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Adding detail and hardening edges

From: Game Prop Creation in Maya

Video: Adding detail and hardening edges

I've got my pry bar and sledgehammer in place, and I am ready to see if there is any more detail I need and to work, over my hard and soft edges. It looks like the sledgehammer head is a little bit wide. I am going to scale these in, taking the end faces and scaling them just to bring down that width, and then I'll work over the hard and soft edges a bit. I'll pick these end faces, picking one holding Shift and picking the other, pressing F to focus, so I am zoomed in nice and big, and R for scale. A lot of times in modeling I'll actually scale components like this. That looks a little better; the proportion's right on.

Adding detail and hardening edges

I've got my pry bar and sledgehammer in place, and I am ready to see if there is any more detail I need and to work, over my hard and soft edges. It looks like the sledgehammer head is a little bit wide. I am going to scale these in, taking the end faces and scaling them just to bring down that width, and then I'll work over the hard and soft edges a bit. I'll pick these end faces, picking one holding Shift and picking the other, pressing F to focus, so I am zoomed in nice and big, and R for scale. A lot of times in modeling I'll actually scale components like this. That looks a little better; the proportion's right on.

I think what I'll actually do to add a little bit more detail is bring this back just a little further and extrude it one more time. I'll hold Shift and right-click and extrude. And in this case because these are aligned to the world axes, their z axis goes straight out because it was started as a box in the perspective view. What this means I can do is grab that z and pull it and I get an extrusion on both sides in opposite directions without skewing drastically. I'll pull it out just a little bit, hold Ctrl, and scale on the Z, and give it a little bit of a bevel.

This way instead of a perfect edge, I get a little bit of a chamfer there, and it looks more like that sledgehammer I've intended. Now I am ready to deal with hard and soft edges. First I'll pick the handle. On something like this which is made of wood, it's a turned object; it started out as a block of wood and was turned on a lathe to be this shape and then shaped down into that oblong. What I'll do then in this case is to soften up all of the edges and come back and selectively harden the ones I want, I'll hold Shift and right-click and choose Soften/Harden Edge > Soften Edge. Then I'll press F10 for Edge and I'll go up to the top.

I've got a smoothing artifact up here where it's trying to smooth over a 90-degree bend. I'll double-click on this edge loop up here at the top, hold Shift and right-click, and choose Soften/Harden Edge > Harden Edge. Now it looks flat again, and I'll go do the same thing at the bottom where I've added in that bevel. I'll zoom in, double-click on 1, hold Shift and double-click on 2, and hit G to repeat last, hardening up those edges. I'll press F8 for Object and deselect and see how it looks in a smooth view. The handle is smooth and still looks oblong.

Underneath, I can see that bevel clearly, and as long as I'm zoomed back decently, it looks round enough. Up here on the head in needs to be all faceted. It's a forged chisel piece of steel, and so I want all the facets on the bevels and on the sides here to show up. I am going to leave that alone, and then later I'll put a normal map on it to dent some of these in. Now for the pry bar. The original torus started out with six sides, and so it had facets on it. I've lost some of the facets in the way I've extruded here. What I'll do in this case is harden up all of the edges and then come back and soften some selectively.

I'll hold Shift and right-click and Soften/Harden Edge > Harden Edge. Now it's all faceted, and I can see where I need to come back and soften. I'll press F10 for Edge and zoom in on it. I'll pick one of these edge loops here. Then I'll hold Ctrl and right- click and convert my selection. This is a marking menu for selection, and I'll choose Edge Ring Utilities to Edge Ring. Because I've extruded along, I've kept the edge ring and loop structure here, except for the end where I have split those polygons. I am going to hold Ctrl and deselect the ends, making sure they stay crisp.

I'll leave the rest of those edges selected and deselect the other ends down here. Now I'll hold Shift and right- click and soften up those edges. My pry bar is just about ready. It looks like I've got one more hard edge right here at the V that I need to take care of, but I've got those expected facets running around. And that's a big deal in a model is making sure that the stuff we expect to be there is there, that we don't look at this and say "something is odd, but I can't put my finger on it. Wait, what was I doing in this game?" We want to be able to look and say "of course it's a pry bar, why should I think anything different?" And having those edges softened or hardened correctly is a big deal.

In here, in the V, because I've used the Split Polygon tool, I've broken the edge flow. What I am going to do is come back and pick both of those edges, pick their corresponding edges on the other side, and soften them as well, holding Shift and right-click and choosing Soften/Harden Edge > Soften Edge. I can see a change in the shading, and now it's got the right look. Depending on the model of pry bar, you could soften up this edge as well. I'll do that and see how it behaves. With those edges softened, it works really nicely. The hard edges of the facets fade out as they would when they're hammered flat to make the flange dent.

I've got a good soft edge, and it looks flat and sharp. My pry bar is in good shape, and I'll finish up the other edges on this side too. I'll follow that same idea, picking the edges that should be soft--in this case four on one side and four on the other. Here is a chance to press F to focus. If you noticed, I spun off the view, because I was orbiting around something else. I'll press F to focus in, which resets the Tumble tool around the center of whatever is selected. I'll zoom around and pick these edges I need to have soft.

I'll soften them and my pry bar is complete, ready for unwrapping. My hammer is done as well, ready for unwrapping and eventually combining into one mesh. It's important always to work over your hard and soft edges and make sure you're not letting Maya decide. Sometimes it does a decent job when you've got primitives that have hard and soft edges set, but sometimes when you extrude you get edges that are sort of hard and sort of soft and don't do a good job at either one. So make sure you work over hard and soft edges, either softening everything and coming back and hardening or hardening everything and coming back and softening selectively.

