edge is this one
| | 01:43 | that runs right here.
| | 01:44 | Now, it might be different on your model.
| | 01:46 | It could be different in any other
part of the body. And maybe this one isn't
| | 01:52 | the one most important; maybe there are
two that are kind of equally important.
| | 01:55 | But for the sake of this exercise, I am
just going to keep this edge right here
| | 01:58 | and remove these two and these two.
| | 02:01 | So let's go into Editable Poly, and I
am going to select Edges. And let's just
| | 02:08 | go in here and select these four edges on
either side of the one that I want to keep.
| | 02:12 | All right! Let's go up to the Edges menu here
in the Graphite Modeling Tools and click Remove.
| | 02:19 | Now what I want to do is cut new edges
that bridge across from one side to the other.
| | 02:25 | Let's see how this is going to work.
| | 02:26 | Let's go into Edit and get the Cut tool.
| | 02:29 | I am just going to click here
and across to here and here and then
| | 02:37 | right-click to lock that in.
| | 02:38 | Now, there is a vertex
that's hiding out right here.
| | 02:41 | It's kind of hard to see, but if we move
the mouse over it, it turns this little
| | 02:44 | icon which tells us that
there's a vertex to click on.
| | 02:47 | So we are going to cut from here to
this vertex and then over here and
| | 02:53 | right-click to lock that in and then
one more time from here across the center
| | 02:57 | and over to here and right-click to lock it in.
| | 03:00 | Okay, let's get out of Edge mode and
turn on the final result so we can see what
| | 03:05 | this TurboSmooth is doing.
| | 03:06 | Okay, there are no problems.
| | 03:08 | Sometimes the Cut tool will
accidentally create more vertices than you need, so
| | 03:12 | you might have to fix up some things in
there, but it's actually looking pretty good.
| | 03:16 | Let's actually tweak a few things, though.
| | 03:18 | There's kind of a weird little curve right here.
| | 03:20 | So if I reposition some of these
vertices, that might help fix that. And it
| | 03:26 | looks like I've accidentally
got Normal Constraint turned on,
| | 03:30 | so let's go down here to Edit
Geometry and set it to None. Okay.
| | 03:35 | Now, when I move this, it should be
able to more freely. Okay, great!
| | 03:40 | So that's how to fix six-pointed stars.
| | 03:43 | You might find that after doing all of this
that you picked the wrong edge to keep.
| | 03:47 | Just undo everything and go back and
experiment with keeping different edges
| | 03:51 | and cutting across at different angles.
| | 03:53 | Another finishing step is to delete any
unnecessary objects, like image planes.
| | 03:58 | So let's get out of Vertex
mode here. I will zoom out.
| | 04:02 | So we've got these image planes.
| | 04:04 | They are frozen currently,
| | 04:05 | so we need to unfreeze them and
delete them, because we don't really want to
| | 04:09 | pass these image planes on to anybody else.
| | 04:11 | They don't need it.
| | 04:11 | So I am going to right-click and unfreeze all.
| | 04:15 | Now we can just select that
image plane and delete it.
| | 04:18 | You'll also want to see if there are
any curves left over from creating hair,
| | 04:23 | or if there are any objects that were used to
help make other things but are no longer needed.
| | 04:28 | You want to clean out anything that doesn't
need to go on to the next step in the pipeline.
| | 04:32 | So I think everything is pretty
clean with our character Hank.
| | 04:35 | Let's just see if there are any stray things.
| | 04:37 | Let's go into Wireframe mode so we
can see through these hair clumps.
| | 04:40 | I am pretty sure those NURBS curves were
cleaned out when we converted them to geometry.
| | 04:46 | So that happens automatically, and I
don't think there's anything else on this
| | 04:49 | character to clean up.
| | 04:50 | Something else that you want
to do is give everything a name.
| | 04:53 | Sometimes projects require
very specific naming conventions.
| | 04:57 | But even for more laid-back projects,
objects should be given intuitive names to
| | 05:02 | help keep things organized.
| | 05:03 | So let's click on the hair.
| | 05:05 | It's called hairtemp.
| | 05:06 | Let's actually just call that hair.
| | 05:10 | Let's see. Hank is called hanktemp.
| | 05:12 | Let's just call him Hank. So on and so forth,
just see if there's anything that needs a name.
| | 05:19 | It looks like we did a pretty
good job throughout modeling this to
| | 05:25 | give everything names.
| | 05:27 | Finally, you want to make sure that
any mirrored objects get split into
| | 05:31 | two separate objects.
| | 05:32 | We did a pretty good job of that as
well throughout the modeling process of
| | 05:35 | breaking objects into two, say,
for example, the eyebrows:
| | 05:38 | when we made one and used symmetry,
we broke them into two, so that's good.
| | 05:43 | Although these steps can feel like
busywork, it's good to just get used to
| | 05:47 | checking them off your
list every time you model.
| | 05:49 | These are some of the most common
problems that people later in the pipeline
| | 05:52 | will have trouble with,
| | 05:54 | so it's best to take care of
them before they ever see the model.
| | 05:57 | Not only is this important to do to
make the model look its best, it also helps
| | 06:01 | keep your colleagues happy because
everything is all neat and tidy for them when
| | 06:05 | they continue to work on it.
