FROM BEGINNER TO MASTER
HOW TO TEXTURE
3D MODELS
3D
modelling is used to shape many of the things we see in our everyday lives. From video games to architecture, we’ve all likely benefited from 3D modelling technology. But what exactly is 3D modelling? What is it used for, and how does it work? Here, we explore the intricacies of 3D modelling and all of the wonderful things it is used for.
Let’s start with a 3D modelling definition. 3D modelling is the process of creating three-dimensional representations of an object or a surface. 3D models are made within computer-based 3D modelling software, which we’ll explore a little later.
During the 3D modelling process, you can determine an object’s size, shape, and texture. The pro-
cess works with points, lines, and polygons to create the 3D shapes within the software.
A 3D model is essentially made up of vertices, which come together to form a mesh and act as the core of the 3D model. Each point on the model can be manipulated to change the shape. By using coordinate data, the software identifies the location of each vertical and horizontal point, all relative to a reference point.
The most common way to begin making a 3D model is to start with a basic shape – a cube, box, sphere, or whatever you think is best suited. From your starter shape, you can start moulding and refining it into what you desire. Many industries utilise 3D modelling for a range of projects; there are likely loads of 3D modelled items we use without even realising its involvement. With 3D modelling, the opportunities are endless. It’s a truly versatile medium that can be used for an array of different areas. Let’s explore some common uses of 3D modelling: Perhaps the most commonly known use for 3D modelling is game development. 3D models are used to create characters, settings, props, and entire worlds within video games. The key to any
good game is immersion, and 3D modelling is a great way to build immersive experiences.3D modelling is particularly important within the world of virtual reality gaming, which is an extremely exciting sector. Virtual reality games fully immerse you in the game experience, creating entire three-dimensional worlds to dive into.
It makes sense that 3D printing would not be possible without 3D modelling. 3D printing lets 3D models become physical objects which can be used for anything you set your mind to. It’s a lot more than just miniature figures and toys from at-home printers; there are endless useful ways to utilise 3D printing. As we discovered in our 3D printing in healthcare open step, 3D
printing is frequently used within healthcare which has life-changing effects. It has been used to make custom-built prosthetics and implants and to create anatomically correct models for surgical planning.
Once you have a 3D model, it can be completely rigged and animated – which comes in very handy for animation. Animators use 3D models for a clean, seamless effect when creating movies and TV shows. Throughout the process, 3D modelling is used to create scenery, characters, props, and much more. Most animated movies will utilise a 3D programming software.
Texture is regarded as a bitmap applied to the surface of an unpainted model to give it the color, volume, or appearance of relief.
Texturing is classified into two types: relief mapping and MIP mapping. The first one is the use of a special graphics 3D tool that allows you to create an object’s surface with displacements per texel regarded as a unit of measurement of a texture map. It is needed to show varying heights or depths of volumetric figures in a realistic manner.
Texturing is needed for the visualization of physical attributes and replication of the effects of light and reflection. It also contributes to the most realistic display of the tiniest elements.
1. Industries like architecture, construction, product development, science, medicine, television, and video games use 3D modeling software to visualize graphic designs.
2. 3D modeling dates back to the 1960s when Ivan Sutherland developed one of the first computer-aided design (CAD) systems called Sketchpad.
3. 3D modeling plays a crucial role in virtual reality (VR) and augmented reality (AR) experiences.
4. 3D modeling is widely used in the medical field for surgical planning, anatomical studies, and creating prosthetics.
5. 3D modeling can also be used for simulations and visual effects.
Josh Martinez, a 3D Character Artist specializing in stylized NPR character models, has recently revisited Fortiche Productions’ and Riot Games’ legendary TV series Arcane with a stunning new portrait of one of its most memorable characters.
This time, the creator unveiled an impressive 3D take on Ekko, featuring appealing handpainted-like textures very similar to those in the original show. According to the artist, the model was textured in Substance 3D Painter and rendered with Blender, emphasizing that the character’s painterly looks were achieved with Substance 3D’s built-in brushes.
“There is a square alpha which works wonders, just turn the Opacity down a bit,” commented the author on creating
Arcane-style textures.
“Be sure and confident with your brush strokes otherwise it gets very messy quickly, had to redo the skin twice, but it’s worth it!”
Furthermore, Josh plans to provide an in-depth exploration of the production process behind the portrait, along with some still renders, in the coming days. We highly encourage you to follow the artist on Twitter and ArtStation to ensure you don’t miss out on the upcoming breakdown.
3D Character Artist Kirill Maslov has recently proven that you don’t need to pursue complete photorealism to create a truly memorable piece of art by showcasing “the lowpolyest” model of Jinx from the Arcane TV series. Created for #256fes, a challenge that tasks creators to set up models within a 256 tris polycount limit, Kirill’s Jinx only has 255 tris and uses a 256x256 Diffuse Map, heavily resembling a typical
video game character model from the 90s. According to the author, the final result was achieved using a combination of Blender and 3DCoat.
