Organic Modeling
Modeling architectural assets is a great way to start learning about modeling. Architectural things like walls and furniture are all man made. This means that many of these sorts of assets are simple in form — often linear and inorganic.
Organic modeling, while using many of the same tools as architectural modeling, is a whole other ball game and as such often needs a new collection of techniques. In this chapter, we will be looking at organic polygonal modeling techniques specifically through the lens of organic modeling.
In this chapter, we will look at creating assets for two different applications. The first is a game character model. Game characters are great places to start as they are limited in the number of polygons they should contain. Too many polys and any game engine get bogged down. Although this limitation may seem like a problem at first glance, it’s of benefit for the learning process as the data set is smaller and allows a more bite-sized collection of techniques to be explored.
Once you know the basics of character modeling — as realized in game characters — you will actually have the necessary knowledge to tackle higher resolution assets. Be sure to check out the homework to see the challenge of a high-poly character bust. This will be a character that would hold up in film or TV. The number of polygons are higher, the detail deeper, and the techniques slightly different.
Tutorial 4.1 Game Character Modeling
As discussed before, game engines must render (or draw) everything on the screen many times a second (generally at least 30 frames per second is demanded by most gamers). In order to render this quickly, the game engine has to have a reasonable collection of assets to work with. Too many polygons, too many textures, textures that are too big, and lighting schemes that are too complex will drag down a game’s frame rate.
How many polygons are too many is actually a pretty complex question. Part of it depends on what platform the game will appear on (Xbox 360 and PS3 can push a 15,000 poly character without blinking — while that’s a pretty good workout for a Wii or a iOS/Android device). Part of it depends on how many characters will be on the screen at a time (if there is one character and one enemy, a high polycount is no problem; but if there are hordes of baddies coming after you, each of those bad guys will need to be fairly efficient). And part of it depends on the complexity of the environment (both in polycount and textures).
For this project, we will give ourselves a fairly arbitrary self-defined limit of 15,000 tris (triangular polygons needed to render). In the process, the final form can and will be sophisticated and interesting. A low polycount is not a limitation — but rather a construct to work within.
The character we will be building was designed and modeled by Jake Green — a talented animation artist (and former student of mine) who is currently working at the Los Alamos National Laboratory. For more of his work, check out www.JakeGreenAnimation.com.
Some Notes
A few quick notes before beginning. First, a good-looking character model begins with a good-looking character design. Really, there is very little technical prowess than can compensate for poor design. This is why Jake did the design; he’s a character designer while I am not. Don’t be afraid of getting your design from a friend or colleague who has solid character design skills.
Second, this tutorial makes use of assets called Character Style Sheets. These are front and side drawings of the character to be modeled. But they are more than just sketches — they are really draftings that work out some of the architecture of the character. The model will be created right over the top of these drawings, and so their accuracy — and specifically their accuracy in relationship to each other (front and side) is critical. The work of lining these has been done for you in this case (downloadable on the support website at http://www.GettingStartedin3D.com). However, knowing how to prepare style sheets is important. Be sure to check out Appendix A: Preparing Character Style Sheets.
Getting Started
Step 1: Create a new Project. Remember, to do this, use File > Project Window. Name the new Project Game_Character.
Why?
if this character was going to be in Escaping the Madness, we likely wouldn’t create a new Project; the assets would simply be saved as new Maya Scenes. However, the character that is going to be modeled doesn’t quite belong to our game and is really a design for another Project. Thus, a new Project is the way to go.
Step 2: Make a new scene and save it. Save it as Game_Character. This will save the file Game_Character.mb into the scenes folder of the Game_Character Project.
Step 3: Place the prepared character style sheets within your project. To do this, go to http://www.GettingStartedin3D.com and go to the Tutorials & Support section and to the Chapter 4 thread. There, download the file under the link “Prepared Character Style Sheets.” Unzip the archive (which will contain two files — GameCharacterStyleSheetFront. jpg and GameCharacterStyleSheetSide.jpg) and move these two files into your Project’s sourceimages folder.
Why?
We haven’t done anything with textures yet; but a critical idea to working with Maya is that textures (or image planes) don’t actually import into the Maya scene — they are simply referenced. This means that when Maya opens a scene, it has to go out and reacquaint itself with any image assets used as textures or reference drawings. Knowing where these assets are becomes immensely important.
Part of the reason we define Projects is to keep the assets that Maya ties together in good relative locations. This makes it so that — when the project is properly defined — any machine that opens a Maya file knows where to go to find other related assets. The sourceimages folder is where all texture files or files to be used as image planes should go.
Image Planes and Setting Up to Work
Image planes are so useful; they almost feel like cheating. They are really just images that are placed in orthographic views (although they can be placed in perspective views — their usefulness there is limited) that provide a reference over which polygons can be created and shaped. It’s kind of like tracing with polygons. With the prepared style sheets that are now in your sourceimages folder, we can create these guide images and build over the top of them.
Step 4: If the View Panel is not already split, move the mouse over the View Panel and hit the space bar to split into four views.
Step 5: Import the front style sheet drawing. Do this in the front View Panel. Choose View > Image Plane > Import Image (Fig. 4.1). This will open a new dialog box that should take you to the sourceimages folder where the style sheets have been placed. Choose GameCharacterStyleSheetFront.jpg and hit Open.
FIG 4.1 Importing an image plane. Note that it uses a pull-down menu that is inside a particular View Panel.
Step 6: Import the side style sheet drawing. Do this one in the side View Panel. In that View Panel, choose View > Image Plane > Import Image. This time in the Open dialog box, choose GameCharacterStyleSheetSide.jpg and hit Open.
Why?
The results of the last two steps should appear like Fig. 4.2. Notice that in the front and side View Panels, the two sketches appear, and they also appear in the persp View Panel. Notice also that if they are in the middle of the persp view then these planes would intersect the geometry we need to build. In the following steps, we will need to move these planes around in space. But to move them takes a unique collection of steps because they are image planes (not geometry in the scene).
FIG 4.2 Results of two image planes being placed.
Step 7: Access the imagePlane attributes for the front View Panel and move the image plane back in Z. To do this, in the front View Panel, choose View > Select Camera. This will show attributes of the camera in the Attributes Editor (to the far right of the interface). There, look for the imagePlane1 tab and click it. Look for the Placement Extras section and expand it (if needed). In the Center input fields, change the settings to read 0, 0, −50 (Fig. 4.3).
Why?
