3d low poly character

3d low poly character DEFAULT

Low poly

This polygon mesh representing a dolphin would be considered low poly by modern standards

Low poly is a polygon mesh in 3D computer graphics that has a relatively small number of polygons. Low poly meshes occur in real-time applications (e.g. games) as contrast with high-poly meshes in animated movies and special effects of the same era. The term low poly is used in both a technical and a descriptive sense; the number of polygons in a mesh is an important factor to optimize for performance but can give an undesirable appearance to the resulting graphics.[1]

Necessity for low poly meshes[edit]

Polygon meshes are one of the major methods of modelling a 3D object for display by a computer. Polygons can, in theory, have any number of sides but are commonly broken down into triangles for display. In general the more triangles in a mesh the more detailed the object is, but the more computationally intensive it is to display. In order to decrease render times (i.e. increase frame rate) the number of triangles in the scene must be reduced, by using low poly meshes.[2]

Computer graphics techniques such as normal and bump mapping have been designed to compensate for the decrease of polygons by making a low poly object appear to contain more detail than it does. This is done by altering the shading of polygons to contain internal detail which is not in the mesh.[3]

Polygon budget[edit]

An example of normal mapping used to add detail to a low poly (500 triangle) mesh

A combination of the game engine or rendering method and the computer being used defines the polygon budget; the number of polygons which can appear in a scene and still be rendered at an acceptable frame rate. Therefore, the use of low poly meshes are mostly confined to computer games and other software a user must manipulate 3D objects in real time because processing power is limited to that of a typical personal computer or games console and the frame rate must be high.[4]Computer generated imagery, for example, for films or still images have a higher polygon budget because rendering does not need to be done in real-time, which requires higher frame rates. In addition, computer processing power in these situations is typically less limited, often using a large network of computers or what is known as a render farm. Each frame can take hours to create, despite the enormous computer power involved. A common example of the difference this makes is full motion video sequences in computer games which, because they can be pre-rendered, look much smoother than the games themselves.[citation needed]

Aesthetic[edit]

3D model consisting of 220 polygons

Models that are said to be low poly often appear blocky and simple while still maintaining the basic shape of what they are meant to represent. With computer graphics getting more powerful, it has become increasingly computationally cheap to render low poly graphics. Some artists use the resulting low-detail from a low polygon count as an aesthetic rather than as an optimization technique.[5] They are often used by indie developers due to being faster and cheaper to create. In addition, there is an element of nostalgia to low poly styles, hearkening to older video game consoles such as the Nintendo 64 or the PlayStation. Since they often achieve a certain retro style, serving as a 3-Dimensional analog to the 2-Dimensional pixel art.[citation needed]

History[edit]

Low poly as a relative term[edit]

There is no defined threshold for a mesh to be low poly; low poly is always a relative term and depends on (amongst other factors):[citation needed]

  • The time the meshes were designed and for what hardware
  • The detail required in the final mesh
  • The shape and properties of the object in question

As computing power inevitably increases, the number of polygons that can be used increases too. For example, Super Mario 64 would be considered low poly today, but was considered a stunning achievement when it was released in 1996. Similarly, in 2018, using hundreds of polygons on a leaf in the background of a scene would be considered high poly, but using that many polygons on the main character would be considered low poly. In this way, there is a relativism between the importance of objects and their graphical quality. More important objects such as Non-player characters usually contain a higher amount of detail than less important objects, which are often small or in the background, like a blade of grass. This relativism is subverted when low-poly is used as an intentional aesthetic style: every object shares the simplicity that a low number of polygons brings, making the distinction between important features and unimportant features less clear.[citation needed]

Example of using low poly stylistically

Emergence as an aesthetic style[edit]

Low poly graphics emerged around late 2013 as a specific style when content creators began to redefine the difference between high-poly and low-poly. Instead of using a low number of polygons as a necessity, creators like Timothy J. Reynolds recognized how the usage of fewer polygons sharpens the focus on essential artistic elements like form, lighting, and texture.[6] The emergence of the style is somewhat similar to earlier artistic movements where artists like Paul Cézanne tried to decompose objects into geometric shapes. The low poly style seeks to highlight the idea that the world can be represented by a composition of shapes, which makes it a self aware style that is intentionally vague.[citation needed]

Popularity in video games and other mediums[edit]

Although it has gained some traction in the art world, low-poly is a much more established style in video games, since it serves the dual purpose of reducing development time and giving the game a unique aesthetic style. The oldest game on the popular game distribution site Steam with the tag "low-poly" is Mirror Moon EP, a space-themed exploration game with an emphasis on the low-poly style, which was released in September 2013. In 2014, Richard Whitelock published Into this Wylde Abyss, a short, story driven survival game with a similarly low-poly style. From that point on, the genre expanded quickly. From 2014 to 2018, there were 244 titles published on Steam with a low poly tag. Some of the most notable titles include Superhot, Necropolis, and Grow Up.

Low poly meshes in physics engines[edit]

Physics engines have presented a new role for low poly meshes. Since the display of computer graphics has become very efficient, allowing the display of tens to hundreds of thousands of polygons at 25 frames per second on a desktop computer, low-poly has been almost universally phased out of games by limitation, giving rise to the emergence of low poly as an artistic choice instead of a practical one.[citation needed]

See also[edit]

References[edit]

Sours: https://en.wikipedia.org/wiki/Low_poly
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    Making a simple character in Blender

    Learn to make a Simple Character in Blender

    Modelling a 3D character in Blender is no more difficult than putting together any other type of object. In other words, whilst there are additional considerations, especially if the model is to be animated, overall the same principles and constructions techniques are employed as would be used to make a 'chair' or 'sword'.

    In the following seven part tutorial the process of building a simple low-poly 'game' character, a 'Snowman', will be shown along side a number of important but infrequently discussed general considerations that need to be kept in mind whilst doing so. From initial scene set-up to modelling and material assignments, on to UVW mapping and texture baking, then finally to 'rigging' the mesh for articulation through the use of an Armature, and creation of two simple animation sequences.

    Although not an absolute necessity, it is recommended the 'making a simple chair' and/or 'making a simple sword' tutorials be done beforehand, or at the very least a basic understanding of using Blender be had.

    Note: the following tutorial is 'agnostic' in that the principles and techniques explained throughout are core to most versions of Blender post 2.50, up to and including the latest release.

    Getting started & concept ^

    The actual process of making an animated game character (or any type of animated object) can broken down into three main stages; 1) the mesh is constructed, UVW mapped and textured; 2) the resulting model is given an skeleton and 'rigged' for use as an animated object; and finally 3) using the skeleton and rigging, the mesh is deformed and articulated through a series of 'poses' which constitute an animated sequence. For the 'Snowman' character belonging to this tutorial this means first it will be built, then rigged, and finally two simple animation sequences made.

    So to begin. The first step is to find a 'concept' image(s). This can be as simple as a sketch drawn on a piece of paper or doodle on a napkin, to paintings, photographs or movies, anything in fact which provides a starting point for inspiration, and/or/both, can be used in a way that guides the development of a meshes general characteristics. It's important to note that although concepts are not an absolute necessity, it's usually a good idea, and good practice, to have something of this nature to hand as they tend to make the entire process less nebulous and more directed (prevents the artist being side-tracked too easily by ideas that offshoot during production).

    Design note: be mindful that more complex concepts may result in there being less latitude for interpretation, so long as a basic idea is clearly described visually, even a basic sketch should be sufficient. The doodle below is a case in point, scribbled as it was in a notepad, the basic shapes and forms provide a general overview of the characters 'look' without necessarily binding the artist to the details. Additionally, so long as concepts are in a form which is readily available they can be in or on any medium - it is not necessary they be high-resolution digital paintings.

    Simple Blender character project overview

    Overview of the project upon completion; a simple textured mesh, a basic 'rig' (Armature) and two simple animation sequences (only one shown)

    Doodle used as concept for character

    Very simple 'concept' of the Snowman character to be modelled. It's not entirely necessary that a concept be a form of 'high art'; so long as the general 'intent' is clear then a few scribbles (doodle) in a notebook are more than adequate, as is the case here

    Scene scale and Unit size ^

    Before making a start on the modelling process, be sure to be using a 'clean' scene. So either restart or reload Blender, or with the application open, from the "File" menu click "New" to wipe the current file, replacing it with a brand new workspace. The reason for doing this is two-fold, 1) from a practical point of view it simply prevents old data being trapped in the new project when the file is saved. And 2) a number of essential "Properties" which relate to the scene and objects contained therein ideally need to be 'reset' to defaults. This latter aspect is especially important because it's used to determine a 'global' relationship between Blender and environments outside the application (other game development tools). This is generally done through the use of two primary settings; the scenes "Scale", which defaults to "1.000"; and its "Unit" of measurement, which defaults to "None".

