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Introducton To 3D modeling
BA MM 5th semester
Lecturer: Sangeeth T R

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In 3D computer graphics, 3D modeling is the process of developing a
mathematical coordinate-based representation of a surface of an object
(inanimate or living) in three dimensions via specialized software by manipulating
edges, vertices, and polygons in a simulated 3D space.

There are a few general types of 3D modeling methods, which are listed below.

 Primitive Modeling

This type of 3D modeling mostly uses spheres, cubes, and other variations of
these two shapes to put together the desired shapes. It is called primitive
because it is a very rudimentary form of 3D modeling, mainly created through the
combination of different pre-existing shapes.

This kind of modeling generally utilizes basic Boolean processors to get the right
shapes and outlines. Boolean operators are some of the most common ways of
generating three-dimensional surfaces and shapes. Designers can combine two
different shapes or subtract one shape from another to create a new object.

 Polygonal Modelling: polygonal modeling is a certain modeling approach or

technique that generates a 3D model utilizing smaller components like edges,
faces and vertices. Polygon (meaning many sides) is just a 2D shape made
up of at least three straight sides. Polygonal modeling is the most commonly
employed technique for creating organic models, such as humans and
animals that have accurate proportions. Usually, animation studios and video
game development companies use polygonal modeling.

The geometry of a polygon includes vertices and straight edges. The ‘face’ is a
plane having a three-sided geometry.

This is a triangular polygon. Polygons can have four-sided quads having several
vertices. Every polygon is connected to one another and this creates a polygonal
mesh, which is actually a 3D model. So in simple terms, polygons are the
components of a 3D model.

Once the mesh gets completed, 3D artists can modify its polygons and alter it, if
needed. For instance, a polygon’s face can be extruded or split and the mesh
can be extended by stretching out the edge or the vertex.
Artists can easily use the common shapes such as spheres, cubes, and
cylinders as a foundation. The vertices can be tweaked and different shapes can
be created from them.

 Only experienced 3D modelers can develop objects of proper proportions.

 High-poly models consist of a large number of polygons and are used in

objects that are noted for quality and detailing. High-poly models are used

to create photorealistic 3D renders and lifestyle imageries. High-poly models

are typically used in print media advertising or even in banners, billboards,

city lights, and other forms of advertising.

 Low-poly models are used in interactive images, AR/VR functionalities, 360
degree views, games, and 3D product configurators. 3D objects having lesser
number of polygons can be rendered very quickly. These objects not only
appear realistic, but they function smoothly on the engine/ app.

 Curve Modelling: Another type of modelling that relies on curves to generate

surface geometry. Curve modelling can be both parametric (Rational B-Spline
Modeling)

Or

freeform, and rely on NURBS (nonuniform rational B-splines) to describe surface

forms. The curves are driven by mathematical equations that are influenced by
the designer using weighted control points.

 Digital Sculpting: This is a relatively new type of 3D modeling where the user
interacts with the digital model as you would model clay. Users can push, pull,
pinch, or twist virtual clay to generate their model. Sculptris is a great example of
digital sculpting.

 Code-driven modeling: this is a growing area of modelling where geometry is

generated autonomously based on conditions set in place by the designer. This
 type of modelling is excellent for 3D printing as it can be used to generate 3D
structures that can’t be manufactured through any other means.

3D models can be used within a variety of fields. Some of the most common
applications are:

 Designing 3D characters for animated films and video games.

 Building up of a product design.

 Developing new products within fields like medicine and technology.

 Creating digitized 3D garments for the fashion industry.

 Modeling and rendering un-built spaces within the real estate industry.

Basic 3D Modeling Terms

Let’s take a quick look at 3D modeling terminology to get the first idea of how the
basics of 3D modeling work.

Polygon. A polygon is a set of basic geometric figures, which, in turn, consist of straight
edges and vertices.

Vertex. This is the tiniest element of a polygon, that is, it is a point in a three-
dimensional space.

Edge. This is a point of the polygon surfaces where two polygonal faces intersect.
Mesh.

A mesh is a model that consists of vertices, edges, and faces that together define a 3D
shape. Face. A face is a space between three or more edges met together.

