Modeling a Retro Sci-Fi Female Character

8/12/2019 Modeling a Retro Sci-Fi Female Character

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WARNING: CONTAINS NUDITY

Introduction

This tutorial is the first part of a larger tutorial that will encompass creating a female mesh in the style of a retro Sci-Fi character.

This first instalment will provide a step by step guide to building the character in 3ds Max using an Editable Polyfollowed by an overview of mapping and unwrapping. We shall conclude by taking a look at setting up a skin shaderand how the maps are applied.

We shall also look at the new modelling tools introduced in 3dsMax2010 and show how the new interface can beincorporated into the modelling pipeline.

The principal techniques will be covered in detail the first time they are introduced, allowing beginners to become

familiar with the methods used, but will not cover every single step in order to keep the tutorial as concise aspossible.

This tutorial will provide a step by step guide to modelling a female character, starting from a simple primitive and

following through to a final model. The key techniques and principles will be covered and will utilize some of thenew features in Max2010, namely the Graphite Modelling tools. Each of the tools and methods will be explainedfully when they are introduced but will not be detailed each and every time thereafter as many of the processes are

a repeat of the same exercise.

The aim of this tutorial is to introduce some of the modelling tools in the new interface and present one approach to

modelling a character using the Editable Poly tools.

Once the model is complete the tutorial will move onto a brief section that covers some of the mapping and

unwrapping and look at how to prepare a UV template in preparation for texturing.

The tutorial will conclude with a brief section on setting up a skin shader in conjunction with the numerous maps.

The photo references used for the textures have been kindly donated courtesy of www.3D.sk which is a great

resource for all artists specializing in both 2d and 3d alike so many thanks to them for their assistance and help.

A word of thanks also to Joe Harford at shine-labs.com for his expertise and advice on using SSS shaders.
http://www.3d.sk/http://www.3d.sk/http://www.3d.sk/http://www.3d.sk/


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Fig01 The first stage is to create a Box which you can find under the Geometry tab in the Command Panel on theright side of the interface (highlighted in yellow).

Select Cube as the Creation Method and the drag out a cube.

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Fig02 Click on the small Modify icon (1) and then on the small arrow (2). Once the Modify List opens scroll downand select Spherify (3).

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Fig04 Right click on the cube and scroll down to the bottom right panel and click on Convert To: and select EditablePoly.

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Fig05 This will open up the new Graphite Modeling Tools menu along the top bar. To open it fully, click on thesmall arrow below the Scale Transform tool (ringed in red).

Select Edge Sub-Object mode (triangle icon top left) and then select an edge in the centre. Now select Ring whichwill highlight the middle row of edges shown in red.

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Fig06 Now click on Connect which will add a subdivision along the row of edges.

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Fig08 Select one of the middle vertical edges (shown in blue) and then click on the small arrow next toConnect. This opens a dialogue box where you can alter the segments and their positions. Change thenumber to 3 and then hit OK. You will now have 3 subdivisions through the middle of the mesh (red lines).

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Fig09 In Vertex Sub-Object level and with Ignore Backfacing still unchecked start to move the verts inusing the Orthographic views to create shape resembling the one shown.

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Fig11 Use the top view to add more curvature to the mesh by select ing vertical rows of verts at the frontand back. Be aware that if you select verts in the front view with Ignore Backfacing unchecked you will alsoselect verts at the back so switch this on or off accordingly.

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Fig12 Here is what you should approximately aim for.

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Fig14 Re-position the extra verts on the top of the head to add more curvature using the Move and ScaleTransform tools.

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Fig15 Select one of the horizontal edges in the yellow box and then click on Loop (next to Ring on thetoolbar which will select the ring of edges around the head. Now move these up and add in two subdivisions

below it using Ring Connect as before (two red lines).

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Fig20 Select the middle row of edges and with the Left view active click on the To View button to ensurethe middle edges / verts are parallel. They should in theory already be aligned but this will make sure.

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Fig 21- Now click on the Hierarchy tab (1) and then select Affect Pivot Only (2). This will open the alignSelection dialogue box. Select the parameters shown in order that the pivot is exactly aligned with the openedge and then hit OK (see top and front views).

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Fig22 Open up the Modifier List (see Fig02) and choose Symmetry. Choose X as the Mirror Axis andcheck Flip to create a duplicate.

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Fig23 The Modify Panel will now show the mesh as an Editable Poly with the Symmetry modifier above it(highlighted in blue on the right). Click on Editable Poly (1) and then on the Show End Result button (2).

Now select the two polygons on the left shown in red and then perform an Inset to begin the eye cavity(highlighted in red). The same operation will occur on the opposite side which means we can work on oneside only and ensure the head remains symmetrical.

