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- Herausgeber: Packt Publishing
- Kategorie: Wissenschaft und neue Technologien
- Sprache: Englisch
Production of 3D art is an exciting medium, but the task of modeling requires intense attention to detail, so speed and efficiency are vital. This book breaks down speed modeling workflow in 3ds Max into stages you can easily achieve, with a focus on hard surface modeling and methods you can apply to your own designs."3ds Max Speed Modeling for 3D Artists" will help level up your 3D modeling skills. It focuses on hard surface modeling, and shows the range of tools and techniques in 3ds Max 2013.This book shows content creation methods aimed at 3ds Max modelers preparing to show their skill to the industry. The key feature of modeling that artists must exhibit is speediness while preserving technical accuracy. The author helps you follow set project guidelines while pushing creativity and outlines the entire workflow from concept development to exporting a game-ready model.The book begins with introductions for new users to the interface and modeling tools, and progresses to topics aimed at users already familiar with 3ds Max, who want to improve their content creation process. You'll also see ways 3ds Max content is used with other applications, like sculpting software and game editors, and learn features of speed modeling, efficient workflow, re-use of content, and tips on getting more done, more quickly.By the end of this book you will have learned key topics in modeling, ready to face professional level work with elan.
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Seitenzahl: 452
Veröffentlichungsjahr: 2012
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Table of Contents
3ds Max Speed Modeling for 3D Artists
3ds Max Speed Modeling for 3D Artists
Copyright © 2012 Packt Publishing
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Every effort has been made in the preparation of this book to ensure the accuracy of the information presented. However, the information contained in this book is sold without warranty, either express or implied. Neither the author, nor Packt Publishing, and its dealers and distributors will be held liable for any damages caused or alleged to be caused directly or indirectly by this book.
Packt Publishing has endeavored to provide trademark information about all of the companies and products mentioned in this book by the appropriate use of capitals. However, Packt Publishing cannot guarantee the accuracy of this information.
First published: October 2012
Production Reference: 1111012
Published by Packt Publishing Ltd.
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ISBN 978-1-84969-236-6
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Cover Image by Thomas Mooney (<[email protected]>)
Credits
Author
Thomas Mooney
Reviewers
Vincent Bourdier
Conor O'Kane
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Cover Work
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About the Author
Thomas Mooney grew up in New Zealand. He now lives in a jungle with squashed frogs, mosquitoes, and regular thunderstorms and power cuts. He is a lecturer in design and also works as an artist. You can learn more about his work at www.tomofnz.com.
Tom tends to work, play, teach, and sit around all day with computers, and also likes to do comics, films, maps, screenplays, novels, storyboards, and iPad doodles.
His book Unreal Development Kit Game Design Cookbook, Packt Publishing was published earlier in 2012.
For my mother, a good, kind soul.
I would also like to extend a hearty back slap to all my students for being the subject of numerous tests (of patience mostly) during this book's development.
About the Reviewers
Vincent Bourdier is a twenty-six year old developer who is French with a passion for 3D. After self-learning 3D modeling and programming, he went to the University of Technology of Belfort-Montbéliard (UTBM) in 2003 and received an Engineering degree in Computer Sciences, specializing in imagery, interaction, and virtual reality. Passionate about computer graphics and image processing, he remains curious about existing and new technologies in a lot of domains such as AI, CMake, augmented reality, and so on.
He has been working as a 3D developer at Global Vision Systems (Toulouse, France) since 2008. He is now a Technical Leader on a 3D real-time engine.
Global Vision Systems (http://www.global-vision-systems.com) is a software developer and publisher offering innovative human-machine interfaces for aeronautics, space, plant, and process supervision.
I would like to thank my parents for their encouragement, even if they don't understand a word of my job, and my employers for the opportunity to live my passions and giving me challenges to meet.
Conor O'Kane is a game developer and teacher from Dublin. He lectures on game development at RMIT University in Melbourne, in courses covering game design, low-polygon art, character modeling, and iOS game development. He has worked as an Artist and as a Technical Artist for console game developers since 1999, and has been producing his own games independently since 2007, primarily with the Torque 2D engine. He currently develops games for Windows, Mac, and iOS platforms.
Conor lives with his wife and two children in Melbourne. When not making (or playing) video games, he enjoys practicing martial arts and learning to play the piano. You can download his free games and read articles and tutorials at http://cokane.com.