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| Thinking about artistic appeal| 00:00 | Whether you're designing your
character yourself or you are basing it on an
| | 00:03 | existing concept, there are some ways of
thinking about the shapes that can help
| | 00:07 | you with the character's artistic appeal.
| | 00:10 | What I want to show you is that there
are some principles of good appealing
| | 00:13 | character modeling that can really help
create the best-looking model that you can make.
| | 00:17 | When it comes to the artistry, don't
think in terms of rules, because rules
| | 00:21 | will always be broken.
| | 00:22 | These are principles to keep in mind in
order to guide the way you think about the model.
| | 00:26 | The first thing I want to
talk about is silhouette.
| | 00:29 | What does a character look like in silhouette?
| | 00:31 | Does the character read in silhouette?
| | 00:34 | The audience often has only a few
seconds to see a character on the screen and
| | 00:38 | won't be able to take in all the details.
| | 00:40 | A well-defined silhouette will help
the viewer to instantly recognize the
| | 00:43 | character by the overall shape.
| | 00:45 | So, one way that you can really get a
good sense of the silhouette is by turning
| | 00:49 | on Consistent Colors.
| | 00:51 | I am also going to turn off Edged Faces.
| | 00:54 | So in Consistent Colors mode it turns
off all of the shading and you just see
| | 00:58 | the overall shape of the character.
| | 00:59 | It really helps you to be able
to focus on just the outline.
| | 01:03 | So you can see we have the different
parts of the body, like the shoulder.
| | 01:07 | Different anatomical
structures are reading in silhouette.
| | 01:11 | You should be able to look at his
character from any different angle and
| | 01:15 | instantly recognize that it's this character and
not any other character, just by the silhouette.
| | 01:20 | Okay, let's put it back in Shaded mode.
| | 01:23 | Another principle is simplicity.
| | 01:26 | Ask yourself, when adding detail,
form, or shape, is this necessary?
| | 01:30 | What is it adding to the
design of the character?
| | 01:33 | Is the design as good or better without it?
| | 01:36 | Sometimes you might want to think, less is more.
| | 01:38 | Don't just add things because it looks cool;
| | 01:40 | add things because without it
the design would be less effective.
| | 01:44 | So for example, with Hank, we could
have gone and put all kinds of muscle
| | 01:48 | detail in here and just made him totally ripped,
| | 01:51 | but that would take away from the overall
simplistic cartoony nature of his design.
| | 01:56 | One of the most important focus points
of the Hank character is the fact that he
| | 02:00 | has got this giant, huge upper torso.
| | 02:03 | So if we went and put extra detail in
places like the abs, or really made him
| | 02:08 | have really detailed hands, that might
distract from the fact that he just has a
| | 02:12 | really big torso and that's an
important part of his design.
| | 02:15 | A related principle is focus.
| | 02:17 | You want to think about the
features that are most important to the
| | 02:20 | character and emphasize them.
| | 02:22 | You can also deemphasize the
things that aren't important.
| | 02:25 | If everything is given
importance then nothing is important.
| | 02:29 | You want to give the character a
focal point, a hierarchy of importance.
| | 02:33 | You might want to ask yourself, what
feature of the face is most important?
| | 02:36 | So, for example, on Hank, I think his
most important feature is his giant jaw.
| | 02:41 | By making other parts of the face
smaller, it emphasizes how large his jaw is.
| | 02:46 | So his eyes are relatively small
and his ears are relatively small.
| | 02:50 | You should be able let some parts of
your model be the star of the show and
| | 02:53 | other parts can take a backseat.
| | 02:55 | The last principle I
want to talk about is rhythm.
| | 02:58 | You should be able to look at the
different forms of the model and see a
| | 03:02 | rhythm to their forms.
| | 03:04 | So for example, looking at the pec
muscles you see there is kind of this
| | 03:07 | curving shape, and it comes up to the
shoulder, and there is just this undulation
| | 03:12 | and a rhythm to the forms as
they move along the character.
| | 03:16 | Cartoony models
especially can be compared to cars.
| | 03:19 | Because especially in modern cars,
there is a rhythm to those as well.
| | 03:23 | The surface of the car is designed to be
impeccably smooth and then the surfaces
| | 03:27 | are punctuated with crisp edges and sharp lines.
| | 03:30 | Cartoony characters especially can
benefit from this way of thinking.
| | 03:34 | As you get more experienced to
character modeling, you'll find yourself
| | 03:37 | automatically drawing on
these principles as you work.
| | 03:40 | It will become second nature to
evaluate the forms as you model them and ask
| | 03:44 | yourself if these artistic principles
could guide you to improve the character.
| | 03:48 | Don't get frustrated if at first the
model isn't coming out the way you hoped;
| | 03:52 | this is a skill that can
be learned with practice.
| | 03:54 | Important thing is to keep trying and
you'll keep improving over the course
| | 03:58 | of time.