    In essence what this means is that before any polygons are split or faces moved, the relationship between 'model' and 'scene' may need to be changed relative to what the mesh is to being made for and where it's going to be used. In other words, because it's quite typical for interactive technologies to use proprietary scaling, "Scale" and "Unit" properties should be set so the resulting model fits the environment into which it would eventually be placed.

    Design note: the "Scale" and "Unit" properties of a Scene should be determined beforehand by looking into the requirements of the engine being used; although this is not necessary for the following tutorial, it is important to be aware of and understand nonetheless - trying to change these aspects of the process after-the-fact can be problematic, so it's best to set them up correctly from the start. For more detailed information on Units of Measurement in Blender click here.

    Scale in Blender and relative size

    How object size relates to different game development tools. Whilst "Scale" and "Unit" sub-systems can be set to match a particular environment, the objects are not automatically rescaled to match. This means meshes may need to be physically scaled to match requirements

    To set the appropriate options, with the mouse over the 3DView, press "N" to access the "View/Transform" properties ToolShelf. Scroll down to "Display" and in that sub-section change "Scale: 1.000" to an appropriate value (e.g. "8.000" for 'idtech/UDK', or left at default "1.000" for 'Unity'). To switch the measurement system from "None", in the main "Properties" panel on the right, click the "Scene" button (second icon on the left), and in the "Units" sub-section click either "Metric" or "Imperial" as per requirements.

    Design note: generally speaking the final arbiter of size relates to how something looks on screen rather than its dimensional accuracy. This is because the camera through which a world is observed, has a tendency to distort both field of vision and an objects proportions due to perspective.

    Basic scene and project properties

    Setting "Unit"[2] of measurement from "Scene" properties and a general "Scale"[1] value from "Transform/View" properties. Both are important settings to consider when making content that's to be used outside Blender as it's likely the destination application won't match the Blenders default units of measurement

    Scene view controls ^

    Before doing any mesh editing it's generally preferable to switch between "Perspective" and "Orthogonal" views so any subsequent additions to the scene are viewed, initially, without the distorting effects typically associated with representing three-dimensional objects on-screen. In other words, in the absence of perspective, objects appear 'flat'. The difference between the two view types is important to understand because using perspective can make objects and object relationships tricky to assess under certain circumstance.

    Design note: being familiar with this function, either through the use of shortcut keys or menu options (below), is essential for an efficient use of Blender; its a core member of a tool group that controls the way a scene and objects contained therein are displayed and manipulated.

    To toggle between each view, with the mouse over the 3DView press "numPad5" to switch from "Perspective" to "Orthogonal" view (or using the "View" menu in the 3DView Header click "View » View Persp/Ortho"), and then into one of either "Front", "numPad1", or "Right", "numPad3" view (or again from the 3DView Header, "View » Front" or "View » Right" respectively). This changes the scenes orientation so the default cube object (and scene generally) is seen 'side' or 'front' on.

    Design note: view orientation controls, commands or shortcuts tend to either 'toggle' behaviour (turn it on/off), or switch it with another selected view type (changes to the view associated with the specific actuator).

    Starting from Blenders default scene

    All models usually start from the default scene, although not necessarily using the default cube object which sits within [blend1]

    With the scene displayed without perspective, reposition the default cube using "Shift+MMB" to "Strafe" ("left/right", "up/down") and/or use "Ctrl+MMB" or "MMB+Scroll" to "Zoom" ("in/out") the scene so there's enough room above the cube to fit another similarly sized object.

    Design note: although 'flattening' the scene is not an absolute necessity, because full perspective can makes objects appear distorted, Orthogonal view often helps better assess relative shapes and sizes.

    Switching between perspective and orthogonal views

    Using the default cube as a guide, the scene is positioned so there's room to add, manage or manipulate multiple objects in the scene - the 'head' of the simple Snowman character can be placed in the space above the cube

    Setting the cursor ^

    Once the scene has been arranged, and before moving on to modelling, the location of the "3D Cursor" needs to be checked. As new additions to the scene are placed at the cursors location, it's good practice to make sure it's initially positioned at 'grid centre'. There are two ways the cursor can be relocated; one relies on the fact that a centred object already exists in the scene - the default cube; the other makes use of a set of coordinates. Both approaches have a direct effect on the cursor.

    Design note: because the cursor can be placed anywhere and at any depth relative to the screen, it means new inclusions will be similarly positioned, potentially making them difficult to locate. For game related content this is especially important, because grid-centre is often used as the basis around which a mesh develops, either as a general 'centre of mass' reference, or as an actual 'origin point' which can be used to 'ground' or 'root' a model later on.

    To use the cube, RMB select it and press "Shift+S" to open the "Snap" menu, from the available options select "Cursor to Selected" - if the cursor is not already in that position it will 'snap' to the cube and its "Origin Point". To use coordinates/manually set the cursors location, with the mouse over the 3DView, press "N" to open the "View/Transform" properties panel (if not already visible) and scroll to the "3D Cursor" sub-section. Here find the sub-property called "Location:" and make sure or change the "X:", "Y:" and "Z:" values to "0.000" - the cursor will move to the new location. In both instances, snapping to the cube or manually setting coordinate values, it is now at "grid centre" or "0,0,0".

    Design note: the "Origin Point" ("Point of Origin") is the small orange coloured feature (spherical dot) the Transform Widget focuses on when selecting meshes in Object mode; although by default it's located 'centre of mass', it can be reset and repositioned anywhere.

    Snapping cursor to objects location

    Before placing additional objects in the scene ideally the cursor should be centred correctly to the grid using "Shift+S" to prevent issues further into the process, especially whenever animated objects are involved

    Setting the 3D Cursor location

    Alternatively, using "3D Cursor" coordinates via "Transform Properties", 'zero' out the "X:", "Y:" and "Z:" values to manually place the cursor correctly [blend3]

    Switching Viewport Shading ^

    When working in Blender it's often useful to be able to change the way an object or objects are displayed in the 3DView. "Viewport Shading" as this is called, determines how a scene renders its contents based on one of four available options; "Bounding Box" - renders objects as simple boxes based on the amount of area they occupy; "Wireframe" - displays the underlying structure of an object, the 'scaffolding' in a manner of speaking; "Solid" - renders objects as solid forms the colour of which can be tinted; and "Texture" - displays images mapped to the object. So for example, 'Wireframe' reveals the structure of a mesh, how the polygons flow around the object, very useful to see how edits effect not only the immediate area, but also how those changes work in relation to the overall distribution of surfaces. Using 'Texture' mode can be used to not only show the object with assigned textures, but also how and where the images are 'mapped', whether there are any distortions, poor areas of distribution and so on (these aspects of using Viewport Shading will be discussed to follow).

    Design note: "Bounding Box" is not typically used as often as the Solid, Texture or Wireframe, but can be useful when a scene contains a large number of individual items. Note also that "Solid" is the default shading option (objects are tinted a mid-grey tone where materials are not present or their 'colour' not yet set) and that "Solid" and "Texture" shading are affected by scene lighting.

    To toggle back-and-forth between modes use the "Viewport Shading" menu in the 3DView Header - click the button with the spherical icon and select the appropriate option - "Bounding Box", "WireFrame", "Solid" or "Texture". Or use a keyboard shortcut; "Alt+Z" toggles between "Solid <-> Texture", "Z" toggling "Wireframe <-> Solid". To 'jump' between "Wireframe <-> Texture" first press "Z" followed by "Alt+Z" (or press "Alt+Z" twice); and from "Texture -> Wireframe" simply use "Z". As with "Perspective" and "Orthogonal" display, "Viewport Shading" is another essential tool for efficient use of Blender.

    Design note: although switching 'up' from "Wireframe" to "Texture" mode requires "Z" followed by "Alt+Z" or "Alt+Z" twice (because mode changes are passing through another option), going the other way, 'down' from "Texture" to "Wireframe", only requires "Z" be pressed once. This means that certain mode changes are 'expressed' (done quickly) due to their bypassing intermediary display states (usually "Solid" mode).

    Switching 'Viewport Shading' in Blender

    Toggle into "Wireframe" using the Header menu option or pressing "Z"; this simple action helps to see the underlying structure of the objects as they are put together - it's typical to toggle between the different "Viewport Shading" options whilst making something as each provides the users with different visual cues as to what is being seen and the relationships between objects in terms of their structure and general appearance

    Adding Objects to the scene ^

    Starting with the default scene the elements from which the character is to be made can now be added. As the Snowman will be ostensibly 'round' in general appearance it makes sense to begin the process using similarly shaped meshes, in this instance "UV Sphere" objects.