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Preface
This book is aimed at artists who already know essentials of modeling and are considering modeling specialization. A big part of specialization involves seeking ways to streamline your work flow. Possibly you're a diploma student and want to level up your 3ds Max skills after a short course, or possibly you're self-taught and want to measure the skills you've obtained. The outcome of reading this book would be a thorough knowledge of the modeling pipeline from concept, base model, sculpted model, UV mapped model, textured model, to skinned and rigged model, allowing for high-quality rendering or export of a game engine-ready, animation-ready asset.
What this book covers
Chapter 1, First Launch: Getting To Know 3ds Max, covers starting from scratch with 3ds Max. This chapter should help you get up to speed. It covers the essential starting points for those making their first launch into 3ds Max.
Chapter 2, Model Shakedown: Make 3ds Max Work for You, examines model handling using readymade assets. The main asset is a rapidly constructed vehicle used for testing a prototype game. Our purpose is to cover the necessary model handling skills before we undertake actual modeling in the next chapter.
Chapter 3, The Base Model – A Solid Foundation in Polygon Modeling, covers getting started on a model, starting with a reference image. We'll examine the modeling skills needed to create a base model. It also introduces the challenge of constructing forms that match a design while keeping within the constraints of four-sided topology, with an eye towards surface-detailing requirements.
Chapter 4, Mod My Ride: Extending upon a Base Model, demonstrates ways in which various modifiers can be used to adjust modeled content quickly. The main emphasis is to provide alternative designs with little work by modifying existing content. We also cover basic concepts for soft-surface modeling, smoothing groups, and generating geometric models from shapes or curves.
Chapter 5, The Language of Machines: Designing and Building Model Components, demonstrates the usefulness of developing an internal library or vocabulary of visual memes for your tech, mech, and hard surface models. It is very difficult to make a fictional model of a man-made object without some familiarity with how real man-made objects get their look, especially in terms of fabricated or manufactured detail. In this chapter, we'll analyze some prevalent ideas about depicting 'sci-fi' tech along with time-saving methods for constructing parts to reference in models.
Chapter 6, The Cutting Edge: A Closer Look at 3ds Max Polygon Tools, examines newer features related to modeling in 3ds Max 2013 such as the Freeform tools, live cutting, edge loop modes, and some of the more peripheral modeling tools that are nevertheless really handy to know, such as working with Boolean compound objects.
Chapter 7, The Mystery of the Unfolding Polygons: Mapping Models for Texturing, demonstrates methods of UV Mapping and stresses the importance of becoming fluent in the process of preparing a model for texturing a stage, which bridges modeling and texture painting while calling on somewhat different skills. The challenge is simply to put a 3D surface onto a 2D image plane. 3ds Max's mapping toolset ensures the user is well-armed to meet the challenge.
Chapter 8, Custom Body Job: Painting using Viewport Canvas, shows how the extensive tools in Viewport Canvas can be used to directly paint on a model with texture coordinates, with many direct comparisons to Photoshop painting tools. We go through material and channel setup, brush settings and hotkeys, and approaches to importing layer content, managing custom brushes, and using layer masks to paint non-destructively.
Chapter 9, Go with the Flow Retopology in 3ds Max, shows different ways to get a highly detail model down to a useable polygon count without losing key detail from the original, primarily looking at the brush-based PolyDraw tools.
Chapter 10, Pushing the Envelope – Model Preparation for Animation and Games, walks you through the envelope weighting, paint brush weighting, and vertex weighting tools in the Skin modifier, which is used to bind a mesh to a rig. In this case, we use CAT to provision a rig and we use SkinWrap to match a low-resolution version of a skinned model to a higher resolution version.
Bonus Chapter, Containers and XREfs, discusses Xref and Containers. We will learn how to create and edit a Container. We will also learn how to use Xref and Xref scene.
You can download the Bonus Chapter from http://www.packtpub.com/sites/default/files/downloads/Containers_and_XRefs.pdf.
What you need for this book
The following software are required:
Who this book is for
This book will appeal to anyone interested in 3D modeling who wants to improve their speed modeling ability, particularly artists whose work is relevant to industries where hard surface modeling or model prototyping is required, such as games, films, or visualization.