Think of an image plane as a plane attached to a camera. This is why accessing the attributes of the image plane is done by adjusting the attributes of the front camera. Within the front camera’s nodes, the imagePlane1 tab shows the attributes of the image plane attached to the camera. Predictably, the Placement Extras section allows for adjustments of the image plane. The Center set of input fields isn’t labeled, but the three input fields are for X, Y, and Z. By default these will be 0, 0, 0, but entering −50 in the Z input field pushes the image 50 units back in Z (as can be seen in Fig. 4.3).
The critical (and useful) thing here is to notice that although the plane has slid back 50 units in the persp View Panel, it hasn’t gotten any smaller in the front orthographic View Panel. It still serves the same purpose as an image to build polygons over, but won’t be in the way of the polygons to be built.
FIG 4.3 Adjusting the placement (in Z) of the image plane that is in the front View Panel.
Step 8: Hide the image plane for all the views except the front View Panel. Still within the Attribute Editor and within the imagePlane1 tab, click the Display: looking through camera radio button.
Why?
Even though the plane is moved back in space, it is still an unnecessary clutter in the persp View Panel. By turning on “looking through camera,” we make the image plane only visible in the front View Panel.
Step 9: Repeat for the side View Panel. So again, in the side View Panel, choose View > Select Camera. In the Attributes Editor, select imagePlane1. In the Placement Extras section, this time enter −50, 0, 0 in the Center input fields. Finally click the looking through camera radio button.
Why?
Same idea, only this time the image plane is being shifted −50 units in X not Z.
Step 10: Hide the grids. Do this using Display > Grid (turn the check mark off).
Why?
The grid can be very helpful in some situations or a real pain in others. This is one of those times when it needs to go away and clean up the interface.
Step 11: Keep track of the polycount. Do this via Display > Heads Up Display > Poly Count.
Why?
We’re in game-land right now, and keeping our polycount low is critical. It’s tough to keep the polycount low if we don’t know what the polycount is. The Heads Up Display can present (at all times) how many polys we have created. As soon as Poly Count is turned on, information on the model will appear in the top left corner of the View Panel.
Tips and Tricks
The Poly Count part of the HUD (Heads Up Display) can seem a little tricky at first. Notice that the numbers will change depending on how much of the model is visible and if an object is selected or not.
Getting Started on the Eye
Step 12: Create the eyeball. Do this by creating a polygonal sphere (Create > Polygon Primitives > Sphere). Rotate it 90 in X (probably most easily done in the Channel Box). Scale it and move it, so it appears like Fig. 4.4.
FIG 4.4 Creating the basis of the eye.
Why?
Starting with the eye seems strange, but this one piece of anatomy that will help inform a lot of the steps coming up. Be really sure to be organizing the eye in both the front and side View Panels.
Display Layers
Display layers allow a user to hide and show collections of assets en masse. Additionally, it allows for a collection of objects to be locked down or become unselectable. At its core, display layers are an organizational tool.
Step 13: Create a layer to store the eye. In the bottom right corner of the interface should be the Layer Editor with three tabs (Display, Render, and Anim; Fig. 4.5). If this is not visible, click the Show or Hide the Channel Box/Layer Editor button in the top right corner of the interface. Select the eyeball sphere, and in the Layers Editor under the Display tab, choose Layers > Create Layer from Selected.
FIG 4.5 Top of the Layer Editor.
Why?
This does two things at once. First, it creates a new layer, and second, it adds the eyeball to it.
Step 14: Reference the layer. In the Layer Editor, there is a new layer1. Between the name of the layer and a box with a V in it, there is an empty box. Click that box twice until an R (for “reference”) appears within it.
Why?
A layer that is referenced is a layer that is visible, solid, but not selectable. Note that the first time when this area is clicked, a T appears. T is for Template and allows an object to be non-selectable as well, but will always display as a salmon-colored wireframe.
In both cases, the idea is that there may be elements that need to be in the scene to help in further creation (scale references, etc.). Or there are objects that are finished and you don’t want to accidentally select or alter them. Getting them on a layer that is either a Template or Reference makes sure they are set aside and not messed with.
Tips and Tricks
Although we aren’t going to mess with it here, the button on the far left there with the V is for visibility. Toggling the V will toggle the visibility of the layer.
Create Polygon Tool
Thus, so far we have generally altered polygons that already existed as part of primitive forms. Polygons have been split, cut, and extruded. These are great tools, but there are other ways of getting geometry to work with. The Create Polygon Tool is pretty self-explanatory: it allows for a polygon to be created by allowing the user to click three (or more) times where the vertices of the polygon should be.
Step 15: Create the first polygon via the Create Polygon Tool. Activate Polygons|Mesh > Create Polygon Tool. Then, in the front View Panel, click four times (Fig. 4.6) once for where each of four vertices should be. Hit Enter when through to exit the tool.
FIG 4.6 Using the Create Polygon Tool to create the first polygon of what will become this game character.
Extruding Around the Eye
Using the Extrude Tool should be fairly familiar by now. In Chapter 3, faces were extruded to create everything from new walls to chunks of furniture. It turns out that the Extrude Tool can be used for more than just extruding faces — it can be used on edges too.
This will be the strategy employed here. Selecting and extruding edges will allow the single polygon just created to be extended into more complex forms.
Step 16: Select the top edge of the polygon in preparation of extruding. Remember to do this, right-click-hold on the polygon and select Edge from the Hotbox to get into Edge Mode. Then, select the top edge of the polygon.
Step 17: Extrude the edge to create a new polygon. Select Polygons|Edit Mesh > Extrude. Use the Move handles to move the extruded edge away to create the new polygon (Fig. 4.7).
FIG 4.7 Extruding out an edge to create a new polygon.
Step 18: Repeat, and extrude, but make sure that in addition to moving the new edge up use the rotation handles (blue circle) to rotate the edge as well (Fig. 4.8).
Why?
Good topology is always important. It is especially critical with characters. The muscles around an eye are largely circular — they surround the eye. By rotating the edges of this first loop of polygons (so that the edges all point toward the middle of the eye), we can lay the ground work needed for effective topology to come.
Step 19: Repeat all the way around the eye. For each extrusion, remember to both move and rotate the edge (Fig. 4.9). Be sure to match the line of the eyelid as it touches the eye.
FIG 4.8 Extruding, but also taking the time to rotate the edge.
FIG 4.9 Continuing all the way around the eye with extruded edges.
Merge to Center
We have looked at all sorts of ways to increase the amount of geometry we have (extrusions, cuts, etc.). Sometimes, however, what is needed is a consolidation of elements or components. In this case, we need to close off the loop of polygons we have begun. To do this, we will need to merge vertices together. There are a couple of merge tools available in the Maya of today. The Merge to Center is often a great choice when there are pairs of vertices that need to be merged regardless of how far apart they are.