Conceptualizing

This stage implies thinking through the objects you want to create, following the logical
sequence of a storyline. Also, at this stage, it is necessary to create a storyboard. This
is a step-by-step sequence of the images that will become 3D models at one of the
following stages, following each other according to the planned script.
Modeling

Next, the process of 3D modeling itself begins. Using specialized software, the artists
draw the objects in three dimensions with the goal of animating them at one of the
following stages. At this stage, the model can be quite simple.

Texturing

To put it simply, texturing means adding a 2D picture to the background of a 3D model

or to the model itself you have created at the previous stage. At this step, the object
gets its logical environment in case it needs it.

Shading

Next, it is necessary to balance light and shades to create as close-to-real life objects
as possible.

Rigging and Animation

Rigging and animation mean making the model move as it was planned and if needed.
Rigging stands for the process of adding a movable skeleton to the model, since
animating it becomes impossible without a rig.

Effects

The last stage of the 3D modeling process is adding after-effects and sounds to create
even more vivid animation. This is the most creative part of the process which can take
even more time than all the previous stages of 3D modeling.
Animation, the art of making inanimate objects appear to move. It is a method of
photographing successive drawings, models, or even puppets, to create an illusion of
movement in a sequence. Because our eyes can only retain an image for approximately
1/17 of a second, when multiple images appear in fast succession, the brain blends
them into a single moving image.

To create the appearance of smooth motion from these drawn, painted, or computer-
generated images, frame rate, or the number of consecutive images that are displayed
each second, is considered. 12 frames per second allow for motion but may look
choppy. In the film, a frame rate of 24 frames per second is often used for smooth
motion.

Animation is an artistic impulse that long predates the movies. History’s first recorded
animator is Pygmalion of Greek and Roman mythology, a sculptor who created a figure
of a woman so perfect that he fell in love with her and begged Venus to bring her to life.

Early history
Early experimenters, working to create conversation pieces for Victorian parlours or
new sensations for the touring magic-lantern shows, which were a popular form of
entertainment, discovered the principle of persistence of vision. If drawings of the
stages of an action were shown in fast succession, the human eye would perceive them
as a continuous movement.

One of the first commercially successful devices, invented by the Belgian Joseph
Plateau in 1832, was the phenakistoscope, a spinning cardboard disk that created
the illusion of movement when viewed in a mirror.

In 1834 William George Horner invented the zoetrope, a rotating drum lined by a
band of pictures that could be changed.

The Frenchman Émile Reynaud in 1877 MOVIEOLA/PRAXINOSCOPE adapted the

principle into a form that could be projected before a theatrical audience. Reynaud
became not only animation’s first entrepreneur but, with his gorgeously hand-painted
ribbons of celluloid conveyed by a system of mirrors to a theatre screen, the first artist to
give personality and warmth to his animated characters.
3,000 B.C. – 1500 A.D.

EARLY WAYS OF SHOWING MOTION

Archeological artifacts prove that we’ve been attempting to depict things in motion as
long as we’ve been able to draw. Some notable examples from ancient times, as well as
an example from the
European Renaissance, include:

3,000 B.C.
SHAHR-E SUKHTEH
A bronze-age pottery bowl depicts goats leaping
(Shahr-e Sukhteh, Iran).

1500 A.D.
VITRUVIAN MAN

Leonardo da Vinci’s Vitruvian Man drawing shows

multiple angles, implying movement.

Contd….
1600 – 1877
ANIMATION BEFORE FILM
With the spread of the Industrial Revolution in Europe and North America in the 18th and 19th
centuries came experimentation with machines that would make images appear to move.

1603 MAGIC LANTERN

The magic lantern was an early type of image projector that used pictures—paintings,
prints, or photographs—on transparent plates (usually made of glass), one or
more lenses, and a light source. Because a single lens inverts an image projected
through, slides were inserted upside down in the magic lantern, rendering the projected
image correctly oriented.

It was mostly developed in the 17th century and commonly used for entertainment
purposes. It was increasingly used for education during the 19th century.

1824 THAUMATROPE

The thaumatrope housed a rotating mechanism with a different picture on each side.
When rotated, you saw a combined picture

1832 PHENAKITOSCOPE
The Phenakistoscope — a popular Victorian parlor toy, generally marketed for children
— is widely considered to be among the earliest forms of animation and the precursor to
modern cinema. The device was operated by spinning the cardboard disc, and viewing
the reflection of the image in a mirror through a series of moving slits. Through the
distortion and flicker, the disc created the illusion that the image was moving.

