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Unreal Character Development

هذا الموضوع : Unreal Character Development داخل Making oFالتابع الي قسم ابداعات طريق الجرافيك : Introduction: This tutorial will take you through all the necessary steps to create and develop a character for Unreal Tournament ...

  1. #1

    الصورة الرمزية طريق الجرافيك
    إدارة طريق الجرافيك

    الحالة
    غير متصل
    تاريخ التسجيل
    Jun 2006
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    Unreal Character Development

    Introduction:
    This tutorial will take you through all the necessary steps to create and develop a character for Unreal Tournament 2004 using the Unreal Engine 2 that comes with the game. I will walk you through each step from concept design,
    an overview of low-poly modeling, un-wrapping, texturing, rigging, animating, and importing your character into
    Unreal Tournament. I will be using Autodesk’s 3ds Max 9, Adobe’s Photoshop CS2, Unreal Editor 3.0, and a few
    3 rd party applications that I will mention along the way.
    Since you will be listening to my bad jokes and ramblings throughout this tutorial, I want to hear some feedback from all of you! I have a website that I am consistently updating and morphing into my own online portfolio with more tutorials, 3D models, graphic art, concepts, and some cool links. You can check it out
    here. My email can also be found here.I am always interested in hearing newer and faster ways to do things. So please email me with any questions or comments, I will do my best to help out. (My parents are both teachers, so I guess it runs in my blood.) Anyways, let’s go to work!
    Concept Design - Intro:
    Every good Diet fallows the basic food pyramid. Without a strong foundation the rest topples over no matter how well the other parts are proportioned. The foundation of the “character design pyramid” (I need to copy write that!) is made from countless hours and love spent engineering a well proportioned character on paper. Take time to draw your character out at different angles and get the feel for it. Do not go into much detail at first because no matter how good it looks, if the proportions are wrong, you are going to get a very messy and unappealing character. If you do not take time on this step your project will be doomed from the beginning. (Unless your perception of anatomy and art are exemplary) (…and if you suck at drawing, practice your brains out, because if you don’t, you are in the wrong profession. I hate hearing the excuse, “But I can’t draw.”)
    As you can see, each layer relies on the previous layer for stability. Proving my point that if you build a good concept or foundation for your character, you will have a much better starting point for building the rest of it. Also, if you take a closer look, you will see that spending time on your low poly model is much more important than starting with a very high poly model. This is why I believe that low poly modeling is the hardest art form to master. Capturing the look and feel of a model while using the least amount of polygons possible is an art form in itself.
    If you start with a high poly model it can be difficult to change the overall flow or look of your model because you have so many loops and polygons to worry about. Detail modeling is when you spend some time inside of a program like mud box or z-brush, adding the small details like wrinkles and cuts. This kind of modeling should be spared for the end and should not be overworked. There is a fine line between adding detail and making your model look too overworked. (Have you ever looked at character models in Elder Scrolls Oblivion? Yea, my point exactly) Don’t get me wrong, these programs are amazing if you can use them properly, or your engine supports Normal mapping, which our engine can not. (I can’t wait for Unreal Engine 3!) Now that we know how the pyramid works we can start developing concept designs.

