2D Artwork and 3D Modeling for Game Artists- P1

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Hãy chơi cấp độ tiếp theo! Ảnh minh họa 2D và 3D cho game Nghệ sĩ là bước khởi đầu hoàn hảo bằng đá, hoặc các nghệ sĩ chơi trung vào ngành công nghiệp game. Không có cuốn sách khác trên thị trường cung cấp bảo hiểm của cả hai tác phẩm nghệ thuật 2D và 3D cho các nghệ sĩ.

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  1. Y FL AM TE Please purchase PDF Split-Merge on www.verypdf.com to remo
  2. 2D Artwork and 3D Modeling for Game Artists David Franson se purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
  3. © 2003 by Premier Press, a division of Course Technology. All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval system without written permission from Premier Press, except for the inclusion of brief quotations in a review. The Premier Press logo and related trade dress are trademarks of Premier Press, and may not be used without written permission. Publisher: Stacy L. Hiquet Marketing Manager: Heather Hurley Acquisitions Editor: Emi Smith Series Editor: André LaMothe Project Editor: Estelle Manticas Technical Reviewer: Lorenzo Phillips Copy Editor: Kate Welsh Interior Layout: Marian Hartsough Cover Designer: Mike Tanamachi Indexer: Sharon Shock Proofreader: Sandy Doell Acrobat, Reader, and Photoshop are trademarks of Adobe Systems Incorporated. Discreet is a division of Autodesk, Inc., 3d studio max, 3D Studio VIZ, character studio, fire, flame, flint, frost, inferno, Lightscape, smoke, stream, and wire are registered trademarks, and Discreet, 3ds max, backdraft, combustion, jobnet, and sparks are trademarks of Autodesk Inc./Discreet Logic Inc. in the USA and/or other countries. mental ray is a registered trademark of mental images GmbH & Co. KG. Vecta3D-MAX is a trademark of IdeaWorks3D, Ltd. All other brand names, product names, or trade- marks belong to their respective holders. (c) Copyright 2002 Autodesk, Inc. All rights reserved. All other trademarks are the property of their respective owners. Important: Premier Press cannot provide software support. Please contact the appropriate software manufacturer’s technical support line or Web site for assistance. Premier Press and the author have attempted throughout this book to distinguish proprietary trade- marks from descriptive terms by following the capitalization style used by the manufacturer. Information contained in this book has been obtained by Premier Press from sources believed to be reliable. However, because of the possibility of human or mechanical error by our sources, Premier Press, or others, the Publisher does not guarantee the accuracy, adequacy, or completeness of any information and is not responsible for any errors or omissions or the results obtained from use of such information. Readers should be particularly aware of the fact that the Internet is an ever-chang- ing entity. Some facts may have changed since this book went to press. ISBN: 1-931841-33-0 Library of Congress Catalog Card Number: 2001097576 Printed in the United States of America 03 04 05 06 07 BH 10 9 8 7 6 5 4 3 2 1 Premier Press, a division of Course Technology 2645 Erie Avenue, Suite 41 Cincinnati, Ohio 452081 lease purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
  4. This book is dedicated to my mother, Shirlee, and my father, William. They’ve been the most profound and supportive people in my life. I love you both! se purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
  5. Acknowledgments T here were so many people involved with this book, I don’t know where to start. But here goes: The first and foremost thanks goes to André LaMothe. His influ- ential presence got me into the game industry. I actually flew out to California to attend the Game Developer’s Conference looking to have him sign my copy of his Tricks of the Game Programming Gurus, but in seeking him out I instead found the editors at Premier Press, who enticed me to become an author. André is the Series Editor for Premier, a leader in the game industry, and a true genius. Thanks, André. Thanks to Emi Smith, my acquisitions editor, who is one of the driving forces at Premier and is a friend at the same time. To Kate Welsh, my copy editor and the English master who made my text beautiful. Next goes to Estelle Manticas, my Project Editor: thank you for your patience, for being a friend, and for being the sister I’ve never had. Without you I’d be lazy and deadlines wouldn’t have been met! To Marian Hartsough, the layout designer—how exactly did you do it, putting up with me while laying out over a thousand of my images? To Lorenzo Phillips, my technical editor, a knowledgeable and kind person, thank you so much. To Lars Ricaldi, for doing the sketches in my book—you truly have an artistic tal- ent. Now let’s meet at the next GDC for cryin’ out loud! Oh yeah—does this also mean I have to send you a signed copy of my book?? Thanks to the Caligari Corporation; these people influenced me to get deep into the 3D modeling industry. Particular thanks got to Roman Ormandy for develop- ing such a lovely product, to Bibiana Gasparik, and to Norm Fortier, for tech-sup- porting me to the end. On the other side of the globe in New Zealand, thank you Right Hemisphere, and Mary Alice Krayecki (hey, cup of coffee at the GDC ‘03, remember?). Your software is totally unreal; job so well done! Next, thanks go out to Adobe—to Gwyn Weisberg, and to all of the people there for your unbelievable software. I think the whole world agrees! Finally to Discreet, specifically Liz Tan and Peter Nguyen: thank you so much for your help in allowing me to incorporate 3D Studio Max into my book. I can’t believe how prompt and courteous you were! lease purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