Step 20: Merge pairs of vertices together to close-up the polygon loop. Do this by selecting pairs of vertices (like shown in the left image of Fig. 4.10) and then selecting Polygons|Edit Polygons > Merge to Center. The result will appear like the right image in Fig. 4.10.
FIG 4.10 Using Merge to Center to combine two vertices into one.
Step 21: Repeat for the other pair of vertices.
Finding the Shape of the Eye
From the front view, we now have a good shape for the eye. However, take a look at this ring of polygons in the top or perspective view and you’ll see that it is sitting right in the middle of the eyeball, which is not where it should be.
Part of the reason for creating the eyeball first is that it will give us a quick way to make sure that the shape of the polygons that are the eyelid (the ring of polys we just created) are correct. In the next few steps, we will start to manipulate this collection of polygons into a three-dimensional representation of the eyelid.
Step 22: Move all the vertices to the front of the eye. Select the entire object and use the Move Tool to move these flat polygons, so that they are in front of the eyeball.
Step 23: Move pairs of vertices up to match the sketch and the eyeball. This takes a few steps. Make sure you are using a four-view layout (hit the Spacebar) and in the front View Panel, select a pair of vertices. Then, in the side View Panel, move the vertices only along the Z axis, so that they match the sketch (Fig. 4.11).
FIG 4.11 Moving vertices into place in three dimensions.
Why?
It’s important that these vertices are moved only in the Z axis as there was great care in organizing them in the front view. Should you start moving them around in other directions besides just Z, suddenly the vertices wouldn’t match the front sketch any more.
Step 24: For the moment, make the eyeball invisible. Do this by clicking the V button in the Display Layers Editor for layer1.
Why?
In a perfect world, the character style sheets will line up perfectly in the front and side and will work out perfectly with the sphere that is the eyeball. In the real world, it’s very difficult to make drawings that work perfectly in this way. As the vertices have been moved back to match the sketch, you’ve undoubtedly found that there is quite a bit of eyeball penetration going on there. We are going to fix some of that in a minute, but in the meantime, it can be a bit distracting. Hiding the eyeball for a moment will allow for focus to remain on the shape of the geometry for a moment.
Step 25: Adjust the outermost ring of vertices to match more closely the geometry of the face as it moves out from the eye (Fig. 4.12).
FIG 4.12 Working the outer ring of vertices.
Step 26: Adjust to the eyeball. First, make sure the eyeball is visible (do this in the Display Layer Editor by clicking the button where the V was until the V returns and the eyeball is again visible). Then, again — by selecting pairs of vertices — move the pairs out, so that the inner most ring of vertices are on the surface of the eyeball (Fig. 4.13).
Thickness for the Eyelid
Step 27: Give the eyelid thickness. Switch to Edge Mode and then double-click on any of the inner edges (this will select a ring of edges that selects all the inner edges). Use the Move Tool to slide this selection out off the eyeball just a bit. Now select Polygons|Edit Mesh > Extrude and pull the new extrusion back, so that it matches the eyeball’s surface once again (Fig. 4.14).
FIG 4.13 Moving vertices to match eyeball.
FIG 4.14 Adding thickness to the eyelid by moving the edge away from the eye (left) and extruding back to meet the eyeball (right).
Why?
Creating the initial geometry right up against the eye gives us the right shape. However, it also produces eyelids that are paper thin. By pulling that edge off the eye — we have the right shape of that inner ring of edges, but then extruding back provides “meat” to the eyelid.
Step 28: Reduce the number of polys in the eyeball. Do this by unreferencing the eyeball layer (clicking the R button in the Display Layers Editor) and selecting the eyeball itself. Then, in the Channel Box, expand the INPUTS section and click the polysphere1 node. There, enter 12 in the Subdivision Axis input field and 8 in the Subdivisions Height input field (Fig. 4.15).
FIG 4.15 Results of decreasing the geometry in the eyeball.
Why?
Having a densely constructed eyeball was of great use when creating the form that would surround that eyeball. But at the end of the day, there is little need to spend so much of the poly budget on the eyeball. So once the eyelid shape has been achieved, we can reclaim some of that budget by reducing the amount of geometry in that eye.
Step 29: Soften the edge normals. Still with the eyeball selected, choose Polygons|Normals > Soften Edge (Fig. 4.16).
Why?
Similar to faces, edges have normal as well that help define the front of the edge. A hard edge normal leaves a very crisp edge — which is sometimes just what is desired. But softening that edge normal can make a shape where the edges of faces are harder to distinguish — and thus the shape appears smoother. After the sphere’s polys were reduced, the eye appears very faceted. Softening all the edge normals for the object (using Soften Edge when the entire object is selected) will appear to smooth the entire form, but not increase the polycount at all. This technique will be used quite frequently in game modeling.
FIG 4.16 Softening edge normals.
Expanding the Geometry
Step 30: Extrude out new geometry. On the geometry, that is the alien’s face (not the eyeball), switch to Edge Mode and double-click one of the edges on the outside of the shape. Use Polygons|Edit Mesh > Extrude and then use the Move handles of the Extrude Tool to pull the new extrusion out (Fig. 4.17).
FIG 4.17 Creating new geometry with an edge extrude.
Step 31: Tweak new geometry into place. This can be done either in Edge Mode or Vertex Mode. The idea is to take a moment and start moving these new components, so that they match the side and front image planes. As you tweak, be sure to check the persp View Panel to see if the shape is coming together as desired.
Step 32: Extrude out another ring of faces. Again, do this by swapping to Edge Mode and double-clicking one of the outside edges to select the outer ring of edges. Use Polygons|Edit Mesh > Extrude and pull out the new ring of edges (Fig. 4.18).
FIG 4.18 Creating a new extrusion.
Step 33: Tweak as needed but snap the inner edges to the middle of the face. In the front view, take a look, and by this point, there will be geometry that passes over the middle of the face. Switch to Vertex Mode and select vertices that have crossed over the middle of the face. Double-click the Move Tool, and in the Tool Settings window that will appear, look for the Move Snap Settings section. Turn off Retain Component Spacing. Now, in the front View Panel, hold x down (snapping to grid) and move the vertices in X. Snap them to the middle of the face (Fig. 4.19).
Why?
Lots happening here. Because the character is largely symmetrical, much time will be saved by modeling only half the form and mirroring that later. But to make this work right, the center of the mesh needs to be clean — it must have a clean axis of symmetry. This is why the vertices need to be snapped clean on the center. Retain Component Spacing is the default setting for the Move Tool. It means that if a collection of vertices (for example) are selected, as they are moved — particularly as they are snapped) — Maya will retain their relative location to each other. This means that, by default, Maya snaps the selection’s manipulator (not each individual component) to grid or vertex or whatever. By turning off Retain Component Spacing, when a group of components are snapped, they abandon their relative spacing, and, in this case, all snap to the next X grid line.