    Concept Design - Getting Started:
    When I am designing a character I like to draw him a few times. The first drawing I do is a perspective view to get the look and feel for the character. Then I fallow up with front and side views of the entire character and its head. I will be using these as reference inside of Max, so it is important that proportions are correct and line up between the drawings. It will make your life much easier once you start modeling, so take some time to get it right! The picture below demonstrates what I am talking about.
    Now that you are keeping in mind, the value of proportions, we can start drawing out the views I was talking about earlier. Please proceed in drawing out a ¾ view of your entire character, then fallow up with his front and side views for modeling reference. After that, you want to have a separate front and side view for its head. I do this because a person playing your game will first notice the face of your character, because it is natural for the human eye to go there first. (Unless you are designing Laura Croft!) Below are my concept sketches. (Yes, he has two hands; one just got cut off on the scanner)
    Concept Design - From Paper to Photoshop:
    Now that we created the concepts, we are going to set up our drawings in Photoshop so that we can start painting them and get closer to a finished product. To do that we obviously need to scan them in. Scanning them in is easy, but keeping or creating quality of the lines is very difficult, unless you know a few tricks! Once we scan the images into our computer, I usually go into Photoshop and clean up any of the obvious mistakes that I made on paper. After you do this you will notice the lines are very pixilated and different shades of grey from the scanner instead of a nice solid black line like you were hoping for. To fix the color and contrast of your lines click Image > Adjustments > Levels and move the middle button as shown below. Then click OK.
    You can see that the contrast of the image rose greatly. This is so that the black lines stand out a little bit more. This step is very necessary to get a good product from our next step in which we will be using Flash MX 2004. In our next step we will be changing these very shady lines into sharper and smoother lines that flow very well together. If you have ever watched any of the new cartoons on cartoon network these days, you can see the solid black flashy line types used by the artist. This is kind of the look we are going for.
    Concept Design - From Photoshop to Flash and Back Again:
    The next thing you want to do is save your image out of Photoshop as a Jpeg. Open up Flash and “Create a new Flash Document.” The size of the document is not important; we are simply using Flash as a tool. Now that flash is ready, click File > Import > Import to Stage > and find your Jpeg that you saved out of Photoshop. Once it is in your document it should already be selected. Now go to Modify > Bitmap > Trace Bitmap. From this point I have no idea what values to type in for area and threshold. I usually just play with them until I get a look that I like. You can see what I used in the diagram below.
    Now that you have the desired look, we will want to get this image out of Flash and back into Photoshop for coloring. To do this, click File > Export > Export Image. Then save your file as a Jpeg where you can find it easily (Better yet have a folder saved for this project, because being well organized is a great habit to get into, especially when you work with computers and work with a lot of files.) Please take some time at this point to get rid of any unwanted lines or marks made from the flash process in which you didn’t like. Because after this point we are done working with the line art and giving some life to our character with color!
    Concept Design - Photoshop Basics :
    Just like in every program, there are tools that are used 90% of the time and are the most helpful. I will show you what tools I use and how I use them. First we have to make a new Photoshop document. This will have to be very high resolution since we are taking in our final line art to color. Set your height and width to whatever you want; just make sure it is big enough to handle your new Jpeg you made in flash. I go pretty big because you never want to scale a picture up in size because it will lose quality. It is also very important to have high resolution in your new document. I use 300 DPI, you may want to go bigger if you want it to be very high resolution. Below are the settings I am using for my image. Click File > New.
    Before we start Painting I want to cover the basics. I am not a pro at painting in Photoshop, but my techniques seem to work just fine. Below are the basic tools I use.
    Concept Design - Painting with Layers :
    So now you should have your Photoshop Image (the Jpeg we exported from flash) set up in a high resolution document which I talked about earlier. Now we will bring him to life by painting some color into him. Go crazy and have fun with it! When painting in Photoshop you have to get used to using layers. Each layer holds its own properties of whatever you have done in it. I use the Bottom layer to hold my line art. Next I create a new layer above the line art layer, change it from ‘normal’ to ‘multiply’ and Use the Paint bucket to fill it in with the basic colors in this new layer you just created (do not paint in the layer that is holding your line art). Now create a new layer that is set to multiply
    and add the first layer of shading using the same color. For each new layer you make, that layer should also be set to multiply. Each of these new layers you should not need to change the color. Since it is set to multiply, layers above other layers will in fact multiply the darkness of the original color used. Below is a diagram of how I use multiple layers to add shading on top of each other.




  2. #2

    الصورة الرمزية طريق الجرافيك
    إدارة طريق الجرافيك

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    Notice in step 3, the layer “shading 1” is using the same colors as “Base Color” but since it is set to multiply, it automatically darkens the area where you painted. Repeat this many times and you get a nice finished product. Step four shows how I used multiple layers to get nice gradient shadows by using the same 5 colors!


    When you finish painting on a layer of shadow, don’t be afraid to use the blur brush to make it seem to flow into the layer before it! It’s all about practice and experimentation.
    Concept Design - Painting with Layers :
    So now you should have enough information, and most importantly motivation, to spend a good amount of time on your concept ideas for whatever kind of character you are creating! People will be more interested in your character if you have proof to show you thoroughly thought it out instead of throwing some crap together. Below is a final version of my character. Say hello to Austin Xyle!

    Concept Design - Overview :
    -Sketch front, side, and perspective views of the head and full body.
    -Keep Proportions in mind at all times -Scan them into your computer
    -Bring images into Photoshop; adjust levels
    -Import into flash; Trace bitmap to get cool solid black line
    -Bring back into Photoshop and begin coloring with layers
    -If your feeling good try using the dodge and burn tools when done painting

    Modelling, Introduction - Your Work Space :
    This will be just an overview of low-poly modeling. It is very important that you set up your workspace correctly before you start modeling. When I work, I use two view ports. Open Max, Click Customize > View port Configuration > Layout. I also bump up my Scene Undo Levels so I don’t get stuck without being able to go back. Click Customize > Preferences > General. I have it set to 65. This will make your file size larger but it is a nice ability to have.

    I also like to work in the “ame-dark” User Interface. This will make everything dark. I like it because it is easier on your eyes and really helps whatever you are working on stand out from the interface in max. To get this interface loaded click Customize > Load Custom UI Scheme > ame-dark.

    Modelling, Overview - Hot Keys in Max :
    Just like in any program you plan to master, learning shortcuts and hot keys will help you become better at what you do. Take some time to play around with these hot keys.