  6. About the Author DAVID FRANSON has been a professional in the field of networking, programming, and 2D and 3D computer graphics since 1990. In 2000, he resigned his position as Information Technologies Director at one of the largest entertainment law firms in New York City to pursue a full-time career in game development. Between being distracted by flying remotely controlled airplanes and studying tae kwon do, artistry for games has become the new passion in David’s life. se purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
  7. Contents at a Glance Introduction . . . . . . . . . . . . . . . . . . . . xx Chapter 1 The History of Game Graphics . . . . . . . . . 1 Part One 3D Modeling with trueSpace. . . . . . . . . . . . . 11 Chapter 2 Getting Ready to Model: Concept Art . . . . . . . . . . . . . . . . . . . . 13 Chapter 3 Modeling the RF-9 Plasma Gun with trueSpace 6 . . . . . . . . . . . . . . . . 25 Chapter 4 Modeling the Slogre Character with trueSpace 6 . . . . . . . . . . . . . . . . 65 Part Two Unwrapping the UVs with DeepUV . . . . . . . 95 Chapter 5 U-V Mapping the RF-9 Plasma Gun with DeepUV. . . . . . . . . . . . . . . . . 97 Chapter 6 U-V Mapping the Slogre with DeepUV . . . . . . . . . . . . . . . . . . . 149 Part Three Unwrapping the UVs with DeepUV . . . . . . . 183 Chapter 7 Game Texturing . . . . . . . . . . . . . . . . . 185 Chapter 8 Inorganic Texture Tutorials with Photoshop . . . . . . . . . . . . . . . . . 193 Chapter 9 Advanced Texturing Examples . . . . . . . 353 Chapter 10 Organic Texture Tutorials with Photoshop . . . . . . . . . . . . . . . . . 395 lease purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
  8. Contents at a Glance vii Chapter 11 Skinning the RF-9 Plasma Gun with Deep Paint 3D and Photoshop . . . . 429 Chapter 12 Skinning the Slogre with Deep Paint 3D and Photoshop . . . . . . . 475 Part Four Preparing Assets for Games with 3D Studio Max . . . . . . . . . . . . . . . . . 509 Chapter 13 Making the RF-9 Plasma Gun Game-Ready with 3D Studio Max . . . . . . 511 Chapter 14 Making the Slogre Game-Ready with 3D Studio Max and Character Studio . . 535 Part Five Bringing It All Together. . . . . . . . . . . . . . . 583 Chapter 15 Bringing Your Work into the Torque Game Engine . . . . . . . . . . . . . 585 Postscript Finding Work as a Game Artist . . . . . . 593 Part Six Appendices. . . . . . . . . . . . . . . . . . . . . . . . 603 Appendix A A 3D Modeling Primer . . . . . . . . . . . . 605 Appendix B A 2D Graphics Primer . . . . . . . . . . . . 617 Appendix C Photoshop 6 Keyboard Shortcuts . . . . 631 Appendix D Glossary of 2D- and 3D-Related Terminology . . . . . . . . . . . . . . . . . . . 639 Appendix E Related Web Sites and Links . . . . . . . . 657 Appendix F What’s on the CD-ROM?. . . . . . . . . . . 669 Index. . . . . . . . . . . . . . . . . . . . . . . . 673 se purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
  9. Contents Letter from the Series Editor. . . . . . . . xviii Introduction . . . . . . . . . . . . . . . . . . . . . xx Chapter 1 The History of Game Graphics. . . . . 1 The Birth of the Computer Game Artist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 The Arcade Moves Back Home . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 The Personal Computer Blossoms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 The Gaming Revolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 The Graphics Revolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Third-Stage Booster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 The New Millennium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 The Future of Computer Games . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Part One 3D Modeling with trueSpace . . . . . . . . . 11 Chapter 2 Getting Ready to Model: Concept Art . . . . . . . . . . . . . . . . 13 Importance of Sketch Art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 The Asset Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 The Making of Two Compound Assets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 In My Mind’s Eye:The Slogre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 The RF-9 Plasma Gun . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 The Final Objective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 lease purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
  10. Contents ix Chapter 3 Modeling the RF-9 Plasma Gun with trueSpace 6 . . . . . . . . . 25 An Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Setting Up the trueSpace 6 Environment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Changing the World and Object Units . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Setting the Dynamic Rendering Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Texture Resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Keeping the Point Edit Tools Handy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Modeling Considerations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Modeling the RF-9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Step 1: Planning the Model’s Dimensions and Poly Count, and Creating a Reference Plane. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 Step 2: Build the Muzzle. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Step 3: Build the Barrel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 Step 4: Build the Grip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Step 5: Build the Hoops and Hose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Step 6: Optimize and Triangulate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 Export the Model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Chapter 4 Modeling the Slogre Character with trueSpace 6 . . . . 65 Modeling Pre-Considerations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Modeling the Slogre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69 Step 1: Build the Body . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 Step 2: Build the Leg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Step 3: Build the Arm. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 Step 4: Complete the Model (Well, Half of It) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Export the Mesh . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 se purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