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Fig24 reposition the extra verts around the eye to create a better shape.

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Fig25 Another function that will prove useful is the Cut tool which is accessible by right clicking theobject as well as in the new toolbar along the top (scissors icon). This helps when you want to add edges inspecific places.

Swift Loop is another useful tool if you wish to swiftly add subdivisions instead of using Ring and Connect.Click on this and then move your mouse over the model to see where edges will be added.

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Fig26 Add in an extra edge running through the eye as shown in red. Try using Cut and SwiftLoop tocompare how they work. Once done switch to Vertex mode and click on Target (highlighted in red ontoolbar) and weld the row of red verts to the ones below in yellow.

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Fig27 Here are some views of the current stage.

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Fig28 - Here are some views of the current stage.

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Fig29 Using the Cut tool add a cut from the centre of the eye to the bridge of the nose as shown on the left.Highlight the vertical edge above and below this new one and click on Remove. Now select the three vertsin red and Remove them (inset 1). Add the two cuts shown in inset 3.

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Fig 30 Use either Ring Connect or SwiftLoop to add a further cut as shown in red.

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Fig31 - Add further cuts as seen on the far left (large image). Now continue adding cuts (1-3). Remove thetwo edges shown in inset 4.

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Fig32 Select the four polygons that make up the eye and perform an Inset as done in Fig23.

Now right click on the Symmetry label in the Modify panel and choose Collapse To. This will remove thismodifier and allow us to add an inset to the mouth area.

Select the eight polygons highlighted in red and perform two Insets.

Try doing this with the Symmetry modifier still active and see what happens.

Once done delete the right half once again as shown in Fig19-22 and re-apply the Symmetry modifier.

Add in a new cut around the chin, cheeks and across the nose as shown in red.

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Fig33 Using the Transform tools as shown in Fig10-11 start to refine the shape (right side versions).

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Fig35 Add a new cut here.

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Fig36 - Add two more insets to the eye and a further subdivision around the mouth (inset 1).

You will have noticed that the extra cut added in Fig32 resulted in a triangle being created in the cheek areawhich we will now address. Make a cut as shown in inset 2 and then remove the edge highlighted in yellow.

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Fig37 With this extra detail I again take the time to refine the head shape. You can see in the left view howthe profile on the right is now far better than before.

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Fig38 Add another cut around the neck and head as shown on the far left. Now Target Weld the twoyellow verts together and add in extra cuts (inset 1). The result can be seen in inset 2.

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Fig40 Reposition the verts in order to refine the features.

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Fig41 Use SwiftLoop to add in the horizontal subdivision and Cut to add in the vertical edges shown inred. This creates a quad above and below the left side of the eye where there were two, five sided polygons.

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Fig42 Add in a cut from the corner of the triangle above the eye that runs across the scalp and to the backof the head. Now remove the yellow edge which will get rid of the triangle here. Add a further cut across theforehead and then remove the other yellow edge to create a quad (inset).

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Fig43 Refine the eye shape by simply moving the verts.

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Fig44 Add further subdivisions around the mouth.

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Fig45 Delete the inner polygons of the eye and then select the edge border and then holding down the Shiftkey move these outwards to create an extra ring of polygons.

The yellow edge removed in Fig42 from the forehead has created a bad shape so add a new cut for the time being.Add a new row across the head from the bridge of the nose.

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Fig46 The topology around the corner of the eye is a little messy so time to tidy it up a bit. First of allTarget Weld the red verts to the yellow ones (far left).

Now add in some extra cuts shown in red (upper inset) and the weld the matching verts and Remove theyellow edge.The result can be seen in the lower inset which looks a bit neater.

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Fig47 Add a further edge loop around the mouth if you feel it is necessary and be sure to move verts asand when extra edges are created in order to continually refine the shape. This is quite an organic process inmany ways and I find I am always changing the topology as I go along and rearranging the polygons toshape the mesh much like moulding clay (not quite as much as ZBrush however).

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Fig48 You may have noticed a triangle above the right corner of the eye, next to the nose and on the cheekwhich we will now remove. Add the cuts shown in red, remove the yellow edges and then weld the twogreen verts. The result can be seen in the inset image.

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Fig50 With the extra vertices we can now once again refine the features. You can see that I have weldedthe vert below the yellow edge in the previous image to the right poly for the time being (ringed in red).

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Fig51 Create a nostril shape below the nose and add any extra cuts necessary.

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Fig52 Select the polygons that form the nostril and then add a small Bevel (shown in yellow). ThenExtrude them upwards to create the cavity.