1834 ZOETROPE
A zoetrope is a cylinder with vertical slits down the sides. The inside of the cylinder
displays a band with a set of sequenced images. When the cylinder spins, the user can
see the pictures inside as they look through the slits, which prevent the images from
blurring together.

1868 FLIP-BOOK (kineograph)

A flip book, flipbook, flicker book, or kineograph is a booklet with a series of images
that very gradually change from one page to the next, so that when the pages are
viewed in quick succession, the images appear to animate by simulating motion or
some other change.

1877 MOVIEOLA/PRAXINOSCOPE
The praxinoscope was an animation device, the successor to the zoetrope. It was
invented in France in 1877 by Charles-Émile Reynaud. Like the zoetrope, it used a strip
of pictures placed around the inner surface of a spinning cylinder. The praxinoscope
improved on the zoetrope by replacing its narrow viewing slits with an inner circle of
mirrors, placed so that the reflections of the pictures appeared more or less stationary in
position as the wheel turned. Someone looking in the mirrors would therefore see a
rapid succession of images producing the illusion of motion, with a brighter and less
distorted picture than the zoetrope offered.

Contd……
1900 – 1930

THE SILENT ERA

The early 20th century marks the beginning of theatrical showings of cartoons, especially in the
United States and France. Many animators form studios, with Bray Studios in New York proving
the most successful of this era. Bray helped launch the careers of the cartoonists that created
Mighty Mouse, Betty Boop, and Woody Woodpecker.

1906: HUMOROUS PHASES OF FUNNY FACES

marks the first entirely animated film, using stop-motion
photography to create action.

1908: FANTASMAGORIE
is the first animated film using hand-drawn animation, and is considered
by film historians to be the first animated cartoon.

1914: GERTIE THE DINOSAUR is considered the first cartoon to feature

an appealing character.

1919: FELIX THE CAT Musical Mews and Feline Follies introduced Felix the Cat—
often considered the first animated movie star.

1928: STEAMBOAT WILLIE featuring Mickey Mouse—becomes the first cartoon

with the sound printed on the film,
and is the first notable success for Walt Disney Studios, founded in Los Angeles in 1923.

Walt Disney
Disney was born on December 5, 1901, in Hermosa
Illinois. He and his brother Roy co-founded Walt Disney Productions, which became one
of the best-known motion-picture production companies in the world.
Disney was an innovative animator and created the cartoon character Mickey Mouse.
He won 22 Academy Awards
during his lifetime, and was the founder of theme parks Disneyland and Walt Disney
World. As an animator and entrepreneur, Disney was particularly noted as a filmmaker
and a popular showman, as well as an innovator in animation and theme
park design. He and his staff created numerous
fictional characters including Mickey Mouse, Donald Duck, and Goofy. Disney himself
was the original voice for Mickey. In addition to his Academy Awards, Disney won seven
Emmy Awards.

1930-1950s
 THE GOLDEN
AGE OF ANIMATION
During what many consider to be the “Golden Age” of animation, theatrical cartoons
became an integral part of popular culture. These years are defined by the rise of Walt
Disney (Mickey Mouse, Donald Duck, and Silly Symphonies), Warner Brothers, MGM,
and Fleischer (Betty Boop, Popeye).
1960-1980s
THE TELEVISION ERA
The animation industry began to adapt to the fact that television continued its rise as the
entertainment medium of choice for American families. Studios created many cartoons
for TV, using a “limited animation” style. By the mid ‘80s, with help from cable channels
such as The Disney Channel and Nickolodeon, cartoons were ubiquitous on TV.

1960 FLINTSTONES

Hanna-Barbera releases The Flintstones, the first animated

series on prime-time television.

1961 YOGI BEAR

The Yogi Bear Show, a spin-off of Huckleberry Hound

(another Hanna-Barbera production), debuts on national TV.

ACADEMY AWARD WINNER: Best Short Film

 1980 – 2014

MODERN ERA
The CGI (computer generated imagery) revolutionized animation. A principal difference
of CGI animation compared to traditional animation is that drawing is replaced by 3D
modeling, almost like a virtual version of stop-motion.