    Now we have the proper tools and knowledge to start box modeling our character inside of max. We will first have to set up planes for our model reference drawings we created earlier. I can’t stress how important it is to have the front and side views of your character match up and have the same proportions as each other. It is a pain to be modeling the chin and only have one view to go off of because your other model reference drawing does not match the other.
    Modelling, Overview - Your model reference images :
    The first thing you want to do is click the Create tab > Geometry > Plane. Now press “f” for front view and create a plane the same size as your model reference image. If it is 1200x700, make your plane that size. Now go to your left view and do the same thing. These two planes will hold our model reference images so we have a blueprint to help us model. The next thing we need to do is apply our model reference images to the planes. Open your Material Editor Library and drag your images into the spheres. Then bump up the self illumination levels to 100. Then simply drag and drop the image from the sphere to the correct plane in model space. Hopefully your graphics card is better than mine

    Now that our modeling reference images are set up, we finally have some blueprints to start modeling off of. We will create a cylinder for the body, 2 cylinders for the legs, 2 cylinders for the arms, and a box for the head. We block the character out so we get proportions right.

    If you ever watch an artist make a painting, you notice he lays down the main parts of color first and then goes further into detail as he works. We are using the same technique but in a three dimensional way. We also do this so that we do not get too high poly too soon. Always keep in mind that we have to define the most amount of space with the least amount of polys.

    This is why I believe that low-poly modeling is an art form only the great can master. It is too easy to go in and add polys to an area the needs them instead of figuring out how to define that same area without adding more polygons.

    Moddeling, Overview - Blocking out the body :
    Before we start modeling, keep in mind that most “low-poly” models for unreal Tournament usually range between 2,500 and 4,000 polygons. My model turned out to be just under 2,000. That is not a big deal, but after I imported him into Unreal, I wish I had used more because some of the textures would look stretched out when he was animated.

    Like I said before we are going to start with the body and create a cylinder with 8 sides and 4 height segments. Click Create > Geometry > Cylinder. Now place this cylinder so that it matches your front and side model reference images. Feel free to use your transforming tools like scale and move. After you get the cylinder where you want it and have it matching your blueprints, right click > convert to > edible poly. This will put us in sub-object mode so we can now use the transform tools on its verts, polys, and edges. Using these tools, shape your model like below.


    I will do my best to show you my tips and tricks, but if I showed you my step by step actions, this tutorial would go on for many pages. Do the same to the front side of the body.

  3. #3

    الصورة الرمزية طريق الجرافيك
    إدارة طريق الجرافيك

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    Modelling, Overview - Blocking out the arms :
    We only need to worry about one half of the body for now. Since the body is symmetrical, we will mirror it over once we have the arms and legs built. Click Create > Geometry > Cylinder. Remember, the arm is 6 segments, and 7sides. We do this so we can have a line in the back to define the back of the arm.Place it where the arm is and convert it to an edible poly so we can edit it like we did the body. Right click > convert to > edible poly.

    The next order of business is defining the shoulder on the arm. We do this by using a modeling method called “Connect” When you are in sub-object mode, press [2] to get to edge mode. Select the 3 edges on top of the
    shoulder; right click and select “connect.” This will even distribute a line between the edges selected.


    Now use the Move Transform tool and move the newly added edges up a little bit to define the shoulder.
    Modelling Overview - Blocking out the limbs :
    We will do the legs the same way that we did the arms. Use a cylinder to start and then edit it edit poly mode. (Right Click change to edible poly)


    Right now we are just blocking the main parts out, so it doesn’t have to look like pant legs yet. Keep in mind it is important to have a lot of segments where you want the mesh to bend (like around the knees) For now we will just throw in some blocks for the feet and hands and then finish them later.

    Now we have to attach all of the objects we made so we can mirror the entire mesh over to cut our work load in half. Select the body mesh and click the Attach button under the Edit Geometry pull down menu. Then simply select the objects in which you wish to attach to the body so everything is one mesh

    Modelling Overview - Mirroring Over an Instance :
    Now that all of our objects are attached as one mesh, we need to mirror that mesh over as an instance. This will allow us to work on half of the body and have our changes automatically update on the other mesh. This will cut our modeling time in half.
    Select your mesh and click the Mirror button located on the top tool bar in max. Then you will get a pop-up menu. Under “mirror access” make sure it is set to “x” and under “clone selection click “instance”



    Now our next step is blocking out the head of our character. Click create tab > Geometry > Box. Scale your box to fit your concept drawings and give it 2 length sides, 2 width sides, and 3 height sides. Then edit the mesh like below.


    Now delete the right half of the head in Polygon mode. Select the mesh with all of your body parts and press the attach button. Click on your head object. The right side of your head should re-appear and copy what ever you do to the left side since it is now an instance.
    Modelling Overview - Connecting the parts :
    You should now have every major part of your character blocked out. I will show you one last technique I use when connecting the major parts, then I will simply show you each version of my character as I define him more and explain how loops work.

    When connecting the major parts go into Polygon sub-object mode. Delete the polygons that are going to be connected. Then right click and select create.



    Then simply select the vertices in which you wish to create a polygon.

    Do this to connect the arms, legs, and head to the rest of the body mesh.
    The rest is too hard to explain in a word document tutorial. For now, there are some excellent video tutorials on building a low-poly character on Ben Mathis’s web site.
    www.poopinmymouth.com I suggest you check them out!

  4. #4

    الصورة الرمزية طريق الجرافيك
    إدارة طريق الجرافيك

    الحالة
    غير متصل
    تاريخ التسجيل
    Jun 2006
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    Modelling Overview - Modeling Pipeline :
    I will now show you the over-time creation of my character. In the near future, I will eventually have tutorials explaining how to low-poly model each part of the body on my web-site since there is too much information for one tutorial.



