Viewers: in countries Watching now:
Explore the world of modeling and texturing 3D game props and assets in Autodesk Maya. Author Adam Crespi provides strong technical modeling techniques, from blocking basic forms and leveraging simple parts and reusable textures, to simulating real-world detail like dirt, wear, and grain with UV maps and ambient occlusion. The course includes workflow and integration considerations such as planning UV space for projection, and also steps into Mudbox and Unity for further refinement.
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.
There are currently no FAQs about Game Prop Creation in Maya.
Access exercise files from a button right under the course name.
Search within course videos and transcripts, and jump right to the results.
Remove icons showing you already watched videos if you want to start over.
Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.
Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.