FIG 4.19 Snapping vertices to the center of the face with the Move Tool and Retain Component Spacing off.
Creating Dynamic Mirrored Geometry
Getting started modeling is fine, but it can be a little disconcerting always building just half of the form. Eventually, when one half of the form is complete, Maya can mirror the geometry, so that there is one complete form. However, for now, we only want to have to build one half of the shape.
Mirror Geometry is actually a function in Maya — but it is fairly inflexible. Instead, we will make use of instances to create a dynamic copy of the half we are modeling. This instance of the model will be a mirrored version of the current geometry, and as changes are made to one side, they will be replicated on the other.
Step 34: In Object Mode, select the mesh of the face. If you have not moved the object, its manipulator should be sitting at 0, 0, 0.
Step 35: Duplicate an instance. Choose Edit > Duplicate Special (Options). In Geometry Type, click Instance. Under Scale, change the values to −1, 1, 1 (Fig. 4.20). Hit Duplicate Special.
FIG 4.20 Creating a mirrored copy using Duplicate Special.
Why?
Instances are not actually copies of geometry. They are simply showing another object again. So by making sure to click Instance, the new duplicate will be just another display of the geometry built, which means that when the vertices on the original are adjusted on the left side, they are adjusted on the right as well.
Remember that most of the time you see three input fields in a row (as there appears next to Scale in the Duplicate Special dialog box), it really represents X, Y, and Z. So changing the first input field means to make the duplicate be −1 in Scale X. As an object is scaled smaller and smaller in any direction (in this case X), it gets closer and closer to 0. Pushing a scale past 0 into the negative direction means the form “grows” out the opposite (mirrored) direction.
Tweaking and Duplicating the Eye
Step 36: Duplicate the eyeball and move it over to fill the other eye hole. Notice in Fig. 4.21 that the eyeballs have also been rotated a little to point outward as the character’s form demands.
FIG 4.21 Duplicated and rotated eyeballs.
Constructing the Mouth
The methodology behind the mouth is much the same as the eye. The difference is that for the mouth, only one half of the mouth is created (it will be mirrored). But the basic idea of (1) creating a polygon, (2) extruding the edge to create a ring of polygons, and then (3) extruding the outer edges to build out the form remains.
Step 37: Use the Polygons|Mesh > Create Polygon Tool to create a new polygon for the start of the mouth. Remember to do this in the Front View Panel (Fig. 4.22).
FIG 4.22 Creating the start of the mouth with the Create Polygon Tool.
Step 38: Select and extrude the edge on the right side. Keep extruding (be sure to also be rotating) to get around the mouth shape (Fig. 4.23).
FIG 4.23 Extruding edges out to create the basis of the mouth.
Step 39: Clean up the vertices that will be on the axis of symmetry. Swap to Vertex Mode, and using the Move Tool, hold the x key down and move/snap the vertices to the middle of the face (Fig. 4.24).
FIG 4.24 Snapping the center vertices into place.
Step 40: Move vertices to match the side image plane. Select each of the new vertices in the front View Panel, and then in the side View Panel, move each vertex in Z only to match where that vertex should be (Fig. 4.25).
FIG 4.25 Adjusting new vertices in the side View Panel.
Why?
We carefully placed the geometry in the front View Panel as it needs to be — however, all that new geometry is flat. This step allows for moving our flat lips into three-dimensional forms.
Step 41: Extrude new geometry for the lips. This is done by selecting the edges that are on the outside ring of the lips — but do not select the edges that are on the far left (along the mirrored axis). Then use the Extrude Tool to extrude out this new geometry (Fig. 4.26).
FIG 4.26 Extruding out new geometry.
Why?
Because we are only doing half of the face, there shouldn’t be any additional geometry to emerge along the center of the face. We just cleaned up that seam, and new geometry would only need to be deleted later.
Step 42: Tweak the vertices along the top of the mouth to match those along the bottom of the eye area geometry. Select each vertex, and then using the Move Tool and holding v down (snapping to vertex), move the vertex up to a corresponding vertex in the geometry describing the eye area (Fig. 4.27).
FIG 4.27 Adjusting top of the lip to match the bottom of the eye area.
Why?
In a few steps, the object that is now the lips will be combined with the object that is now the “mask” surrounding the eyes. To make sure that this union goes well, getting the topology to line up now will pay dividends later.
Step 43: Extrude out added geometry across the bottom of the mouth. Do this by manually selecting the edges that are not now butted up against the upper eye region geometry and using the Extrude Tool to extrude them out to begin working through the chin and mandible area (Fig. 4.28).
FIG 4.28 Selecting free edges (left) and extruding them out to expand the region of the face (right).
Step 44: Extrude again and tweak. Create some further geometry by repeating the last step. Be sure to be adjusting the new vertices in both the front and side View Panels as you go to get that form right (Fig. 4.29).
FIG 4.29 Additional extrusions.
Mandible Construction
Although this character is not going to have a lot of facial animation, creating topology that will allow for this sort of animation is good practice. One of Jake’s real strengths in his characters is effective topology; and in the next few images, he uses one of my favorite techniques to construct that jaw bone (mandible), by creating a sort of ribbon of geometry that runs back to create the basic form. This creates a natural flow of geometry that at once effectively describes the form and allows for facial animation.
Step 45: Select the two edges shown in the left image of Fig. 4.30 and use the Extrude Tool to extrude back a couple of times as can be seen in the right image of Fig. 4.30. The idea is to extrude back toward the edge of the eye region geometry. Be sure to be tweaking these new vertices in front and side View Panels to get the right shape.
FIG 4.30 Creating the start of the jaw by extruding a very particular collection of edges.
Step 46: Clean up the seam where the mouth/jaw region meets the eye geometry (Fig. 4.31). Again, the best way to do this is by selecting a vertex and then using the Move Tool and hold v down to snap the vertices to match.
FIG 4.31 A clean connection between the two shapes.
Combining
Step 47: Combine the mouth mesh and the eye area mesh into one form. In Object Mode, select each of the two meshes we’ve created. Choose Polygons|Mesh > Combine.
Why?
Even though the two may be aligned well, they are still two separate meshes. Combining makes them one. However, note that although they are now one mesh, where there were two vertices (along the seam where they meet), there are still two vertices where there should be one. Combining makes Maya think of the shape as one, but it doesn’t automatically merge the vertices that are atop each other.