    Notice where the loops are placed in the characters chest, face, and shoulders. The key is maintaining a nice mesh flow in parts that will be moving a lot when the character is moving around.


    Modelling Overview - Modeling Pipeline :
    More steps of my work as I continue modeling my character.


    Once again, notice the edges I put in where I want the fingers to be able to bend. Also, I only used 3 fingers to keep the look and feel of an imaginary character. A lot of cartoons only use 3 fingers and a thumb.






  5. #5

    الصورة الرمزية طريق الجرافيك
    إدارة طريق الجرافيك

    الحالة
    غير متصل
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    Jun 2006
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    Unwrapping Overview – Introduction :
    Unwrapping a character takes a long time but it is critical to the outcome of the final product. When you unwrap, you are taking the faces on the 3d mesh and flattening them out on a 2D space so you can bring it into Photoshop to texture the mesh. It is kind of like CAD but not so boring!

    Before I do any unwrapping I always make sure I have a special plug-in installed in max. It is called unwraptools 1.4 by Steve Johnsonand it can be found
    here.

    Then I also make sure I have a 3 rd party program called Deep UV by Right Hemisphere. I used the 30 day trial since I am a broke college student but it will work fine for what we are using it for. I pulled this from their web-site.
    “Deep UV is a breakthrough UV mapping technology for the creation and modification of UV mapping for n-polygonal models within an interactive 2D and 3D UV mapping environment.”
    You can download the trial or buy the program here. (it is not too expensive)


    Now that we are done getting all of the tools that should be in Autodesk’s 3dsMax, we can begin unwrapping our model and get it ready for texturing!
    Unwrapping Overview– Getting Started :
    Open up Max and load up your file. Before we do anything make sure your model is in one piece and has no open verts (remember when we mirrored over half the mesh) Make sure your modifier stack is collapsed. Right click on Edible Poly icon and select Collapse all. I do not like to have more than 2 modifiers on my edible poly at a time. Now select your model and under the Modify tab chose the Unwrap UVW modifier. In the end it should look like my screenshot shown below.

    Now that we added the modifier we can start unwrapping the models faces. First we have to run the “unwrap tool 1.4” script so we can use its awesome tools. Click the utility’s tab then under the utility’s pull down select max script. Under the Max Script pull down select run script and find the file called Macro_UnwrapUI.

    We are now ready to start unwrapping the model. We will use the unwrap UVW editor inside of Max.
    Unwrapping Overview– Getting Started :
    With the Unwrap UVW modifier selected, go to the parameters pull down and click “Edit…” Your Editor should pop-up. Notice the unwrap tools 1.4 docked on the right side of the ******** These are the result of the script we opened earlier.

    You probably noticed the big mess of crap in the middle of the editor. That’s your model! It’s a lot like dumping out the pieces of a puzzle before you work on it. I select the mess and move it to the left. Keeping the main area clean for working. All of the tools speak for themselves so please take some time to look through them.

    Now we have one more setting to check. Inside the UVW Editor click Display > Show Vertex connections. This will allow us to see what verts connect to each other inside the editor without having to check in model space.

  6. #6

    الصورة الرمزية طريق الجرافيك
    إدارة طريق الجرافيك

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    Unwrapping Overview– Unwrapping the Head :
    Now that all of our settings are in place we can start unwrapping the model, starting with the head. Inside the UVW editor make sure you are in “face mode” You can do this by clicking the icon in the lower right hand side of the unwrap tools 1.4. Then minimize the Editor and go into model space and press “f” for front view. Select the front faces on the head.

    Then once the faces are selected under the Map Parameters pull down select Planar and then click align to view. This will flatten out the faces you selected in the UVW Editor as shown below.

    Now go back into the UVW Editor and you will see the faces you selected. They are flattened out and we have put together our first of many pieces to this puzzle. Scale this section down and move it off the work area so when we flatten other parts they will not be overlapping with the areas that are already unwrapped.
    Unwrapping Overview– The Head Continued :
    Now that the front faces are put together inside the UVW Editor we must do the same thing to the right and left sides of the head so we can weld them to the front and eliminate seems. Seems are outlined in model space with green lines and represent the areas that are left open. We must position seems were the player will not notice them. We must try to eliminate as many seems as possible to make our life easier once we start texturing inside of Photoshop. Once back in model space click ‘L’ for left view and select the faces on the left side of the face like we did for the front. Fallow the same steps as we did for the front to get them to show up in the editor. Do this for the right side also.

    Once you have flattened out the left and right sides, open up the UVW Editor and arrange them next to the front side so we can weld them together and make them one piece.