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Fig53 The nostril shape needs some refinement as the edge nearest the lip is too straight. Add a cutthrough the centre and down towards the lip as shown in red and then create extra these extra edges in orderto add the dent below the nose.

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Fig54 Re-arrange the extra verts to create a better nostril shape. The yellow edge is the one that wasremoved previously. Weld the two green verts together which will leave a triangle but once the Symmetrymodifier is applied it will become a quad.

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Fig55 Here is the stage so far. You will notice that there are two triangles on the back of the head whichcould be addressed by adding in some extra edges. I could also add some extra edges and subdivisions torefine the model and add more detail but this is a reasonable stage to stop if we are to add some smoothing.

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Fig56 Go into the Modifier List and apply Turbosmooth as done in Fig02. You can see this now at the topof the stack above Symmetry and Editable Poly and the resultant effect on the right.

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Fig57 Creating the ear is something I often do separately and then attach to the head afterwards. As earsvary tremendously from person to person they allow quite a lot of leeway for interpretation.

I will not detail the process step by step as it will be too lengthy but instead will cover a few steps to get youstarted. You can model them using the exact same approach we have covered so far and all you need to do isfind a suitable reference.

Start with a box with 5 segments both vertically and horizontally (1).

Convert this into an Editable Poly and then start to move the verts to create a rough shape (2).

Perform an Inset on the upper section of the outside faces to get the approximate volume and then start touse Cut and Ring Connect to refine the shape (3).

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Fig58 After adding more subdivisions re-arrange the verts on the back to allow a Bevel that will beroughly the right shape (Right view). You can also see that I have added another inset into the front faces tocreate the outer section of the ear cavity.

Do not worry too much about the topology being perfect at this point; add in the detail and then you canrefine it afterwards using Cut and Target Weld.

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Fig59 Once you have a sufficient amount of detail move the ear into position and start to re-arrange thevertices on the side of the head to align with the ear. Toggle on Snaps (highlighted in yellow on the maintoolbar) and hold down the mouse button to see the three settings). Select "3 and then right click on it toopen the settings. Check Vertex only which will enable you to move vertices to the same coordinates.

Now "s nap the head verts to the ear verts where the positions look similar. They will not all match offcourse but if you check Edge/Segment you can then snap the ear verts to the edges on the head (green dots).

You will also notice that I have deleted some of the polygons that will correspond to where the ear joins thehead (blue lines).

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Fig60 Get the ear into position and then start to tidy it up by removing edges and adding cuts wherenecessary. This can involve some trial and error at first but you can see the before and after results here aftersome refinement. There are still two verts that need attention (shown in green) but you can see the progress.

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Fig 61- Here is the head so far with the ear now attached.

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Fig 62 We can now begin creating the body so start by adding in an extra row of verts either with Ring Connect or SwiftLoop.

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Fig63 Enable Loop mode and then highlight the bottom edges and add Shift drag two more rows. Scalethese along the X axis in the top view to create a shoulder shape (upper left). Now shift - drag the bottomedges down and then perform a Ring Connect with 8 segments.

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Fig64 Use the Transform tools to shape the edges to form a better shape.

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Fig65 Select the eight verts at the top of the arm and move them to create the shoulder joint.

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Fig66 Select the four polygons and extrude them three times using the Rotate tool to in the front view toangle them into the arm.


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Fig69 Re-arrange the verts to create a more curved breast shape.

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Fig70 Add cuts in the places marked red and then remove the yellow edges.

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Fig71 Using Ring Connect, select the two green and one blue edge and then add in three extra edges(shown in red).

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Fig72 With these extra subdivisions you can now re-position the verts to create a better shape. Here are thefour key stages through this process.

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Fig73 Add in two extra cuts in the places marked in red.

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Fig74 Now add in these four marked in red.

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Fig75 Add in the cuts marked in red in the yellow circle on the left. Now select the two green edges andapply a Ring Connect. This will leave two polygons at the top that require a cut (between the green verts).Select the two left verts highlighted in green and then apply Connect and then repeat this for the right two.

Now apply a further subdivision across the breast marked in red (inset).

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Fig76 Add another cut around the torso.

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Fig77 We also require some more detail down the back so time to tidy up any stray triangles that mayremain. Select the two edges marked in red on the right (inset) and add a further subdivision down to thewaist, removing any unwanted lines (shown in green).

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Fig78 Here are a few angles of the progress so far.

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Fig79 When it comes to the legs I have collapsed the model with the Symmetry modifier applied as we didin Fig32. You can repeat this action as many times as you like and then delete half the mesh and re -apply themodifier but be mindful of the pivot point (Fig21).