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| Recapping the most important concepts| 00:00 | Sadly, we are the end of the
modeling portion of this course.
| | 00:03 | I just want to recap some things that
are most important to take away while it's
| | 00:07 | still fresh in your mind.
| | 00:09 | These are the general concepts that
won't change unless the technology
| | 00:12 | drastically changes.
| | 00:13 | They also don't change
from software to software.
| | 00:16 | 3D polygonal modeling uses the same
principles no matter which programs you use.
| | 00:21 | The first important concept is to
understand the reference and know what it is
| | 00:25 | that the character is supposed
to be able to do when animated.
| | 00:28 | This will inform the level of detail,
topology, flow zones, and complexity.
| | 00:34 | The next thing is to break the
character down into flow zones.
| | 00:37 | Decide which parts of the anatomy
should have edge flow that all goes in
| | 00:40 | the same direction.
| | 00:42 | This might change once you get into the
modeling, but it's a good way to get an
| | 00:45 | idea of how to get started.
| | 00:47 | Next, block out the flow zones with
basic proportions as simply as possible.
| | 00:52 | Don't think about detail at this stage.
| | 00:53 | Rather, think about the big shapes and how
they will need to move and work together.
| | 00:57 | Keeping the polygon count low will make
it a lot easier to make changes or move
| | 01:01 | things around at this stage.
| | 01:03 | Then add edge loops to flesh out the form,
while tweaking it to follow the reference.
| | 01:08 | The Swift Loop tool is great for this
since it adds more geometry to work with,
| | 01:12 | while maintaining the same edge flow.
| | 01:14 | Remember to add edge loops with a
purpose and then tweak the results as you work.
| | 01:19 | Continue adding geometry by whatever
means necessary to create the proper detail
| | 01:23 | level, service quality,
and any additional objects.
| | 01:27 | Finally, step back and evaluate the model.
| | 01:30 | Ask other people for their critiques.
| | 01:32 | Rework the model as needed.
| | 01:34 | You may need to take a break from
modeling for a few hours to refresh your eyes.
| | 01:37 | I know that I can fatigued after many
hours of modeling, and will sometimes need
| | 01:41 | to go look at other things
before I can keep working.
| | 01:44 | This helps my mind to look at the model
from a fresh perspective when I come back.
| | 01:48 | As you become more experienced at
character modeling, you'll certainly find
| | 01:51 | your own shortcuts and discover your own
ways of doing things and get faster and faster.
| | 01:56 | Character modeling is a rewarding
and challenging discipline that always
| | 01:59 | leaves me wanting more.
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|
7. UV MappingUnderstanding UVW maps and seams| 00:00 | UVW mapping is something that all
models need in order to be textured.
| | 00:04 | It's one of those odd jobs that isn't
quite modeling, but it's not usually
| | 00:08 | anybody else's job either,
| | 00:10 | so modelers usually get to do it.
| | 00:12 | Textures are 2D images that
get wrapped around a 3D model.
| | 00:16 | It's just like a map of the Earth, where
a flat image represents the surface of a
| | 00:20 | 3D object. And, like a map of the Earth,
there are many different ways to cut
| | 00:25 | it up and display it.
| | 00:26 | The way that a 3D object is flattened
to a 2D space is called UVW mapping.
| | 00:32 | UV is just a coordinate system, like
latitude and longitude, or X and Y. Software
| | 00:37 | like 3D Studio Max uses the letters U, V
and W for texture mapping, because X, Y
| | 00:43 | and Z is already used for 3D space.
| | 00:45 | Unlike the rest of this course, this
particular chapter only works in versions
| | 00:49 | of 3ds Max 2012 and newer.
| | 00:52 | I will be using Max's
powerful new Peel Mapping tools.
| | 00:56 | If you're using Max version 2011 or older,
please check out the lynda.com videos
| | 01:00 | on UVW unwrapping for previous versions of Max.
| | 01:04 | The first step in creating
UVW maps is to cut the seams.
| | 01:08 | The Peel tool is going to take a 3D
model and flatten it out into a 2D map.
| | 01:13 | So we have to tell Max we need to cut the model.
| | 01:15 | Every character is different and can
require different approaches to UV layout.
| | 01:20 | With Hank, I will explain why I cut
the seams the way I do, so that you can
| | 01:23 | understand the thinking behind it.
| | 01:25 | Many times I have to experiment with a
few different seam arrangements before
| | 01:28 | I get it just right.
| | 01:30 | You basically want to cut the
model up so that it can be laid flat.
| | 01:33 | Imagine the character as a plush doll.
| | 01:36 | If you wanted to cut the fabric off of the
stuffing, you'd need to cut down each limb.
| | 01:40 | You can even cut entire parts off.
| | 01:42 | We will be doing something similar with Hank.
| | 01:45 | Cutting seams is not an exact science.
| | 01:47 | It's a balance between a
few different principles.
| | 01:50 | One principle is that you don't
want to have a lot of visible seams.
| | 01:54 | You want to try to limit the number of
seams so that you can't see them very well.
| | 01:58 | That's because sometimes texture
maps won't be quite exactly the same on
| | 02:01 | opposite sides of a seam.
| | 02:03 | By minimizing the visibility of seams,
we can hide any problems with textures.
| | 02:08 | Let's look at some places on Hank
where we might want to put the seams.
| | 02:12 | One good place is to put seams
anywhere it might be hid by clothing.
| | 02:15 | So, for example, around his waist where
the pants are or on the backside of the
| | 02:20 | leg might be a good place.
| | 02:21 | because it's not in a very visible location.
| | 02:23 | So let's jump in and
start cutting seams on Hank.
| | 02:26 | Let's go up to the modifier stack
and put an Unwrap UVW modifier on it.