This way in the game things will look right and have the right silhouette.

Show transcript

This video is part of

Image for Game Prop Creation in Maya
Game Prop Creation in Maya

90 video lessons · 6154 viewers

Adam Crespi
Author

 
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  1. 7m 22s
    1. Welcome
      43s
    2. Using the exercise files
      1m 35s
    3. What you should know before watching this course
      23s
    4. Setting up the workflow
      4m 41s
  2. 46m 16s
    1. Overview of modeling a large prop and planning for modular textures and models
      6m 53s
    2. Blocking out the overall form
      6m 14s
    3. Adding curved panels
      3m 26s
    4. Rounding the corners
      6m 46s
    5. Unwrapping the face frame
      6m 39s
    6. Unwrapping the sides
      5m 8s
    7. Moving and sewing UVs
      5m 23s
    8. Laying out the UV coordinates
      5m 47s
  3. 1h 50m
    1. Overview of the texturing process and PSD networks
      4m 43s
    2. Creating a bump map for the sides
      10m 55s
    3. Adding details to the bump map
      8m 6s
    4. Drawing the bump map for the front
      7m 51s
    5. Adding details to the panels
      7m 45s
    6. Painting the diffuse texture and planning the layers
      3m 35s
    7. Painting the base coat and the logo
      5m 24s
    8. Adding labels and other markings
      10m 45s
    9. Adding soft rust
      8m 32s
    10. Adding rust bubbles
      8m 58s
    11. Setting up a library of gas pump textures
      6m 40s
    12. Painting dirt and rust variations
      5m 23s
    13. Weathering away the paint
      5m 1s
    14. Converting bump maps to normal maps
      5m 36s
    15. Testing the maps
      11m 8s
  4. 1h 28m
    1. Overview of modeling small props
      1m 59s
    2. Modeling a sledgehammer
      6m 11s
    3. Modeling a pry bar
      6m 26s
    4. Adding detail and hardening edges
      5m 28s
    5. Unwrapping as part of building a texture sheet for small tools
      8m 27s
    6. Modeling a metal ladder
      8m 51s
    7. Unwrapping and cloning
      8m 46s
    8. Placing the clean texture
      8m 39s
    9. Laying out a texture sheet for multiple tools
      8m 37s
    10. Painting rusty steel
      7m 46s
    11. Adding dirt and wear
      5m 42s
    12. Planning for optimal texture usage
      7m 37s
    13. Painting dirt and age variations
      3m 42s
  5. 1h 45m
    1. Modeling furniture using simple parts and reusable textures
      2m 53s
    2. Planning and analyzing the modeling of a chair
      4m 56s
    3. Blocking out the basic form
      8m 24s
    4. Adding detail and softening edges
      6m 42s
    5. Refining the silhouette
      12m 9s
    6. Blocking out the form of a round chair
      7m 39s
    7. Adding detail and softening the edges of a round chair
      5m 20s
    8. Unwrapping as part of building a texture sheet for furniture
      14m 36s
    9. Planning the modeling of a table
      3m 14s
    10. Blocking out the basic table form
      4m 41s
    11. Adding legs to the table
      7m 6s
    12. Breaking up the model for texturing
      7m 55s
    13. Laying out the wood texture
      9m 29s
    14. Reusing parts to make a round table
      10m 12s
  6. 39m 23s
    1. Understanding the importance of painting textures from scratch
      2m 9s
    2. Creating the initial grain lines
      4m 43s
    3. Adding value variation across the grain
      2m 22s
    4. Warping the grain
      2m 50s
    5. Adding knots
      4m 27s
    6. Colorizing the grain and planning for stains
      6m 53s
    7. Cutting out boards for a UV layout
      5m 26s
    8. Adding patina and wear to a final texture
      10m 33s
  7. 1h 2m
    1. Understanding the importance of a low poly count
      4m 46s
    2. Overview of normal maps
      9m 26s
    3. Overview of the high-poly projection pipeline
      3m 10s
    4. Planning the UV space for projection
      5m 29s
    5. Working with hard edges and subdividing
      7m 22s
    6. Adding details by beveling and extruding
      6m 50s
    7. Fixing geometry
      7m 39s
    8. Using the Sculpt Geometry tool and soft selection to add dents
      9m 32s
    9. Baking the high-poly model onto the low-poly model to produce a normal map
      8m 21s
  8. 51m 4s
    1. Overview of Mudbox
      4m 26s
    2. Preparing for a smooth export to Mudbox
      7m 43s
    3. Importing from Mudbox: Choosing the right resolution
      5m 9s
    4. Using the sculpt tools
      8m 30s
    5. Painting
      8m 58s
    6. Exporting paint layers from Mudbox
      1m 35s
    7. Extracting and exporting a normal map from Mudbox
      6m 2s
    8. Importing and assigning objects and maps in Unity
      8m 41s
  9. 41m 4s
    1. Overview of ambient occlusion and specularity
      5m 55s
    2. Setting up ambient occlusion as a texture
      7m 3s
    3. Using ambient occlusion as a foundation for dirt
      6m 44s
    4. Using ambient occlusion as a foundation for rust
      10m 5s
    5. Painting a specular map
      6m 48s
    6. Streamlining the import process: Placing maps in the right channels
      4m 29s
  10. 21m 46s
    1. Overview of importing into Unity
      3m 15s
    2. Preparing and exporting props to Unity
      7m 54s
    3. Cloning props in Unity with different looks
      5m 21s
    4. Adding lights to test smoothing and textures
      5m 16s
  11. 22s
    1. Next steps
      22s

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