3D Masterclass: The Swordmaster in 3ds Max and ZBrush: The Ultimate Guide to Creating a Low Poly Game Character [Gavin Goulden, 3dtotal Publishing] on. Köp 3D Masterclass: Swordmaster in 3ds Max and ZBrush: The Ultimate Guide to Creating A Low Poly Game Character av 3dtotal på We’re teaming up with the fine folks over at 3DTotal to give you a peak at a sample chapter from their latest ZBrush and 3D Studio Max book.
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PubHTML5 site will be inoperative during the times indicated! The Swordmaster Is our new precise, step-by-step tutorial for highly polished, low polygon game character with detailed texturing for real-time rendering.
The Swordmaster in 3ds Max and ZBrush
We have had the tutorial created for the 5 major 3D applications, but even if you are not a user of one of them, the principles should be easilyfollowed in nearly all other 3D applications. Welcome to the first of an ongoing tutorialwhich will run over the next eight issues andprovide a step by step guide to building a lowpoly character based upon a model by Seong-Wha Jeong. In this first section we will startby creating a simple box and then moulding itinto the final head shape using the editable polytools.
The first step is to create a box with 4 length,width and height segments as shown on theright in Fig With our box now converted to an EditablePoly we can now begin shaping it at the sub-object level, ie. Select thevertex level under selection and begin by movingthe verts in the left or right viewports first to getthe rough profile shape. In this way we can keep ourmesh symmetrical on both sides of the center Fig I find it is best to work in a profile viewand move the verts into a reasonable shape andthen switch to the front view and do the same.
Once you have shaped the existing geometry it is time to add a subdivision by selecting an edge shown in black and then clicking on Ring, followed by Connect highlighted in red in Fig By selecting the little square to the right of the tab you can bring up the dialogue box where you can alter the parameters.
You can see in the top left that I have chosen just one segment in this case. Much of the modelling process will involve this procedure after which the new verts are then manipulated into better positions. You can see the variuos views of the mesh at this stage on the bottom right. Now that we have a rough shape to our head it is time to add in some of the features.
The next step is to make a start on the eyes. With the nose and eyes underway wehave just the mouth left to make a start on. Once this isdone simply move the new verts into positionsto form a mouth shape as seen in the image.
The Swordmaster in 3ds Max and ZBrush – 3dtotal Publishing
The features are now beginning to form, albeit in a rather crude way but there is still no evidence of a chin so pull up some of the lower verts to alleviate this Fig Now that we have a reasonable amount ofdetail it is time to swordmasterr half of our mesh andapply the Symmetry modifier in order that wecan work on just one half of the seordmaster andsee the results mirrored in a duplicate.
Now in sub-object poly mode, select allof the right half of the head make sure IgnoreBackfacing is unchecked by including part ofthe left side just past the central line.
When you go down the stack to the Editablepoly level the duplicate will now disappear. This will help create a more convincing socketshape for the eye and remove the sharp angleapparent in Fig The eye area is somewhat improved but we need swodmaster more detail above the brow so move the existing line of verts 3dtoyal slightly yellow line in Fig As we gradually refine our model we inevitably add more detail but sometimes it is useful in low poly characters to actually remove unnecessary detail that can be supplemented by a texture.
At the moment we have six rows of polygons running over the top of the head — more than we really need. We have partially improved the eyes andso should refine the other features.
First thingis to get rid of the harsh angle under the noseso select the poly and apply a Bevel Fig Delete these and thenmove the inner verts to line up with the centralline using the snaps tool. One other thing todo is add a cut below the lips to create a bettershape to the chin highlighted in red.
On the nose weld the middle vert to theone below and the one on the left to theadjacent corner one Fig To improve the chin a bit more we shall make a further cut to help form the jaw line as shown by the red line in Fig You will also notice that the 3dtotsl poly the one we originally cut is made up of two triangles.
This will leave only the one further back on this section of the jaw. To remedy the very flat underside of thechin we shall now make a further cut acrossfrom the vert in the swordmasted shown in red inFig Swordmastter extra verts can now be pulleddownward to form a more rounded profile andthe the one left of the center can be welded tothe central one to reduce the poly count. To economise futher weld two more vertsto the outside edge as shown by the red dotsin Fig With this complete it is sworrmaster time tocreate the ears so start by moving swordmastet vertsinto positions that resemble a rough shape asseen by the red outline.
This will keep the new polygons as part of the head and not as a separate object. We now have a rough ear shape but youwill notice that on the opposite side there isa hole.
To fix this, copy the same selectedfaces using the same technique we have justused and rotate them around degrees. Now all we need to do is attach them to theother side. Select the 3D Snaps tool on thetoolbar highlighted in yellow —top of Fig21 ,right click on it and tick vertex under the snapssettings.