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Fig80 Select the edges marked in red in the previous image and shift drag them down. You can either pullthem down to ankle length and then add in around fifteen cuts using Connect or you can shift drag each rowindividually and shape them as you do so. Either way is fine but ultimately you need to transform the vertsto create a rough leg shape. Do not worry about the shape being imperfect as you can change it later if need

be.

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Fig81 To create the buttocks add in some further cuts around the pelvis and then re-arrange the verts tocreate a better shape (inset). You can see I have pulled the verts down to add more of a curve. Use TargetWeld and Cut to add in any extra detail and re-organise the topology.

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Fig83 Using the extra vertices, simply reposition them to create the knee shape.

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Fig84 Add in any extra cuts where you feel it necessary to create a better shape or more curvature, in thiscase above the knee and around the hips.

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Fig85 Now it is time to address the clavicle area. I have added some extra geometry and re-arranged themesh (right). There are a few triangles in there at this point but these can remedied once we have achieved a

better overall form.

This is a good rule of thumb when modeling get the basic volumes in place and then worry about thetopology it is easier to change something when it is front of you as opposed to existing purely in yourmind.

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Fig87 Here is a front view of the model so far with a Turbosmooth applied. It still requires somemodification but much of the refinement can be done once the mesh is fully modelled when it will be easierto gauge as a whole.

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Fig88 With the body and limbs at a reasonable stage of development this seems like a good time to add inthe feet. Start by dragging the ankle edge down and then select the front five polygons (highlighted in greenin middle image) and extrude these outwards three times. Then add a cut around the side of the foot (shownas red in the middle picture).

Now reshape the verts to create a better shape (far right).

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Fig89 Add in two more cuts in these areas.

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Fig90 Add two further cuts shown in red and then start to reorganise the extra verts into an ankle shape.

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Fig91- Add another cut across the top of the foot near the toes (far left) and then select the group of three polygons on the left that will make up the little toe. Bevel these slightly (inset 1) and then repeat this processfor the other groups of polygons that will eventually form the four other toes (inset 2).

Now select each group of polygons and click on Make Planar along the toolbar (highlighted in red). Thiswill align the faces with each other.

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Fig92 You can now use Extrude on these faces to pull out the toes, using the Transform tools to positionthe new vertices as you do so.

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Fig93 Continue to extrude the faces to from the five toes (highlighted in red). Scale the new edgesaccordingly to shape the toes and then add a cut along the length of each one (shown in green). Do not worryabout the cut creating a five sided poly yet, just get the toes in place.

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Fig94-95 Here are two previews of the foot so far showing the progress. You can see how the version onthe far right in Fig94 has a far better shape despite the untidy topology; something which can be addressedafterwards.

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Fig96 To create the bones of the foot and help add some definition it is worth adding another subdivisionalong the top of each toe. To do this select the central edges running up the toe and apply a Chamfer, thusdividing into two (shown in red along the toe). This will create a five sided poly at one end and so to resolvethis add a new cut (shown in green) and then remove the blue edge.

This new configuration can be seen on the two smallest toes on the right foot. The area ringed in yellow hashad the edge chamfered down the centre but still has a five sided poly at the end exactly like the toe to itsright (solid blue). To solve this add a cut (pink line) and then weld the pink vert up to the top corner andrepeat this for the neighbouring toe. The edge that intersects the chamfer (dotted in black) will have to either

be removed and the stray verts welded to neighbours or the edge could continue through all the toes andaround the underside of the foot.

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Fig98 Now select the polygons that make up the thumb and extrude these out making sure to scale androtate as you go.

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Fig99 The fingers are done in a similar way. First of all make the highlighted poly's planar and thenduplicate them. These can be extruded and scaled to form the initial finger.

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Fig100 - Now select the next group of poly's and apply an Inset before delet ing the central group. This willform the base of our next finger.

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Fig101 You can now duplicate the first finger and simply transform each one to fit with the hand makingsure to create an inset for each.

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Fig102 - The remaining four fingers can now be moved into position and their verts snapped to the hand.

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Fig103 Create the knuckles in a similar way to the toes by adding a cut down their length and addingsubdivisions.

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Fig104 - Here is a preview of the hand.

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Fig105 Here is a preview of the final mesh. Once the texture has been applied I may tweak it slightly butthis is pretty much complete now.

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Fig106 The next thing to create are the eyes. To start with create a sphere with around 20 segments andalign the top with the front view as seen here.

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Fig109 When the two meshes are complete they should fit together similar to this with the Cornea (green) protruding in front of the lens (purple). These two meshes share the same material which in this case is aMulti/Sub-Object with the 3 Sub-Materials corresponding to the different coloured faces.

