Introducing 3ds Max 9 3D for beginners apr 2007 - part 6 pps

8. Use the tools discussed in this section to finish modeling the legs the way you want them. Using the Cut tool and then using the Bevel Polygons tool is an excellent method for modeling the calcaneus, the bone that protrudes from the side of the ankle. To make sure the edits are effective and generating the correct result, toggle the Show End Result button and render the scene frequently. 9. Zoom out and render the legs. 258 ■ chapter 6: Organic Poly Modeling 97612c06.qxd 2/26/07 2:54 PM Page 258 Adding Detail to the Arms To allow proper deformation, additional detail must be added to the elbow area, in a manner similar to the way you detailed the legs. Additional musculature is also required in the arms and at the shoulders. Be sure to toggle the Show End Result button back and forth to see how the low-polygon modeling affects the final, smooth object. 1. Select the vertical edges in the arm, from the bicep to the wrist, and use the Connect tool to add additional vertical edges to the arm, as shown here. 2. Move the new edges near the elbow, leaving one vertical loop of edges at the bicep and the forearm. 3. With Use Soft Selection turned on, move and scale the elbow until it is slightly larger than the arm. adding detail ■ 259 97612c06.qxd 2/26/07 2:54 PM Page 259 4. Select the edge that defines the bulge of the bicep. With the character’s hands oriented with the palms face down, the bicep should bulge forward and not upward. The character has long slender fingers that tend to look like tubes or tentacles when the diameter of each segment is similar in size. To help define the individual finger bones, you need to increase the size of the knuckles. 5. Select all of the edges located at the alien’s knuckles, including the thumb, and cham- fer them twice. The second chamfer should concentrate two sets of edges closer to the centerline of the knuckles. 260 ■ chapter 6: Organic Poly Modeling 97612c06.qxd 2/26/07 2:54 PM Page 260 6. Select the inner pair of edges at each knuckle and scale the edges to increase their diameter. 7. If the knuckles appear to change the fingers’ diameters too abruptly, turn on Use Soft Selection and scale them again along the X-axis only. 8. The hand tapers too smoothly from the wrist to the fingers, and there is no clear line of delineation between the forearm and the fingers. Use the QuickSlice tool to add an additional edge across the hand, and then move and scale it to define the hand better. adding detail ■ 261 97612c06.qxd 2/26/07 2:54 PM Page 261 9. The thumb is tucked under the hand in an unnatural position. Select and move the vertices of the thumb and the inside heel of the palm forward and out from under- neath the index finger. 10. Make any additional changes to the hand that you like. For instance, if the finger tips are too boxy in a smooth rendered image, move the vertices, near the end of the fingers, back a bit, or select and bevel the end polygons. TARGET WELDING VERTICES Having multiple vertices in close proximity can result in long thin faces that are difficult to deform, unacceptable folds or creases in the surfaces, and undesirable results when using the Bevel or Inset tools. These modeling problems are all common. They can be reduced or eliminated by welding the vertices. Standard welding, which is covered later in this chapter, replaces two or more selected vertices, within a specified distance from each other, with a single vertex located at the averaged location of the original vertex selection. Target welding works somewhat differently. With the Target Weld button activated in the Edit Vertices rollout, you click the vertex to be eliminated and then click the target ver- tex. The original vertex moves to the target vertex, adjusts its associated edges and poly- gons, and is welded to it. The original vertex and target vertex must be separated by only a single edge. 262 ■ chapter 6: Organic Poly Modeling 97612c06.qxd 2/26/07 2:54 PM Page 262 Refining the Shoulder The shoulder is currently flat from the end of the arm to the neck. In this section you will add the detail required to place a bulge at the top of the shoulder that tapers into the clavicle. 