    Design note: UV Sphere objects belong to a group of meshes commonly referred to as "Mesh Primitives". Alongside "Cube", "Circle", "Cone" and others simple shapes, they form the fundamental building blocks from which most modelling projects start life. Note that using the word "simple" in this context refers to an objects appearance rather than its internal complexity, i.e. the number of polygons it contains - generally speaking each Primitive uses a differing numbers of polygons depending on the items structure; curved surfaces have the most, a property that can be adjusted once an object is loaded into a scene.

    To load an object in to the scene, with the mouse over the 3DView press "Shift+A" to access the "Add" menu. Once open select "Mesh" then "UV Sphere" from the list of options (alternatively from the 'master' Header [screen top] click "Add » Mesh » UV Sphere"); a spherical object will appear at the cursors location and a set of properties will become available in the ToolShelf on the left (the ToolShelf should be visible by default, if not, press "T").

    Design note: when Objects are added to a scene they are automatically selection highlighted, i.e. 'active', and any initial property values are made available for editing. Remember that objects are 'spawned' at the cursors location, which is why it's important to check and reset it's position beforehand.

    Adding a 'UV Sphere' mesh primitive

    Leaving the default cube in place (as a reference), "Shift+A" to access the "Add" menu and add an "UV Sphere" - the object will centre itself to the cursor (which is why it's important to reposition it)

    Editing an Objects initial properties ^

    Upon being added to the scene the initial state of the sphere is that of a relatively dense mesh, i.e. it contains a large number of horizontal and vertical subdivisions. Whilst this makes the object appear smooth, it does so at the expense of using a tremendous number of individual faces. For low-poly game related work this is not ideal and needs to be moderated by adjusting the aforementioned horizontal and vertical subdivisions via the objects initial property settings.

    Design note: modifying the initial settings attributed to an object and mesh editing are two distinct processes, the former cannot be accomplished once the latter has begun. As a result, it's recommended alterations be done immediately upon adding objects.

    To do this, looking at the ToolShelf once the sphere has been added (press "T" if not visible), a new section, "Add UV Sphere", will appear at the very bottom. In this sub-section is a "Segments" sub-property, click the left arrow to change the value from "32" down to "12" (or click the number to highlight, type "12", then press "Enter"). Similarly lower "Rings" to "8" down from "16" - the mesh will either live-update, or change after values have been entered, resulting in the sphere appearing in the 3DView with fewer individual faces and horizontal and vertical sub-divisions, making it ready for editing.

    Design note: if the objects properties are no longer available or visible in the ToolShelf press "F6" to access the "Add..." dialogue overlay to make the necessary changes. If nothing appears when doing this it means something has changed the Objects 'state' such that properties can no longer be accessed or changed. In such instances the item will need to be deleted, "Del" and a new instances added back into the then empty scene. The options available will vary depending on the object selected.

    Default sphere density

    The default sphere is a relatively dense object which generally needs to be reduce from its default 32 "Segments" and 16 "Rings" - this is too dense for the type of low-poly game related modelling being done here [blend3b]

    An Objects initial properties

    An Object initial properties can also be accessed pressing "F6". If this does not appear it means the current item will need to be removed and a new instance loaded into the scene

    Reduced mesh density

    Using the "Add UV Sphere" ToolShelf options bottom-left, change "Segments" to "12" and "Rings" to "8" - "Size" can be left as-is - this reduces the sphere internal complexity making it better suited for low-poly work [blend4]

    UV Sphere in perspective mode in relation to default cube

    The new sphere in "Perspective" mode, shown just to provide a sense of its shape relative to the default cube object [blend4b]

    Object duplication ^

    The quickest or most convenient way place additional objects in the scene is to simply copy ones that already exists. However, the typical 'copy/paste' approach to doing this does not work on mesh objects in the 3DView because it's a 'context-sensitive' operation. Instead "Duplicate" has to be used.

    Design note: the availability of "context-sensitive" actions is dependant upon the type of object selected, the activity being carried out, and where it is being done (the window or view over which the mouse is active).

    There are two main types of mesh object duplication; 1) "Duplicate" and 2) "Duplicate Linked". The former, "Duplicate", produces individualised objects that can be edited independently of other instances (the original or duplicate/s). The latter, "Duplicate Linked", produces a 'linked' copy of an original, meaning, any subsequent changes to either the original or copy immediately propagate across all, removing the need to manually update each separately. As the entire character needs to be editable, "Duplicate" is the better option of the two to use.

    Design note: similar to other functions in Blender, 'Duplicate' and 'Duplicate Linked' can be accessed using keyboard shortcuts or from an 'Header' menu option, in this instance "Object". To use "Duplicate" press "Shift+D" or used the 3DView Header menu option "Object » Duplicate". For "Duplicate Linked" the shortcut is "Alt+D", the menu option "Object » Duplicate Linked".

    To create a duplicate, RMB select the sphere and press "Shift+D". A new instance of the original will appear. RMB click to confirm and release the object. Upon doing this it will snap back to a default location, generally the same coordinates as the original mesh.

    Design note: when the duplication appears it's 'attached' to the mouse so it moves when the mouse moves. This generally serves two purposes; 1) it's an obvious indicator that an object has been duplicated; and 2) the object is active and ready to be moved in a single action (rather than it having to be selected and then moved, two separate actions in sequence). Because Blender does this (pairs object and mouse together directly after duplication) it does mean the item can be inadvertently repositioned by accidentally using LMB, which sets the object at the cursors location, instead of RMB, which just confirms duplication. If/when this happens, delete the duplicate, "Del", and try again paying particular attention to using RMB. The difference between using LMB and RMB here is another "context-sensitive" issue to be aware of (using "Ctrl+Z" to "Undo" will remove the object rather than just 'undoing' the accidental placement).

    Using 'Shift+D' to duplicate a mesh

    The character makes use of two spherical shapes, use "Shift+D" to "Duplicate" the first sphere - RMB click to confirm and release the new object [blend4c]

    Basic Object manipulation ^

    With two spheres now in the scene they can be used to 'block out' the characters basic structure by placing one atop the other. This is done using the "3D Manipulator Widget" or a "Transform" action.

    Design note: because both objects occupy the same location, RMB clicking as outlined below, will make an either/or selection, it doesn't matter which is selected because the objects are identical.

    To position the mesh do one of the following. First RMB select the object so the "3D Manipulator Widget" appears, then either; 1)LMB+hold+drag the widgets blue handle, moving the sphere upwards so it's positioned atop the lower of the pair. LMB release the mouse to set the new location. 2) press "G" then "Z" to "Grab/Move" the object whilst locking it to the "Z" axis (up/down). Move the sphere atop the lower of the pair then LMB click to confirm. Or 3)RMB+hold+drag to select and move the sphere using a single action. Move above, then LMB click to set the new location. Whilst doing any of the above holding down the "Ctrl" key after the action has been initiated will snap movement to the grid.

    Design note: there is a distinct advantage in using the shortcut ("2") and/or RMB+drag ("3") to move objects around because when doing so using the widget ("1"), the action cannot be cancelled midway through the process; object manipulations have to be set in place first and then undone ("Ctrl+Z"). On the other hand, both the shortcut and/or RMB+drag are actions can be cancelled simply by using RMB at any point. In both instances this will reset an object(s) back to its original pre-transform position. Also note, the "3D Manipulator Widget" defaults to "Translate", the shortcut key for which is "G". Alternatively from the 3DView Header, select "Object » Transform » Grab/Move" or click the "Translate manipulator mode" icon in the widget control section (shown below).

    Object manipulator widget on selected object

    Selecting an object highlights the "Manipulator Widget" which can be used to "Translate" (shown), "Rotate" or "Scale" objects in and around the scene - objects can be moved directly using the widgets directional "X", "Y", or "Z" handles (or the centralised 'global' area), or using different shortcut keys ("G", "R" or "S")

    Use 'G' to move one of the spheres above the other

    Moving one of the spheres above the other should result in something similar to the above - note that the overlap will be important later on so should be present upon completing this action - this simple 'block out' provide an initial idea of shape and form (even though it's to be adjusted later) [blend5]

    Once positioned the sphere needs to be resized approximately 25% smaller using "Scale"; this is to be the characters head - the end result being a smaller sphere on top of a slightly larger one.

    Design note: when originally positioning the sphere, a certain degree of overlap will be necessary to compensate for the scaling, this can be adjusted afterwards if necessary.

    To do this, make sure the (upper) object is selected, RMB, and press "S" to initiate "Scale" (alternatively in the 3DView Header activate "Scale manipulator mode" by clicking the 'Scale' widget icon, or from the "Object" menu select "Object » Transform » Scale"), move the mouse towards the objects centre a short distance to reduce it's size - pressing "Ctrl" after initialising the action will snap scaling to increments making a regulated resize easier to do. LMB click to confirm.

    Design note: when using 'Scale' make sure the mouse cursor is a reasonable distance from the object before initiating as the speed and sensitivity of the tool is dependant upon this; the closer to object centre, the faster (and seemingly uncontrollable) movement may become.