1984: THE ADVENTURES OF ANDRE & WALLY B

This short film was the first fully CGI-animated film,

created by The Graphics Group, the precursor to Pixar.

1987: THE SIMPSONS

The Simpsons is an American adult animated sitcom created by Matt Groening for the
Fox Broadcasting Company. It is the longest-running American sitcom, the longest-
running American animated program and the longest-running American scripted
primetime television series.

1995: TOY STORY

Toy Story, the first fully computer-animated

feature film, was released.
Concept of dimensionally of objects/images
Definition
Dimensions in mathematics are the measure of the size or distance of an object or
region or space in one direction. In simpler terms, it is the measurement of
the length, width, and height of anything.

Dimensions are generally expressed as:

 Length
 Breadth
 Width
 Height or Depth
Types of Figures Based on Dimensions
Based on the number of dimensions present in a figure, it can be classified
into:

 Zero – dimensional
 One – dimensional
 Two – dimensional
 Three – dimensional
 2. One-dimensional
Only a single measurement is possible for a one-dimensional
dimensional figure. A line
segment drawn on a surface is a one
one-dimensional
dimensional object, as it has only length
and no width.
3. Two–dimensional
The 2-dimensional shapes or objects in geometry are flat plane figures that have two
dimensions – length
ength and width. Two-dimensional or 2-DD shapes do not have any
thickness and can be measured in only two faces.

A square, circle, rectangle, and triangle are examples of two-dimensional

dimensional objects. We
can classify figures on the basis of the dimensions the
they have. The two dimensions are
marked on a 2-D D graph with two axes: x and y. The xx-axis
axis is perpendicular or at 90° to
the y-axis.
 4. Three-dimensional
dimensional
In geometry, three-dimensional
dimensional shapes are solid figures or objects or shapes that have
three dimensions – length, width, and height. Unlike two
two-dimensional
dimensional shapes, three-
dimensional shapes have thickness or depth.

A cube and cuboid are examples of three

three-dimensional
dimensional objects, as they have length,
width, and height.

Take for example a cuboid,

The attributes of the cuboid are faces, edges, and vertices. The three dimensions
compose the edges of a 3D geometric shape.
 Boolean Operations
A Boolean object combines two or more objects by performing a logical operation on their geometry.
The objects typically overlap, but they don't have to. The original two objects are the operands and
the Boolean object itself is the result of the operation.

For geometry, the standard Boolean operations are:

 Union: The Boolean object contains the volume of both original objects. The intersecting or
overlapping portion of the geometry is removed.
 Intersection: The Boolean object contains only the volume that was common to both original
objects (in other words, where they overlapped).
 Subtraction (or difference): The Boolean object contains the volume of one original object with the
intersection volume subtracted from it.
BASICS OF SURFACE MODELING
A surface is a single sided representation of a part's exterior that does not have a mass
or thickness.
Surface modeling is a modeling approach that allows designers to create complex
geometric features and organic shapes that solid modeling tools cannot produce alone.
Surface modeling is used for more free-form shapes and features than solid modeling.
For example, a solid cube can be broken out into six different faces. Each face
represents a surface that encloses the solid volume to form the cube. Surfacing lets you
build each face of the cube as an individual surface. After all six sides of the cube are
built, the surfaces are added together, and an enclosed volume is created, forming a
solid part.
In surface modeling objects are created using infinitely thin surface patches. This
means that objects (that are closed volumes) are hollow inside (unlike objects created
with solid modelers). With surface tools, one can create complex high-quality geometry
that is also manufacturable.

Surface modeling gives you the ability to build out a visual representation of an object’s
exterior and its contours. In other words, it’s a surface.

These objects can be mechanical components like an engine - or complex organic

shapes like animals.

No matter what you’re designing, surface modeling requires you to define the exterior
curves and shapes of your objects.

This also means, however, that surface models cannot be sliced open like their solid
counterparts, because the object is essentially hollow.

Also, note that these surfaces can be represented using NURBS or polygons,
depending on the application.

A Solid model is a complete, valid and unambiguous geometric

representation of physical object. Contrary to the surface (or
wireframe) model, a Solid Model provides topological information in
addition to the geometrical information.
A wire-frame model, also wireframe model, is a visual representation of a three-
dimensional (3D) physical object used in 3D computer graphics. It is created by
specifying each edge of the physical object where two mathematically continuous
smooth surfaces meet, or by connecting an object's constituent vertices using
(straight) lines or curves.
Polygonal Modeling

Polygons consist of geometry based on vertices, edges, and faces that you can use to create three-
dimensional models in Maya.

