In this course you will learn to create a photo-real game prop using modern game art production techniques. You will gather reference, generate a base model, create a high polygon model, bake details onto a low poly model, and then texture and present a final portfolio piece. This course is aimed at students who have some knowledge in 3d and game art and would like to learn more advanced techniques employed in the creation of modern game assets. We will be using Maya, Zbrush, Marmoset, and Substance Painter extensively throughout the course. When you are finished you will have your own model based of of a real-world prop suitable for use in modern game engines.
Este curso faz parte do Programa de cursos integrados Art for Games
Current Gen 3D Game Prop Production
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Informações sobre o curso
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O que você vai aprender
Model accurate block-in, mid poly meshes
Create high poly models with a real world level of accuracy
Create game-ready low poly meshes for a real-time environment
Texture and render models to give them the appearance of photo-realism
100% on-line
Comece imediatamente e aprenda em seu próprio cronograma.
Curso 3 de 4 no
Prazos flexíveis
Redefinir os prazos de acordo com sua programação.
Nível intermediário
Familiarity with Maya 3d modeling software essential, basic knowledge of zbrush, substance painter, and marmoset also needed.
Aprox. 17 horas para completar
Sugerido: 8 -12 hours per week can be expected. Workload is based on complexity of chosen subject.
Inglês
Legendas: Inglês
Programa - O que você aprenderá com este curso
4 horas para concluir
Week 1: Blocking-In Model
To start the project we will choose an object to model, gather reference, and create a initial, rough block-in of the model. The goal is to understand as much about the object as we can before we start modeling. This will likely be the lightest workload of the course, so make sure to take the extra time to check over the essentials module and make sure you have mastered the skills covered there. Later weeks will be much more time-consuming.
4 horas para concluir
9 vídeos (Total 93 mín.), 2 leituras, 4 testes
9 videos
Essential Modeling Tips8min
Essential Modeling Tools18min
Essentials Substance Painter9min
Essentials ZBrush9min
01 Reference8min
02 Image Planes7min
03 Initial Block-In19min
04 Refining Initial Block-In3min
2 leituras
Essential Skills/Software10min
Choosing Your Project10min
3 exercícios práticos
Essentials Quiz16min
Planning and Reference
Rough Block-In
2 horas para concluir
Week 2: Mid-Poly Block-In Model
In this module you will work to create the form of your model. This mid-poly block-in will not be textured, nor smoothed into a high resolution model. The goal is to create a mesh that is accurate to your reference that can become the starting point for your high and low poly models. This is often the most challenging part of the process.
2 horas para concluir
8 vídeos (Total 83 mín.), 2 testes
8 videos
02 Mid-Poly Eye Piece Swivel8min
03 Mid-Poly Eye-Piece Viewer7min
04 Mid-Poly Body15min
05 Mid-Poly Battery4min
06 Finish Mid-Poly Body15min
07 Mid-Poly Swivel Mount8min
08 Mid-Poly Strap Mount8min
1 exercício prático
Mid-Poly Modeling
3 horas para concluir
Week 3: High-Poly Model
In this module you will take the low poly block in and generate a high polygon mesh that is accurate to the real world model as possible. We will be using a combination of sub division modeling and . The sky is the limit with poly counts, this model will never be UV unwrapped, it will just be used to generate texture maps for the game-ready version.
3 horas para concluir
10 vídeos (Total 104 mín.), 3 testes
10 videos
02 High-Poly Eye Piece Swivel5min
03 High-Poly Eye Piece4min
04 High-Poly Swivel Mount5min
05 High-Poly Objective Lens14min
06 High-Poly Battery & Switch14min
07 High-Poly Body Cap12min
08 High-Poly Prepping the Body12min
09 High-Poly Body10min
10 High-Poly Floaters17min
2 exercícios práticos
Sub Division Modeling
ZBrush Modeling
2 horas para concluir
Week 4: Low-Poly Model
In this module you will take the mid-poly model from week 2 and reduce the geometry. This is the model we will be UV unwrapping and baking maps to. The goal for this model is to still achieve the silhouette of our object while using fewer vertices than the mid or high poly model.