    Manipulator widget handles differ for 'Scale'

    Scaling objects (resizing them) can be done using the shortcut, "S", or by activating "Scale manipulator mode" from the widget control block in the 3DView Header. (Note using any widget mode is subject to the same caveat with respect to canceling an action mid-way). To 'regulate' the scale action holding the "Ctrl" key down will snap the action to intervals as it reduces in size

    Use 'S' to 'Scale' the mesh

    Scale the 'head' sphere down by a small amount. The result should be two spheres, a smaller object sat atop a larger, the 'body', making any adjustments to the 'head' so it sits on top of the body (re-scaling may have introduced a gap between the two as the mesh scales inwards towards it's 'origin point')

    Joining Meshes together ^

    Once both spheres have been resized and adjusted as necessary they need to be merged to form a single unified mesh using the "Join" command. To do this "Shift+RMB" select both objects (select the lower sphere last) and then use "Ctrl+J" (or selected "Object » Join" from the Header menu) to "Join" them together, ready for the next stage in editing.

    Design note: because multiple objects are being selected it's possible to use "Select All", "A". Doing this however may mean re-selecting one of the spheres to make it 'active' before any further actions can be done (using "A" now would mean including the default cube object, which is still in the scene; this step can be done after the below). In addition, the bottom sphere is selected last because its 'origin point' becomes said-same for the whole mesh once the separate objects are joined together. This is another reason for checking the cursors initial location before objects are added to the scene. Merging objects together is usually necessary because developing the character from this point on would otherwise mean changing particular aspects of both meshes at the same time, which can become cumbersome with separate objects.

    Object origin may change when joining meshes

    Join the two spheres together using "Ctrl+J" once the two Objects have been selected (when using "A" to "Select All" instead of "Shift+RMB", make sure one of the spheres is highlighted before joining) [blend6]

    Using Layers ^

    At this point the original cube is still in the scene, as this is no longer needed it can be deleted or moved out of the way using the "Move to Layer" panel. To do this press "M" to access the panel and click one of the buttons not already active to make a selection; the object will disappear from screen. If deleting, simply RMB select the object and press "Del" as normal.

    Design note: 'Layers' are a convenient way to organise the contents of an open file; objects and elements can be placed in different layers and hidden or shown as required by using "Shift+LMB" to active/deactivate particular layers. This can help mitigate problems associated with a scene becoming over-crowded, or the need to keep objects in the file but out of the way (rather than what might otherwise mean having to delete items to keep a scene manageable). Although "Layers" are not used much in this tutorial, it is a useful feature to be aware of.

    Moving unwanted objects to a different layer

    As the default cube is no longer needed (it was left in the scene as a reference), use "M" to move it to an unused "Layer" or simply "Delete" it using "Del". Perspective mode shown, is toggled with "numPad5", switching view modes during production is a useful action to get into the habit of doing [blend7]

    Sours: https://www.katsbits.com/tutorials/blender/character-beginning.php

    Low-Poly Character Modeling and Texturing

    If you didn't save with an Alpha / didn't use TGA format

    1. Open the file in Photoshop
    2. Click on the Background layer and drag it to the new layer icon (this will duplicate the layer).
    3. Go back to the background layer, set your background color to white, Select All (Ctrl+A) and Delete (Del).
    4. Go to the Background layer copy. Choose Image > Adjust > Invert.
    5. Choose the Magic Wand tool and in the menu bar along the top of the screen uncheck anti-alias, uncheck Contiguous, and set Tolerance to 0.
    6. Click anywhere on the white part of the image and Delete.
    7. Rename the layer to UVs or something similar

    If you saved your images as TGA files with Alphas (32-bit

    )

    1. Open the file in Photoshop.
    2. On the Background layer, select all (Ctrl+A) and Delete (Del) and it will replace the whole thing with whatever the background color you have selected (preferable white right now).
    3. Go the Channels tab. You should see 5 channels, the RGB, Red, Green, Blue and an Alpha channel. Hold Down Control and click on the Alpha Channel.

    4. Go back to the Layers Tab, Create a new layer.
    5. Select BLACK as your foreground color, right-click in your image anywhere and choose FILL from the drop-down.

    Go back to the Channels tab, click on the Alpha channel, and drag it into the trash-can at the bottom of the channels window.

    This is just a precaution, but it's a good idea to do it now rather then have something mess up later (if you load a texture with an alpha channel on it, in max, it may assume that you want to use that channel as the alpha and you could end up with some stupid headache when you render - just easier to fix it now to avoid a problem later).

    So now it should look like the image above. Name the new layer whatever you want (I usually go with UVs or UV Ref, or something along those lines).

    Now save the image as a PSD file.

    Texturing the Head

    The technique I'm going to cover here works for making a low-res real-time head texture. If you're intent is some high-res, high-poly head with a 1024x1024 res texture map, there are different techniques that I'd use. But when you're end result is gonna be small, there are some tips in here that will get a better result.

    Start by getting some photo ref. It's really best if you can find front and side views of the same head with the same lighting so you don't have to try to match the skin tone too much.

    This is the one that I've decided to go with. These images also came from http://www.3d.sk. Like I said at the beginning of the tutorial - this is a seriously awesome site full of reference and texture good-ness. I HIGHLY recommend getting a month's subscription and snagging as much from it as you can manage. It's so nice to be able to start texturing and not spend several hours Googling and sifting through photos and textures on the net to try and find something almost useful. It's much easier to just open my local texture storage (basically a download of large portions of 3d.sk) and find what I need within minutes.

    Click to Enlarge

    First let's set max up with our work-in-progress texture. In 3dsmax open the Material editor and choose a slot that doesn't have any texture in it right now (blank gray sphere). Click on the box next to Diffuse and choose Bitmap from the window the pops up.

    From the select bitmap image file window, set the Files of Type: to All Files, or to Photoshop files. Either is fine, so long as you can find the PSD file with your UV template that you saved earlier.

    After you click Open, a PSD Input Options window will pop up. Just leave it on the defaults (collapsed Layers) and click OK.

    Click the button in the material editor (in row of buttons along top, just under all the spheres) so that the texture will show in the view port.

    Then Select the head of the character and click the assign button to assign the material to that object.

    Making the Texture

    Go back to Photoshop now and click on the background layer so that you're under the UV ref layer.

    From your reference image of choice, make a selection around the eye, copy, and paste it into your texture work file. Right-Click anywhere in the image and choose "Free Transform" to be able to quickly scale and rotate etc. the pasted image.

    Move and scale the pasted eye so that it lines up with the UVs of the character's head. Next go back to your reference image and make a selection around the nose, copy, and paste it into your work image.

    I copy each piece of the face separating because it gives me more control over scaling and moving those parts to line up properly to the UVs. It's rare that you'll be able to copy an entire face onto your UVs and have everything line up and be the right size, right off the bat.

    While doing this, save your image and go back to 3dsmax to check on the placement of things. It should refresh the texture automatically every time you save your PSD file.

    Do the same thing for the mouth and check your progress in Max. Make sure that the mouth actually falls in the correct parts of the geometry on the 3D model. If it goes too far past the lip or doesn't line up with the crease between lips, go back into Photoshop and scale/move things around some more.

    Once the majority of the face is down, I copied the side angle of the head and scaled it so it was approximately the correct size and shape. Now to open one of Photoshop's most helpful tools when making textures from photo reference....

    Liquify

    Go to Filter > Liquify... (Ctrl+Shift+X) and wait a moment for it to load (it always takes a bit). First thing you'll want to do is check the Show Backdrop option, Use: All Layers, and Mode: Behind.

    The image below has all of the important areas circled. You'll just use the default tool, but you can feel free to experiment with the others. The great thing about Liquify is that it lets you nudge around things without blurring the image. The brush size is really sensitive. Change the brush size as needed and move stuff around.

    When you're done in Liquify, just click OK and it'll update your main work image in Photoshop. Save and check stuff in 3dsmax to see if anything needs nudging in different locations. I did this and I saw that the ears were still a little messed up, and the hair line needed some work.

    So I went back to Photoshop, did Liquify again, and adjusted the shape and alignment of the hairline so that it'd display better on the actual model.

    Okay, now its time to clean up some of these overlaps. Often times, using the Eraser with a fuzzy brush, and going over the edges of each layer are enough to blend things together quite nicely. If you need to, you can use the Clone Stamp Tool as well.

    And another save and check in 3dsmax. Everything seems lined up good. The forehead still needs some work, but I can clean that up later when I start doing manual touch-ups. I decided that the eye layer could probably be stretched a little bit in width (eyes looked a little small anyways) and it'd fill that annoying gap without having to mess with the clone stamp tool.

    At this point I copied the neck from another reference image, and the back of the head from yet another. Use Liquify where needed to nudge things into place, and erase to smooth the transition between layers.