    The next step is connecting these 3 parts as best we can without stretching any of the faces. We will weld these pieces together by matching up verts and welding them individually using the weld tool inside the UVW Editor.
    Unwrapping Overview– Welding Verts :
    Welding in the editor is very easy. There are two ways you can do it. You can right click and select “Weld Selected” and it will weld together the verts that are selected on the screen. The other way is to right click and select “Target Weld” which will allow you to pick a vert and drag it over the vert you wish to weld it to. Before we start welding, click the “option” pull down in the unwrap tools 1.4 and change the weld threshold to 10.0

    Now we are ready to weld the 3 sections together. Go into the editor and weld the verts that match up with each other. My process is shown below.

    Notice that the green seem lines are gone once you weld the pieces together, this is good! You can notice in model space that there is a little stretching in the texture by the areas that we just welded together, this will be fixed later.

    Notice the uneven checker pattern and green seem lines in the left picture. The right picture has a better pattern that will get finished with Deep UV.

  7. #7

    الصورة الرمزية طريق الجرافيك
    إدارة طريق الجرافيك

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    Unwrapping Overview– Everything Else :
    After I finish the unwrapping the head, I continue to unwrap the entire mesh. I always keep in mind where the seems are going and where they will be least visible to the player. Below shows my finished product. Notice how everything is placed inside the Work area in the UVW Editor.




    Now that the mesh is unwrapped, connected properly, and the seems are placed correctly, we can import our mesh into Deep UV and “Relax” our UVW Coordinates. This will stretch them out to their natural position but still keep them restrained within the seems we created. Resulting in a texture with almost no stretching. I love this program, but since my 30-day trial has expired, I can not give you any screenshots. Collapse your stack with the unwrap UVW Modifier and right click and change it from an Edible Poly to an Edible Mesh. Then install the Deep UV Plug-in. Then click the utilities tab > more > right hemisphere. Under the Pulldown click “Map Selectedwith your mesh selected and it will open up inside of Deep UV. Once inside of Deep UV, select your UVW Map on the left side and select “Relax” on the right side of the screen. Take a second and watch in aw as the program magically calculates your UV’s size and placement in comparison with every other piece of your mesh. Then click file > export UVW. Then it should transfer your UV’s back into Max and show up as a modifier. Collapse the stack and your ready to texture!
    Unwrapping Overview– Conclusion :
    Once you are done with all of the steps, apply a checker pattern texture to your mesh and check for stretching. Notice that I placed seems on the inside of the pants, under the arms (since the arms will be at his side most of the time) and in other well hidden places so the player will not notice them. I also have a little stretching by the neck but the rest looks pretty good.

    Unwrapping Overview :
    -Download and Install Unwrap Tools 1.4 www.chugnut.com
    -Download and Install Right Hemisphere Deep UV
    www.righthemisphere.com
    -Select Faces you wish to unwrap and flatten them out in the editor
    -Weld pieces together inside the editor
    -Be careful where you put seems
    -Once done, import into Deep UV to relax UVW Coordinates
    -Import back into Max to begin texturing
    -Visit Ben Mathis’s Web Site for in-depth video tutorials on texturing and unwrapping with Max and Deep UV
    www.poopinmymouth.com
    Texturing Overview - Exporting using Texporter :
    Once you have your model Unwrapped and all of the UVW Coordinates are placed inside the work space inside the editor, you can collapse your model stack so it is just an Edible Poly with no additional Modifiers added. Right click and select “collapse all

    Now we have to install a plug-in called Texporter. You can download it here. It will allow us to export our UVW Coordinates into Photoshop so we can begin painting and texturing our character. Once the Plug-in is installed click Utilities > More > Texporter. Then select your image size settings (It is better to set this big, 2048x2048, then re-size it later for file size), Keep it on Map channel 1, Select Polygon fill, edges, edges only, smooth colors, and constant (change color to white) My settings are shown below.

    These settings will allow us to render out an image with our UVW Coordinates on it. We will then bring this image into Photoshop and use it as a template to paint our texture for our character. Pretty cool eh? Texporter can be used for many other things like normal mapping, but this is all we will use it for now.
    Texturing Overview – Exporting into Photoshop :
    Now once our settings are correct, select the “Pick Object” button and a render window will appear with your UVW Coordinates. Once it is done rendering out your image, click the save icon located on the upper left of the render ******** Now save your Image in your project folder where you can find it easily.

    Now that we have saved out the rendered Image Template with polygon edges, we must render and save out another Image Template with no polygon edges so we can easily select areas like the pants, face, and hair without the wire frame getting in the way. Do this by rendering another template, this time uncheck edges. Save it in the same folder as your wire frame template. So now we have two templates to work with, one with edges and one without.

    We use the template with edges and a guideline for when we paint. We use the one without edges to easily select areas to paint inside of. Now Open Photoshop and create a new document. Set it to the same size that you rendered out your templates. In my case, I used 2048x2048. I also set the resolution to 300 dpi for better detail. Now that our new Photoshop file is created we can import our two rendered templates into the new file and begin painting.
    Texturing Overview – Setting up Layers in Photoshop :
    Now that we are working inside of Photoshop, it is very important to get use to working and managing your Layers correctly! I labeled my un-edged render layer “selection” and my wire frame render as “wire frame.” Make sure your “wire frame” layer is moved to the top and then change its properties to “Multiply.” Do this by selecting the box that says “normal.” This will allow us to see through the white areas; thus, acting as our painting template.