Step 48: Merge the vertices that were along the seam. Marquee select each of the vertices shown in Fig. 4.32 (the vertices along the seam). Choose Polygons|Edit Mesh > Merge.
FIG 4.32 Marquee-selecting vertices along the seam.
Why?
The Merge Tool is a bit different than the Merge to Center. If — in this situation — Merge to Center would have been used, all the vertices would have snapped and merged to a single location. Instead, the regular Merge Tool tells each selected vertex to look around itself to see if there are any other selected vertices that are within a certain distance of itself (the default threshold setting is 0.01) — and if they are, to merge with it. This means that each of the pairs of vertices merge to each other but leave the next pair alone to do their own pairing and merging.
Step 49: Soften the normal along the former seam. For that matter, go ahead and soften all the edges by choosing Polygons > Normals > Soften Edge.
Step 50: Delete the old instance of the right side of the face (if necessary), and create another mirrored instance. Remember to do this, select the mesh that is the left side of the face and choose Edit > Duplicate Special with Instance checked and — 1 for the Scale X value (Fig. 4.33).
FIG 4.33 Mirrored shape. Starting to take shape, no?
Building Back
Step 51: Continue extruding back to continue forming the cranium. Select the edges of the face but do not include the edges along the center of the face or the edges that are along the bottom of the jaw. Extrude back a couple more extrusions to form back to behind the ear (Fig. 4.34). Be sure to be shaping the form by moving the new vertices as you go.
FIG 4.34 Continuing to shape back across the head.
Step 52: Extrude a strip down across the back of the head. Select a collection of three edges (left image of Fig. 4.35). Extrude just these back.
FIG 4.35 Beginning to construct the back of the head with a selective extrusion.
Why?
We have a lot of polygons now; and there is little need for all of them to describe the back of the head. By extruding this strip of polys down the back of the head, we can lay the groundwork for the back corner of the head but still keep the polycount manageable.
Step 53: Continue extruding back down the head. In Fig. 4.36, notice the results of several extrusions. Notice that there are about as many extrusions down as there are horizontal edges of the side of the face. Also note that we aren’t doing a lot of sculpting at this point — just creating the needed geometry (Fig. 4.36).
FIG 4.36 Extruding needed geometry across the back of the head.
Step 54: Clean up the seam. Using the Move Tool, snap the vertices to close-up the hole of the back corner (Fig. 4.37).
FIG 4.37 Closing up (visually) the back corner of the head by snapping (moving) the vertices to match.
Step 55: Merge the vertices. Marquee select a broad swath of vertices (Fig. 4.38) that includes all the vertices of the seam. Use Polygons|Edit Mesh > Merge.
FIG 4.38 Making sure that recently snapped vertices are merged — note the broad selection that is taken care of in the Merge Tool.
Why?
Remember that the Merge Tool looks around each selected vertex to find if there are any other vertices within a certain distance of itself and only merges those. Because of this, a very broad selection of vertices can be selected as seen in Fig. 4.38, but if the model is big enough (and thus the vertices far enough apart), only the vertices that are right on top of each other will be merged.
Sculpt Geometry Tool
Throughout the history of 3D animation, the promise of a sort of virtual clay has continually raised its head. The most recent incarnations of this idea that have stayed with the industry are Mudbox and ZBrush, which are indeed some incredibly powerful tools — especially with their ability to output to Normal maps.
However, inside of Maya, there remain some virtual sculpting tools that are reasonably effective tools for maneuvering or massaging geometry around. One of these tools is the Sculpt Geometry Tool.
This tool is actually many tools in one. It allows geometry to be pushed, pulled, stretched, and smoothed. It works on the paradigm of a paint brush that crawls across a surface that when clicked and dragged will affect the geometry.
Some notes about this tool: first, always make sure that when activating it to activate the options (Polygons|Mesh > Sculpt Geometry Tool Options). The options of this tool are what make it powerful. Second, pressing and holding the b button and then left-click-dragging allows for the size of the brush (a red circle on the mesh) to be resized bigger or smaller. Finally, the best way to understand this tool is to use it. I could talk about it forever, or you could use it for 2 minutes and have a better understanding. Let’s give it a go.
Step 56: In Object Mode, select the alien’s head and then select Polygons|Mesh > Sculpt Geometry Tool (Options).
Step 57: Use the Relax Operation and paint over the new corner of the head to relax the polygons to a more uniform mesh configuration (Fig. 4.39). Do this by first going to the Sculpt Parameters section of the Tool Settings and activating the Relax Operation (fourth blue sphere over in the Operations line). Then in the persp View Panel, hold b down and scale your brush to approximate Fig. 4.39 and click-drag to relax the area.
Tips and Tricks
Remember that for most tools — including the Sculpt Geometry Tool, as the mouse is moved over a tool or function/operation within the tool, the name of the tool will show up in the very bottom left of the interface. So although the iconography of the Operations of Relax, Smooth, Push, and Pull are reasonably effective, you can be sure by checking out the short help line.
FIG 4.39 Using the Sculpt Geometry Tool’s Relax operation to better distribute the mesh.
Why?
Relaxing needs to have a brush that is a little bigger, so that it can sample a good swath of vertices. What relaxing will do is it will redistribute the vertices to create a more equally distributed poly mesh. Although polygons don’t all need to be the same size in a mesh, distributing the information that describes a form (the polygons) across that form more evenly prevents unwanted tucks and bands that occur when a ribbon of very small polygons is right next to a ribbon of big polygons. It’s pretty obvious once this tool gets going how it helps the shape feel more rounded and organic.
Soft Modification Tool
Because we’re on the topic of sculpting tools within Maya, let’s look at another one. The Soft Modification Tool is a bit like a magnet tool. A part of the mesh can be clicked and then moved, scaled, or rotated, but instead of just moving an individual polygon, a group of components will be affected with the influence falling off over distance.
Once a rough mesh is laid out, this can be a much more efficient way of nudging forms into shape without requiring the adjustment of every single component in the area. This is a surprisingly useful tool and is very deep in the variations of its functionality. However, in this case, we will look at the most basic implementation of simply clicking on the mesh and moving a bit of the mesh around.
To access the Soft Modification Tool, look at the Tool Box at the far left of the interface (Fig. 4.40).
Step 58: Select the alien’s head in Object Mode.
Step 59: Nudge the back of the head down toward the neck with the Soft Modification Tool. With the Soft Modification Tool activated, click on the back of the head. Notice that it will turn red, yellow, and black. Pressing and holding b and left-click-dragging will make the influence bigger or smaller. Resize it to approximate what’s shown in Fig. 4.41 and using the Move handles, slide the soft selection to the top of the neck.