  11. x Contents Part Two Unwrapping the UVs with DeepUV . . . . 95 Chapter 5 U-V Mapping the RF-9 Plasma Gun with DeepUV . . . . . . . . . . . . 97 Installing the Software . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Y Introduction to DeepUV 1.0 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 FL Example: Unwrap the Widget. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101 Automatic Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102 Manual Mapping: Isolate and Unfold . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 AM Mapping the RF-9. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110 Preparing the Model for Texturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110 TE Plan of Attack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115 Step 1: Unwrap the Grip and Trigger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117 Step 2: Unwrap the Rear Hoop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127 Step 3: Unwrap the Barrel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133 Step 4: Unwrap the Front Hoop and Hose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138 Step 5: Unwrap the Muzzle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140 Step 6: Pack the Map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 Step 7: Update the U-Vs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 Chapter 6 U-V Mapping the Slogre with DeepUV . . . . . . . . . . . . . . . 149 Completing the Slogre Model in 3D Studio Max 5. . . . . . . . . . . . . . . . . . . . . . . . . . . 151 Optimize the Mesh . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152 Edit the Mesh . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152 Clone and Attach. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155 Add Some Tusks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157 Smooth Out the Bumps. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158 Export to DeepUV! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159 ® Team-Fly lease purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
  12. Contents xi Unwrap the Slogre’s U-Vs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160 Step 1: Unwrap the Legs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160 Step 2: Unwrap the Arms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169 Step 3: Unwrap the Head and Body. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175 Pack the Map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180 Update and View the Results in Max . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182 Part Three Unwrapping the UVs with DeepUV . . . 183 Chapter 7 Game Texturing. . . . . . . . . . . . . 185 Introduction to Game Texturing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186 Types of Textures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186 Hand-Drawn Textures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187 Photo-Based Textures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188 Compositing Textures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189 Seamless Textures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190 Animated Textures. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191 Chapter 8 Inorganic Texture Tutorials with Photoshop . . . . . . . . . . . . . 193 Texture Creation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195 Brick Textures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196 Brick Procedure #1: From Scratch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197 Brick Procedure #2: From an Existing Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203 Brick Procedure #3: A Quick Composite (Yeah, Right) . . . . . . . . . . . . . . . . . . . . 206 Cement Textures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219 Plain and Boring Cement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219 Not So Plain and Boring Cement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222 se purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
  13. xii Contents Rock and Stone Textures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229 Mineral Rock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229 Granite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233 Sandstone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236 Hot Lava . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243 Cold Lava . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248 Marble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249 Asphalt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256 Stone Wall Set . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264 Metal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277 Basic Metal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278 Shiny Metal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279 Metal from an Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281 Rusted Metal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287 Diamond-Plated Metal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298 Peeling Paint on Metal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302 Metal Panels (and Spaceship Hulls) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306 Pipes,Wires, Rivets, and Screws . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311 Wires . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318 . . . And the Rest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325 Wood . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325 Glass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332 Decals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334 Chapter 9 Advanced Texturing Examples . . . 353 Wood Crate with Explosives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354 A Quick Note on the Crate’s U-V Map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364 Medieval Castle/Haunted House Gate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365 High Tech . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379 Time Counts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394 lease purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