    Now that our two template layers are ready we can create layers to start painting in. It is important to use them correctly. I use one layer for the basic color of the area I am painting, I use another layer for painting details like scars, and I use another layer for adding a slight texture for a more detailed look.
    First, create a new layer. Place it in between the two template layers so the wire frame is on top (It will always be on top) and the selection layer is on the bottom (the selection layer will always be on the bottom.) I will label this new layer as “Skin.” Then I highlight the “selection layer.” Then, with the “Magic Wand Tool” I select the areas that skin shows through on the character (the head and body areas.) Once those areas are selected, I highlight the new “skin” layer and click the “Add Layer Mask” button. This will make sure that when we paint on this layer, we only will paint inside the areas that where selected when the layer mask was applied.


  8. #8

    الصورة الرمزية طريق الجرافيك
    إدارة طريق الجرافيك

    الحالة
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    تاريخ التسجيل
    Jun 2006
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    Texturing Overview – Basic Painting :
    You can create a new layer like the “skin” layer for anything you wish (Cloth, Hair, Leather) But for this tutorial I am just going over how I painted the skin. Once the layer is masked you can now fill it with your base color and it will stay inside the area you masked. With the “skin” layer selected click the paint bucket tool and click anywhere on your canvas. It should fill in the masked area with the color you selected.

    Notice how we can “see through” the wire frame template even though it is on top, all because it is set to Multiply. This will come in handy when placing things like the hair line, eyes, and shadows. Now we are ready to start painting in some basic shadows (Under his arms, back muscles, under his chin…) We will be using the paintbrush tool, but we must first set a good brush that will not make dramatic changes in color. Once the Paint brush tool is selected, there should be an option to change it at the top of the screen. Then, set the opacity to about 30%, change to a darker shade of skin color and paint away! (Make sure you are on the “skin” layer when painting on the skin) My process is posted below.

    Texturing Overview – Painting Tools & Techniques :
    Before I go into too much detail, I like to use a trick to give the skin a more textural look. Create a new layer above your skin layer and label it texture. Then find a nice natural and tileable texture and add it to this layer. Then change the “texture” layer properties to Multiply like we did to the wire frame render and play with the opacity (around 15-30%). You should end up with a fairly realistic looking skin texture to add detail.

    You can now see that a little bit of nice looking detail was added to the pigment of the skin. Even some wrinkles and blotches like on a normal face.

    Once you have your texture applied and basic shades down, keep working with different colors and making shadows and highlights more defined. (This is where your creative art skills and time management come into play) Once you have a high level of detail painted you can use some tools to take it one step further. The tools are the Blur Tool, Burn tool, and Dodge Tool.

    Texturing Overview – Final Texture :
    After Painting the basic shades for the face, I added eye brows, sideburns, cuts, and eyes. I created a new layer for each of these additions.


    This looks a lot easier than it really is. I am no great “painter” in Photoshop but practice makes perfect! It is great to learn to paint all your textures instead of stealing them from photos. It gives your model your very own look and feel! You also get some great experience. I am consistently saving and checking out how my model looks in 3ds Max to make sure everything is looking OK. Make sure you do the same.
    Texturing Overview – Everything Else :
    Now I will show you how everything else turned out because I’m sure your character is not completely naked!

    Once your Finished painting your textures, save your file out as a .TGA and apply it to your model inside of 3ds Max. Check where the seems are and make sure the texture blends nicely. Once you are finished you are ready to rig your character using a pre-existing skeleton from one of the Unreal characters!
    Texturing Overview – Overview :



    Join me next week when I take you through the Rigging and Importing of this character into Unreal.

  9. #9

    الصورة الرمزية طريق الجرافيك
    إدارة طريق الجرافيك

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    Rigging Overview – The Basics :
    We will be using a pre-existing skeleton, a.k.a. Biped, from an Unreal Character that is already in the game. If you want to create a custom rig using the biped tool in max, the process is long and you have to re-create every animation that is found in the game and export it to Unreal. Once your model is complete with textures, collapse the stack so the UVW Coordinates are embedded in the mesh. Make sure your texture is applied to the model. I am using one texture map for the entire mesh, but most characters use one for the head and one for the body. Save your file with only the mesh in it. Delete all other image reference planes and anything that you do not want in the game.

    Open up a pre-existing character file from unreal. They can be found here. I am using Matt Marshall’s tutorial so I am also using MercMaleA_rig.max Once that file is open, select the Merc character mesh and delete the Physique modifier in the stack, then delete the mesh entirely. Also, right click and select unhide all. Then delete the !ground object. We will use the grid as our reference to the ground. This leaves us with just the skeleton to work with.

    Rigging Overview – Attaching your Mesh to the Rig :

    Now you should just have the rig sitting there in model space. Now, select File > Merge and find your character file and merge your mesh with the current rig still open. Now, Scale your model to fit the size of the rig. Do not move the rig at all. You will probably have to adjust your character mesh to fit the rig properly. Notice his arms do not line up, All you have to do is go into edible poly mode and rotate some edges and verts. This makes sure that your model fits the rig. Before you attach them together. This is important!