Earlier this week, 3D Animator Kayky Rodrigues also paid tribute to Arcane, showcasing an impressive 3D facial rig that allows the artist to tweak and customize various facial features of the Vi model, including the eyes, eyebrows, mouth, cheeks, cheekbones, nose, and more.
In other Arcane-related news, earlier this month, Netflix, Riot Games, and Fortiche announced the release window for the show’s second season, stating that we’ll get to see the show again in November of 2024.
Eschewing motion-capture as a solution, they researched live-action films to define the characters and develop a style of animation that matched the vision, Maunoury says. “Having said that, we don’t hesitate to sometimes bend our rules,” he says.
”Sometimes we go for something a little bit more extreme, a little bit more animated or a bit more stylized. And sometimes we go for something a bit more real.”
Maunoury says animators were each given a lot of freedom to bring their own ideas to each shot or
sequence. Since there were about 80 or 90 animators working on the team, their preferences on creating or using reference varied quite a bit. Sequences were typically brainstormed into storyboards and animatics, and assigned to teams of five to seven animators, working under a lead animator, he says.
Animators had access to a reference room with cameras and props, and could shoot as much or as little reference as they needed. Shots went to layout and approved blocking shots were then turned into final animation, with team members set a quota of producing 0.8 seconds of animation per day, Maunoury says.
Fortiche also mixed 2D and 3D animation to give Arcane a detailed and textured look. Maunoury says the characters are all animated using 3D models and rigs, with 2D animation used to add texture and effects like smoke, water, fire, dust, etc. The backgrounds are painted in 2D.
“When you’re working in games, your job is more to support the experience of the player, and make sure that everything creatively that happens with the world and the characters is built in service of the connection between the game and that player,” Yee points out.
Adjusting to animation pipelines and solving production problems also required the crew to find its solutions wherever possible, Linke says. “It was a very elaborate process, because we really always had to find our own answer...”
1. candy store
2. detailed fantasy model
3. sculpted model
4. close up of character eye
5. anime style character head
6. cartoon medival house
7. bubbly character head
8. Japanese woman 3D sculpt
9. 3d model of character
10. round item models
11. magical girl model
Have you ever caught yourself thinking that the characters in a new video game or cartoon feel so real? Mostly, the top-notch job of 3D artists is responsible for that positive impression — rigged animation, in particular. Thus, if you wonder how to make your digital media project stand out by its realism, then your team should definitely master the rigging 3D technique.
Yet, this method requires exploring tons of theoretical material and practice to perform it using cutting-edge technologies. Being experts in 3D animation services, we’ve prepared an insightful article to give you an easy start in advanced rigging.
Rigging animation is a technique that enables 3D characters to move naturally and interact with a digital environment. When an artist creates a character, 3D modeling and rigging are the two essential processes that go side by side. animators build a basic skeleton of a model in order to set the range of.
If going in-depth with 3D animation rigging, we can notice that it’s a very special method. In contrast to other animation types like the frame-by-frame or flip book, it gives us not only total control over a model but flexibility.
First of all, when modeling for projects like commercial videos or cartoons, 3D rig animation specialists can achieve realistic movements of a character due to control similar to the puppet principle. Thus, the audience can immerse in a product better when not distracted by too robot-like motion.
Rigging is that part of the character animation that takes great patience in order to get an excellent result. Still, the entire process can be divided into the 3 key stages. In turn, each stage consists of several steps. Eventually, taking this process in small steps shouldn’t feel overwhelming but assures a steady result.
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To get an expected result from rigging animation, it’s better for a specialist to make time and get ready for the process.
Gathering information. Rigging specialists should explore a scenario and document requirements for content creation to define the primary range of motions. If needed, information about specific rigging tools can also be learned at this stage.
Collecting references. Depending on a character type and their anatomy, movement should be set differently.
Performing of the rigging can vary depending on the software chosen and the personal preferences/ strategies of a specialist. Still, this process often consists of the same following phases.
1. Skinning. Usually, rigging can’t be done without skinning. After the polygonal modeling, a 3D character looks like a digital mesh. Inside this mesh, rigs are inserted, forming a group of bones that are connected with each other.
2. Controlling. Digital bones of a model work by the hierarchical system. It means that if a forearm bone moves, then the shoulder will be moving too. Thus, it’s necessary to make careful adjust-
ments in bones.
3. Set up joints. According to physiological principles, characters’ moves are limited to the joint areas. In addition, there’s one more factor that affects these limitations — weight.
4. Adjust kinematics. Rigging is mostly submitted to physics laws, and kinematics is one of them that represents movement principles. As mentioned, when movements on the upper body of a character are adjusted, it affects the lower body, which is called forward kinematics.
When the primary work is done, specialists should check the final result to ensure there won’t be any errors in movements during the release. Thus, it’s possible to test each character manually, displaying each move that should be adjusted according to a scenario.