    The picture that I had as reference for the back of the head was actually taken from a different person and the skin tone didn't match. It's common that you'll have to piece together the facial texture from several sources and getting the skin from each piece to match can be a real pain. But there's one quick trick I've found that works most of the time.

    Ok, so you've pasted the piece onto a new layer. Go to Image > Adjust > Match Color and a window will come up. In the bottom portion of the window is Source and Layer. From the Source drop-down choose the image you're working on now. Now from Layer pick a layer that you want to match.

    Since the layer I added had hair, and skin, I want to match it to another layer that has both hair and skin (the one I sampled from was the forehead/top hairline). This way it will match better.

    If you need to, adjust the Luminance, Fade, etc. Match color doesn't always work, but it usually gets pretty close.

    So just continue grabbing pieces of photo ref, use match color and Liquify when needed, and check 3dsmax frequently to make sure things are matching up.

    This is the base texture I ended up with. At this point I *could* be done. But I'm not. Now I'm going to go in and manually paint in some details, sharpen some areas, and apply general touch-ups all over. Since this is a low-res texture, and the character will usually be seen from a distance sharpening some features usually gets a better result.

    At this point, I selected all of my face layers and merged them together. I created a new layer on top of it (but still below the UV ref layer) and selected the Paintbrush tool. In the options set the Opacity to around 50% and choose one of the solid round brushes.

    Holding down the Alt key will switch your tool to the eyedropper so you can pick colors quickly and easily. While painting you will frequently need to pick colors from the image so just keep your finger on the Alt key for easy switching.

    The texture as it currently is freaky on the forehead when I actually check it in 3dsmax, so the first thing that I touched up was the forehead.

    Hold down Alt and pick up some skin tone. Now, just paint over the problem areas with larger brushes. Since the brush is set to 50% opacity, you can get in-between colors by doing a singe brush pass over an area, and then using Alt to pick the new color. Do this over and over and make layers.

    For smaller details, switch to a smaller brush size. I defined the hair line by just picking a black-ish color from the hair and painting in better hair roots.

    After the forehead, I turned my attention to the eyes. Using the eyedropper I picked the 'white' of the eye. But then I went into the color picker and went brighter (still not actual 'white' but a lighter color then the one there) and painted in the whites of the eyes better.

    I picked lighter skin tones and increased the contrast around the eyes and the wrinkles, and I sharpened up the eye brows.

    I checked the progress in 3dsmax and deiced I still needed more definition to the forehead. Went back in and did some more touch-ups to the hair line and checked it in max.

    My plan is to make some alpha poly hair once I'm down with all the textures, so this is just the under hair, but it still needs to look good on the edges and hairlines.

    As another example, just compare the eyes of this version with the texture before any manual touch-ups (just above). The eyes stand out much more now. So, even small touch-ups can make a big difference.

    Touch-ups on the nose and lips can make a BIG difference in the final look so they're important.

    Usually the first thing I do is fix the nostrils (they usually aren't shaped correctly to appear in the right location on the actual model. Just make adjustments, save, check, and repeat until they look correct in max).

    I made the base/underside of the nose darker, increased the contrast between the bridge of the nose, and the shadow on the sides of it. I adjusted the highlights on the outer nostrils, and drew in the crease where the outer nostril meets the cheek.

    For the lips, I find it's best to make the top-lip almost solid dark. I drew in highlights along the top of the lip, and the highlights on the lower-lip. I also darkened up and created a more solid border below the bottom lip.

    I find that I often get better results on skin if I use a small brush (usually the solid round 3) and 'scribble' in some areas. You don't want a really smooth look on the skin because it'll look fake.

    Again - save often and check your progress in 3dsmax. Already the face is looking much more defined then it was before the touch-ups with minimal work.

    At this point I just finished up the rest of the head. I did a lot of touch-ups on the ears, since they weren't lining up perfectly with the model, and defined the hair better. I also went in with a lighter color of the hair and added highlights.

    Since the plan is to make poly hair later, all that I really care about is if the hair edges look correct, but it's still good to get it all looking as good as possible.

    The last thing I do to any texture for low-res real-time is apply sharpen to it. Flatten the image and go Filter > Sharpen > Sharpen. Then go to File Save As...and save your texture as a .tga or whatever format you want to use for the final texture.

    When you go back into max, edit the material for the head (click on the box next to diffuse and change it from the PSD to the new flattened image you just saved).

    Comparing the end result now with the way the head looked before I started any manual touch-ups really makes it obvious how big a difference it can make.

    Onto the Clothing

    I do clothing differently then I do faces. I lay down a base texture and it's usually extremely plane and flat. I'm not looking to get any shades or wrinkles in the base texture. Just the actual 'texture' of the fabric, and maybe things like seams, pockets, zippers, etc.

    Once my base is down, I go in and paint in the wrinkles using multiply and screen layers, which I'll cover later.

    Okay, so I'm moving onto the pants next because I know exactly what I want for them (jeans). Good reference images are very important to make jeans actually look like jean. Getting that "jeans" look is not hand-painted easily. I had these images that I used to grab my textures from. Again - they came from http://www.3d.sk! Ha-ha - I'm a walking advertisement for this site, I swear... But this just goes to show that it's worth subscriptions. Every texture I've used on this guy was from that site, so I highly recommend it.

    Click to Enlarge

    The image may be of a jean skirt but it actually made it even more perfect since it has a lot more surface to grab texture from.

    Open the UV layout texture for the pants, set it up just like we did with the head so that your UVs are on a separate layer with a blank background and save it as a .psd file. In 3dsmax open the material editor (m) and setup one of the blank material slots so that it's pointing to the PSD file you just saved and apply that material to the legs.

    Back in Photoshop, copy portions of the jeans and edit it so it fills the whole background of the image. After I'd managed to get a solid backdrop of 'jeans' cloth, I started copying in seams and other details.

    Remember, if you are having trouble lining anything up with the edges/seams of your UVs, that you can use Liquify (Filter > Liquify) to nudge/curve parts so that they fit better.

    I found myself frequently sharpening things as I copied them in and scaled them. Especially, the seams.

    Like I said earlier, we are not aiming for any cloth wrinkles here - Not yet! So try not to get too many of those. We just want a simple base to work from.

    Remember to check your progress in 3dsmax to make sure you're lining things up correctly. Make sure you're getting the seams in locations that you actually like and make sure things aren't being stretched / squished.

    Once the base is done, I start painting in the wrinkles.

    I start by setting up my layers. I create (at least) two new layers above all my jeans and seam layers. I have a Highlights (HLs) layer and a Shades (Shds) layer. I set the HLs layer's Mode to Screen and the Shds Mode to Multiple.

    When a layer's mode is set to screen, you can paint with solid colors, and it makes it look more like you're using the dodge tool directly on the layer. The bonus is that you can use smudge, etc. on what you paint, without messing up your base texture. Screen brightens, multiply darkens. That's the basics. You paint with shades of grays/tinted grays to vary how dark or light it makes it. Pretty simple, and very useful.

    I find it's best to have a reference when painting cloth wrinkles. You'll have a much better idea of what to aim for and where to put things if you have a real-life equivalent to look at as reference. I had this image (above) open on my secondary monitor while I painted the wrinkles in Photoshop.

    I start out very messy. Scribbles to lay out my plans. You can also use this as a quick way to check to see if things are going to look correct in max. Get down the basic idea first, save, check 3dsmax and if something's not right, you haven't done too much work yet, so its not such a big deal to go back and change/fix anything.

    Use darker tones (like a dark gray-blue) on your Shds (multiply) layer and be afraid to vary it some. Pick a lighter shade of dark blue-gray for some details, and add in darker shds in bigger wrinkles.

    Then I go in with the Smooth tool and blend things together better. I smooth out the scribbles so that they look like actual clothing wrinkles, save it and preview it in 3dsmax.

    So once I checked out my work in max, I found a couple areas I didn't like. I didn't like the wrinkles in the knees or the way the cloth looked on the thighs so I went back and fixed those up.

    Then I moved onto the back of the legs. I use a different reference image (same model, just a rear view) so I'd get better cloth folds.

    Again - messy quick strokes to lay out my plans and get things to a point where I can check in max to make sure they're lining up properly.

    Smooth it out, check max, make any adjustments you need to make. I actually felt that it had slightly too much contrast so I reduced the opacity of the HLs and Shds layers. When you're good and done flatten the image (Image > Flatten Image), apply add sharpen to it (Filter > Sharpen) and save it as a .tga or similar format.

    Moving onto the shoes

    Open the UV Rendered texture for the shoes and set it up just like the others (set the UVs up on their own separate layer, rename it, and save the file as a PSD). Set up a material in max for it and assign it to the shoes.