Polygons are useful for constructing many types of 3D models and are widely used in the
development of 3D content for animated effects in film, interactive video games, and the internet.

Polygon terminology
Polygons are straight-sided
sided shapes (3 or more sides), defined by three
three-dimensional
dimensional points (vertices)
and the straight lines that connect them (edges). The interior region of the polygon is called the face.
Vertices, edges, and faces are the basic components of polygons
polygons.. You select and modify polygons
using these basic components.

When you model with polygons you usually use three

three-sided polygons called triangles or four-sided
polygons called quadrilaterals (quads). Maya also supports the creation of polygons with more than
th
four sides (n-gons)
gons) but they are not as commonly used for modeling.

An individual polygon is commonly called a face,, and is defined as the area bounded by three or
more vertices and their associated edges. When many faces are connected together they create
cre a
network of faces called a polygon mesh (also referred to as a polyset or a polygonal object).
object You
create your 3D polygonal models using polygon meshes. Polygon meshes can be created using a
variety of techniques. For more information on these techniq
techniques see Polygon modeling overview.
overview

Polygon meshes normally share the vertices and edges that are common between the individual
faces. These are referred to as shared vertices or shared edges.

A polygon mesh can also be composed of several disjointed sets of connected polygons
called shells.. The outside edges of a mesh or shell are referred to as border edges..
 NURBS Modeling

Non-Uniform Rational B-Splines (NURBS) provide a 3D modeling framework based on geometric

primitives and drawn curves.

You can use NURBS in two ways:

 Construct 3D models from NURBS primitives.

Primitives are simple 3D objects created in the shape of common geometric forms such as cubes,
spheres, cones, and so on. Primitives can be a great starting point for many 3D shapes. You can
modify the attributes of NURBS primitives to modify their shape. You can also modify NURBS
primitives by trimming away portions of their forms, beveling their edges, or by sculpting them into
different shapes using sculpting tools.

 Construct NURBS curves that define the basic outline of the 3D form you want to construct, then use
the curves as a basis for constructing NURBS surfaces.
To find options for constructing and modifying NURBS curves and surfaces:

o You can draw curves by placing control vertices, or edit points. The curve drawing tools are found in
the Create menu.
o The options for creating and editing NURBS curves and NURBS surfaces are found in
the Modeling menu set.
o You can also find NURBS options on the Curves/Surfaces shelf.
PROPS Modeling

3D props modeling creates digital representations of objects or props using specialized

software. Beginners in 3D props modeling start by sculpting basic shapes like cubes,
rectangles, and cylinders, refined and detailed to resemble real-life props.

The impact of 3D modeling reverberates across diverse sectors, revolutionizing how

professionals plan, design, and present their projects. Here we collected some of the most
popular industries where 3D props modeling plays an essential role:

Gaming

3D models add life to virtual worlds, from intricate character designs to realistic
environments. Without 3D props modeling, creating a realistic game world would be
impossible. Game developers rely on it significantly to create weapons, vehicles, and
interactive objects that enrich gameplay.
Entertainment

In all kinds of genres, from blockbuster movies to TV shows, or animated films, 3D props
modeling contributes to captivating visual effects. From futuristic spaceships to ancient
relics, these models enhance storytelling and immerse audiences in alternate realities.
Architecture and urban planning

Architects use 3D models to visualize buildings, interiors, and landscapes. Props modeling
aids in the designing of furniture,fixtures and decorative elements, allowing precise planning
and client presentations.

Manufacturing and product design

In product development, 3D props modeling enables rapid prototyping, testing, and

refinement. Manufacturers create lifelike prototypes, ensuring form, function, and aesthetics
meet expectations.
Publishing and advertising

3D props enhance the visual appeal of book covers and magazine layouts. Advertisers
leverage these models to create eye-catching campaigns that showcase products and
services dynamically.
Healthcare and medical visualization

Surgeons, researchers, and educators use 3D modeling props to understand anatomy,

simulate surgeries, and educate patients. Props modeling aids in creating accurate
representations of organs, implants, and medical devices.
Geology and earth sciences

Geological models help scientists study rock formations, mineral deposits, and terrain.
These 3D representations assist in exploration, resource management, and environmental
planning.
Virtual reality and augmented reality

3D props modeling forms the backbone of immersive experiences. Whether training

simulations, architectural walkthroughs, or interactive museum exhibits, these models
enhance user engagement and understanding.