1. Continue from the previous exercise. Select and chamfer the loop of edges that runs over the shoulder and under the arm pit. 2. Select the three edges that run along the clavicle and use the Connect tool to add two more sets of perpendicular edges. When Editable Poly sub-objects are moved in a viewport, they adhere to the same transform coordinate system restrictions as any other object in a scene. Similar to using the Local transform coordinate system, the Constraints option in the Edit Geometry rollout, allows you to limit the movement of the sub-objects to be parallel to the associated edges or polygons. This diminishes any unnecessary deformations caused by moving a sub-object away from a surface of the model. 3. With the four new edges selected, expand the Constraints drop-down list in the Edit Geometry rollout and choose Edge. 4. Move the edges closer to the shoulder. Note that they do not leave the plane in which they lie. adding detail ■ 263 97612c06.qxd 2/26/07 2:54 PM Page 263 5. Change the Constraints option back to None. 6. Select the vertex at the top of the shoulder. Using Soft Selection, move it upward to create the shoulder bulge. 7. Zoom out and render the modeled arm; it should look similar to Figure 6.10. Adding Detail to the Torso The shape of the alien’s torso is fairly plain, and decidedly not anatomically correct, so the detail added will be subtle. You will need to add some bulges for the wider hips and a belly button. 1. Continue from the previous exercise or open the Alien6.max file from the companion CD. Figure 6.10 The model after adding detail to the arm, hand, and shoulder 264 ■ chapter 6: Organic Poly Modeling 97612c06.qxd 2/26/07 2:54 PM Page 264 2. Zoom into the alien’s hips, and select the three bands of horizontal edges that circle the alien at the waistline. 3. Chamfer the new edges. Using Edge Constraints, concentrate the edges around the hip area. 4. Turn the Constraints off and turn Use Soft Selection on. Then move the hip vertices into place. adding detail ■ 265 97612c06.qxd 2/26/07 2:54 PM Page 265 5. Use the Cut tool to create the perimeter of the belly button and remove any internal edges that may occur. 6. Select the edges that encircle the belly button, omitting the edges along the center line of the model, and chamfer them. The chamfer prevents the next step from affecting the polygons and edges that are relatively distant from this small detail. 7. Select the polygon at the center of the belly button and move it into the alien’s abdomen. Adding Detail to the Head Besides the overall shape of the head, the two main features that must be considered are the eyes and the mouth. Without lips, a tongue, or teeth to consider, the mouth is the sim- pler of the two features to model; it consists of a mouth-shaped hole in the head. Rather than deleting faces, the mouth will be extruded into the head to prevent the appearance of a hollow skull. 266 ■ chapter 6: Organic Poly Modeling 97612c06.qxd 2/26/07 2:54 PM Page 266 The areas surrounding the eyes are modeled using the Cut tool to define the shape and then Chamfer and Extrude to create the raised perimeter. The eyes themselves are spheres that are altered using the Hemisphere parameter. Creating the Mouth The mouth is going to be a simple extruded polygon, with the extrusion projecting into the alien’s head. You’ll create the perimeter of the mouth using the Cut tool. 1. Zoom into the mouth area. 2. Use the Cut tool to draw the edges around the perimeter of the mouth. 3. Use the Bevel Polygons dialog box to extrude and scale the polygon into the alien’s head. A negative Height value causes the bevel to recess the polygon, rather than extrude it farther into the scene. adding detail ■ 267 97612c06.qxd 2/26/07 2:54 PM Page 267 [...]... collapsed and fine-tuned Although we used an alien character here, this toolset can be utilized for any type of organic model ■ 273 97 61 2c 06. qxd 2/ 26/ 07 2:54 PM Page 274 97 61 2c07.qxd 2/ 26/ 07 2: 56 PM Page 275 CHAPTER 7 Materials and Mapping Applying materials is the phrase used in 3ds Max to describe applying colors and textures Mapping is the term used to describe applying textures to materials (for example,... areas as bright as the diffuse Figure 7. 