    Once again, the photo ref you can find will play a big role in getting a good result. With the shoes, I laid down a base from photo ref, but ended up painting over almost all of it, using the photo base as a reference and color palette.

    Pretty basic idea - just copy the reference images, move, rotate and scale them so that they're located as close as possible to where they need to be.

    Shoes are a prime example of Liquify being super-useful. Go to Filter > Liquify and nudge, push, and pull the shoe so that it more accurately matches the UVs. You'll need "Show Backdrop" checked, in order to see the UVs to match.

    Copy the other parts of the shoe into place, use the clone stamp tool where needed and use Liquify to get things into place better.

    Once you have the whole shoe covered in texture, check 3dsmax to see how things are lining up. Because of the way the UVs are setup you are going to have a very noticeable seam along one side of the top of the shoe. This is something you'll need to take into account as you continue to work, and when you're painting over the reference images. You'll have to make sure that the exposed edge of the top shoe UVs matches the side that's connected to the rest of the shoe.

    For the bottom of the shoe I once again used the Liquify filter to get it to actually line-up with the bottom shoe UVs. Once I was done with laying out all of the shoe's base textures I filled the background layer with a dark grey from the shoe and created a new texture on top of everything (but below the UV reference).

    Okay, once again I used the paintbrush tool with a solid round brush, and opacity set to around 50%. I used a larger brush at first to get in some larger areas of color on the trouble areas like the tops of the foot, and the toe of the shoe. I used a smaller brush (usually size 2 or 3) from then on though. For the seams I highly recommend going on another new layer and after you've painted in some of the seam edges, do a Filter > Sharpen > Sharpen on them and you'll get good results. To get the noise I want in the final texture, I used a lot cross-hatching sort of coloring. I also painted in the laces manually myself.

    Remember to pay attention to the exposed seam and make sure it lines up correctly in 3dsmax.

    When I was satisfied with the texture, I flattened it and scaled it down. The image that I created my texture at was 256x256 but my final image was half that. Image > Resize Image and change the values to 128x128. Now I applied a Sharpen (Filter > Sharpen > Sharpen) and saved it as a .tga file.

    The shoe geometry is much smaller then the rest of the model so it really doesn't need a texture the size of the rest of the parts, but I still prefer to make the texture at a higher res and then size it down to get in more detail.

    Onto the Jacket

    I did the shirt a lot like I did the pants. First I laid down a base texture layer with no shades or wrinkles, etc. Put in details like pockets and a zipper, and once I had that done, THEN I went in and added wrinkles the same way I did the pants.

    I did do one thing significantly differently with the torso then I did with the pants. I put seam detail myself to emphasize the seams. After making the base texture above, I switched to the Pen Tool and drew in lines for all the seams. They'll be on their own layer so create a new layer above your base texture and choose a darker color from the image and then in the color picker make it even darker. This will be the color of the seams.

    Pay attention because if you've never done this, it's easy to miss this and get confused. Right now the lines are just vector paths. They aren't actually apart of the image yet. We are going to "Stroke" the paths with the paintbrush tool. But first we need to set the paintbrush tool the way we want it. So go to the paintbrush tool, set the brush size to 1 or 2, and set the opacity to 100%.

    Now select the pen tool again and Right-Click anywhere in your image and choose Stroke Path from the drop-down.

    From the window that comes up, choose Brush from the drop-down, make sure that simulate pressure is NOT checked and click OK.

    Now we're going to make the highlights around the seams. Right-click again and choose Delete Path from the drop-down. Now with the pen tool draw in a few areas where there would be highlights on the seams. Create another new layer and set your current color to a lighter version of your main color (near white-ish if necessary) and stroke the new paths.

    Once I was happy with the seams, I created two new layers, a Shds and HLs layer. (Shds Mode set to multiply, and HLs Mode set to Screen) and began painting in wrinkles just like I did earlier with the legs.

    Having a reference of what the wrinkles should look like well be very helpful here so if you can find one, that's best.

    Just like with the pants, I started out with rough scribble marks to get the shape started and laid out. Then I went back in and smoothed them out. The jacket has a seam that you need to watch for. Since the front isn't mirrored (to avoid overly obvious symmetry in the texture) one side is exposed here. You'll need to make sure that the seam on that side of the short isn't too obvious.

    Once I had the shds in place, I put in the highlights. Same as before - scribble placing and then smoothing and putting in details.

    Once I was done with the shades and highlights I did an extra step. I created another layer above them all and picked a dark grey / grey-bluish color and painted in around some of the darker shaded areas, and then went in and smudged them to blend it with the colors behind. This was just to give it some better color depth.

    Now to do the arms

    Since the arms are a part of the jacket, you should make sure to do them very similar so that they flow together. So you'll use a lot of the same base texture on the sleeve that you used on the torso, and do your shades and highlights in the same color/lighting.

    Same as all the other things. And when everything is done, save it as a flattened, sharpened, tga file and update max again.

    And finally the hands

    The hands will be like the shoes. I used photo reference on the bottom, but it was mostly just for color and basic reference. It's very difficult to get photo referenced hands to line up properly with boxy, low-poly unwrapped hands, so most everything will end up being hand-painted. Here's a picture of my process:

    First I filled the outside of my UV ref with a skin tone so I could see better where the fingers were.

    I copied, moved, scaled, and used Liquify to get a palm and hand-top into basic locations.

    Then I created layers overtop of all that and painted the hand texture. The images below made good reference for color, etc. but hardly any of it is showing through in the end.

    And when I was finally finished, I sharpened the whole image.

    The Hair

    Okay, first off, at work we don't actually have hair like this. Our hair is very basic and usually just painted directly onto the head itself. Simple short hair cuts. With women, even then the hair is usually a part of the head mesh and painted directly onto the head texture itself.

    But I'm making this tutorial for a more fancy kind of hair because it's something I get asked a lot.

    This is just one possible way to make hair. There are many different ways to approach making hair, and there is no One Right Way to do it. Just many options depending on what your end goal is.

    First I made a new document in Photoshop; 256x256. I got some photo ref of some hair I wanted to make it look like and pasted some bits into the new window.

    Use the Liquify filter (Filter > Liquify) to move anything around that needs moving.

    I painted below the hair bits first to match the general color and then created a layer above the hair and painted with a small brush and around 50% opacity.

    Just keep painting in details and strokes. Use the images as reference.

    Basically I make several shapes of hair that I know I'll want to use in different locations on the head. It's good if you plan out the hair style and the sort of shapes you'll need before you start all this so that you can make the texture fit what you want.

    Once I had the base hair texture done, I used the pen tool to create the basic outline of the shape.

    When you've got the shape done, right-click in your image and choose Make Selection. Go with the defaults on the window that pops up) Feather Radius should be 0) and click OK.

    Now go to the Channels tab and click the Save Selection as Channel button (circled below).

    It should create a channel called Alpha 1. The background should be black, and the area you had selected should be white. Click on the Alpha channel to activate it. You can paint directly on the channel with the paintbrush tool just like a normal layer, except it will actually be affecting the opacity alpha instead.

    Use the paintbrush tool with opacity around 50% and with small brush size and modify the hair's alpha to be more 'hair like'.

    To go back to viewing the regular image, just click on the RGB channel. If you make additional selection with the pen tool and then convert to a selection you can add it to your existing alpha by just selecting the alpha channel, setting your color to white, and choosing Image > Fill.

    Once your texture is done, Flatten it (Layer > Flatten Image) and save it as a .tga file. IT IS IMPORTANT that you save it as a .tga file. Tga files save alpha information, so it will keep the black and white alpha channel you created.

    Now go to 3dsmax and open the material editor (m) and pick an unused slot (one of the grey spheres). Click on the box next to Diffuse and choose Bitmap, just like before. Find your TGA texture and click ok. Now go back to the material main options (click the button circled in the image below).

    Check the 2-Sided option, and then scroll down to the rollout for +Maps and expand it.

    In the Maps rollout you should see the Diffuse Color has a Check next to it, and lists a map. All of the rest should say none under Map. Click on the Map button for Diffuse Color and Drag it to the button next to Opacity that says none.

    A window will pop up, make sure you set it to Copy, not Instance.

    Now click on the new map in Opacity and it will let you go in and edit it.

    Set the Mono Channel Out put to Alpha, and set the Alpha Source to Image Alpha. If these options are grayed out that means that the alpha channel didn't save with the TGA file. Go back to Photoshop and make sure it saves correctly.

    No go back to the main material settings and click the Show Map in View port button.

    Now I changed my view to the Front view and went to the create tab and made 3 plans with 0 segments.

    I assigned the hair texture I just made to all 3 planes. Switch to the Perspective view port. If you just see wire frames hit the F3 button so you see the textures. If you don't seeopacity Right-click on the word Perspective in the top-left corner of the view port and go to Transparency > Best.