Several software tools empower artists, designers, and creators to bring their 3D props
ideas to life. Here are some widely used options:

 Autodesk Maya

Widely regarded as an industry standard, Autodesk Maya is a 3D modeling,

animation, and rendering powerhouse. Maya’s extensive toolset allows artists to
create stunning visuals, from intricate character models to expansive virtual
environments. With features tailored to meet the demands of professionals, Maya
remains a top choice for those seeking advanced capabilities and unparalleled
flexibility in their 3D projects.

 Blender

Blender has earned a devoted following among artists, hobbyists, and professionals
as an open-source software. Offering a comprehensive suite of features, Blender
empowers users with the 3d modeling tools needed to bring their creative visions to
life. Beyond its technical prowess, Blender’s vibrant community and extensive
documentation make it an accessible choice for aspiring 3D artists looking to hone
their skills and collaborate with like-minded individuals.

 Cinema 4D

Renowned for its user-friendly interface and powerful capabilities, Cinema 4D excels
in motion graphics, visual effects, and architectural visualization. Its intuitive
workflow streamlines the creation process, allowing 3D modelers to focus on
unleashing their creativity without being hindered by technical complexities. Cinema
4D offers the tools to bring concepts of the most stunning 3D modeling props ideas.

 ZBrush

When it comes to sculpting intricate organic forms, ZBrush reigns supreme. Widely
utilized for character modeling and digital 3D props modeling, ZBrush empowers
artists to unleash their creativity and bring their imaginative creations to life. Its
innovative tools and intuitive interface make sculpting a seamless and immersive
experience, allowing artists to sculpt with unprecedented detail and precision.
  3ds Max

A cornerstone of architectural visualization, 3ds Max offers a comprehensive suite of

modeling, texturing, and rendering tools tailored to meet the demands of the
architecture and design industry. Its robu
robust
st feature set enables architects and
designers to create incredible 3D props modeling visualizations. With a focus on
efficiency and productivity, 3ds Max streamlines the design process, allowing users
to iterate rapidly.

ESSENTIAL SKILLS FOR 3D PROPS MODELING

Polygonal Modeling

Polygons are shapes created by connecting straight lines. In 3D prop modeling, it’s crucial
to grasp the concept of low-poly
poly models. These models consist of polygonal meshes with
minimal polygons, making them ideal for 3D prop task
taskss such as subdivision modeling,
animation, and rigging.

In contrast, high-poly models contain a more significant number of polygons, allowing for
more intricate detailing. However, manipulating an
and
d navigating such models can take time
and effort due to their increased complexity. Furthermore, rendering high
high-poly
poly models
demands significantly more time than their low
low-poly counterparts.

 NURBS Modeling
 Another interesting technique widely used in 3D props modeling is NURBS
modeling. The acronym NURBS stands for Non Non-Uniform Rational B-Splines
Splines
Modeling. Despite its peculiar name, NURBS curves and surfaces are crucial in
parametric 3D modeling. The curves serve as mathematical representations of
curved shapes
hapes in three dimensions. Engineers and designers can craft rounded
shapes with smooth transitions and natural contours through NURBS modeling. This
technique employs intricate mathematical equations to generate realistic circles,
arcs, and 2D surfaces, ffacilitating
acilitating the creation of flexible, precise, and highly realistic
3D models.

The “Non-Uniform”
Uniform” aspect allows for the creation of freeform shapes, enabling
geometry manipulation to achieve desired forms rather than being constrained to
predefined shapes. The term “rational” indicates how NURBS assesses and
prioritizes the influence of each control point on the curve, considering their
respective weights or effects in a non
non-uniform
uniform manner. Unlike simple B-splines,
B
NURBS can create parabolic shapes by accommaccommodating
odating variations in control point
distribution.

 Sculpting

Regarding 3D props modeling, software equipped with sculpting tools is often called
sculpting software. This process involves manipulating the surfaces of a solid object
by pulling, pushing, smo
smoothing,
othing, and pinching them to create detailed and lifelike
models.