| | 02:30 | Now there are a lot of controls here,
and it can be kind of confusing, but there
| | 02:41 | are just a few that we are going to work with.
| | 02:44 | Seams are cut along edges,
| | 02:46 | so let's go into Edge mode.
| | 02:47 | So I am going to open up the Unwrap UVW
subobject mode, and let's click on Edge.
| | 02:52 | Ones seam that I want to make
is along the inside of the mouth.
| | 03:00 | All of these polygons inside the mouth
are less important than the face, because
| | 03:04 | they're much less visible.
| | 03:06 | By cutting the mouth out, we give
the face much more room in the UVW Map.
| | 03:10 | So I am going to click on one of these
edges here on the inside of the mouth.
| | 03:15 | And now let me go over here in the
palette, up to the top, and there is a button
| | 03:20 | right here called Loo. And what this
is going to is it's just going to select
| | 03:23 | the entire loop that that edge is part of.
| | 03:26 | Now we need to cut this
edge so that it becomes a seam.
| | 03:29 | Let's scroll back down here.
| | 03:32 | Okay, underneath this Seams section
here there is a button that says Convert
| | 03:36 | Edge Selection To Seams,
| | 03:37 | so I am just going to click that.
| | 03:39 | Notice how the selection turned blue.
| | 03:42 | Blue edges are seams.
| | 03:44 | Let's try a different method of cutting seams.
| | 03:46 | Go ahead and click on this button.
| | 03:48 | This is Edit Seams mode.
| | 03:50 | This let's us cut seams directly,
rather than selecting edges first.
| | 03:55 | Let's go around to the back side of the head.
| | 03:59 | Let's cut a seam that
separates the head from the body.
| | 04:03 | You can use this tool to cut one seam at a time.
| | 04:06 | Just clicking on individual edges.
| | 04:12 | If you accidentally click on an edge
that you don't want to be a seam, you can
| | 04:15 | deselect it by Alt+Clicking on it.
| | 04:18 | Now I know that this edge that I am
selecting is going to be hidden by the
| | 04:21 | shirt, so it's a nice place to hide a seam.
| | 04:24 | However, it can get kind of
tedious clicking one edge at a time,
| | 04:27 | so let's try out this other tool.
| | 04:30 | This is point-to-point seams.
| | 04:33 | Basically, you just click one vertex
and then a second one, and the tool cuts a
| | 04:37 | seam between the two.
| | 04:38 | Let's see how this works.
| | 04:39 | I am going to click once, and let's
go around and click one over here.
| | 04:44 | Now we want this seam to cut all the way
around the neck and end up where we started,
| | 04:49 | so we will just continue around,
click on vertices as we go.
| | 04:56 | Now try it yourself on the rest of the model.
| | 04:58 | So I am going to skip ahead now see what
Hank looks like with all of his seams cut.
| | 05:02 | It might be a little bit hard to see.
| | 05:08 | Let me zoom in, so you can
see a little bit more clearly.
| | 05:11 | All of these blue edges are seams.
| | 05:14 | So I cut across the back and down the
arms and actually across all of the
| | 05:19 | fingers and then down to the thumb.
| | 05:23 | I also cut up the back of the head and
then up to just about close to the forehead.
| | 05:28 | I also cut across each ear from side to
side, and let's see, down the back, and I
| | 05:35 | also cut across the waist where it's
going to be hidden by the pants, down
| | 05:39 | through the crotch and also down
each leg and across each foot as well.
| | 05:44 | I put seams here because these are
all places that are not very visible.
| | 05:48 | They are either hidden by clothing or
they are in parts of the body that you
| | 05:51 | don't see very often.
| | 05:52 | We will use the Peel tool to
actually flatten this out in the next movie,
| | 05:56 | but remember that you can always undo the peel
and rearrange your seams and then peel again.
| | 06:01 | That way you can experiment with the
seams that work best for your character.
| | 06:05 | Creating UVW maps used to be one of the
most hated and tedious tasks in 3D animation.
| | 06:11 | Now with tools like this in 3DS Max the
task is much easier than it was in the past.
| | 06:16 | It may not quite make sense to you yet
where exactly you should cut the seams,
| | 06:20 | but as you practice with the tools
in the next few movies, you should get a
| | 06:24 | better sense of how seams relate to UVW maps.
| | Collapse this transcript |
| Using Peel to flatten the UVW maps| 00:00 | 3ds Max's Peel tools are great leap forward
over the older methods of creating UVW maps.
| | 00:07 | It's much faster and easier to use,
especially for character models.
| | 00:10 | I will show you how to use it, along
with some UV editing tools, to get really
| | 00:14 | clean and efficient UV maps.
| | 00:16 | Now that we've got all of the seams
cut on our Hank model, we can click on
| | 00:20 | the Quick Peel button.
| | 00:22 | So we will select Hank here.