2 horas para concluir
9 vídeos (Total 49 mín.), 2 testes
9 videos
Low Poly Dial4min
Low Poly Objective Lens9min
Low Poly Strap Mounts3min
Low Poly Battery Pack3min
Low Poly Battery Switch3min
Low Poly Swivel Mount3min
Low Poly Eye Piece4min
Low Poly Finishing Body11min
UV Layout4min
1 exercício prático
Low-Poly
Instrutores
Andrew Dennis
Professor of PracticeMedia and Information
Sobre Universidade Estadual de Michigan
Michigan State University has been advancing the common good with uncommon will for more than 150 years.
One of the top research universities in the world, MSU pushes the boundaries of discovery and forges enduring partnerships to solve the most pressing global challenges while providing life-changing opportunities to a diverse and inclusive academic community through more than 200 programs of study in 17 degree-granting colleges.
Sobre Programa de cursos integrados Art for Games
In this beginner focused specialization we will show you the essentials of 2d and 3d game art production as well as concept art for games and current gen game art workflow. While each of the four courses will build your knowledge of the practice of game art, each module is a self contained unit designed to teach a specific area.
By the end of the Specialization, you will have a thorough knowledge of the creation of high-quality game art assets. Through these courses, you will be using Maya, Unity, Photoshop, Sketchup, ZBrush, Marmoset Toolbag, and Substance Painter.
Perguntas Frequentes – FAQ
Quando terei acesso às palestras e às tarefas?
Ao se inscrever para um Certificado, você terá acesso a todos os vídeos, testes e tarefas de programação (se aplicável). Tarefas avaliadas pelos colegas apenas podem ser enviadas e avaliadas após o início da sessão. Caso escolha explorar o curso sem adquiri-lo, talvez você não consiga acessar certas tarefas.
O que recebo ao me inscrever nesta Especialização?
Quando você se inscreve no curso, tem acesso a todos os cursos na Especialização e pode obter um certificado quando concluir o trabalho. Seu Certificado eletrônico será adicionado à sua página de Participações e você poderá imprimi-lo ou adicioná-lo ao seu perfil no LinkedIn. Se quiser apenas ler e assistir o conteúdo do curso, você poderá frequentá-lo como ouvinte sem custo.
Qual é a política de reembolso?
Existe algum auxílio financeiro disponível?
Do I have to use Maya/ZBrush/Substance/Marmoset? Can I use something else?
The course is designed with these programs in mind due to their place as industry standard tools. You may use other tools if you wish (blender, gimp, etc) and apply the same techniques to those programs, but keep in mind the course was designed for Maya, Zbrush, Substance, and Marmoset
Why do I need to present my models in Marmoset if I just want to make models for games?
While making models for games is all about getting it into the game, presenting your work in the best possible light is a big part of art. For personal or portfolio projects you should always take the time to present them. A few hours of lighting and rendering in marmoset will get much better results than spending those hours further polishing your model and textures.
Wow, this seems like too much work!
You will find the difficulty of your project has a lot to do with the complexity of the model you attempt to create. If it is your first time tackling these subjects I recommend keeping it simple for this course (a screwdriver rather than a car). You can always spend more time later improving and polishing your work after the course. Perfect is the enemy of done!
Does my model have to be of a real-world object, can it be fantasy, an illustration, or my own original design?
Every problem is a combination of what to do and how to do it, it's best if you aren't trying to do both at once. Most 3d artist work from image or concepts generated by another artists, so being able to follow someone else's design is an essential skill.
As for concept art, it's best to stick to real world things. Just like 2d artist start drawing with still life, 3d artists can learn a lot by recreating a real world object. Paintings lie, and concept art can often contain lots of visual shorthand, they are sketches meant to convey the idea the artist is going for. It will be much easier to find all the reference you will need from a real world object.
You could pick a movie or tv prop, as long as you can find enough reference. Our goal in this course is to learn how to take an object and create a photo-real facsimile of it. When you have done that, you will be much more able to make the kinds of assumptions and leaps in logic you will need to work with limited reference.
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