The journey typically begins with a basic model or shape. Artists then utilize
sculpting tools to refine the surfaces, starting with defining the primary features like
the shape of an object.. As the model progresses, artists can subdivide the geometry
to add finer details, enhancing realism. Subsequent subdivisions allow for the
addition of minor textures, adding depth and complexity to the model.

Texturing and painting techniques are often e

employed
mployed to enhance the realism of 3D
props further. These methods can apply intricate details, making the props appear
 more authentic. Many 3D modeling software options come with various built-in
textures, while some also offer the option to import custom textures, giving artists
ample creative freedom.

Texture Mapping and UV Unwrapping

A UV map serves as a flattened representation of the surface of a 3D model, facilitating the

wrapping of textures onto the model. This process, known as UV unwrapping, involves
translating the 3D model into a 2D space. Once the polygonal mesh is created, the next
step is to unwrap it into a UV map to apply textures, as 3D textures are inherently based on
2D images.

Lighting and Rendering

In the final stages of the 3D props modeling workflow, lighting, and rendering
techniques play essential roles. Lighting involves strategically placing lights and adjusting
their intensity and color to set the desired mood and atmosphere. In contrast, rendering
transforms the 3D props scene into a flat 2D image or image sequence by calculating all
lights, materials, and 3D props models to produce the final image. Lighting is vital for
establishing emotional tones and realism within scenes, drawing parallels to real-world
lighting scenarios like spotlights, light bulbs, sunlight, and ambient environmental lighting.

Manipulating light properties like color and shadow control allows for depth and realism.
Adjusting light intensity influences the overall brightness and mood of the scene. In contrast,
indirect lighting, also known as bounce or global illumination, enhances realism by
simulating light bouncing off surfaces. By mastering lighting techniques and understanding
their significance in the 3D props modeling workflow, artists can create immersive scenes
that captivate viewers and evoke desired emotions.
 Character Modeling
3D character modeling is a multi-stage process in which a 3D artist uses various
software and tools to create a game character or other media. The creation of modern
games, movies, and even commercials is almost inseparable from CG technology, one
of the directions of which is the modeling of characters. The main stages Concepting

 Blocking
 Sculpting
 Retopology
 UV unwrapping
 Texturing

Every character in VFX films or video games is created by talented artists. It is a

process in which an artist shapes an idea into a 3D model using polygon box modeling
and digital sculpting methods. There is a third way to create 3D models known as
scanning. It allows scanning of real-life objects to create their digital copy and make
them part of the existing workflow.

Polygonal Modeling

This technique is used in almost every game and science fiction movie. A polygonal
model consists of flat shapes that appear like triangles or quads, which an artist alters to
formulate a 3D mesh.

It is divided into a highly polygonal (detailed model with a large number of polygons)
and a low-polygonal (schematic model with a small number of polygons), making it
optimal for use in games.

Polygonal grids consist of such sub-objects:

 Vertex (the point of joining the edges. There can be any number of them);
 Edges (lines protruding from face borders);
 Polygons (grid cells, plane sections, that are most often triangular or
quadrangular in shape).

DETAILED STEP-BY-STEP 3D CHARACTER DESIGN PROCESS

Concept

Before starting to create a character, it is needed to brainstorm about their story and
how to picture it through this person. To do this, a variety of references has to be
collected to understand how the result should be. Plus, it’s much better to work on a
playable character when their history and background and what makes them unique is
understood.

When the ideas and the necessary references are collected, concept artists come into
play. Their main goal is to give the primary look to game characters and set the tone for
their further development.

Blocking

You can begin to create your 3D model by combining the primitive forms into the
desired character form. This will give you an idea of what your character will look like.

Sculpting

It’s another method used by artists to create realistic objects that become part of movies
and games. It is also used for developing prototype models for 3D printing and designs.
The method involves using brush-like sculpting tools to modify the mesh of an object. It
takes more time than polygonal modeling because it asks for extra artistic skills. It is the
very reason why sometimes both of these are used together to create a perfect shape
out of an object. The polygonal model helps with modeling an object and digital
sculpting helps with the detailing of a character 3D.When you start sculpting a
character, you have a smooth model that doesn’t have the features yet, and it’s the 3D
artist’s job to create them.