We've got Unwrap UVW open, and Quick Peel is this
| | 00:27 | little icon with the
lightning bolt. And just click on that.
| | 00:30 | The Peel tool has popped open the
UV Editor to show us the result.
| | 00:35 | There is lots of buttons here, but only
a few that we really need to work with.
| | 00:39 | Peel has flattened out the model and
broken it up into different sections based
| | 00:43 | on where we cut the seams.
| | 00:44 | Right now some of the
sections are overlapping each other.
| | 00:47 | The UV Editor has a quick way to
space them all out more neatly.
| | 00:51 | Go down to the Arrange Element section of
this palette and click the button Pack Normalize.
| | 00:58 | Basically, this button is going to
position and size all of these sections, or UV
| | 01:02 | Elements as Max calls them, so that they
don't overlap and so that they have a
| | 01:06 | size that is proportional to the size
of the geometry that they represent.
| | 01:11 | In the UV Editor we can select
individual vertices, edges, and polygons to move,
| | 01:16 | rotate, or scale them.
| | 01:17 | For now I just want to deal
with entire elements as a whole.
| | 01:20 | So let's move this a little bit
so we can see all of the buttons.
| | 01:25 | Down here is a button called
Select By Element UV Toggle.
| | 01:29 | Let's turn this on.
| | 01:30 | Now when we click in the editor it's
going to select entire elements, rather than
| | 01:34 | individual vertices or edges.
| | 01:37 | Peel and Pack Normalize have done a
pretty good job of laying out the UVs, but
| | 01:41 | we can manually make it even better.
| | 01:43 | You can see that there is a good chunk
of space in our texture that's not being
| | 01:46 | used--all of this space around each element.
| | 01:49 | Let's move, rotate, and scale to get
the elements using the space better.
| | 01:54 | I like to get the biggest piece first and
then work my way down to the smallest elements,
| | 01:58 | so I am going to hit R to go into Scale
mode and I am just going to scale this
| | 02:02 | up so that we can fill
the space little bit better.
| | 02:05 | If we hold down Ctrl while you're
scaling, it'll scale proportionally
| | 02:10 | so it doesn't stretch it out in
an extra dimension up or down.
| | 02:12 | And I will just hit W to go into Move
mode and we will just make sure this fits
| | 02:17 | nicely inside this texture space.
| | 02:19 | I actually enjoy this part of the process a lot.
| | 02:21 | It's like playing Tetris or packing a suitcase.
| | 02:24 | Okay, maybe it's not that much fun.
| | 02:26 | Either way it can take some experimenting and
rearranging to get the most out of the UV space.
| | 02:30 | Let's see, this one is a
little bit smaller than the head.
| | 02:35 | I will get these two out of the way.
And let's move the head and see if we can
| | 02:39 | fill in the space with it.
| | 02:45 | Using the space efficiently is
important, especially for real-time 3D
| | 02:49 | applications like games.
| | 02:51 | That's because every pixel of your
textures takes a precious memory, and that
| | 02:55 | should be contributing to
the look of the character.
| | 02:58 | Every bit of space that's
wasted is just dead weight.
| | 03:00 | Let me arrange these a little bit more.
| | 03:03 | You can scale some of them up a
little bit, but you probably don't want to
| | 03:06 | scale them too much, because then some parts of
the texture will have more space than others.
| | 03:11 | There's one thing to keep in mind is
that you don't want these different
| | 03:16 | elements to be overlapping each other, and you
also don't want to have them go over the edge.
| | 03:23 | This is good enough for now.
| | 03:25 | In the next movie I will show you how
to fine-tune things and fix issues in
| | 03:29 | specific parts of the elements.
| | 03:30 | Laying out the UVW maps is something that
almost always needs to be done on any model in 3D.
| | 03:36 | If it's going to be textured, rigs, or
animated, chances are that you as the
| | 03:40 | modeler are going to have to create
these layouts before passing the model any
| | 03:43 | further down the animation pipeline.
| | 03:46 | A good layout goes a long way
towards making a model look its best.
| | Collapse this transcript |
| Dealing with UVW maps across multiple objects| 00:00 | Unwrapping UVWs for a single object is
easy enough, but how do you deal with a
| | 00:05 | character that's made up of
many objects, like our Hank here?
| | 00:08 | There are many different things to take
into account when creating UVW maps for
| | 00:12 | a character like this.
| | 00:14 | It can often be a good idea to place
multiple objects into a single UVW space so
| | 00:19 | that you don't have to deal with a
different texture map for each object.
| | 00:23 | On the other hand, sometimes a
character will have a variety of clothing or
| | 00:26 | props that should each have their own
textures, making it a necessity to give
| | 00:30 | each object their own UVW space and textures.
| | 00:34 | For Hank, we'll combine all of the
anatomical objects, like the body, eyes,
| | 00:38 | teeth, and hair, into one UVW map and then put
all the clothing into a different UVW map.
| | 00:44 | So we've got Hank here with all of his parts.
| | 00:48 | One obstacle to using Quick Peel is that
some objects might already have UV seams.
| | 00:54 | When an object is made from a cube
for example, it keeps the automatically
| | 00:58 | generated seams that come
with the cube primitive.
| | 01:01 | We need to get rid of those
seams before we can make our own.
| | 01:05 | Let's click on one of the eyebrows
and give it a UV Unwrap Modifier.
| | 01:17 | And I'm just going to hit Z
to zoom in on this eyebrow.
| | 01:22 | It might be hard to see in this video,
but you can see what these green lines on
| | 01:26 | some of these edges that there are
already seams on this object, and they're
| | 01:31 | running in places where I
really don't want them to be.
| | 01:34 | Let's delete this Unwrap UVW Modifier.
| | 01:39 | Before we go any further, we're
going to put a UVW Map Modifier on it.
