By Andrew Gahan
With 18 years lower than his belt within the online game undefined, a key contributor to the MotorStorm sequence, and the author of the 3ds Max in mins video sequence (at FocalPress.com), Andrew Gahan supplies the professional innovations in 3ds Max Modeling for video games, 2nd edition. This up-to-date variation is jam-packed with new tutorials that would increase your modeling abilities and pump up your portfolio with top of the range paintings in no time. in addition to Anthony O'Donnell and a workforce of specialists, Gahan covers the entire primary online game modeling thoughts, together with personality and atmosphere modeling, mapping, and texturing. Finally, an advantage part in 3ds Max Modeling for video games bargains readers insights and the way to get their careers began within the online game industry.
- New, improved tutorials take readers of all talents via complete personality and atmosphere modeling from commencing to end
- Companion web site (3d-for-games.com) deals a powerful, supportive discussion board the place readers can get remark on new paintings, strengthen talents and portfolio artwork, in addition to community with different video game artists on a number of projects. additionally gains undertaking records for all tutorials within the booklet and adequate help photos and pictures to maintain the budding artist busy for months
- Completely up-to-date gallery permits the reader to construct on numerous models
Read or Download 3ds Max Modeling for Games: Insider's Guide to Game Character, Vehicle, and Environment Modeling: Volume I PDF
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Extra info for 3ds Max Modeling for Games: Insider's Guide to Game Character, Vehicle, and Environment Modeling: Volume I
Place the textures into the relevant slots in the Material Editor and apply them to the model. 18b Set up a basic rig and render the model to check the results. Edit the diffuse and opacity maps until you are happy with the results; also make sure the material is two-sided or the glass will look too transparent. Note As a finishing touch, try offsetting the top/cap vertices for the ‘liquid’ element in the Y axis (as shown in the render image Fig. 18b); this will help give the sensation of a liquid.
They need to be small and efficient for in game, but can be bigger (and therefore, look better) for your portfolio renders. The palm texture will be made up of three different segments (as shown in Fig. 7). These will be the main body (1), the top (2) and the falloff/roots (3). If you can get all the elements from one reference image, then great; but if not, find up to three images (one for each area). Layer each part on top of the base (1) and fade them off to make a smooth blend using the layer-mask function.
Scale down the UVs to resemble Fig. 16b. 16b Now, move the UVs outside of the center square (they will be repositioned later, so it doesn’t really matter where you move them to as long as the area is empty). Now, select the horizontal elements and map those with a Planar gizmo. This time, add an Edit Mesh and do not sub-select. Now, add the Unwrap modifier. Notice now, the whole object is shown as you didn’t limit the selection. Scale the new UVs down and move the previous set into the square (as shown in Fig.