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  • Hi there, my name is Tyler with TimefireVR.

  • This video will be the first in a

  • three-part series going over

  • a king and knight chestpiece.

  • Part one will go over the

  • low and high poly of the king

  • and the beginnings of the high poly for the knight.

  • The second part will finish up the knight high poly

  • and part three will cover the knight low poly.

  • To start out I'm making a low poly

  • for the king from an edge that will

  • be used to create the full silhouette with a spin.

  • Because of the workflow I'm using

  • I don't need to worry too much about rounding the edges.

  • I just need the extremes which will be smoothed after

  • applying a subdivision surface modifier later.

  • Adding a "spin" will create a lathe

  • type effect that will create the full

  • shape I'm going for.

  • You should adjust the number of steps or vertical edges

  • based on the size of the object

  • in engine or in relation to other objects.

  • These pieces are going to almost be

  • player size so it needs a few extra steps.

  • You can see I get ahead of myself

  • and duplicate, then delete.

  • Before duplicating the mesh I need to make it

  • watertight because it can be flipped over in engine.

  • Once that's done I can

  • then duplicate and make a version that

  • will get a sub surface modifier.

  • Starting on the high poly version now I

  • switch the mesh to wireframe so i can

  • see through to the reference and then

  • add the subdivision modifier to start

  • with the control loops.

  • A large chunk forward is working with control loops to

  • get harder edges where the sub surface

  • modifier is smoothing or averaging

  • I try to have a chunkier, smoother edge

  • than what the asset may have in real life.

  • This will give the normal map a larger

  • range of pixels to work with resulting

  • in better base with less artifacts and seams.

  • I often do a few passes on spreading

  • out the control loopd until I think

  • they're good for baking which will then

  • get tweaked further after a test bake.

  • You'll also notice not everything gets

  • a control loop.

  • There's a few different ways I manipulate the high poly

  • and meshes in general.

  • The initial creation

  • of the mesh and I'm focusing on the large, main shapes.

  • These are the secondary

  • details the bevels and medium shapes.

  • For sharper control on edges, I'll drag a

  • control loop towards the edge from both sides.

  • This will reduce the amount of

  • subsurface modifier has to average

  • effectively making the end sharper.

  • For larger rounder shapes you can bevel the

  • edge creating two or three edges.

  • Then scale or remove the center edge for

  • varying results until you're happy.

  • To make deep cuts, grab an edge or create

  • one with Ctrl+R wherever you want the cut to be.

  • Then bevel the edges to

  • make a total of at least three edges.

  • The center edge is what will get scaled or

  • moved in the direction you want the cut.

  • Support loops may be needed depending on

  • the result you're after.

  • With that high poly done we skipped

  • forward to the base of the knight.

  • For all the pieces, after the king I duplicated

  • the bases and modified accordingly.

  • The knight has a slightly different base so

  • needs edits before starting the actual horse.

  • I start the horse head with a simple cube

  • For a more accurate

  • placement i select an edge ring at the

  • top of the base and center the pivots

  • at that location.

  • I slice down the middle, delete half

  • and mirror but end up using just a plane.

  • Less verts to keep track of in a side orthographic view.

  • From here I’m starting out

  • with the big general shapes again.

  • I want to work with as few verts

  • as possible to stay loose.

  • From the plane, I select verts or edges and extrude,

  • remembering to create polys and not tris.

  • This helps immensely later on in the finer details.

  • It's also important to

  • note a difference in similar hotkeys

  • for this workflow.

  • When connecting verts across NO face

  • you can select the two and hit "F".

  • If you are connecting two verts across a face,

  • you must use "J" otherwise the face will

  • not split into two phases.

  • I'm filling out the silhouette a little

  • now by pulling edges and verts out along the Y.

  • This will help with shadows and

  • visualization while working.

  • Ultimately I'm not super concerned with

  • being accurate to the final thickness yet

  • but the general idea can help.

  • From here I can continue to pull out verts

  • generally following the curves and lines

  • of the reference.

  • Personally I like working with just the

  • verts initially and then going through

  • to add in the polys.

  • It feels faster to me and I can still see the reference

  • without switching the wire mode.

  • There's a lot of orbiting going on at

  • this point and moving forward which is a

  • direct result of adding in some depth or

  • thickness to the mesh.

  • I want to make sure it's looking right from all angles

  • especially since it can be picked up

  • and looked at in VR.

  • I’ve now added the sub surf modifier so I can see what

  • the geometry I have so far is doing.

  • I end up just turning the visibility off

  • and continue modifying the mesh.

  • Also important to note that I'm not working

  • from the reference as much as other pieces.

  • I have a concept I've doodled

  • that more closely represents what I want

  • which is then supplemented by an

  • additional reference on another screen.

  • At this point there's a lot of small

  • tweaks all over getting closer to a silhouette I want.

  • I want to get these base shaped figured out

  • and solid before I move on to the

  • smaller details and start adding in more loops.

  • These edits are coming from the

  • reference I have scene, the concept I made

  • which is on my desk and reference

  • of horse anatomy on another screen.

  • Another useful tip is working all over

  • the model and being as loose as possible,

  • much like you would in the early stages of a painting.

  • This helps me keep all the verts moving and useful.

  • Now working a lot on the thickness of

  • the mesh trying to be somewhat

  • respectful to the underlying musculature.

  • I don't want this horse to be super

  • realistic more of a smoother stylized

  • representation to go with the set and

  • keep dev time down.

  • Another quick session of orbiting around

  • the mesh to check all the angles of

  • silhouette before moving on to more

  • general tweaks.

  • I'm adding in a Matcap now so I can see

  • shadows and highlights a little easier.

  • This helps with seeing exactly what your

  • shapes are doing especially on a high poly.

  • As said earlier, I want to make sure

  • every vert and edge doing something.

  • I don't like a lot of flat surfaces on

  • an organic model, which is why I go through

  • the neck and start lifting verts.

  • Important to also note I'm shaping the

  • geometry to bend with the curve of neck.

  • This helps out later when adding

  • in control loops for the finer details while

  • maintaining a fairly clean mesh to get a low poly from.

  • And with that we conclude the first

  • video of the Low and High Poly Workflow.

  • Check out part 2 where I'll go over

  • creating the hair and ears.

  • Then I'll finish up the high poly with some edge loops

  • and small tweaks

  • Be sure to let us know what you thought of part one! of

  • Like and follow if you want

  • more videos like this from the TimefireVR team.

Hi there, my name is Tyler with TimefireVR.

Subtitles and vocabulary

B2 H-INT US poly mesh edge knight reference silhouette

Low and High Poly Workflow in Blender | Part One | TimefireVR

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    908267264   posted on 2017/09/10
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