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Modeling a Character in 3ds Max
Illustration by John Hersey

Building the nose


From:

Modeling a Character in 3ds Max

with Ryan Kittleson

Video: Building the nose

Noses come in all shapes, sizes, and levels of complexity, especially cartoony noses. In this movie, we'll show you how to get a basic structure for an average nose. Most of the work on the nose is already done for us. We built the main mass of the nose in the face movie. Also, some extra edge loops have already been created on the nose when they were added for the eyes and the mouth. From here, we just need to tighten up a few creases and add the nostrils. Let's make sure we've got Symmetry turned on, as well as the TurboSmooth. I am going to add a symmetry, and let's make sure we're not getting any threshold problems.
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  1. 7m 36s
    1. Welcome
      1m 2s
    2. What you need to know before watching this course
      52s
    3. Overview of the design process
      3m 26s
    4. Using the exercise files
      2m 16s
  2. 40m 7s
    1. Extruding edges and faces
      7m 42s
    2. Using Paint Deform
      8m 58s
    3. Working symmetrically
      5m 32s
    4. Using TurboSmooth
      4m 39s
    5. Setting up the image planes
      8m 28s
    6. Exploring edge flow
      4m 48s
  3. 1h 15m
    1. Creating the basic facial structure
      5m 26s
    2. Creating the basic facial features
      8m 51s
    3. Making the head and neck
      7m 55s
    4. Refining the mouth
      11m 24s
    5. Shaping the eyes
      10m 53s
    6. Building the nose
      6m 45s
    7. Crafting the ears
      6m 9s
    8. Making the teeth and gums
      10m 4s
    9. Modeling the tongue and eyebrows
      7m 43s
  4. 44m 38s
    1. Modeling the upper body
      9m 45s
    2. Building the hips, legs, and feet
      5m 8s
    3. Constructing the palm and thumb
      7m 14s
    4. Making fingers and finishing the hand
      7m 53s
    5. Fleshing out the body
      9m 22s
    6. Attaching body parts with different numbers of edges
      5m 16s
  5. 13m 39s
    1. Drawing the NURBS curves for hair
      4m 11s
    2. Sweeping the NURBS curves into polygon objects
      3m 32s
    3. Sculpting the polygon hair clumps
      5m 56s
  6. 49m 54s
    1. Modeling the pants
      7m 16s
    2. Making wrinkles in the pants
      9m 0s
    3. Modeling the belt
      5m 30s
    4. Making the belt loops
      6m 35s
    5. Creating the shirt
      9m 33s
    6. Making the shoes
      12m 0s
  7. 12m 7s
    1. Putting on the finishing touches
      6m 7s
    2. Thinking about artistic appeal
      3m 59s
    3. Recapping the most important concepts
      2m 1s
  8. 27m 24s
    1. Understanding UVW maps and seams
      6m 28s
    2. Using Peel to flatten the UVW maps
      3m 50s
    3. Dealing with UVW maps across multiple objects
      10m 5s
    4. Refining the UVW layout
      7m 1s
  9. 51s
    1. What's next
      51s

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Modeling a Character in 3ds Max
4h 31m Intermediate Aug 30, 2011

Viewers: in countries Watching now:

Modeling a Character in 3ds Max with Ryan Kittleson covers the process of designing and building a 3D human character that can be used for feature film, broadcast, and games. The course begins with an overview of the 3ds Max tools and techniques used in character modeling, and how human anatomy is represented using 3D geometry. Once this foundation is in place, the rest of the course goes step by step through the actual process used to model a simple human character from the ground up, including facial features, musculature, and details such as hair and clothing.

Topics include:
  • Extruding edges and faces
  • Working symmetrically
  • Setting up the image planes
  • Creating the basic facial structure and features
  • Modeling and fleshing out the body
  • Creating the hair with extruded NURBS curves
  • Modeling clothes
  • Putting on finishing touches
  • Understanding UVW maps and seams
  • Dealing with UVW maps across multiple objects
Subjects:
3D + Animation Modeling Character Animation
Software:
3ds Max
Author:
Ryan Kittleson

Building the nose

Noses come in all shapes, sizes, and levels of complexity, especially cartoony noses. In this movie, we'll show you how to get a basic structure for an average nose. Most of the work on the nose is already done for us. We built the main mass of the nose in the face movie. Also, some extra edge loops have already been created on the nose when they were added for the eyes and the mouth. From here, we just need to tighten up a few creases and add the nostrils. Let's make sure we've got Symmetry turned on, as well as the TurboSmooth. I am going to add a symmetry, and let's make sure we're not getting any threshold problems.