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Chapter 1. First Launch: Getting to Know 3ds Max
This book is aimed at artists who already know the essentials of modeling and are considering modeling specialization. A big part of specialization involves seeking ways to streamline your workflow. Possibly you're a diploma student and want to level up your 3ds Max skills after a short course, or possibly you're self taught and want to measure the skills you've obtained. If you are starting from scratch, however, this chapter should help you get up to speed. It covers the essential starting points for those making their first launch into 3ds Max.
These are the areas covered in the chapter's topics:
Tip
Keywords and 3ds Max Help—A self-learning approach
In this book, we indicate menu, property, and tool keywords in bold. Keywords in the book can be explored via the Index of the 3ds Max menu Help | Autodesk 3ds Max Help online. Offline documentation can be downloaded via an installer from the usa.autodesk.com under Home | Support | Support and Documentation | Autodesk 3ds Max| Documentation and Help | 3ds Max 2013 Documentation section under 3ds Max / 3ds Max Design 2013 Help Installer, which you should then set active in 3ds Max via the menu Customize | Preferences | Help | Local Computer/Network, or you can simply Download it via a button there.
Quick start: Jump into making models
This quick start guide is a set of steps to go from a blank viewport to having a simple model you can edit at the Sub-Object level (meaning you can access the component parts it is made of and change the object directly), and access the Editable Poly tools.
These steps establish a geometric object you can extend upon polygon by polygon:
Getting to know the User Interface
First of all, it is useful to look at some of the conventions of the 3ds Max UI. While our goal at the moment is to get used to the patterns that windows, buttons, menus, and tabs follow in 3ds Max, some features of 3ds Max will surface along the way that we'll have to reserve discussing in depth until later.
For example, to edit objects, you can add Modifiers to them, and these can be added on top of each other as a stack. From modifier to modifier, the stack GUI arrangement is always the same. Here is what to look out for: any icon like the one next to Editable Poly in the following screenshot means you can expand it to view further parameters. Other editors in 3ds Max, such as the Curve Editor, share this convention. Shown on the Bend modifier in the following screenshot, an icon will collapse an expanded section back again. The little lamp icon for each modifier lets you enable and disable a given modifier temporarily, without losing its settings. Right-click on the modifier label (for example, Bend) to get further options such as Delete, Rename, Copy, Cut, Paste, and Off in Viewport (which disables a modifier in the scene until render time).
A menu item with a + icon, similar to the ones shown in the following screenshot, can also be expanded by clicking on its label. Once expanded, it can be closed by clicking on its label again. These menu items can be re-arranged by dragging them, as can modifiers in the Modifier stack. A blue line will highlight the position they will drop into.
The various sections of Command Panel, which can be extensive, can be scrolled using a hand cursor that appears when you drag on empty space in the Command Panel. You can also use the slider down the right side. This is also true of the Render dialog (F10). The slider is quite thin, but is easy to use once you know that it is there. On the Editable Poly option, if you expand all the sections, you can see this slider. On a modifier such as Bend, which has few parameters, it isn't included.
Any icon that shows a text field with a downward triangle icon means you can expand a rollout list, as is the case with Modifier List in the Command Panel. Likewise, any icon with a little black triangle in the corner can be held down to expand a fly-out revealing more options or tools that relate to it. An example is the Align tool: .
Any numeric field can either accept type or be adjusted using a spinner on the right . Most spinners can be right-clicked to drop their value to zero or its lowest possible value; for example, a Cylinder primitive's Sides parameter can only go down to 3, or it would be a flat object.
Many text buttons and icons in 3ds Max, if you float the cursor over them for a short time, will display the name of the tool, and often a tool tip or instruction referring to the use of the tool. This is particularly true for the Ribbon tools, which often also display illustrations as they expand. An example of a tool tip is shown in the following screenshot:
The icon , which resembles a pin in the modifier stack, lets you keep a pinned object's modifier stack displayed even if you select a different object in the scene. The icon , which resembles a pin in the Ribbon UI, lets you keep an expanded rollout menu from being reverted closed (while the current object is selected). This seems to work when you haven't minimized the Ribbon to one of its three minimized modes. In the following example, the Teapot primitive's modifier stack is pinned, so it shows even though the Sphere primitive is currently selected. Meanwhile, in the Ribbon UI, the extra tools of the Geometry (All) section have been expanded and pinned. This would remain so until some object other than the Sphere primitive was selected instead.