Now select the vertices on the newfaces and drag over to the correspondingones on the ear to patch up the hole indicatedby the green dots.
In the dialogue box alter the thresholdto 0. You will notice that we have adiscrepancy of 8 between the before and after— this corresponds to the 8 verts that we havesnapped to the other 8. We can only see 8 butthere are in fact 16 separate ones and so byhitting OK we are welding this 16 into 8 and soreducing the count from to In otherwords if two verts occupy the same space theymay as well be one. We can now attach the ear to the side ofthe head using the same technique by firstmoving it into position, snapping the vertstogether and then welding them up.
We are almost there now! Add an Edit Mesh modifier on top of the stack and then go into sub-object edge mode as seen on the right in Fig You can see in the image where edges in red have been turned to follow a more suitable line shown in green on the right. In this way we can create better contours across our mesh and make sure the numerous planes read more accurately too. In Fig24 we can see the final version of our head. There are a few verts here and there that could be tweaked somewhat to refine the shape but we have a reasonable head to build on.
It is important with low-ply models that we have smooth transitions between polygons so that we 3dtottal as much as possible the low level of detail. Hopefully you will have learnt enough techniques to go on and improve upon my model. SwordMasterHere are some progress shots from theviewports, and a render of the flat shaded withwireframe over.
Next month we will continue bybuilding the torso. Welcome to the second part of an ongoingtutorial which will run over several months andprovide a step by step guide to building a lowpoly character based upon a model by Seong-Wha Jeong.
If you have followed the previous tutorial onmaking the head then open that file and beginby selecting the bottom row of edges as shownin green in Fig When you have done this start to pull theverts outwards to form the top of the shoulders Fig You can see in the illustration that thesmall picture shows the positions that the newverts have taken up.
It is a good rule of thumb that whenever you add more detail by way of copying edges or adding subdivisions you should move the new verts into suitable positions before adding any new edges. It can save time and is a lot easier to work this way. We have made most of the shoulder areaalready by simply copying edges and re-positioning the new verts and now it is time tostart to form the top of the arm area.
In Fig05 you will notice that these arerepresented by the first cut in green and thesecond in red — the new verts are then moved red dots. We have now created two trianglesby the last cut but these could be deleted andreplaced by a quad if one so wished. Now it is time to begin forming the chestarea by selecting the bottom row of edges onthe front of the torso green line in Fig06 andduplicating them downwards red line in Fig06 using the same method.
We can do the same thing to also form the upper back Fig Back to the front now! Grab that bottom row of edges under the chest and copy these downwards once more but this time pull them inward to form the lower part of the chest Fig Also add in a small cut indicated by the red line.
If we look at Fig09 we can begin to see theshape that the upper arm will assume when iteventually materializes from the hole. Beforewe close the bottom edge copy the edgeshighlighted in green to start off the abdomenand lower back areas.
With this done it is time to seal the bottomof the arm area. We now have a complete upper torso with a hole ready to build our arm.
All that we need to do now is extend it downwards to form the lower back, abdomen and pelvic area. Once again grab the lower ring of edges and copy them downwards green line in Fig To help shape the muscle form on the back you could weld the vert shown in green in Fig12 to the one to its left.
This will form a triangle and follow the shape of the muscles running downwards from the shoulder blades. Now select the bottom row of edges oncemore and copy these downwards by quite away Fig SwordMaster page 23 The next thing to do is to simply manipulatewww.
Is is best to do this in the same way we began moulding the cube into a rough head shape, ie. The illustration shows a profile and front view which will give you a good idea about the positions of the verts.
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The swormdaster thing to do before we start to make the arms and legs is add a small cut across the base of the buttocks in order that we have a little more geometry to deform when swordmastr character is eventually animated.
This will help smooth the curve of the leg when it is extended Fig You can see in the illustration that the added cut in green has helped the curvature when the legs are extended, evident in the screen shots above. You will also notice that I have added another cut in red above to help the creasing in this area.
It is always worth remembering that it helps to have more detail around all joints as these polys are subject to more stretching and movement. In the case of the red cut, I have created two triangles on the side of the leg as this pattern will be used around the knee the reason for which we will see in the next tutorial but you could in fact have just made a cut to the lower vert creating only a single triangle.
This concludes the torso section of the tutorial and next month we will go on to build the arms and legs to complete the body.
Fig01Welcome to the third part of an ongoing tutorialwhich will provide a step by step guide tobuilding a low poly character based upon amodel by Seong-Wha Jeong. If you have followed the previous tutorial onmaking the torso then open that file and beginby selecting the edges as shown in Fig In the next step move these edges inwardsand join them together with another poly inbetween as indicated by the red poly in Fig This will now form two holes from which we willextend the legs.
Using this same technique extend the leg downwards to create the upper part 3dfotal the leg.