| | 01:47 | With this modifier, we can create very
simple UVWs based on a planar projection.
| | 01:53 | It also eliminates existing seams.
| | 01:55 | So it's just set to Planar and there's
really nothing else we need to do, because
| | 01:59 | we're going to cut our own seams later.
| | 02:01 | But basically we want to eliminate existing
seams, and that's what this is going to do.
| | 02:05 | Now we can go back and
add the Unwrap UVW Modifier.
| | 02:10 | Now let's select some edges along the back
side of the brow and convert those to seams.
| | 02:15 | So let's go into Edge mode, and I'm just
going to select some of these edges that
| | 02:20 | are hard to see along the back side.
| | 02:22 | So I just clicked one--
| | 02:24 | let's convert that to a loop--and
then I'll go down and convert that
| | 02:29 | Edge Selection to Seams.
| | 02:31 | Now click Quick Peel. Cool!
| | 02:33 | Quick and easy UVs.
| | 02:35 | Moving on, let's learn how to transfer UVWs
from one object to another. It's very easy.
| | 02:40 | Let's close out of the Edit UVWs for
right now, and let's get a view so we
| | 02:45 | can see both eyebrows.
| | 02:46 | Now I want to transfer the UVWs that
I made for one eyebrow onto the other.
| | 02:51 | All you do is go up to your modifier
that you want to transfer and click and
| | 02:56 | drag it onto another object
that has the same polygons.
| | 03:00 | Usually this only works if one
object is a duplicate of the other.
| | 03:04 | That way you know they
have the exact same polygons.
| | 03:06 | Just to make sure it worked,
| | 03:08 | let's open up the UVW Editor on
the right-hand brow. All right!
| | 03:11 | It looks like it's got the
same UVs that the other brow has.
| | 03:21 | Now let's look at another case.
| | 03:23 | The teeth were created to be instances
so that anything you do to one of them
| | 03:27 | happens to the others.
| | 03:28 | Let's put an Unwrap UVW Modifier on
one of the teeth and do a quick-peel.
| | 03:38 | Let's get out of the Unwrap UVW for the
brow really quick and click on a tooth.
| | 03:45 | The teeth are so simply shaped
that I don't even need to cut seams or
| | 03:49 | anything like that first;
| | 03:50 | Quick Peel will just flatten them right out.
| | 03:52 | Let me zoom in a little bit on this
so we can see it better. All right!
| | 04:08 | There is the tooth. I'll close out of UV Editor
right now, and let's click on a different tooth.
| | 04:13 | I'll make sure we get out of
Vertex mode for that first tooth.
| | 04:20 | We can select another tooth, and we see that
it's got the exact same Unwrap UVW Modifier.
| | 04:25 | That's because it's an instance.
| | 04:27 | So what I'll do is look at its UV Editor
and see that it's got the exact same layout.
| | 04:34 | Let's look at the hair now.
| | 04:40 | The hair is all one object,
but each clump was created independently,
| | 04:44 | so we can't just unwrap one
clump and copy it to all the others.
| | 04:49 | To save time, I already cut seams
down the length of each clump so that I
| | 04:53 | can unwrap it flat.
| | 04:55 | Let's take a look at this.
| | 04:56 | So these blue lines are
seams where I've already cut.
| | 04:59 | Notice I tried to hide them in
places where it's not easy to see.
| | 05:03 | There's just one clump left to do.
| | 05:07 | So let's go into Edge mode in the
Unwrap UVW Modifier and click on the one edge
| | 05:12 | of this clump right here.
| | 05:14 | So Edge mode. And let's find an edge
that's difficult to see from the front.
| | 05:23 | This one is nicely hidden back here.
| | 05:27 | Let me select the entire loop, and I'll
go down to Convert Edge Selection to Seams.
| | 05:35 | Now let's run Quick Peel.
| | 05:39 | Now all of these hair clumps
are kind of overlapping right now,
| | 05:42 | so let's use that Pack Normalize
button to space them out. Looking great!
| | 05:47 | Now let's learn how to combine all of the
anatomical objects into one single UVW map.
| | 05:52 | If we combined all of these elements
into one UVW space right now, these hair
| | 05:57 | clumps will be overlapping the body clumps
and they'll just get in the way of each other,
| | 06:02 | so I want to just select all of these UVW
elements right now and get them out of the way.
| | 06:08 | I'm just going to Drag+Select over
everything and just kind of move them off to the side.
| | 06:14 | One last thing before we bring it
all together: let's put a simple UVW
| | 06:18 | projection on the eyeballs.
| | 06:19 | Let's get out of Edge mode for the
hair and take a look at the eyes.
| | 06:26 | We won't ever see the back side of the
eyeballs, so we can just simply project the UVs.
| | 06:32 | And I want to give it a UVW Map Modifier.
| | 06:38 | If we change the display mode to
Wireframe, it might be easier to see.
| | 06:42 | So there is the little brown box.
| | 06:46 | That's a planar projection in the Z
axis, and that's going to work great.
| | 06:50 | Let's switch this back to Shaded mode.
| | 06:52 | Go ahead and use what you've learned
about cutting seams and Quick Peel to
| | 06:56 | unwrap UVWs for the gums and the tongue.
| | 06:59 | So let's get all of these
anatomical objects together in one map.