FIG 4.40 Activating the Soft Modification Tool.
FIG 4.41 Using the Soft Selection Tool to maneuver and tweak a mesh into place.
Tips and Tricks
The default size of the Soft Selection Tool’s influence can be a little weird. If, when the mesh is first clicked with the Soft Selection Tool, it appears completely yellow, this means the selection is so big as if it includes the entire mesh. Hold b down and left-click-drag to the left for quite a while until a big yellow circle appears and finally starts to get smaller than the mesh.
Warnings and Pitfalls
Depending on if the mesh has history on it, the Soft Modification Tool will leave an S floating around. This is meant to be a selection that can be tweaked (even animated) later. However, for now, this “s” is just in the way. If this S appears and stays after the Soft Modification Tool is exited, select the mesh (with something besides the Soft Modification Tool) and choose Edit > Delete by Type > History.
Step 60: Clean the seam. Especially across the back of the head where we have been using the Sculpt Geometry Tool and the Soft Modification Tool, select the vertices that should be right down the center of the head (along the axis of symmetry). Using the Move Tool and holding x (snap to grid), move the vertices in just x to snap them to the middle (Fig. 4.42).
FIG 4.42 Snapping vertices across the back of the head (those that might have gotten inadvertently moved in the previous steps) to the axis of symmetry.
Tips and Tricks
Remember that they all snap to the middle because we have Retain Component Spacing turned off in the Tool Settings for the Move Tool.
Building to the Neck
The head is starting to take shape. But to build the body, we will prepare by closing off the shape of the head. This provides us faces across the bottom of the head, which we will use to construct a circular collection of edges to build the body from.
Step 61: Begin to close off the bottom of the head by extruding the chin edges toward the back of the head. Notice that in Fig. 4.43, each of the extrusions corresponds to a vertex along the jaw line (and the back of the head) that this strip will need to eventually merge to.
FIG 4.43 Beginning to extrude to complete the bottom of the head.
Append to Polygon Tool
This is really a sort of sister tool to the Create Polygon Tool. Its purpose is basically to create a new polygon that utilizes edges that already exist.
Step 62: Use Append to Polygon to close off the gaps between the new chin strap of polygons and the bottom of the head. To do this, in Object Mode, select the alien’s head. Then choose Polygons|Edit Mesh > Append to Polygon Tool. To use the tool, click on any of the edges that are open. Little purple arrows will appear to show the direction of the new polygon that will be built. Click on each of these in turn (Fig. 4.44) and watch the polygon fill in. Hit Enter when the polygon is created. Seal up all the bottom of the head in this way.
FIG 4.44 Using the Append to Polygon Tool to fill in the gaps.
Interactive Split Tool
The Interactive Split Tool does just what it says. It allows for polygons to be split. The difference is that this tool allows for a string of cuts to be made across several surfaces that may not be in a loop or a straight line. It can be great for custom topology.
Step 63: Create the groundwork of a round neck by using the Interactive Split Tool to make a cut as seen in Fig. 4.45. The way this tool works is that as an edge or vertex is clicked, an orange line appears to show the proposed path of the split. So Fig. 4.45 shows five clicks — four on the edges and one on a vertex. Hit Enter when done.
FIG 4.45 Using the Interactive Split Tool to lay groundwork of a diagonal polygon.
Step 64: Collapse two edges with the Merge to Center tool. The two edges are highlighted in Fig. 4.46 (left). Select one edge and choose Polygons|Edit Mesh > Merge to Center. Repeat on the second edge. The results are also in Fig. 4.46 (right).
FIG 4.46 Collapsing edges with the Merge to Center Tool.
Step 65: Repeat the process for the back corner shown in Fig. 4.47.
FIG 4.47 Creating a more circular band of polygons to extrude the neck out of.
Why?
The benefits of these processes may be a little opaque right now. But look at Fig. 4.47 and see the band of polygons that these steps have created? The band is far more circular than we had earlier that will allow the neck to be built from a much more appropriate shape.
Step 66: Delete the faces on the bottom of the head — the area where the neck will emerge (Fig. 4.48).
FIG 4.48 Deleted faces providing a good ring of edges to extrude the neck out of.
Step 67: Construct the neck down to the top of the shoulders. This is done with a bit of tweaking and several extrusions. Figure 4.49 shows how the neck was constructed by selecting the inner edge of the faces we just meticulously constructed and extruding down three times. Be sure to be sculpting the new vertices into place as the neck grows down.
FIG 4.49 Roughing out the neck.
Tips and Tricks
As these new extrusions take shape — and as the new geometry is moved into place — be sure to make use of the new tools at your disposal. The Soft Modification Tool can be used to nudge groups of components into place. Don’t forget that the Sculpt Geometry Tool can be used to smooth areas that have begun to appear too chunky. Finally, be sure to clean up the seam along the middle axis of symmetry.
Step 68: Refine the lips. Using the Insert Edge Loop Tool, create a new loop of edges through the middle of the lips to create some more “meat” to the shape (Fig. 4.50). Tweak the new geometry into shape.
FIG 4.50 Rounding out the lips.
Why?
Often working with a rough pass to knock out the general shape allows for proportions to be quickly found and the general shape discovered. This often helps new artists to keep from getting bogged down in the drudgery of any one area. The idea is to make sure to get back to those spots and add detail as needed.
Modeling the Torso
Now that the head has been refined, it’s time to move down the figure and work on the torso. The long-term plan here is to model the torso without arms, and then go back and add that detail later.
In the following steps, we will rough out the torso by extruding new edges, cutting needed geometry from existing extrusions, and extruding out garment details.
Step 69: Add groundwork of collar. Do this (Fig. 4.51) by using the Interactive Split Tool to make a new cut that will become the inside of the collar.
FIG 4.51 Using the Interactive Split Tool to rough out the collar.
Step 70: Extrude the bottom edge of the form down to rough out the top of the torso (Fig. 4.52). This is done with three extrusions that go down to the top of the belt. Notice that the rough shape goes out to where the arms connect to the torso, but do not include the arms themselves.
Step 71: Add additional detail for the collar and chest plate. Do this with the Interactive Split Tool (Fig. 4.53).
Step 72: Extrude down to create the belly region. This is done with a series of extrusions — all by extruding the bottom ring of edges. Do note that some of the extrusions will slide down the form, and some will need to go straight out to create the stepped surface in the design (Fig. 4.54).
FIG 4.52 Roughing out the torso shape.
FIG 4.53 Adding new geometry to further define the shirt collar with the Interactive Split Tool.
FIG 4.54 Creating the belly.