It looks like I need to tern this down a bit. About 0.4 or 0.5 should work good. And now let's put on a TurboSmooth. I'm going to turn on Isoline Display to make it easier to see everything. Let's go back down to Editable Poly and turn on Show end result. Also, I'm going to make this not see-through anymore. It's just kind of hard to see now. It's kind of a jumble. Let's see this full screen and just kind of evaluate what's happening. So the nose right now is kind of soft.

I'd like to have a crease that kind of separates the nose from the face a little bit more. So let's go ahead and add that in. Let's go up to Edit > Swift Loop. I am just going to add in another edge loop here. Now I'm going to go in and tweak some of these vertices so that this new geometry that we've created kind of creates a little depression on the side of the nose. It looks like I need to turn off Snaps because it was causing a problem.

And maybe I'll pull some of these vertices out a little bit, just kind of make the nose bulge a little bit. Now, we've got this depression on the side of the nose, but let's say we want to make a crease that's a little bit tighter. What I can do is one of two things. I can push some of the existing edges closer to the depression, so the closer I get these edges here to the depression, the tighter the crease is going to form here. This can work, but it forces me to stretch out a lot of polygons in a way that doesn't work so well.

All these polygons right here are really stretched out, and then they are really tight together here. So let me just undo this. I'm going to add some more edge loops on either side of the depression. After tweaking, it's really going to look more like a crease than a simple indentation. So back up to Swift Loop, and let's get a better view on this. Okay. I just want to add maybe a loop here and then maybe another loop here.

So now, that crease is looking much more like an actual crease that's separating the nose from the face than just a simple depression. Now, I'm just going to tweak things to make them look just a little bit cleaner, say, for example, like some of these up here got a little too close together. The threshold on the symmetry was actually forcing them to get welded together. So if you'll space them apart a little bit where you don't need a crease, like on the top of the nose, then things are going to look a little bit better. We can actually make that crease look a little bit sharper if we select some of these vertices on either side of it and kind of pull them away from the crease.

There, you notice how it's, like, kind of bulging out, making that crease feel deeper. We could also select some of the vertices down inside that crease and push them in a little bit more. We can intensify things too. It looks like we're getting a little bit of that trouble with the Weld Threshold down here as well, so I'm just going to move things. Actually, what I might do is go and take that Threshold and just move it down, so that it gets rid of that problem. Now, it's going to be easier to see what I'm doing. Okay.

So I can spend a long time tweaking that to make it look just right, but I'm sure you get the idea. You just really want to smooth things out, make sure there are not any weird creases or crinkles or strange things happening. Now, for the nostril. This will be easy since we've already practiced with all the same techniques we're about to use. I want to extrude some faces inward to form the nostril on the underside of the nose. Let's go into Polygon mode. Now, let's see, which polygon should I extrude upwards? I could use this one right here, but it's a little bit too close to the front of the nose.

It would start the nostril too far forward. Let me add an edge loop around here so that the faces I extrude are more centered underneath the nose. So I'll just go to Swift Loop, and let's add another edge loop for right about here. All right! Maybe I'll pick this face as well. Let's see what happens if I grab maybe all four of these right here. And we'll go down to Extrude.

Wrong direction. Okay, that's cool. So it's looking a little rough and blocky. Let's use Paint Deform to get that looking a little bit more smooth. So I'll just right-click to get out of the Extrude mode and lock in that change. And let's get out of Polygon mode and go up to Freeform > Paint Deform > Relax/Soften. Let's bring the Size down to something more manageable, and the Strength down too. And just simply brush and a lot of that weird blockiness just kind of goes away.

Now, you notice one thing happened: I was using that a little close to the center line and actually caused some of those vertices there to stretch and pull apart. So I could fix those manually, or I could just undo and make sure I don't take it too close to that centerline. All right! Let's take a step back and see what it looks like. I'll turn off Edged Faces. And of course there is still some more tweaking we could do to work out the shape of this. I might want to relax that some more. It's kind of looking a little bit blocky.

You can see kind of some edges and some strange corners going on. But those fixes will just come with tweaking. Although I've demonstrated how to make a cartoony nose in this movie, modeling a realistic nose is very similar. The main difference is that for a realistic nose, you would spend more time refining the shape and tweaking it to be anatomically correct. However, the edge flow I show here should work fine with little, if any, adjustment.

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