  14. Contents xiii Chapter 10 Organic Texture Tutorials with Photoshop . . . . . . . . . . . . 395 Skin and Bones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396 Lizard/Dinosaur Skin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397 Rhinoceros Skin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400 Bone (Using Displacement Maps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402 Torn Flesh . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406 Clothing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413 Camouflage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413 Wrinkles (Using Displacement Maps) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417 Planetary Textures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419 Earth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419 Dry Lake Bed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 422 Water . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427 Chapter 11 Skinning the RF-9 Plasma Gun with Deep Paint 3D and Photoshop . . . . . . . . . . . . . 429 Identifying the RF-9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431 Thoughts on Texturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434 Texturing Techniques You’ll Use . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434 Texturing the RF-9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435 Step 1: Linking the U-V Map to Deep Paint 3D and Photoshop . . . . . . . . . . . . . . 435 Step 2:Texturing the Hoops. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443 Step 3:Texturing the Bottom Hose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450 Step 4:Texturing the Grip and Trigger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453 Step 5:Texturing the Barrel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459 Step 6:Texturing the Muzzle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469 se purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
  15. xiv Contents Preparing the Map for 3D Studio Max . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473 Chapter 12 Skinning the Slogre with Deep Paint 3D and Photoshop . . . 475 Identifying the Slogre’s Body . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477 Thoughts on Texturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 479 Texturing the Slogre. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 480 Step 1: Linking the U-V Map to Deep Paint 3D and Photoshop . . . . . . . . . . . . . . 480 Step 2:Texturing the Head. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 488 Step 3:Texturing the Arms, Legs, and Body . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 502 Step 4:Texturing the Feet and Hands. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 504 Step 5:Texturing the Cuffs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 505 Clean Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 507 Preparing the Map for 3D Studio Max . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 507 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 508 Part Four Preparing Assets for Games with 3D Studio Max . . . . . . . . . . . . . 509 Chapter 13 Making the RF-9 Plasma Gun Game-Ready with 3D Studio Max . . 511 Applying the Skin to the RF-9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513 Aligning the Pivot Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 515 Creating the Bounding Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519 Adding and Manipulating Nodes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 522 Embedding the Shape (for Torque Users). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 524 Adding the Dummies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 525 lease purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
  16. Contents xv Exporting the RF-9 for the Torque Game Engine . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527 Viewing the Model in Torque . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 528 Adding Levels of Detail (LODs) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529 Viewing the New Level of Detail in Torque . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533 Tips for Exporting to Other Game Engines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 534 Chapter 14 Making the Slogre Game-Ready with 3D Studio Max and Character Studio . . . . . 535 Applying the Skin to the Slogre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 537 Scaling and Aligning the Pivot Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 540 Scale the Mesh. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 540 Set the Pivot Point. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 543 Some Final Mesh Adjustments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 545 Creating the Bounding Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 548 Preview in Torque . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 550 Exporting the Model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 552 Viewing the Model. