Hi Im trying to find a tutorial for low poly modeling and texturing like the one i attached.
please help! :)
Basically just making things out of primitive shapes, like box modelling.
You just need to how to use your modelling program to make basic polygons and extrude and merge vertices, UV mapping, and some concept art.
I don't think there's really tutorials for an art style, just descriptions of the style since it doesn't need any unique techniques.
Watch tutorials on "hand made textures", and if you're new to modeling, watch tutorials on box modeling in general
That boat is really easy to model, but hard to texture; that's the essence of low poly
how to I make cgi porn? /b/ told me to go here
They ask you to not use it for porn because they know it's too powerful.
Usually you have to pay extra for this info but if you start the program with the argument -enableporn you get the vagina stamp tool.
Why didn't ZBrush UI developers even remotely TRY to make it intuitive/familiar?
Great software btw
Success of ZBrush is an accident of history. The software was originally designed for something else. The developers have been milking it for almost 10 years (when ZBrush 4 was first released) because nobody else has stepped up to challenge them.
here is a riddle for you;
How would you create a shortcut for Create Key *"Rotation"* in 3ds max?
It doesn't seem to be in "Customize User Interface"
Wouldn't it be nice to set particular PRS keys in one click? ;)
Nope. That will bring up a window, where you can tick - position, rotation, and scale.
Here it's necessary to create rotation key directly with a single button press, without any prompt-windows
>you could create a macro like :
deleteKey $.pos.controller (getKeyIndex $.pos.controller sliderTime)
>except it doesn't work if your position controller is PositionXYZ (almost always)
Hello /3/ ,
What kind of setup allows me to have this kind of result?
I'm too noob in 3d so I'm rendering in keyshot but the setup should be similar in any engine..
I'm trying to render a perfume bottle in a dark background but I want the liquid to be 'lit' like the example above.
the floor has some roughness to it
the plane in the back uses a gradient map or a point light
composition wise there is field of view effect on the glass that blurs the glass
looks like he also upped the vibrance in photoshop and probably color correction to highlight some colors and mute the dark ones.
he could have also used saturation but i don't think that's the case.
the most important thing anon didn't mention (or didn't mention directly) is that this sort of effect is achieved when translucent materials are lit from the back (could be a bounce in this case)
I'm studying architecture and the past semester I was working with robots and used Rhino Grasshopper to basically turn a robot into a 3D printer extruding sodium acetate (also known as hot ice).
The result is pic related and can also be seen in this video:
When mixing sodium acetate with water, you can create a supersaturated solution that immediately starts to crystalize really fast as soon as it is triggered by something. This allowed us to create this additive process - the liquid drops down and the drop immediately crystalizes and becomes hard upon hitting a surface.
The next step of this project is to get a digital 3D model of our results and explore what kind of architecture it might be. It's obviously very experimental and does not have much to do with architecture in the tradiotional sense.
Anyway, as you can see, the objects we created have very intricate surfaces with a whole lot of detail, which is what makes them so interesting. They are also pure white, but over time turn to a more mushy greyish color, as the sodium soaks up some of the water in the air. Both these characteristics make it very hard to capture the object with photogrammetry. I have tried Autodesks 123D catch, but the meshes and textures it put out were full of holes and not nearly accurate enough.
Now I can try and use a better camera and the 123D desktop app instead of the smartphone app, but I also want to explore the possibility of simply animating or simulating the process.
So I come here to ask how you would go about that. I know my way around Rhino, and I have very basic knowledge of Maya, but I never really did any animation or simulation. I tried modeling a 3d model similar to our results with Grasshopper, and it sort of works, but it's only a very rough approximate and does not look as natural.
Also, it would be really cool to be able to replicate the entire process in a 3D software, and eventually adapt it to virtually 3D print even more objects without having to use actual materials.
So how would you go about this? What software would you recommend? Is this even possible to achieve in 1 or 2 weeks for someone pretty new to animation or simulation?
If you are willing to sacrifice your prints you might be able to use photogrammetry. to capture them. Paint or spray them in something to make it easier for the cameras to pick up on the geometry. Spray paint of some sort ( test it to see how it reacts) or a powedered dye you can rub over the prints to "dirty" them up. It looks like you have access to some pretty decent machines, so as the techs who deal with 3d scanning what the best option is.
I think that since your already working in grasshopper to produce the prints you should stay within it. Check out this thread, it might be helpful.
Also start a thread on the grasshopper forums asking for assistance. There are plenty of very clever people who will probably give you some assistance.
My guess is that you might need to use agent based techniques, but im not sure. Would you mind uploading your grasshopper definition which you tried so i can take a look?
Either way looks amazing, great work!
I'm very willing to sacrifice the prints, they kinda erode over time anyway and we have about 15kg of the stuff left and can easily make more.
I guess it might be possible to spraypaint them with non water based paint, tho some kind of pigment airbrush would probably work better. Good idea!
I will make a thread on the GH forums tomorrow and link it here. I can then upload the definitions as well.
But this was the first time I worked with GH, so I'm a real noob.
The robot paths are more or less planar curves, so there is no 3D model or shape prior to printing that one could go of. So it would be very cool to be able to simulate the process.
But for modeling a finished print in GH I simply drew some curves in rhino, divided them in GH and set every point to be the base plane of a mesh sphere with a random radius.