16 The Soften parameter helps reign in broad specular highlights by softening their edges Soften = 0 Soften = 1.0 97 61 2c07.qxd 2/ 26/ 07 2: 56 PM Page 292 292 ■ chapter 7: Materials and Mapping Figure 7.17 The Self-Illumination value sets the incandescence of a material Self-Illumination = 0 Self-Illumination = 1.0 A Self-Illumination value does not emit a light... A Multi-Layer shader will stack two Anisotropic highlights together to give you increased control over the highlights you can create Here you can see a Multi-Layer material assigned to a sphere The two layered specular highlights are created in such a way, as seen in Figure 7.18, to create an “X” formation for the highlight 97 61 2c07.qxd 2/ 26/ 07 2: 56 PM Page 293 the material editor Oren-Nayar-Blinn... Library browser The Material Library stores a collection of saved materials that you can bring into the current scene You can use 3ds Max s default materials or create your own and store them in your own custom library 97 61 2c07.qxd 2/ 26/ 07 2: 56 PM Page 2 79 the material editor ■ 2 79 Figure 7.3 The Material Editor Preview Type Sample Window Put to Library Material Effects Channel Reset Map/Mtl to Default... either side of a surface The Ink ’n Paint material’s parameters ■ 285 97 61 2c07.qxd 2/ 26/ 07 2: 56 PM Page 2 86 2 86 ■ chapter 7: Materials and Mapping Figure 7 .9 A Cartoon-shaded render using the Ink ’n Paint material Raytrace The Raytrace material is a powerful material that expands the available parameters to give you more control over photo-real renderings The material uses more system resources than the... from the eye ridges that are close to the center line ■ 271 97 61 2c 06. qxd 2/ 26/ 07 2:54 PM Page 272 272 ■ chapter 6: Organic Poly Modeling 5 Click the Settings button, next to the Weld button in the Edit Vertices rollout, to open the Weld Vertices dialog box 6 The Weld Threshold is the maximum distance that selected vertices can be apart before they are welded Slowly increase the Weld Threshold value.. .97 61 2c 06. qxd 2/ 26/ 07 2:54 PM Page 268 268 ■ chapter 6: Organic Poly Modeling 4 Select the edge at the center line of the mouth and delete, rather than remove, it to open that side of the mouth and eliminate any internal faces 5 Start modeling the eye area by moving the vertices to cause the vertices to flow around the edges of the raised eye ridge 6 To subdivide an edge at a particular location,... more often to achieve certain surface qualities You will explore Shader types next 97 61 2c07.qxd 2/ 26/ 07 2: 56 PM Page 287 the material editor Shader Types The way light reflects from a surface defines that surface to your eye In 3ds Max, you can control what kind of surface you work with by changing the Shader type for a material This option will let you mimic different types of surfaces such as dull... less shiny Changing the specular color to black will negate any surface shine Figure 7.12 Figure 7.12 Material Editor for the Anisotropic material Material Editor for the Anisotropic material ■ 2 89 9 761 2c07.qxd 2/ 26/ 07 2: 56 PM Page 290 290 ■ chapter 7: Materials and Mapping The surface shine is also regulated by the Specular Level parameter The higher the value, the hotter the specular highlight will... Combustion for things such as glow, highlights, and so on Some of these effects will be covered in Chapter 11, 3ds Max Rendering.” Show Map in Viewport This will display your material in the viewport This means that you won’t have to render every time you want to see how your material appears on a 3D object However, displaying your map in a viewport has limitations The limitations are 97 61 2c07.qxd 2/ 26/ 07 . and fine-tuned. Although we used an alien character here, this toolset can be utilized for any type of organic model. summary ■ 273 97 61 2c 06. qxd 2/ 26/ 07 2:54 PM Page 273 97 61 2c 06. qxd 2/ 26/ 07 2:54. into the head to prevent the appearance of a hollow skull. 266 ■ chapter 6: Organic Poly Modeling 97 61 2c 06. qxd 2/ 26/ 07 2:54 PM Page 266 The areas surrounding the eyes are modeled using the Cut. cham- fer them twice. The second chamfer should concentrate two sets of edges closer to the centerline of the knuckles. 260 ■ chapter 6: Organic Poly Modeling 97 61 2c 06. qxd 2/ 26/ 07 2:54 PM Page 260 6.