    All three planes should now show the entire hair texture on it with opacity. What we want to do is separate it so that each plane only has one section of hair, instead of all three.

    Select one of the planes, right-click on it and choose Convert to > Editable Poly from the drop-down. Now go to the Modify tab and apply an Unwrap UVW modifier to it. Click the edit button and move the UVs so that it's only over one of the hair pieces. If there is a little overlap and some of the neighboring pieces is visible, that's ok, we'll cut it out in a minute.

    Once it's all set, collapse the stack.

    Repeat this on all three segments. For any areas where there is overlap and you can see portions of one of the other pieces, go into vertex selection mode of the editable poly, and use Cut to cut the plane so that it's closer to the shape of the hair piece. Select and Delete any polys on the edge you don't need anymore.

    Now, use Cut to cut horizontal lines through the hair. You'll need several close together at the top near the hair line since this portion of the hair will need to be able to curve more tightly then the rest.

    Next do a one or two vertical cuts as well.

    Now select all of your hair pieces, right-click on them and choose Object Properties from the drop-down. In the window that comes up find the Display Properties (left-hand side of window) and make sure that Backface Cull is unchecked.

    Now is the hard part that will involve a lot of tweaking and adjusting on your end. There is no real step-by-step for this that I can give you, you'll just have to go with it and keep messing with it until it actually looks right.

    Select one of the pieces of hair and Hold down Shift and move it over by the head. This will duplicate the object, instead of actually moving the original.

    It's important that you leave your original un-altered base objects to the side so you can pick from them whenever you need to.

    On the new duplicated hair piece, move, rotate, and scale it into place near the head, and then start moving verts to get it into a shape and location you like.

    Now repeat this over and over with each of the pieces until it looks good. :P

    Cut in / connect to create new edges whenever you need to.

    Build up layers of hair to get more depth.

    Work your way around the whole head.

    You'll probably be constantly going back to fix and adjust the placement of various hair pieces until it looks right.

    And just keep working on it until it looks the way you want it to. It can take patience and lots of tweaking, or it may just work from the get-go. It will vary.

    It really helps to have a clear hair-style goal in mind, and a picture reference is always a big plus.

    That's it! I rigged him, but I'm not going to do a tutorial on rigging... At least not now. Hope that this tutorial helps someone. If there was some point in the tutorial where I said "now click on ..... and blah blah blah" but never explained where ..... was or how to find it and you got totally stuck, just send me a line (and mention where it was you got stuck) and I'll fill you in, and fix the tutorial :P

    I know there are typos and spelling errors and I don't care, so don't email me about them. I wrote this tutorial in Windows NOTEPAD... no spell check. And it's really long and it's too much of a pain in the ass to try and fix it now, so live with it.

    Umm... that's all I can think of. Questions, comments, praise, and curses can be sent to atheynm-at-gmail-dot-com.

    Tutorial Written by Athey Nansel-Moravetz, (c) 2007

    Sours: https://3dtotal.com/tutorials/t/low-poly-character-modeling-and-texturing-athey-nansel-moravetz-model-man-low-poly