    Now, Assign a Physique modifier to your mesh. This will allow us to initialize a bone structure (biped) to the model.

    Now under the physique pull down menu on the right, click the “attach to node button” and select a bone on the rig. I selected the Bip01 Pelvis bone. Then you will get a pop-up ******** Select “3 links” and click “Initialize”

    Rigging Overview – Envelopes and Review :

    Now you should be able to move the bones and your mesh will move with them. There will be some stretching and wacky stuff going on with your mesh so under the Physique modifier select envelopes and adjust them to your liking.

    Once you are done with this long process, you can now start the export process into Unreal Tournament with the Actor X Plug-in

    Importing into Unreal – Exporting from Max :
    Now that we have our model rigged and applied our Physique modifier, we are ready to export the model as a .PSK file that can be read by Unreal Editor 3.0. First we have to download the Actor X plug in for Max. This will allow us to export the model as a .PSK file. You can find it here. Place the plug in inside of your plug in folder for Max. Then once inside of Max, click Utilities Panel > More > Actor X. Now we have to change some settings. Under Actor X Epic Games pull down click Browse and set up a ******** for your .PSK to be found. Then name your mesh under the “mesh file name” I simply used “xyle.” Now under the Actor X – Setup pull down, check persistent settings, persistent paths, and all skin-type. I am not sure what these do but it works

    Now that the settings are correct click the Save mesh/repose button under the Actor X – Epic Games pull down; while your mesh is selected. You have just exported your model as a .PSK file that can be read by Unreal Ed 3.0!
    Importing into Unreal – Understanding Packages :
    Now that our model is exported as a .PSK file, we have to create a package inside of Unreal Ed 3.0 that we will house our mesh and our animations in. We will have two packages one is an Animation Package that will hold the mesh and animations for the mesh. This animation package will save out as a .UKX file that Unreal Tournament can read and use in game. The second package is a texture package (Which we will make later in the tutorial) that will hold the texture file (the .TGA used to texture your model) and it will also hold the Portrait image we make which is also a .TGA file that you can make in Photoshop and will be used in game play and at the character selection screen. This texture package will save out as a .UTX file that Unreal Tournament can read and be used in game. So now our next step is to create these two packages inside of the editor. I have found that it is difficult to jump right into the editor without understanding the way packages work so that is why I am taking the time to explain to you how the two packages work and how UT 2004 uses them. It is nice because all we have to do is write a few lines of simple code later on to be able to see our character in the game. With that said, lets begin building our packages. We will start with the hardest one, the Animation Package. It is the hardest on because we have to copy info from an already working animation package and save it as our new animation package. (Ok so its not that difficult)
    Importing into Unreal – The Animation Package :
    Open up Unreal Ed 3.0. Click View > Show Animation Browser. Once in the browser click File > Open > chose an .UKX file with a character that resembles yours. I chose the HumanMaleA.UKX file since that is the kind of character that I took my characters skeleton from when rigging it. A UT 2004 character should appear in front of you. (This HumanMaleA.UKX file is a pre-existing animation package that we are using to work in until we have our character ready to be saved out into its own animation package.)
    We will now import our mesh (the .PSK file we exported from max) into this animation package.
    Click File > Mesh Import > “your character.PSK”
    A window will pop up. Leave the package to the name of the package you are already in. Leave the Group blank. And write your characters name in the name space. My settings are below.
    [IMG]http://www.3dtotal.com/team/Tutorials_3/Unreal_tournament_tutorial/images/Importing%20into%20Unreal/02_import-********jpg[/IMG]

  10. #10

    الصورة الرمزية طريق الجرافيك
    إدارة طريق الجرافيك

    الحالة
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    Jun 2006
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    Now pay no attention to the size of your character (He is probably huge) We will be copying info from a character already in the game and pasting it to our own new character.
    Click the second pull down menu and select the UT 2004 character that was there before you imported your mesh.
    Now click Mesh > Copy Mesh Properties.
    Now click the second pull down menu again and pull up the character you imported.
    Click Mesh > Paste Mesh properties.
    Your mesh should be the same size and orientation as the UT 2004 character you copied it from.
    Click Edit > Linkup anim and mesh. This should assign animations to your character.
    *Note that we are still working inside a pre-existing animation package and we will be saving it as a new package later.

    Importing into Unreal – The Texture Package :
    Once in the texture tab, Click File > Import > your texture.tga and your bio pic.tga (the bio picture is something made for the GUI) A window will pop up and ask you to assign them to a package and give them names. My settings are below.

    Once you have your textures imported click File > Save > “texture package name. UTX” and you have completely made your own texture package.

    Now we must assign textures from the texture package we created to our model. Highlight the texture used for your model in the package then click the animation tab. With the texture highlighted, Click Skin > Material > [0] > USE. Your model should now be using the texture that you had highlighted.

    Importing into Unreal – Finishing the Animation Package :
    Once the texture is on your character and all of the animations are working correctly, Click Mesh > Rename Mesh. Now we are taking the info from this animation package and renaming it to what we want. I used “AustinXyle” as my package name and “Xyle” as the name.