| | 07:02 | I'm going to zoom out and select
everything that's part of his body.
| | 07:06 | It looks like everything else that's not
selected is clothing, so that's good.
| | 07:14 | Now with everything selected we
just add an Unwrap UVW Modifier.
| | 07:23 | Notice that this title of
the modifier is italicized.
| | 07:27 | That means that it's going
onto multiple objects at once.
| | 07:31 | Now let's just open up the UV Editor. Wow!
| | 07:35 | It looks like a big jumble.
| | 07:37 | Let's use the Move, Scale,
and Rotate tools to arrange all of these
| | 07:40 | elements into place.
| | 07:42 | So I'm going to move this
window so I can see things better.
| | 07:46 | Let's click by Select By Elements,
and I'm just going to move some of these
| | 07:49 | things out of the way so they're
not all overlapping each other.
| | 07:57 | Now we just need to get all of
these elements fitting into that
| | 08:00 | checkerboard space.
| | 08:01 | Now a lot of these can be scaled down.
| | 08:03 | For example, this is the eyes, and that's
a lot bigger than the eyes are relative
| | 08:08 | to the other pieces of geometry,
| | 08:09 | so I'm just going to go into Scale mode
and hold Ctrl and just scale this down.
| | 08:23 | Then we just move this into place.
| | 08:24 | It doesn't really matter where you place it;
| | 08:28 | it usually works better if you put things
in the smallest place where they can fit.
| | 08:34 | So if I just zoom in here, you see maybe
there's even a better place to put it right here.
| | 08:41 | Then individual hair clumps can go into place.
| | 08:44 | If you're not sure what one of these
elements corresponds to--like this thing
| | 08:48 | right here, if you can't remember what
that is--if you slide the viewport over,
| | 08:53 | anything that you select in the UVs
will highlight here on your model.
| | 08:57 | So you can see, okay, that's the brows.
| | 08:59 | So I'm just going to scale the brows in
because they're not as big as everything else.
| | 09:15 | I'll just keep refining this.
| | 09:16 | I'm going to go ahead and stop it
there, because from here on out it's just
| | 09:32 | a matter of scaling things and moving them
around to find the best position for everything.
| | 09:37 | Go ahead and do the same process for
all the clothing pieces as well, giving
| | 09:41 | them their own separate UVW space.
| | 09:44 | You can cut seams, use Quick Peel,
and then combine and arrange.
| | 09:48 | Laying out UVs is actually
an enjoyable task for me.
| | 09:52 | You get to just move pieces around
and fit them together like Legos.
| | 09:55 | Fit the big objects in the UVW space
first and then fit medium-sized pieces next.
| | 10:01 | Finally, the small pieces can
go and fill in the little gaps.
| | Collapse this transcript |
| Refining the UVW layout| 00:00 | Now that we've got the UVWs roughly
placed, it's time to work out any problems.
| | 00:05 | We need to make sure that there
aren't any overlapping polygons.
| | 00:09 | There also shouldn't be any polygons
that extend past the checkered area.
| | 00:13 | We'll use several different tools
within the UVW Editor, such as soft
| | 00:17 | selections and the Relax tool.
| | 00:19 | So we've got Hank here.
| | 00:21 | Let's go in and select all
of his anatomical objects.
| | 00:24 | I am going to select these things one
by one, because we actually don't need to
| | 00:29 | select things that are instances.
| | 00:31 | So the teeth are instances of each
other, so I am just going to select one
| | 00:35 | tooth; the gums are instances, so
just one gum; and let's see if I can sneak in
| | 00:40 | here and grab that tongue.
Okay, it selected the tongue. Let's also get the
| | 00:47 | eyeballs and the eyebrows.
| | 00:50 | Now if we ever deselect all these and
want to come back to them, it might be
| | 00:54 | tedious to go and select them all
individually again, so what we can do is
| | 00:57 | create a selection preset.
| | 00:59 | So if we go up here and click in
this box, you can type in a name--
| | 01:03 | let's call this anatomy--and just hit Enter.
| | 01:07 | Now if you deselect it, you can go up
here and click the dropdown and click
| | 01:12 | anatomy and it's going to go back and
select everything that you had selected
| | 01:15 | when you created that preset.
| | 01:17 | Okay, let's open up the UV Editor.
| | 01:19 | Here is all of our work from before.
| | 01:27 | I've got all the elements
packed into the same UVW space.
| | 01:31 | However, there are still a few things
to work on before I'd call it finished.
| | 01:35 | Let's zoom in on the face.
| | 01:42 | Notice how the eyes, mouth,
and nostrils are overlapping.
| | 01:47 | Quick Peel does a great job in most
places, but it has trouble getting the
| | 01:50 | highly detailed areas
around holes to flatten correctly.
| | 01:54 | This used to be a tedious job to
fix all of these polygons by hand.
| | 01:58 | Thankfully, Max has a feature called
Relax that will straighten this all out.
| | 02:03 | Let's go ahead and maximize this so
we can see as much as possible. And let's
| | 02:07 | make sure that we turn off Select By
Element because we want to drag a selection
| | 02:12 | over individual polygons. And let's go
in and just select this part of this eye
| | 02:17 | right here where things are
kind of getting all tangled up.
| | 02:22 | Now we go up to the Tool menu and click Relax.