I got a very rough model that way but couldn't figure out how to boolean the meshes into one single mesh, and it's probably the worst and most inefficient way of modeling such a shape.
Whats the best ingame terrain you've seen ?
nvidia or amd for 3d rendering
Nvidia, just so you don't get locked out of being able to use CUDA-only renderers if need be. Both brands can do OpenCL.
Main thing that matters is number of cores, so in some cases two slower cards may be better than one fast card, for example two 1070's vs one 1080.
Rendering doesn't need SLI, so anything goes as far as # of GPUs. Rendering scaling is fairly linear.
I saw other boards doing a commission thread, so I'm just wondering how much would it cost for someone to get work done.
The pic is a template of a commission chart for game development.
This is the same commission chart, but for film/animation
Realistically though there's only like two or three people here worth commissioning per category.
And I doubt they're even in a situation where they'd need to take commissions.
The majority of /3/ sucks, or they wouldn't be browsing /3/.
I need a wooden train set for a free video game
The individual pieces
learning unreal boys
What are you trying to accomplish with unreal? I just dropped unreal for unity, the scripting makes a lot more sense to me imo. Unreal has a lot of backward compatibility issues with their documentations.
Is there any place I can go to download basic hair style models to add to my sculpts. I think it is just a little too much to need to create basic hair styles every time I model. I understand that for specific hair styles and looks I should make them.
how the fuck do soft as overly emotionally attached "muh fee-fee" people expect to make it in this industry?
today i had probably the most awkward experience of my life.
at school i asked to see this guys work (who is learning game art to be a character artist)
and all i said to him was that the perspective of his chest looks off. he literally got triggered so hard that i feel bad 12 hours later. hes like "i didnt ask for your criticism" and nigga said "as artists we have emotional attachment me to our work so you cant say stuff like that"
WTF? literally any artists ever will tell you to never get attached to your work because your art director or supervisor might say its shit and make you redo it like 450 times.
or have i just grown a hard shell from posting on /3/ for over 2 years. people told me my work is shhit and that i should kill myself so many times that i cant have it any other way. but you niggas tell me exactly why my work is shit and what i should fix so ty for that.
>how the fuck do soft as overly emotionally attached "muh fee-fee" people expect to make it in this industry?
Because they shut themselves off from people who tell them that they are not going to make it just like they shut themselves off from people who tell them to improve themselves.
Who cares about people with fee-fees? They'll learn once they get into the industry nobody gives a shit about their feelings. They are the eternal laughing stock for the rest of the world.
I know the general process is making a high poly mesh/sculpt then making a low poly/retopo but can you share some of the process you use?
Pic related: Is this really the final model with that low count of polys when you run TF2 on max settings? How do they manage to get so much "detail" and the animations with only ~50 tris?
Hey anons, I'm a part of an indie dev team and our animator is having an issue with multiple layers of clothing.
I'm just going to paste what he wrote on some other forums where no one fucking answered
>I would like some help with cloth rigging, specifically when it's multiple clothes on one character,
that have to move semi-independently like clothes do in real world .
>For example a character that is wearing a shirt and a vest, when he raises his arms
the shirt would fit and follow his body while his more rigid vest would be raised by the shoulders.
>I'd like to rig clothes that are bound to the joints, but I also want to be able
to move them with controllers, like "Malcolm's" rig.
>Thanks in advance
Basically we don't want there to be retarded unnatural stretching and underlaying layers of clothes to move when only upper layers of clothing should move. What is some effective way to animate multiple layers of clothing basically or at last create an illusion of such.
>For example a character that is wearing a shirt and a vest, when he raises his arms the shirt would fit and follow his body while his more rigid vest would be raised by the shoulders.
I don't see what he's asking for. This could be achieved with standard weighting as far as I'm understanding.
You can add as many joints as you need to control whatever you want, so long as you're willing to weight them correctly.
>I'd like to rig clothes that are bound to the joints, but I also want to be able to move them with controllers, like "Malcolm's" rig.
This part doesn't make sense.
All joints you animate are usually linked to controllers to make things more animator-friendly.
Unless he means blend shapes? If so, I don't see the issue. You can do that.
Or does he want physics? It would helpful to see an example, because I can't fully understand what he wants.
He means like when you raise you arms with a tight shirt the shirt generally conforms to the body but raise your arms in an unzipped leather jacket the bottom of the jacket also rises and expands.
You need to understand the most important fundamental of clothes rigging to come up with a solution to your problem.
The topology of your clothes must conform with the topology of the body to prevent clipping
You can try this with a rigged base mesh. Duplicate the mesh and keep the weights, then extrude the duplicated mesh. You will note that there is mostly no clipping when you rotate your bones as usual. Now try to add or remove edge loops from the extruded mesh. Anywhere the topology differs, clipping occurs. This is unavoidable.
Now look at the tank top in your picture. Clearly you're going to need some weird toplogy in the shoulders of that base mesh to get the sleeves to rig without clipping.
In the case of the leather jacket arm raise has two issues. First, you can never get a jacket to raise based on an arm raise because an arm raise is a rotation and a jacket raise is translation. Even if you could, as described above, your verts will become misaligned and clipping will occur.
The solution is to rig a leather jacket with independent bones and translate the bones appropriately for the different animations. It adds more work for the animator, but that's basically how modern games do it.
The alternative is to use physics simulation. But cloth simulation of course has a performance cost.