    Once you renamed the package it will not store it as a new package so you must now click File > Save > “AustinXyle” (the name you just used)

    You have now created your own Animation Package (.UKX) that is using data from your own texture package (.UTX), congrats, the hard stuff is done.
    A few minor touches need to be added.
    Click Mesh panel > Attach > Sockets > [1] > BoneName change it from Bone_weapon to BoneWeapon.
    Under the same panel click Animation > Default Animation. Set it to MeshAnimation(whatever kind of animations you used)Biped. Mine is MeshAnimationHumanMaleABiped. This will allow your character to loop an animation while being idle. Save your package changes.
    If you saved your two packages, everything is ready to go except we still need to tell Unreal Tournament 2004 to load your packages by writing a script and adding a few lines to an existing script. After that, your character should appear as a selection in the game!
    Importing into Unreal – Writing Script :
    First of all, I just want to say that I hate writing script, but it makes me feel smart so I will explain it in detail to you. The script below is a .UPL file found in the ut2004/systems folder labeled my characters name “AustinXyle.UPL”
    [Public]
    Player=(DefaultName="Austin Xyle",Race="Hellions",
    Mesh=AustinXyle.Xyle,species=xGame.SPECIES_Merc,
    BodySkin=AustinXyleTexturePackage.texture,FaceSkin = AustinXyleTexturePackage.texture ,
    Portrait= AustinXyleTexturePackage.BioPic ,Text=XPlayers.xyleAA,Sex=Male,
    Menu="",CombatStyle=+0.5,Tactics=+0.5,StrafingAbil ity=+0.5,
    Accuracy=+0.9, Jumpiness=+0.9,BotUse=3,TeamFace=1,BotUse=5,
    FavoriteWeapon=xWeapons.RocketLauncher)
    These lines of code tell the game where to look for the packages and some basic info on your character. Some lines are pretty explanatory like “Sex=Male” some lines need more explaining.
    Player=(DefaultName="Austin Xyle"
    This line defines your characters name inside the game like bobby or Marcus

    Mesh=AustinXyle.Xyle
    This line tells the engine what package to look for “x” model
    In other words Mesh=YourAnimationpackageName.ModelsName
    BodySkin=AustinXyleTexturePackage.texture,FaceSkin = AustinXyleTexturePackage.texture
    This line of code is telling the engine what texture package to look for your textures. A lot of UT 2004 characters use a texture for the face and one for the body. Since I only used one for both, I just used the same path to avoid a crash.
    Portrait= AustinXyleTexturePackage.BioPic
    This line of code tells the engine what image to use for your character on the player selection screen and GUI actions. I didn’t explain that a lot because its any image you want 256x512 to represent your character (it must be included in your texture package)
    Text=XPlayers.xyleAA
    This line directs us to another file called XPlayers.INT in the same ut2004/systems folder. This file already exists. We just need to add a line of code at the bottom of it describing our player. That line of code is this:
    xyleAA="Name: Austin_Xyle|Age: 20|Race: Human||Data:|”YourStory”
    Open this code in notepad; write the code at the bottom then save.
    *Note: there are no spaces or indentations in code, its one long line of code.

  11. #11

    الصورة الرمزية طريق الجرافيك
    إدارة طريق الجرافيك

    الحالة
    غير متصل
    تاريخ التسجيل
    Jun 2006
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    Importing into Unreal – DONE!!!:
    First of all, if you are having problems (like I did) make sure that you really study your code for any errors. Once you have added your script to the UT2004/systems folder, you should be able to load up UT 2004 and play your character. Press f4 in game play to switch to 3 rd person view. Or type”~” fallowed by “freecamera 1” and you can get a nice 3d view of your character in game.
    Secondly, If you have gone through the tutorial until this point, good job! And I would love to see how your character turned out.


    Special Thanks and Reference Links :
    First of all, I could not have created this tutorial without the help of many people! I must give credit where it is due.
    Ben Mathis – www.poopinmymouth.com
    A great 3d Game Artist with some amazing modeling and texturing tutorials. It would be a crime to not check out his website.
    Matt Marshall – www.neomagination.com
    Another Knowledgeable person when it comes to 3d art and the Unreal engine! He also has a great tutorial on importing characters into unreal. A tutorial which I used to help write this one!
    Tim and Ian – www.gdconf.com
    The two guys that run the Conference Associate Program at GDC that made it possible for me to attend GDC. They are some of the smartest and coolest guys in the industry!
    My Parents
    They have helped support me in all aspects of my education, both financially and personally. My Dad is a CADD teacher at the High School I went to and Pointed me in the right direction to study game Design. My mom is a teacher at a middle school who is always interested in my work. They also paid for my first trip to GDC 2006 at the last minute. A trip that really helped me find my passion for Video Game Art.

  12. #12

    الصورة الرمزية darklighting
    طالب بالمركز التعليمي

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    رد: Unreal Character Development

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    الصورة الرمزية AzizX
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  14. #14

    الصورة الرمزية speed_3d
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