| | 02:25 | There are several settings to control
the underlying math of what Relax can do,
| | 02:30 | but there's really only one
setting that I use for the most part.
| | 02:34 | By all means play around with the different
controls to get a sense for how they work,
| | 02:38 | but I tend to just ticked with Relax By Centers.
| | 02:42 | So if you click this dropdown,
there is a Relax By Centers option.
| | 02:46 | Also, the effect is usually way too
strong, so I usually bring down Iterations
| | 02:50 | to just one and I also like to
set the amount of relax to 0.01.
| | 02:57 | Depending on how fast your computer is,
you might have to set this a little
| | 03:01 | bit higher or lower, but let's click
Relax and see what happens.
| | 03:17 | This Relax type can get out of hand if
you're not careful, but it looks like
| | 03:21 | it's doing a pretty good job.
| | 03:22 | When it looks like everything is
untangled, go ahead and click Stop Relax.
| | 03:25 | Let me zoom in and make sure it did a good job.
| | 03:31 | Okay, it looks like nothing
is overlapping. That's great!
| | 03:34 | Sometimes things will still be tangled.
| | 03:36 | In that case, I'll just drag a
selection over whatever is still giving me
| | 03:40 | problems and run Relax again.
| | 03:43 | Go ahead and do the same for the other
parts of the face. Then we'll move on to
| | 03:47 | fixing other problems.
| | 03:54 | The UV Editor has a Soft Select
feature that works a lot like Soft Select
| | 03:59 | in regular 3D mode.
| | 04:01 | Let's use it to fix this little
overlapping issue that we have between
| | 04:04 | two of these elements.
| | 04:06 | You see that one of these
elements is overlapping the other.
| | 04:09 | Let's click on one of these vertices
that's overlapping, and we'll go down here
| | 04:13 | and turn on Soft Selection.
| | 04:15 | Then we also need to increase the
tolerance of this Soft Selection.
| | 04:20 | Now I am just going to go into the Move mode
by clicking W, and let's move this off of here.
| | 04:31 | You could just move that one vertex
without Soft Selection, but the problem with
| | 04:35 | that is that it would be deforming
just one polygon while leaving all of the
| | 04:39 | others around it untouched.
| | 04:41 | That can cause any textures applied to
be stretched in a weird way right there.
| | 04:45 | By softening the selection, we make any
edits less noticeable by spreading them
| | 04:50 | out over more polygons.
| | 04:51 | Another way to use Soft Selection
is to help use up more UV space.
| | 04:56 | Right now, there are gaps between a lot of
the elements, and that's just wasted space.
| | 05:00 | We can tug around of the UVs to make
better use of all our texture space.
| | 05:04 | So let's see, there is
some open space right here.
| | 05:07 | You might just select some of these
vertices. And I am going to drag this over to
| | 05:12 | fill up this space a little bit better.
| | 05:13 | Don't worry about filling 100% of the gaps.
| | 05:24 | There should be a least a
little space between elements.
| | 05:27 | You also don't want to drastically warp
the elements because that can cause the
| | 05:31 | textures to get distorted.
| | 05:32 | Just a casual pushing and pulling to get
back some of this open space is what we need.
| | 05:37 | One of the last things to look out for
is any polygons that are crossing over
| | 05:41 | the checkered space.
| | 05:43 | Let's see if there's any.
Okay, there is one right here.
| | 05:46 | I am just going to use Soft
Select to nudge this back into place.
| | 05:50 | Let's decrease the effect here so that we
are not moving quite so many vertices at once.
| | 05:54 | See, I am going to type in 0 and
then change this just a little bit at a time,
| | 06:09 | because it looks like the effect
was happening way too drastically.
| | 06:11 | All right, let's go into
Move mode and nudge these up.
| | 06:28 | And maybe I might move some of
these vertices individually without soft
| | 06:32 | selection as well, just because
they need to move just a little bit.
| | 06:36 | When you are done with this, go ahead and
practice the same thing with the clothing UVs.
| | 06:40 | There is a lot more buttons here that
you could push when it comes to laying out
| | 06:44 | UVs, but I rarely have a need to use them.
| | 06:47 | What I've shown in this chapter is all
you need to do for 98% of UV layout work.
| | 06:52 | From here, a texture artist
could paint color and bump maps.
| | 06:56 | Having the UVs laid out officially
goes a long way towards making textures
| | 07:00 | look good.
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ConclusionWhat's next| 00:00 | You've reached the end of the character-
modeling process in 3ds Max, but there
| | 00:04 | are so many great places to go from here.
| | 00:07 | lynda.com offers lots of great
courses to help you get to the next level.
| | 00:11 | You can learn about shading the
character with the textures and materials course
| | 00:14 | by Steve Nelle, or you could brush up
on the basics of animation within his
| | 00:18 | Essential Training course.
| | 00:19 | There are also lots of great
communities online where people are helping each
| | 00:23 | other with the finer points of
modeling, such as cgsociety.org.
| | 00:28 | Cgsociety is a great place where
artists get together and create artwork and
| | 00:33 | share it with each other.
| | 00:35 | They also share tips on how
to make their work better.
| | 00:38 | Here you will also find news and events
within the computer animation industry.
| | 00:43 | Thanks for watching this course.
| | 00:44 | I hope you gained some insights
into character modeling that will benefit
| | 00:48 | you for years to come.
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