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Fig111 For texturing the lens and sclera select all of the faces with ID 1 and planar map these from thefront. This will mean that the back faces will also share the eye texture but this is not an issue unless youwish the eye to rotate extensively.

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Fig112 Once the eye texture is applied it will resemble the following.

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Fig113 For the eyelashes start by creating a thin cylinder around 12 segments with a similar proportion tothe following. Convert this into an Editable Poly and then apply an FFD modifier and scale and move thecontrol points to form a tapered curve.

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Fig114 Duplicate this initial mesh to form the eyelashes making sure to rotate and scale as you do so. Youcan follow the same procedure for the bottom row.

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Fig115 The mapping will involve Cylindrical and Planar projection and we will begin with the head. It isup to you where you want to position your texture seams and this is purely subjective and often depends onhow the character will be used. Generally it is best to place seams in the most inconspicuous areas.

First of all apply a checker map to the mesh in order to see the integrity of the mapping co-ordinates. Selectthe polygons that make up the head and neck area and then apply the UVW Mapping modifier and selectCylindrical. If you click on the small cross next to the modifier it will reveal the Gizmo which shows up as ayellow cylinder with a green line denoting the seam. Click on Fit and it will correspond to the proportions ofthose faces selected.

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Fig116 Because the map has been projected onto the head from the cylinder any faces that are not parallelsuch as those under the chin or on the top will be distorted. To sort out the top of the head which is the mostnoticeable re map these using Planar projection. First select the culprit faces and then apply a Planar map.


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Fig117 Now delete one half of the mesh and apply an Unwrap UVW modifier and click on the Edit buttonin the rollout (see inset). This will open the Edit UVWs window where you will find the mapping co-ordinates. You will see a section that corresponds to one half of the head and the scalp area with the seamsvisible on the mesh shown in green.

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Fig118 If a vertex shares the same co-ordinates with another along the seam it will be highlighted in bluewhen it is selected. Right click in the window and select Target Weld. Now select each one along the seamand weld it to its partner by dragging it across.

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Fig119 It is up to you how you arrange the UV's but here is how the scalp has been attached to the top ofthe head. Although there is a little stretching it is far less than before.

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Fig120 In the case of the arm select the faces that you wish to map and then apply a cylindrical map. Onceyou have unwrapped your mesh it is still possible to alter the seams by breaking the vertices and re weldingthem if you wish to experiment.

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Fig121 After applying an Unwrap UVW modifier you can see the position of the seams as green lines bychecking the tick boxes under the Display section (bottom right).

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Fig122 - You can follow the same procedure for the leg but remember to only map one arm and one leg asthese can be duplicated later along with the mapping co-ordinates.

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Fig123 Once again select cylindrical projection for the torso and you can rotate the Gizmo so that the seamlines up with the middle of the back.

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Fig124 The hand, ear and foot all use planar projection and when one half of the mesh has been fullymapped the seams appear as so.

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Fig125 With one half of the mesh mapped you can then duplicate this by applying the Symmetry modifier.When you unwrap the entire model it will appear as if there is just one half of the mesh. If you check theSelect Element tick box and then select a section you can move it away from its counterpart and onto adifferent part of the template. Here I have moved one half of the torso and head horizontally and flipped theright side of the head (highlighted on toolbar). Because the two sections are not joined you can see the seamedge on the front of the model.

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Fig126 Move the sections together so that the central row of verts overlaps. Open the Options menu andreduce the Weld Threshold to a low value before selecting all the verts that you intend to weld. Right clickand select Weld Selected. You should now see the seam line disappear down the front of the face (see left).

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Fig127 Follow the same process for the torso and then by selecting the elements move the various piecesand arrange them in your template ready for export into your painting package.

Under Tools in the Edit UVWs window select Render UVW Template and enter the size of your texture inthe width and height ratios at the top and then save out the wireframe by hitting the Render UV Template atthe bottom.

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Fig128 I use an Arch & Design material for the eye using the following settings for the cornea which is thereflective outer mesh. To assign this material click on the Standard button and then choose the top mostmaterial. If you cannot see it in the list change the renderer to Mental Ray.

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Fig129 I use another Arch & Design material for the lens but this time using the settings shown here(essentially with the transparency and reflectivity ramped down).

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Fig130 To set up the shader for the skin textures we will assign an SSS Fast Skin Material. Select amaterial in the editor and assign it to the character. Now click on the Standard button and choose SSS FastSkin Material (mi).

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Modeling a Retro Sci-Fi Female Character