The 3D character modeling using digital sculpting is similar to the traditional way of
shaping and carving a sculpture.

Retopology

The topology of the game character is a surface structure that defines the model’s
visual characteristics.

Most often, the topology of the 3D model is created using polygon modeling. Because
polygons can have multiple angles, it is essential to choose a shape that allows you to
easily edit and animate individual pieces of the shape.

Topology refers to the arrangement and connectivity of vertices, edges, and faces within
a three-dimensional model
UV Unwrapping

UV unwrapping is the process of 'unfolding' a mesh so that you can create a 2D texture
which fits the 3D object. It is generally necessary if you wish to texture your object very
accurately

UV mapping is the 3D modeling process of projecting a 3D model's surface to a 2D

image for texture mapping.

When a model is created as a polygon mesh using a 3D modeler, UV coordinates (also

known as texture coordinates) can be generated for each vertex in the mesh. A UV map
can either be generated automatically by the software application, made manually by
the artist, or some combination of both. The UV mapping process at its simplest
requires three steps: unwrapping the mesh, creating the texture, and applying the
texture to a respective face of polygon

Texturing

Texturing is one of the most important steps in the construction of a 3D model. At this
stage, the surfaces of the object model are given the necessary properties to make it
more realistic.

Most textures are used to demonstrate the physical capabilities of the created model,
make the object natural-looking and revitalize the game. One of the main functions is to
create small details (folds on clothes, wrinkles, shadows, facial features, etc.)
 Background Modeling
3D background modeling involves creating a three-dimensional environment that serves
as the backdrop for your digital art. This can include landscapes, cityscapes, interior
spaces, and more. The goal is to make the background look as realistic and detailed as
possible, to immerse the viewer in the digital world. To begin creating a 3D background,
you'll need 3D software such as Blender, Maya, or Cinema 4D. These powerful tools provide a
range of features for modeling, texturing, and rendering 3D environments.
 Maps in Maya
Commonly used texture maps

Color maps

By mapping a texture to the Color attribute of an object’s material, you create a color map which
describes the color of the object.

Transparency maps

By mapping a texture to the Transparency attribute of an object’s material, you create a

transparency map which lets you make parts of an object opaque, semi-transparent, or entirely
transparent.

Specular maps

By mapping a texture to the Specular attribute of an object’s material, you create a specular map
which lets you describe how shine appears on objects (by controlling highlight).

Reflection maps

By mapping a texture to the Reflected Color attribute of an object’s material, you create a reflection
map which lets you describe how an object reflects its surroundings.

Bump maps

By mapping a texture to the Bump attribute of an object’s material, you create a bump map which
lets you add the illusion of surface bump detail to a surface.

Displacement maps

Displacement maps let you add true dimension to a surface at render time, a process which may
reduce or eliminate the need for you to create complex models.
 Mapping UVs refers to the actual process of assigning UVs to a mesh. Typically you begin the
process by projecting UVs onto the mesh surface from one or more primitive objects (like a plane,
cylinder, or sphere) that approximates the contour of your mesh. For exa
example:

 Projecting a Planar map onto a flat street or building face.

 Projecting a Cylindrical map around a head or torso.
 Projecting a Contour Stretch map on uneven, hilly terrain.
Once you create the initial map, you would then use the tools in the UV Editor to tweak the UVs to
better fit the actual mesh.

Planar UV mapping

Planar mapping projects UVs onto a mesh through a plane. This projection is best for objects that
are relatively flat, or at least are completely visible from one camera angle.

Cylindrical
lindrical UV mapping

Cylindrical mapping creates UVs for an object based on a cylindrical projection shape that gets
wrapped around the mesh. This projection is best for shapes which can be completely enclosed and
visible within a cylinder, without project
projecting or hollow parts.
Spherical UV mapping

Spherical mapping create UVs using a projection that is based on a spherical shape wrapped
around the mesh. This projection is best for shapes which can be completely enclosed and visible
within a sphere, without projecting or hollow parts.

Automatic UV mapping

Automatic mapping creates UVs for a polygon mesh by attempting to find the best UV placement by
simultaneously projecting from multiple planes. This method of UV mapping is useful on more
complex shapes where the basic planar, cylindrical, or spherical projections do not produce UVs that
are useful, especially on components that project outwards or are hollow in nature.