The Ribbon UI can be collapsed to a minimal set of headings by clicking on the upward triangle shown at the top of the following screenshot (and the tiny downward arrow next to that indicates there are some options for this collapse command). There is a strange redundancy to this set of options, as the option Minimize to Tabs seems just fine. While the Ribbon is minimized, all you need to do to access the Ribbon tool is click on the tab titles, which then expand out.
Similarly, if you are using the Ribbon, then you can drag the labels of each section to re-arrange them, as shown in the following screenshot. The example shows the Graphite Modeling tools, where the Loops section is being dragged next to the Polygon Modeling section. Note that the Ribbon menus change automatically depending on what is selected and the editing mode you are currently in (such as the Polygon mode or the Vertex mode).
The next thing to get used to is accessing Settings of tools while editing. Any tool with a box icon next to it, or exposed under it in the case of the Ribbon UI, opens further settings for the tool. In the Quad menu, shown in the following screenshot, many of the editing tools show this.
Right-click in a view with an Editable Poly selected to expose the major editing tools (tools 2). Also, a sideways arrow in the Quad menu, as in the case of Convert To:| Convert to Editable Poly, reveals options for a command. In the preceding screenshot, the Extrude tool is shown in Polygon mode. There are multiple ways to access the tool itself and its settings: you can do so via the Ribbon or via the Quad menu. You can also access the same Extrude tool and other editing tools in the Command Panel in the section Editable Poly| Polygons| Edit Polygons.
Command Panel has a couple of interesting features: it can be floated, and in versions from 3ds Max 2012, it can be minimized, a lot like the menus in ZBrush, off to the side and out of the way unless needed. By default, Command Panel is docked on the right-hand side of the screen. You can widen it to show several columns by dragging on its edges. Views can also be enlarged in the same way. You can float Command Panel by dragging on its top edge or by right-clicking and choosing Float. There is also the option to Dock| Left. There is also the option to Minimize, which lets Command Panel slide out of view off to the side when not in use. A vertical strip labeled Command Panel, if you roll over it, pops it back out. When the Command Panel is floated, you can drag it to either side of the screen to re-dock it there, or you can double-click on its label.
The label also has a [ ] icon that lets you turn the Command Panel off. To reveal it again, go to the top row of icons—the main toolbar—right-click, and you can enable it from the list of menus there. If you happen to disable the main toolbar, you can get that back again if you go to the left side of the UI, just under the green 3ds Max logo , and right-click to expose a menu that lets you enable it again. Above the main toolbar are the main menu entries: File, Edit, Tools, Group, and so on. These can be hidden by clicking the down arrow icon and choosing Hide Menu Bar. To get it back, click there again and choose Show Menu Bar. The uppermost icons displayed are entries in the Quick Access Toolbar, which you can add your own entries to by right-clicking on a tool and choosing Add to Quick Access Toolbar. Here, I'm adding Swift Loop, a handy tool, to the Quick Access Toolbar from the Ribbon.
Unfortunately, such additions are per session additions. Next time you load up 3ds Max, they won't be preserved. The Undo and Redo buttons are there, with icons that let you access the available undo and redo history too. If you start to customize the Quick Access Toolbar, you will notice the option when you right-click to add a separator, which is a little dividing bar to space out menu items nicely. These are seen all throughout 3ds Max: in the modifier stack, in the various editor icon rows, and in the Quad menu.
Note
If you really get lost with missing windows you've closed, try going to the Customize menu and choose Revert to Startup Layout.
Default and custom UI schemes
In the current version, the UI is well-designed and visually appealing. The dark tones allow users to work without glare, and the icons are colored for easy spotting. There are still some legacy UI presets you can try out, including the 2009 interface that is used in many tutorials online. You can also save changes you make to the UI in an external file and set it as the default if you wish.
Switching UI presets
This quick demonstration shows two ways to change the presets for the user interface:
By default, Custom UI files, including small changes you make to the default UI, are saved in C:\Users\~\Appdata\Local\Autodesk\3dsMax\2012\64bit\enu\UI (supposing you are using the 64 bit version).
There is another way to access UI presets, which is by going to the Customize menu and choosing Custom UI and Defaults Switcher, which has a slight advantage of including visual previews of each UI as you select it in the list. Here you can see a list of tool-based settings and a list of UI schemes (on the right). You may like to try the ModularToolbarsUI, which exposes more than what the default UI does.
