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.
Ce cours fait partie de la Spécialisation Art for Games
Current Gen 3D Game Prop Production
proposé par
À propos de ce cours
Ce que vous allez apprendre
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
Programme du cours : ce que vous apprendrez dans ce cours
Semaine
14 heures pour terminer
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.
9 vidéos (Total 93 min), 2 lectures, 4 quiz
9 vidéos
Essential Modeling Tips8 min
Essential Modeling Tools18 min
Essentials Substance Painter9 min
Essentials ZBrush9 min
01 Reference8 min
02 Image Planes7 min
03 Initial Block-In19 min
04 Refining Initial Block-In3 min
2 lectures
Essential Skills/Software10 min
Choosing Your Project10 min
3 exercices pour s'entraîner
Essentials Quiz16 min
Planning and Reference
Rough Block-In
Semaine
22 heures pour terminer
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.
8 vidéos (Total 83 min), 2 quiz
8 vidéos
02 Mid-Poly Eye Piece Swivel8 min
03 Mid-Poly Eye-Piece Viewer7 min
04 Mid-Poly Body15 min
05 Mid-Poly Battery4 min
06 Finish Mid-Poly Body15 min
07 Mid-Poly Swivel Mount8 min
08 Mid-Poly Strap Mount8 min
1 exercice pour s'entraîner
Mid-Poly Modeling
Semaine
33 heures pour terminer
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.
10 vidéos (Total 104 min), 3 quiz
10 vidéos
01 High-Poly Dial7 min
02 High-Poly Eye Piece Swivel5 min
03 High-Poly Eye Piece4 min
04 High-Poly Swivel Mount5 min
05 High-Poly Objective Lens14 min
06 High-Poly Battery & Switch14 min
07 High-Poly Body Cap12 min
08 High-Poly Prepping the Body12 min
09 High-Poly Body10 min
10 High-Poly Floaters17 min
2 exercices pour s'entraîner
Sub Division Modeling
ZBrush Modeling
Semaine
42 heures pour terminer
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.
9 vidéos (Total 49 min), 2 quiz
9 vidéos
Low Poly Dial4 min
Low Poly Objective Lens9 min
Low Poly Strap Mounts3 min
Low Poly Battery Pack3 min
Low Poly Battery Switch3 min
Low Poly Swivel Mount3 min
Low Poly Eye Piece4 min
Low Poly Finishing Body11 min
UV Layout4 min
1 exercice pour s'entraîner
Low-Poly
Enseignant
Andrew Dennis
Professor of PracticeMedia and Information
À propos de Université d'État du Michigan
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À propos de la Spécialisation 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.
Foire Aux Questions
Quand aurai-je accès aux vidéos de cours et aux devoirs ?
Une fois que vous êtes inscrit(e) pour un Certificat, vous pouvez accéder à toutes les vidéos de cours, et à tous les quiz et exercices de programmation (le cas échéant). Vous pouvez soumettre des devoirs à examiner par vos pairs et en examiner vous-même uniquement après le début de votre session. Si vous préférez explorer le cours sans l'acheter, vous ne serez peut-être pas en mesure d'accéder à certains devoirs.
À quoi ai-je droit si je m'abonne à cette Spécialisation ?
Lorsque vous vous inscrivez au cours, vous bénéficiez d'un accès à tous les cours de la Spécialisation, et vous obtenez un Certificat lorsque vous avez réussi. Votre Certificat électronique est alors ajouté à votre page Accomplissements. À partir de cette page, vous pouvez imprimer votre Certificat ou l'ajouter à votre profil LinkedIn. Si vous souhaitez seulement lire et visualiser le contenu du cours, vous pouvez accéder gratuitement au cours en tant qu'auditeur libre.
Quelle est la politique de remboursement ?
Une aide financière est-elle possible ?
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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