Tips and Tricks
Sometimes moving edges — particularly straight out of new extrusions is most easily not done with the Extrude Tool, but with the Move or Scale Tool. To use this method, use the Extrude Tool from the pull-down menu to create an extrusion, but then before grabbing any of the Extrude Tools handles, swap to the Move Tool (or Scale Tool) and move that new extrusion straight out in Z (or whatever axis). The difference here is that the edge is being moved in World Space and not along the edge’s normal.
Step 73: Continue extruding down to include the belt and clean the axis of symmetry (Fig. 4.55).
FIG 4.55 Extruding down to include the belt — and then making sure that the axis of symmetry is clean (snap to grid with the Move Tool).
Adding Detail to Torso and Shirt
Step 74: Arrange or add geometry to the torso to allow for a selection as shown in Fig. 4.56. This selection corresponds to the shirt and breast plate.
FIG 4.56 Selection needed to add new dimension to shirt and breast plate.
Why?
Again, the idea we’ve been working with is to rough out the general shape and then make necessary cuts to allow for the geometry needed to add new detail. In this case, the breast plate and collar will work best as extruded geometry — but the basic shape needs to be laid out first.
Step 75: Extrude out the beginnings of the breast plate and collar (Fig. 4.57).
FIG 4.57 Extruding out new geometry to create raised breast plate and collar.
Step 76: Clean the seam. With this extrusion comes new polygons around the edge of the extrusion. This includes some right long the middle of the chest — which we don’t want. Select those (Fig. 4.58, left) and delete them. Then, snap the vertices across the middle of the chest back to the center (Fig. 4.58, right).
FIG 4.58 Cleaning up unwanted geometry from the extrusion steps.
Step 77: Adjust the new geometry to match the style sheets (Fig. 4.59).
Step 78: Refine the collar. Figure 4.60 shows the refined collar. The methods used were mostly tweaking existing geometry, although if new geometry is needed, be sure to extrude it out (for instance — getting the collar above the breast plate).
Step 79: Use Harden Edges to make desired forms crisper. Select the edges shown in Fig. 4.61 and choose Polygons|Normals > Harden Edge.
FIG 4.59 Maneuvering new geometry to match the style sheets.
FIG 4.60 Refining the collar.
FIG 4.61 Using Harden Edge Tool to sharpen edges.
Why?
We have looked at the Soften Edge Tool in the past to make the edges of a form not be so faceted. That tool made the individual faces less obvious. This Harden Edge Tool is just the opposite but can certainly be used to our advantage here. In this case, it helps with non-organic costume pieces (armor, etc.) and makes these edges crisper.
Crotch
The point of this methodology of constructing the crotch is to again create a ring of edge that can be used to create another piece of anatomy (the leg). To do this, we will extrude down and create a strip of polygons that run across the bottom of the crotch.
Step 80: Continue extruding down to the widest part of the hips (Fig. 4.62).
FIG 4.62 Extruding down to fill out the hips and prepare for the leg.
Step 81: Extrude both the front three edges and the back three edges. Be sure to extrude them down and inward toward the center of the bottom of the crotch (Fig. 4.63).
FIG 4.63 Getting started on the crotch.
Step 82: Extrude both again and then merge the two together. Figure 4.64 shows the result of another extrusion and then the Merge to Center to close-up each pair of vertices.
FIG 4.64 Closing up the bottom of the crotch with an added extrusion and Merge to Center.
Step 83: Add geometry as need to provide a leg start that is 10 edges. In Fig. 4.65, this was done with the Insert Edge Loop Tool. Be sure to adjust the geometry to provide a rounded shape for the leg and make sure that all this new geometry matches the style sheets.
FIG 4.65 Creating the start of the leg by adding geometry and arranging ring into rounded shape.
Legs
Step 84: Create a rough version of the leg. Do this by selecting the ring of edges for the leg and extruding them down to the top of the boot (Fig. 4.66).
FIG 4.66 Creating the leg with a quick extrude.
Why?
This time, the extrusion is a little different than has been used in the past. In past steps, extruding down was in much smaller chunks with a lot of the geometry being roughed out as we went. In this case, a slightly different technique is being used: a quick extrusion down will cover the entire leg (to the boot anyway), and then we will go back and refine this shape with additional edge loops.
Step 85: Add geometry and sculpt to create leg detail. This is done by using the Insert Edge Loop to place new loops of edges where there are changes in the shape of the leg. Then these new edges are scaled to create the folds of the pants or other modifications across the shape of that leg (Fig. 4.67).
FIG 4.67 Inserting edge loops and then adjusting those loops to refine the leg.
Step 86: Create the boot without the toe. Figure 4.68 shows this done with a couple of extra extrusions of the edges that were the bottom of the leg down to where the heel touches the ground. Notice that in Fig. 4.68, the Append to Polygon Tool is activated to close off that bottom of the shape.
FIG 4.68 Boot created without a toe. Note that the bottom of the heel is closed off with the Append to Polygon Tool making sure the new geometry is all quadrangles (four-sided polygons).
Step 87: Create the foot of the boot. Do this by selecting the faces across the front of the boot shape currently built and extrude out a couple of times to create that foot shape (Fig. 4.69).
FIG 4.69 Foot shape of boot extruded out.
Step 88: Finish boot shape. To taste, add edge loops and sculpt the existing geometry into a form that is pleasing in persp and matches the style sheets (Fig. 4.70).
FIG 4.70 Finished off boot.
Arms
The process of extruding out the arms uses almost identical techniques to what we’ve used. Take a close look at Fig. 4.71 though. The selected faces are the faces that we will delete to leave a ring of edges that the arm will be built from. The important idea is the number of faces (and edges) this will yield. If this was a single face, we would be stuck with a square-shaped arm and have to insert all sorts of edge loops to get any good shape. The nine polygons shown in Fig. 4.71 are carefully created and chosen, so we have a good number of edges to keep the arm round.
FIG 4.71 The area the arm will be built off of. Added edges highlighted.
Step 89: Delete the faces shown in Fig. 4.71.
Why?
We could extrude those faces instead of deleting them and extruding the edges. Sometimes it’s just a preference of how you prefer to use the Extrude Tool; in this case, we have the added benefit of being able to create the geometry specifically needed for the fingers when we get down to that spot of the hand — and not be stuck with the faces here at the top of the arm.
Step 90: Extrude out the arm ring of edges to rough out the shape of the arm (Fig. 4.72).
FIG 4.72 Extruding out the arm.
Why?
As with the boot, these quick extrusions get us down to a place where the shape is going to adjust abruptly (the armor on the forearm). Taking a moment to get down to those spots and then tweaking the geometry makes getting the shape of the forearm armor a bit easier to handle.