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There are also mountain, and rock meshes that make it easy to do a large tropical mountain-scape, as well as meshes perfect for making lava caves! Low Poly Terrain Editor. All models use one simple texture atlas, which you can easily modify to change color. blend character rigged anime stylized female npr woman girl free blender low poly human games animations. A low poly character model (432 tris) i modeled and rigged that you can use in any way you would like, no credit needed. Which license was this released under exactly? Many thanks. Jul 02, 1993 · Son in Law: Directed by Steve Rash. Hi Guys, Are you looking for a course that fully explains the retopology and texturing process?Low poly is polygon mesh with a small number of polycount depending upon the project. All quads model with no ngons, co-planar faces or isolated vertices. You can copy, modify, distribute and perform the work, even for commercial purposes, all without asking permission. fbx) Model files in OBJ format files The thing is that i'm pretty new to graphics design (modeling, sculpting, etc) and by following some tutorials i've managed to make some very high poly meshes for my characters with the sculpt editor, the meshes have about 1. 1. by TurboSquid. I am not very good at 3D modelling so it's probably not perfect and might cause issues but i added blend file if you want to edit it. I love using paper for drawing, making pop up cards, models, paper aeroplanes and origami… so why not… Jun 16, 2021 · The character is part of a joint team of famous superheroes, the Avengers. 1981 "low poly character" 3D Models. interactive modeling add-on. The majority of the “low poly” examples you listed are not low poly at all. It’s easy to get lost and overwhelmed. Some of these 3d models are ready for games and 3d printing. Choose from ready-made items in the Daz 3D. Buy online and pick up in store today! Now in sizes 00-30, XS-4X. 3D people characters rigged as well along with Mixamo support. 3ds) Model files in FBX format files (. 9k Members Low Poly Character Creation. com! Enjoy Free Shipping on domestic orders + and Free Returns. as well as having discussions about techniques, tips, etc. Breathable, comfortable, & oh-so soft—these styles are a dream come true. 23a (AFD 2019) Our own Sega Genesis/Megadrive release! Play this ROM in your favorite emulator or with a flash cart. It's a complete revamp of the character heads with a new visual direction closely inspired by Skyrim and Morrowind. This is a low-poly character. blend . Mar 03, 2020 · Free Medieval Props 3D Low Poly Pack is a collection of thematic models. Everything work properly! 3D Formats ⦁. As it says, there's 528 tris/polygons, 722 edges and 266 vertices (both un-including any rig parts). Get blankets, pillows, & more comfy-cozy bedroom finds with easy store pickup. Rigging is done for each. claim_your_account. Find games tagged First-Person and Low-poly like Employee of the Month [DEMO], Slide in the woods, Security Booth, Woodtrail, Valley Peaks on itch. Too high T a will produce insufficient primer-template hybridization resulting in low PCR product yield. Y: Free Low Poly Characters 3D Models for Download | TurboSquid. Indie Game Producer. 60 Premade Low Poly characters. Aug 15, 2021 - Explore ElGuapo Guapissimo's board "Low poly Characters", followed by 143 people on Pinterest. Find games tagged First-Person and Low-poly like Employee of the Month [DEMO], Slide in the woods, Security Booth, Woodtrail, Valley Peaks on itch. zip (9 MB) Animated-All-Medieval-Characters. Set the Color. Jun 23, 2021 · Low Poly Style Deluxe 2 includes materials to simulate stylized ocean waves and waterfalls. Download for free. Polycount : 1004 polygons including all quads and tris. The gaming industry use very low polycount and AR/VR Industry medium polycount. Build your Mutable character models from your own assets with no restrictions on the skeleton, design what is customizable and let the players choose character variations in real time. These are all the low poly character 3d models we have at RenderHub. Now Available. Open this page with such a device to experience AR. please do not sell or distribute outside of GG. Progress report-- Monday 7 November 2011. Ideal prop asset for prototyping and to create low poly games. Hi Guys, Are you looking for a class that fully explains the retopology and texturing process?Description. 93. Shop fabric like Jersey Knit, Double Knit, Double Brushed Jersey Knit, Ponte Knit, Sweater Knit and more! The largest privacy screen supplier for construction sites & commercial fence applications. Press esc to quit. Low Polygon Pine Tree Opengameart Org . 82. Scroll down for a list of tutorials and references. Note : This class is the sequel to "Zbrush 2021 for Absolute Beginners" class but it can also be taken separately. Jan 03, 2018 · 1. You can use in GameEngine. Available formats: c4d, max, obj, fbx, ma, blend, 3ds, 3dm, stl - 3DExport. Use to navigate. Polly is a low poly 3D character, made to work in games and animations. You can print these 3d models on your favorite 3d printer or render them with your preferred MAN 55 WITH 250 ANIMATIONS PLEASE VISIT MY PROFILE TO VIEW AND DOWNLOAD CHARACTERS BY SINGLE WISE OR COLLECTION WISE. Oct 24, 2019 · The main task of the character of the game is to be realistic and bring the user’s imagination closer to the events on the screen. Incase you don't understand, however, please feel free Low Poly Character. 1. See more ideas about character modeling, low poly character, 3d modeling tutorial. Builded with quads, and a few tris in hidden places. A total of 20 different models. This is a premium product. He comes ready to be modified, rigged, textured and animated with a cool and fresh low poly style. So what you guys use and how many polygons is ok for a mobile tps main character, enemies etc. com/watch?v=DS885Sk1gSs. Low Poly Generator - GitHub Pages Mar 24, 2019 · Low Poly And Cartoons. 8 Tutorial! This Character can then be used for any Low Poly scenes, Game engines, or as a base mesh for Sculpting! YouTube. It contains more than 100 game assets, from platformer & top down tileset, side scrolling & top down character sprite sheets, game GUI packs, space shooter assets, game backgrounds, and many more. Low poly asset pack 2 is a blend file containing several asset modeling in low poly, vehicles, ( character, trees "animated" ) and a large city. Pre-cut / Pre-scored Geometric Low Poly Papercraft Puzzles. Model available for download in # format Visit CGTrader and browse more than 1 million 3D models, including 3D print and real-time assets. Main loops are exists. 3D, character, Dungeon Crawler, floor, ghost, Low Poly Dungeon Asset Pack 1. com is a one stop 2D game assets store to buy various royalty free 2D game art assets. Potatobadger and DragonWolfLeo. working with pistol. by Jackson O'Connell. C4D) VERSION- R19 Follow the creative journey from start to finish in this 12h collection of timelapses. Scan this code to open the model on your device, then, tap on the AR icon. This tutorial is for the creation of Low-Poly "Portable Game Resolution" real-time characters. 90% 525. Buy more save more get this item for when you bundle it with the items in your cart. As a game developer, one always needs a pack loaded with lots of 3D character models. It will cover the creation of a humanoid model, sculpting it all at high poly, then baking those sculpted details onto a low poly mesh, rig and animate it, and finally how to import it into Unity 3D. This product contains an assortment of Unreal Engine assets which can be imported into a pre-existing project of your choice. Jul 26, 2021 - Low Poly Horse 3d model free download, Low poly 3d model of horse. There will be a guide on how to import, use the rig. Select from a wide range of models, decals, meshes, plugins, or audio that help bring your imagination into reality. Upload your design, choose the fabric you want, and we'll take care of the rest! Click Here To Learn More. Open a new file and import the base model (File > Import. Share character descriptions as a class or in groups and give feedback. Jan 15, 2020 · Adobe Illustrator & Photoshop tutorial: How to create a low-poly portrait. In this digital store we gathered all of our best 3D models and every day we improve our skills to create the most suitable product for you. Jul 21, 2021 · Low Poly Character Tutorial. VIDEO COPILOT | Element 3D V2 - 3D Object based Particle Plug-in. The Crypto Art Assets will consist of Cinema 4D Models, Materials, and Scenes specifically designed for the crypto artist community. Find Vector Polygonal Character Low Poly Blue stock images in HD and millions of other royalty-free stock photos, illustrations and vectors in the Shutterstock collection. low poly model. FREE 3D Low-Poly Character, game-ready. Apr 19, 2021 · JOY – Realistic Female Character Low-poly 3D model. MAN 55 WITH 250 ANIMATIONS PLEASE VISIT MY PROFILE TO VIEW AND DOWNLOAD CHARACTERS BY SINGLE WISE OR COLLECTION WISE. Download Now Name your own price. The 3D models was created in modern style with acute forms. Download free 3d model of Game Character low poly. If you are a fan of low-poly 3D artwork, please visit the Low-Poly 3D Gallery , a curated gallery of great low-poly 3D artwork found on Behance, from hundreds of artists and projects Download Free 3D Models. ly/332hSkx to free Jett - character from Valorant - textured and rigged low-poly 3d model. This tutorial will focus more on how to achieve the style, rather than learning illustration theory or modeling anything in particular. If you are a fan of low-poly 3D artwork, please visit the Low-Poly 3D Gallery , a curated gallery of great low-poly 3D artwork found on Behance, from hundreds of artists and projects Low Poly Character Creation. Search free content from Epic Games and creators from around the world. Hey there, I would like to use these in a mobile game I am creating but due to legal reasons need to link a license. 00 4. All other characters in the list have already been posed and designed with textures. Hope you like them and use them in any project! (If you use them send me screenshots! i'd love to see that) If you want all the packs in one file or specific models for your game i've made a to free Low Poly Character Mesh Free 3D Modl low-poly 3d model. Getting started is simple — download Grammarly’s extension today. 99. 7/25/2019. Some parts have more materials, such as tank chassis (2 more slots for track materials). Low Poly Game Character Hair-Part 2 (Continued)"> Low poly. When you’re building ‘Low Poly’ in ROBLOX Studio, it generally means you’re using the three principles above. Instructor: My name is Abraham Leal, I am 3D Artist and producer and i have 10 years of experience in the industry. From heart and hand to detailed realistic male or female models. Last crawled date: 1 year, 5 months ago. What i like about poliigon is the search engine, its fast and accurate, also the new textures are improving in quality, they are releasing new textures often, the resolution selector and the zip package is very handy. I have just made some tests here and I realise that it is not compatible with Mixamo and Rig is not working properly. Durable even when used with hot plates Easy to wipe clean with warm, soapy sponge Face is 100% PVC Back is 65% Polyester 35% Cotton Mesh 45" Wide Waterproof and protected with a clear finish Fade, stain, and soil resistant Imported from Mexico Usually 0. – Wander Script (V. ma and many more formats. C4D) VERSION- R19 Mar 11, 2019 · Low-Poly Character Modelling - Part 3: Hands and Feet Reviewed by Tyrone Ward on March 11, 2019 Rating: 5 Tags 3d modelling X blender X character X characters X custom characters X game character X modelling X polygon X polygon modelling X tutorial X tutorials May 21, 2020 · Low Poly Crowd Creation using Character Creator and InstaLOD. To fix this issue I have just uploaded a new FBX Mixamo compatible file. Priced perfectly, you can find comfortable and fashionable scrubs from . Mar 24, 2019 · Low Poly And Cartoons. Retopo to create the final low-poly model. Low poly art began during early days of 3D animation. A number of the models are rigged and could be easily added to your game, VR/AR project, video or Low Poly Image History. Full rigged; Works with game engines (Unity, Unreal Engine); Ideal for mobile applications; 1K/2K textures; Non-PBR materials; Avaliable in . 3,763. These low poly models dramatically cut the development time down, so your project is ready faster. Free Low poly character models Free Low Poly Characters 3D Models for Download TurboSqui . While yes low poly by film standards they are not low poly. I've made 50+ Free rigged and animated Low-poly Characters you can use in any game! Assets. rar 216 kB. 6k plays. The final model will be around 1,200 polys, which is a good amount for iPhone or iPad games. The workshop features 1. File formats: Blender (. Learn to design, model in 3D and texturize a videogame character with style low poly . Free 3d character models rigged blender Apr 20, 2021 · JOY Realistic Female Character VR AR low poly 3d model Free Download. Follow the steps that lead to the creation of a high quality low-poly character. 0 license. PET is a clear, strong, and lightweight plastic that is widely used for packaging foods and beverages, especially convenience-sized soft drinks, juices and water. Browse 1,262,390 incredible vectors, icons, clipart graphics, and backgrounds for royalty-free download from the creative contributors at Vecteezy! Oct 01, 2018 · Complete with texture graphics. io is a tool for generating low poly triangle patterns that can be used as wallpapers and website assets. Free top down character low poly. Here You Can also find other assets. 😅. 0+ with ARCore 1. Enjoy!! to free Jett - character from Valorant - textured and rigged low-poly 3d model. 0. Load your preset (it will still look low poly, sometimes it looks very strange, ignore that) 3. Incase you don’t understand, however, please feel free to watch: https://www Free low poly Characters unity 3D models for download, files in 3ds, max, c4d, maya, blend, obj, fbx with royalty-free license and extended usage rights. Share discuss and download blender 3d models of all kinds. This course is perfect for beginners. In total this package contains 58 models in fbx and blend format. 0 X 1. No textures, but each by part has a material slot, making it easy to customize. Description; Comments (1) Reviews (0) Low poly Character is made in Blender. The return, CollisionFlags, indicates the direction of a collision: None, Sides, Above, and Below. Find game assets tagged character and Low-poly like Free Voxel Dystopian Characters, FREE Low Poly Character Pack, Lowpoly Ninja, Hooded fox, Low Poly Human on itch. spec or normal) to free Jett - character from Valorant - textured and rigged low-poly 3d model. It is versatile and easy to use. Low-poly-character 3D models ready to view, buy, and download for free. VIEW BUNDLES. low·er , low·est 1. In the first video we model the cha I'm continuing to model the characters that were requested by Super Chats in my 24H live stream. Published: Jan 21st, 2020 HTML5 Play a 1v1, build up platforms and kill your enemies. 0 license, in simple terms, means anyone can use the product but needs to credit you as the creator. This unity asset pack has dozens of amazing and unique monster models one can use in any horror or scary 3D game. Follow. He has written a number of books on 3D character animation, including Digital Character Animation (New Riders), and Maya The CharacterController. 0+ Free. . Download this Free Vector about Low poly heart logo, and discover more than 16 Million Professional Graphic Resources on Freepik Heart symbol mascot character Download this Free Vector about Modern colorful low poly triangle shapes, and discover more than 15 Million Professional Graphic Resources on Freepik 378 Rigged Free 3d models found

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    Low Poly Character Rigging Tutorial in Blender 2.93 - Polygon Runway

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