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Making changes to hotkeys
Let's change the rather annoying Selection Lock Toggle. When turned on, this toggle prevents you from selecting anything else, which can be handy if you intend it to be on, but not so nice if you toggle it on by mistake. Since its hotkey is Space, you can imagine this to be easy to do. Setting it to Ctrl + Space, which is not assigned to a command, would be better, since it is less likely to be accidentally hit.
This is done as follows:
Note
As well as using the Layer Manager, you may want to get the free script Outliner 2 (which imitates the Autodesk Maya Outliner) from http://script.threesixty.nl/outliner. The link downloads a .mzp file that you can simply drag from Windows Explorer into the 3ds Max viewport to install. Once installed, this uses the hotkey H, which overrides the Select By Name tool's hotkey, so you may want to set Select by Name to another hotkey (or use a different hotkey for the Outliner). Note that content hidden by the By Layer option in the Layer Manager can't be unhidden by the Outliner if you are in Hierarchy mode . At the bottom of the Outliner there is an icon that enables Layer mode, a substitute for the actual Layer Manager.
Customizing the Quad menu
You may have noticed that when you right-click, a menu appears under the cursor with shortcuts to many tools distributed elsewhere in the 3ds Max UI. For instance, you can press the Select icon or press Q or you can right-click and choose Select from the Quad menu. This menu can be changed to suit your need, though part of its utility comes from memorizing its layout for speedy access, so making changes often may defeat the purpose. Still, there are a few tools that you'll regularly use that could benefit from being in the Quad menu.
Note
Swift Loop is a tool used to add additional edge loops to an Editable Poly model. We'll discuss its use later too, but in brief, you can add a box to your scene, right-click on it, and choose Quad menu | Convert To: | Editable Poly. Then press 2 to enter Edge mode, then go to the Ribbon UI | Graphite Modeling Tools and expand the Edit panel to expose the Swift Loop icon . Clicking this enters a mode whereby clicking on an edge will add a perpendicular loop to the model. Using the Swift Loop tool is very handy, but accessing it from the Ribbon time and again is frustrating. It would be better to add it to the Quad menu, where it is always right under the cursor.
The following demonstration shows how to add this commonly used modeling tool to the Quad menu:
Note
If you're disinclined to add these additional tools to the menus, you can opt to press Load here and choose \Packt3dsMax\Chapter 1\PacktUI.mnu to do so automatically. Several common tools are arranged for easy, swift access. There is a version for both 2012 and 2013 version of 3ds Max.
A preference you may want to set while in the Quads tab of the Customize User Interface dialog is to turn off Show All Quads option, via its tickbox. What this does is it only displays the part of the quad box that you highlight with the mouse. It uses less screen space as only a quarter of the menu is seen at one time.
Should you want to remove or rename an entry in the Quad menu, right-click on it to access a menu showing those options.
Note that there are contextual Quad menus depending on what mode you are working in, and you can edit these by expanding the rollout that shows Default Viewport Quad. In particular, it is useful to customize the Unwrap UVW Quad to access mapping tools faster. See Chapter 7, The Mystery of the Unfolding Polygons: Mapping Models for Texturing, for coverage of mapping processes.
Also, you will notice there are hotkeys to filter the Quad menu. For example, the Modeling Quad (Ctrl + RMB) only shows modeling tools. The Snaps Quad (Shift + RMB) lets you set the current snap type. This is quicker than moving the cursor up to the Snap icon to right-click and access the Grid and Snap Settings menu. The hotkey for entering Snap mode is S and it uses whatever settings you most recently set. Snaps are used for precision modeling, and snapping functionality is discussed further in Chapter 5, The Language of Machines: Designing and Building Model Components.
Making changes to the view layout
The most obvious way to change the viewports is to resize the default 4 x 4 panels by dragging their inner frame border. Each viewport has a [+] menu where the top entry is the Maximize Viewport or Restore Viewport command, Alt + W.
There are more controls for the view arrangement. If you press [+] in a view and choose Configure Viewports or right-click anywhere over the viewport control icons at the bottom right of 3ds Max or open the Views menu and choose Configure Viewports, you will get a pop-up window, Viewport Configuration, where the tab to open is called Layout, as shown in the following screenshot. Click this tab and notice the two rows of preset panel layouts. Click on any of them, and then click on the large panels that are labeled with the current setting. A list will appear with the available options you can set. This method is the only way to swap out a Track View option that has been set in a viewport, so keep it in mind if you do any animatio n.