Step 91: Extrude down to include the palm, but not the fingers of the hand (Fig. 4.73).
Step 92: Add geometry and sculpt the new geometry to refine the arm (Fig. 4.74).
FIG 4.73 Extruding down to the hand (but not the fingers).
FIG 4.74 Refining the arm.
Hands
Step 93: Close off the bottom of the arm. Do this with the Append to Polygon Tool. Match the topology as shown in Fig. 4.75.
FIG 4.75 Creating the geometry needed for the fingers by closing off the ring of edges at the bottom of the arm.
Step 94: Allow for finger roundness with additional geometry. Gain this geometry with the Interactive Split Tool and make a cut similar to Fig. 4.76.
FIG 4.76 New cuts to allow for finger shape.
Step 95: Extrude out the middle finger. Select the faces shown in Fig. 4.77 and extrude down a shape that approximates the middle finger.
FIG 4.77 The start of the middle finger.
Step 96: Use remaining geometry to create new fingers. This is done using the same techniques as before: rough out the finger, and then go back in and insert edge loops as needed to create the bumps and joints that are part of the hand’s anatomy (Fig. 4.78).
FIG 4.78 Hand completed.
Why?
I know, that’s a big jump between steps. However, the key to getting a good shape in the hand is having a good palm with the necessary geometry to build the shape off of; and you have that. After that, it’s just about extruding and tweaking. Have a go.
Details and Armor
The remaining parts are creating using techniques already covered. Generally, this consists of making cuts (via the Interactive Split Tool) to lay the ground-work of a piece of armor and then extruding that geometry out. The next few steps are short bursts to flesh out the details of the form.
Step 97: Create the forearm armor (Fig. 4.79).
FIG 4.79 The forearm armor via extrusions.
Step 98: Further refine the forearm armor as per the style sheets (Fig. 4.80).
FIG 4.80 Completing the forearm armor.
Step 99: Hit any other armor indicated in the style sheets (or that you desire to add to the form).
Step 100: Add head ridges. Do this by arranging the topology needed across the top of the head (Fig. 4.81) and this time by simply moving an edge up to create the ridge rather than extruding.
FIG 4.81 Creating the head ridge.
Step 101: Harden edges along head ridges (Fig. 4.82).
FIG 4.82 Visually highlighting the head ridges with hardened edges.
Ears and Antennae
Ears can be tricky. Luckily this character has fairly simple ears that are created with a few simple extrusions.
Step 102: Create initial shape of the ear extrusion with a series of extrusions (Fig. 4.83).
FIG 4.83 Roughing out the ear with a few extrusions.
Step 103: Finish the ear. This is done with a quick extrude into the ear, and then a few added edge loops around the ear base to better define the connection between the ear and the head (Fig. 4.84).
FIG 4.84 Finishing off the ear with Extrude and Insert Edge Loop.
Step 104: Create antennae. Do this with a series of extrusions (Fig. 4.85). Shape to match.
FIG 4.85 Creating the antennae.
Belt Buckle
The belt buckle is an interesting problem. In theory, this belt buckle could be created from geometry extruded off the belt but with great difficulty. Instead, in this case, we will model the belt buckle separately, and simply attach it with Maya’s Combine.
Step 105: Create the basic shape of the buckle. This is done starting out with a cube rotated 45 degrees in Z and then extruding the face on the outside several times to get the correct shape (Fig. 4.86).
FIG 4.86 Creating the shape of the belt buckle. Notice this is a separate shape.
Warnings and Pitfalls
Be sure to clean the axis of symmetry for this new belt buckle as the ultimate plan is to mirror this shape as well.
Mirror Geometry
The Mirror Geometry Tool is one of the last tools to use in the character modeling process (if the character is symmetrical). What this tool does is take any mesh and creates a mirrored copy of it. More importantly, it merges the vertices along the mirror axis, which is why we’ve been very careful to keep that axis clean.
Step 106: Delete the instance. Do this by selecting the right side (the character’s right) of the body (which is a separate object) and delete it.
Why?
This new belt buckle that we’ve been forming looks great, but notice that it doesn’t automatically mirror as the other shapes have as we’ve extruded them off the alien mesh. To get a mirrored belt buckle, we need to make it a part of the alien’s body first.
Step 107: Combine the body to the belt buckle. Do this by selecting the alien’s body, then shift-selecting the buckle and choose Polygons|Mesh > Combine.
Why?
Remember that Combine makes Maya think of this mesh as one. This means that when this mesh is mirrored, it will include a mirrored belt buckle.
Step 108: Delete History. Edit > Delete All by Type > History.
Why?
Before any big step (like Mirror Geometry), I like to try and get rid of any history that may cause trouble. By deleting history, we keep the file size small and allow Maya to forget all of the hundreds of nodes it has accumulated along the way as we’ve created this form.
Step 109: Mirror Geometry. Simply select the one alien mesh and choose Polygons|Mesh > Mirror Geometry.
Warnings and Pitfalls
Be sure to look carefully at the center of the character. Look for any unexpected holes or tears. If you see some, undo, and go back and snap all the vertices that should be right along the middle of the form to X = 0.
Step 110: Soften the middle edge. Double-click the middle edge — the edge along the mirror axis — and choose Polygons|Normals > Soften Edge (Fig. 4.87).
FIG 4.87 Softening out the hard edge in the middle of the form.
Why?
Mirror Geometry does a lot of great things. It makes the other half of the form and cleans up the vertices along the middle by merging them together. However, it doesn’t soften the edge of this newly merged center. Softening makes the character look whole again without a crease down its center.
Conclusion
And there he is (Fig. 4.88). Ready to be UV mapped, rigged, skinned, and animated. We’ll get to all of that in time; but for now enjoy the completed project and sculpt any tweaks you need.
FIG 4.88 Finished modeled (but not textured) game character.
In this tutorial, we’ve covered a huge amount of ground and discussed a great many techniques. With these techniques, you have the tools to construct most any form (check out the homework).
But enough of modeling. It is but the first step of a long journey. In the coming chapters, we will add visual detail to the character by adding needed texture, but before that we need to look at how to get the texture to lay across the surfaces — UV Mapping, here we come.
Homework
Figure 4.89 shows the one single homework assignment for this chapter. Again, it is a character design by the talented Jake Green (http://www.jakegreenanimation.com).
FIG 4.89 High poly mesh.
Believe it or not, this mesh was created using the same techniques used to create this game character — just at a much higher resolution.
The screenshots for this construction process are all contained on the support website (http://www.GettingStartedin3D.com). It’s a significant project, but completing it will help solidify the techniques covered in this chapter.