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Game Prop Creation in Maya

From: Game Prop Creation in Maya

Video: Adding details by beveling and extruding

In this video I will look at beveling and extruding on these boards. I have added in some new edge loops, and I've done this also with the Preserve UVs check box on. What we can see here, if I look in the Texture Editor is that the UVs have propagated. As I have subdivided these boards with just the Insert Edge Loop tool, those new edge loops land still along the existing shells nicely. Now I am ready to subdivide, and I will show what this looks like. When I choose Mesh > Smooth and making sure in the dialog that I am preserving my hard edges. I'm going to see these smooth.

Adding details by beveling and extruding

In this video I will look at beveling and extruding on these boards. I have added in some new edge loops, and I've done this also with the Preserve UVs check box on. What we can see here, if I look in the Texture Editor is that the UVs have propagated. As I have subdivided these boards with just the Insert Edge Loop tool, those new edge loops land still along the existing shells nicely. Now I am ready to subdivide, and I will show what this looks like. When I choose Mesh > Smooth and making sure in the dialog that I am preserving my hard edges. I'm going to see these smooth.

And there is those UVs preserved nicely. This is good because it's a one-to-one match right now in the UVs of the high poly versus the low poly. We do have some latitude, and that's the point behind projection and a percentage we are going to see in the Transfer Maps dialog, where we can project a cage outside of the mesh looking for other parts. That way, if I take a board and push it up or down, the low poly will look outside the original zone of the board, we'll call it, and find those extra pieces of geometry.

Now I am ready to bevel a bit. I have put my division levels at two and subdivided, so I have got some room to move, we will call it, I have some material to work with. One of the big things on this table is that the boards are rounded. I can't spare the polys in a game to do this, but a Normal map will help a lot. I will press F10 for Edge and double-click on this edge loop. It takes me halfway along that rounded corner and down that side. I will zoom in or just double-click on the adjacent one, and it should round that corner nicely.

I'll add to this, double-clicking on the other edge loops I would like to bevel. Sometimes we need to help the edge loop selection along as there may be places, such as the round corners, that I've broken the edge flow. Because I've made essentially a T here, of an edge loop coming down and across, Maya doesn't regard it as a complete loop anymore. I'll add to this selection all the way around, and now I'll see what it looks like when it's beveled. I will hold Shift and right-click and choose Bevel Edge.

I will uncheck Offset As a Fraction and reduce this Offset down. It's interesting, Offset As a Fraction right now gives me a small offset, unchecking it makes the shape go irrational. But I'm working in scene units. I will put the Offset at .2 and the Segments at 3 and see how it looks. It's not bad. I may want to reduce this down a little bit more, here's an eighth of an inch, and I am getting a decent bevel. I may want to come in also and crunch these corners, and I'm okay with it being a little faceted for now.

As an alternate, if we are feeling it's not really working, we could come in and remodel this corner, but I don't mind it because I can use that facet once I start sculpting. More importantly, right now this has given me, well, rounded corners. I will turn off the Wireframe on Shaded, and I can see I am starting to get some flat, to round, to flat, here on the corners. It's going to make these corners look a little bit softer. I will do this on the other board. Instead, I'll press F11 for Face, pick a face, and grow that selection out.

There's different ways to select. I can also, because it's one distinct element, double-click on a face, and that selects all the faces. Now I'll bevel them and see what it looks like, holding Shift and right-clicking and looking for bevel. Because I have got faces selected, Bevel is not available in the marking menu. So I need to find it on the Hotbox under Edit Mesh. Here is the Bevel under Chamfer Vertex. I'll bevel it and see what I get. It's not bad. I don't mind the extra geometry here because I'm going to bake it anyway.

I'll put those Segments up to three and round over those corners. Yes, this is a high poly board, and that's okay because when I deselect and take a look, it looks nice and round, and I have got lots of geometry in here to sculpt. As an alternate, instead of beveling I could go in and bevel edges. Here is how we get out of this. By the way, if you ever need to remove a particular piece from the history, I will right-click and choose DG Traversal. In here are my bevels, there is polyBevel3, which is the last one I just put on, and I can select it uniquely.

With it selected, I will hit Delete, and now this board is not beveled because I have selected the bevel as a unique note and removed it. I will try instead beveling edges, double clicking on edges and holding Shift to add to the selection. I will go all the way around. Again because this is a box, the original edge flow takes one side only. It's not a loop all the way around because it was, well, a box, and this is a corner. I will add to that selection and zoom around. I will double-click on more edges because I would like to catch all of it at once.

And once I have done that, I can bevel it. With all of the outer corners selected, I will hold Shift and right-click and bevel those edges. Now I will turn off Offset As a Fraction and put the Offset at .25. I will put some segments in so it's nice and round, and there is my board. It's looking round, and this is going to project a normal nicely. I may want to work over hard and soft edges as I can see in the middle of this bevel, there is a bit of a facet. What I can do here is soften the whole thing. In this case, I'll press F11 for Face, and use that double-click trick again, double clicking on a face and then choosing Normals and Soften Edge.

I'm going to soften this whole element. So when I press F8, go back to object and deselect, we can see that those corners are nice and round all over, that seam there is because of the UVs, not because of the mesh. And I can tell when I press 5 and go back to a shaded view. I'm getting some good bevels, rounding over corners and making those boards look, well, softer and more like boards. The first step in the high poly model is to get in here and soften things up. I may want to actually pick the whole object and soften it. I will mix my hard and soft edges up.

We can see here that I've got a smoothing artifact where I need to bevel that corner because it's trying to shade unevenly. The centerboard looks good, and this corner is kind of neat, it's got a facet. So I think later when I start to sculpt it. I'm going to push this around and use those facets to my advantage as if the table has been banged into things. This last board needs some beveling on the corners. As we are seeing smoothing artifacts where it's going dark underneath is Maya trying to smooth between 90 degree faces or, well, collections of faces.

And I'm getting oddness because it's trying to make a round out of a block. I'll continue beveling. It's really okay in a high poly to bevel like crazy, adding in all kinds of geometry and really rounding out edges. We are going to bake from it and then discard that high poly as part of the transfer maps operation.

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This video is part of

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

90 video lessons · 6894 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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