Ebook ini dalam bahasa inggris . untuk mendownload ebook ini ,link ada di bagian paling akhir.
Steed, Paul.
Modeling karakters di 3ds Max Oleh Paul Steed.
Steed, Paul.
Modeling karakters di 3ds Max Oleh Paul Steed.
Part 1: Design
Chapter 1: Design Fundamentals
Chapter 2: A Character Designed: Callisto
Defined, design is “the arrangement of elements or details in a product or
work of art.” Of course, given a large number of elements, they can be
arranged in an almost endless way with a plethora of results. However, when
it comes to designing low-polygon characters for real-time games the factor
that has the single most impact is limitations.
Limitations
By limitations I don’t mean limitations on your imagination. I mean hard limi
tations
like making a convincing human or creature out of a set number of
polygons. It also means putting a lot more thought into a design before a
model is even built. Characters for real-time games can rarely afford to have
flowing gowns or octopoid tentacles. Organic shapes that undulate and look
“squishy” are hard to pull off, as is cloth or long, billowing strands of hair.
With lower-polygon meshes it’s usually best to keep the designs compact and
simple using transparency mapped onto two-sided, segmented planes to create
the illusion of hair or scraps of cloth.
In most cases “low-poly” refers to less than 1,000 triangles, but today with
the proliferation of 3D accelerator cards and faster CPUs low-poly is becoming
an almost antiquated term. Still, technically if there has to be any thought
put into the number of polygons it takes to create a character and make it
look like it does in the reference drawings, it’s low-poly. For example, if the
character being designed is going to be in a game like Quake III: Arena or
Unreal Tournament,itcan be up to 2,000 triangles and still work. But, unless
you have the latest machine with the latest pimped-out 3D accelerator card,
you’ll experience a serious performance hit if the character is much bigger
than the normal 800-polygon range.
Another limitation that comes to mind is genre and/or perspective (the view
at which the characters will be seen). By genre I mean a first-person action
game versus a third-person action game or a top-down isometric strategy
game. Obviously if the characters are going to be in your face and closer to
scrutiny like in a first-person game, more attention and polygons have to be
placed on smaller details like blinking eyes and moving mouths. In games
like Warcraft III, the characters remain a relatively fixed distance from the
camera and they’re never more than an inch or two high on the screen. You’ll
definitely never get close enough to the characters to discern facial features!
No matter what the genre or perspective, another limitation that affects
design is the animation system the character will be dropped into. While I
don’t cover animation in this book it is an allowance that has to be factored
into both the design and geometry of the character. For example, when I
designed a character for id Software’s Quake III: Arena it had to fit a
three-part formula that affected the design. Dividing the character into three
distinct parts—head, torso, and legs—made it impossible to create some
thing
that appeared to be made out of one fluid piece. Of course this didn’t
stop cool characters from being created, but it did become a major design
consideration.
The above character typifies what each character had to geometrically be
broken down to before being animated. There had to be a head object that
was connected to the torso by a small invisible triangle or “tag” that repre
sented
connection and point of rotation. The torso was in turn attached to the
legs via another tag that also described connection and rotation.
The character had to be built this way because the animation system allowed
the head and torso to move independently of the legs in conjunction with
mouse movements provided by the player. In other words, when you look
around in the game by moving your mouse around, the head of the character
looks around, too (i.e., “free look”). To accommodate this sort of arrange
ment,
the head and torso had to be built with a rounded bottom and the neck
and legs rounded at the top. This definitely limited the design of the charac
ters
in Quake III: Arena. However, with some creative thinking there were
ways around the system that allowed me to come up with some pretty weird
results.
This little guy in particular took advantage of the animation system by having
his parts swapped around:
While Orbb is freaky looking and does illustrate a creative use of the anima
tion
system limitations, the real reason I made him that way was purely
because I wanted to do some cool hand and finger animations. Because the
poly-count was only 800 faces it made it impossible for me to add fingers to
the more conventional characters like Keel. Another reason is that the bulk
of the animations for the characters occurred in the legs since they were at
the top of the hierarchy or “parents” to the rest of the body. Since I couldn’t
animate the hands in the small number of animations in the upper body, I sat
isfied
the urge to see fingers moving by designing Orbb.
-------------------------------------------------------------------------------------------
capek ya , hehee ... itu baru 1% dari semua yang ada di Ebook nya , tapi Ebook ini sangat bermanfaat ,jika di pelajari semuanya,silahkan di download DISINI
Subscribe to:
Post Comments (Atom)
0 comments:
Post a Comment
berkomentarlah dengan sopan , disini tempat nya kita saling berbagi pengetahuan,bukan tempatnya saling menggurui.