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 553 Bones, Skeletal Weighting, and Animating with Character Studio . . . . . . . . . . . . . . . . 554 How Character Studio Works . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 555 Adding and Attaching a Biped . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 556 Weighting the Model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 569 Adding and Manipulating Dummy Nodes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 575 Linking the Nodes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 578 Create a Root Pose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 579 Exporting and Viewing the Slogre in Torque . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 579 Levels of Detail (LODs) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 581 Last Note on Other Game Engines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 582 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 582 se purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
  17. xvi Contents Part Five Bringing It All Together . . . . . . . . . . . 583 Chapter 15 Bringing Your Work into the Torque Game Engine . . . 585 Playing Real Wars Using the Slogre and RF-9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 586 Testing the Slogre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 586 Locating the RF-9 Plasma Gun . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 587 Editing the World. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 588 Terrain Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 588 Adding Other Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590 Texturing Buildings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 590 Saving Your Modifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 592 The Last Word. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 592 Postscript Finding Work as a Game Artist. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 593 Getting a Job with a Game Company. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 594 Job Positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 596 Working on a Game-Development Team . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 599 Tools of the Trade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 600 Working with Programmers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 600 Postscript Finding Work as a Game Artist . . . . . . . . . . . 593 Getting a Job with a Game Company. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 594 Job Positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 596 Working on a Game Development Team . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 599 Tools of the Trade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 600 Working with Programmers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 600 lease purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
  18. Contents xvii Part Six Appendices . . . . . . . . . . . . . . . . . . . . 603 Appendix A A 3D Modeling Primer . . . . . . . 605 Appendix B A 2D Graphics Primer . . . . . . . . 617 Appendix C Photoshop 6 Keyboard Shortcuts . . . . . . . . . . . . . . . . 631 Appendix D Glossary of 2D- and 3D-Related Terminology. . . . . . . . . . . . . . . 639 Appendix E Related Web Sites and Links . . . 657 Appendix F What’s on the CD-ROM? . . . . . . 669 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 673 se purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
  19. xviii Letter from the Series Editor Letter from the Series Editor If you just picked this book up and are trying to decide whether it’s cool, then let me tell you: it’s beyond cool. In fact, there are words I would like to use to describe it that are illegal in most states, so I will refrain. 2D Artwork and 3D Modeling for Game Artists is the first book to really bridge the gap between art and game design. Most books about game art are written by non-technical artists, or by non-engine programmers. We were lucky to find David, as he is a gifted artist and modeler and can program as well. I guarantee that there’s nothing like this book. You’re going to be blown away by the sheer amount of amazing material and graphics in this book. What’s more, this book includes step-by-step annotated explanations of every single operation you will need to create 2D art and 3D models for your games. The book starts out with a very cool historical review of game art; after that, it begins to show you how to storyboard an idea, something simple: a plasma gun. Then, step-by-step, every single detail of the design, art, and modeling of this weapon is detailed. When you’re done with that, David takes you deeper and deeper into every single aspect of 2D art and 3D modeling for games. The book is simply insane! Look at the Table of Contents right now—it’s just too good to be true: advanced texturing, skinning, bones, character animation, advanced texture preparation, putting everything together to create complete game ready assets with 3D Studio Max, and then dropping them into the Torque Engine to see them run. lease purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
  20. Letter from the Series Editor xix I am primarily a technical person, but I’m also an artist; I can draw, 3D model, do sound, design, and write. But when you see someone with David’s talent then you realize who the real artist is! This book really rocks, and it can only improve your skill set. Nowhere but in 2D Artwork and 3D Modeling for Game Artists will you find such a complete treatise on 2D artwork and 3D modeling for games or interactive media. Sincerely, André LaMothe Series Editor, Premier Game Development Series se purchase PDF Split-Merge on www.verypdf.com to remove this watermark.
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