COM604 Tutorial 3

8/13/2019 COM604 Tutorial 3

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Mudbox Tutorial

Session 3: Full Run

Chapter 1 – Set Up..........................................................................2

Chapter 2 – Basic Sculpting............................................................4

Chapter 3 – Layered Sculpting.......................................................6

Chapter 4 – Initial Texturing...........................................................

Chapter ! – "ainting Channels........................................................#

Chapter 6 – $xtracting %&r 'a(es.................................................11



Chapter 1 – Set Up

The )eginning &% a ne* pr&+ect lays &ut a %&undati&n %&r the path*ay &% the pr&+ect and there%&re

sets an initial pace %&r the *&r,%l&*. C&((&n practice up&n starting a pr&+ect is t& set a %ile

hierarchy- haing appr&priately na(ed %iles and sae paths (a,es naigating a pr&+ect see(less and

%acilitates si(ple pr&+ect trans%er.

The %&r(at in *hich this is d&ne is d&*n t& pers&nal pre%erence. /y pre%erence is t& create a %&lder*hich *ill h&ld all &% (y related pr&+ects- this %&lder *ill then als& c&ntain su) %&lders %&r

indiidual pr&+ects. 0&r exa(ple- i% I *ere t& hae a pr&+ect %&lder called Bipeds- I (ay hae

*ithin that %&lder- an&ther %&lder na(ed u(an and an&ther %&lder na(ed lien- and s& &n. This

%&r(at all&*s (e t& uic,ly distinguish )et*een the types &% pr&+ects *ithin a speci%ic area &%

design.

5nce y&ur (ain pr&+ect %&lders are set up t& a p&int *hich y&u %eel c&(%&rta)le naigating y&u

sh&uld start t& create su)%&lders. In s&(e cases creating a su)%&lder at this stage can )e c&unter

pr&ductie- %&r exa(ple- i% y&u *ere *&r,ing &n a )lind pr&+ect *here y&ur %inal pr&duct *ill n&t

)e categ&rised until the late stages &% deel&p(ent. These su)%&lders sh&uld c&ntain all &% the

external %iles reuired t& create y&ur (&del- these include cust&( textures- re%erence i(ages- and

any &ther (edia n&t already c&ntained in /ud)&x. There sh&uld als& )e a su)%&lder t& c&ntain y&ur(&del and its texture %iles.

5nce a hierarchy has )een set up it is )est t& p&pulate the su) %&lders as (uch as p&ssi)le )e%&re the

pr&+ect has )een started. C&llect all &% the current re%erence (aterial and dr&p it in t& the appr&priate

su)%&lder- &pen up /ud)&x and )e ready t& )egin.

7&* that the sae paths are arranged its ti(e t& )egin using the s&%t*are. 5nce /ud)&x is l&aded

y&u are %ree t& i(p&rt the )ase ge&(etry that y&u *ish t& sculpt and texture. It is i(p&rtant that the

)ase (&del has U8 (apping %&r texturing purp&ses.

The *ay a U8 (ap *&r,s is that a 39 &)+ect is cut up in t& secti&ns and laid &ut %lat- this 29 i(age

is called a U8 (ap. The U and 8 are- si(ply put- the x and y axis &% the U8 (ap th&ugh they are

na(ed di%%erently )ecause the x and y axis are already de%ined &n the 39 (&del al&ng *ith the :

axis. n &)+ect *hich has )een (apped *ill hae extra in%&r(ati&n in each &% its ertices- this

in%&r(ati&n is the U and 8 c&&rdinates related directly t& the U8 (ap. ;hen the U8 (ap is painted

&n- the %aces &% the U8 (ap are then displayed as the %aces &% the 39 (&del.

I% y&ur )ase (esh d&es n&t hae a U8 (ap t& start *ith it is still p&ssi)le t& sculpt and paint &n t& it

)ut y&u *ill )e una)le t& extract any textures until a U8 (ap is present. In &rder t& gie a U8 (ap

t& a (&del a%ter haing sculpted &r textured it y&u *ill need t& i(p&rt a U8 (ap %r&( an external

s&urce- this &pti&n is %&und under the 0ile (enu in /ud)&x.

T& )egin I hae i(p&rted the hu(an )ase (esh pr&ided *ith /ud)&x- this (esh already has a U8

(ap.



Chapter 2 – Basic Sculpting

7&* that *e hae a (esh in the scene *e are %ree t& )egin sculpting. Sculpting details &n t& a (esh

is d&ne )e%&re texturing in (&st cases- this is )ecause i% *e paint textures &n t& an un%inished (&del

*e (ay get dist&rted textures and hae t& scrap *&r, later int& the creati&n.

5ur %irst sculpting tas, is t& )l&c, &ut as (uch detail as p&ssi)le at a l&* su)diisi&n leel. This iss& that *e hae an idea &% the )asic %&r( &% the %inal pr&duct up&n c&(pleti&n. These details *ill

change drastically &er the c&urse &% deel&ping the (&del )ut underneath the %ine detail the large

details persist.

The (ain large details &n a hu(an are parts &% the (uscular structure- such as upper )&dy- ar(s-

legs and )ac, (usculature. This is n&t true in all cases- %&r exa(ple- i% y&u are creating a stylised

character %&r use in a cart&&nli,e enir&n(ent then the (uscular structure (ay )e irreleant and

(ainly painted.

T& de%ine a (&del &% a less tight- (uscular )uild treat the )ulges &% %at and s,in as y&u *&uld treat

(uscular structure )ut )e a*are &% the a%%ect that graity *&uld hae &n a heay extruding (ass

and the density &% (uscle underneath any %at (asses in cases such as Su(& *restlers and heay

*eightli%ters.Ch&&sing the c&rrect )rush is a (atter &% &pini&n and c&(%&rta)ility t& per%&r( these tas,s- th&ugh

s&(e )rushes are n&ta)ly easier and uic,er than &thers t& use. T*& rec&((endati&ns that I hae

are the use &% the Sculpt and the Bulge )rushes. The Sculpt )rush is )est used %&r %lat (uscle

de%initi&n *ith a large sur%ace area- such as upper )ac, (uscles and chest (uscles. The Bulge )rush

is )est used t& %&r( l&ng (usculature running )et*een )&ttlenec,ed p&ints- such as leg (uscles and

ar( (uscles.

Bel&* is an exa(ple &% the )l&c,ing &ut &% c&re (uscular structure &% a (uscular hu(an (&del.



Chapter 3 – a!ered Sculpting

%ter the initial (usculature &% the (&del has )een de%ined and any large- )ase %eatures hae )een

gie the reuired depth y&u can start t& gie the (&del deep details and c&(plex %eatures t& (a,e

the character c&(e t& li%e.

T& )egin y&u sh&uld create a layer in &rder t& h&ld the initial details %&r the (&del. s *ith earliery&u sh&uld start *ith the largest details and *&r, y&ur *ay t&*ards s(aller details *ith (&re layers

and higher su)diisi&n leels.

The *ay in *hich y&u split y&ur layers is d&*n t& pers&nal pre%erence- i% y&u *ish t& create a layer

that c&ntains details %&r the head %irst this is %ine- &r i% y&u ch&&se t& address the details in the %eet &r

t&rs& %irst these are als& alid &pti&ns. The &nly %act&rs *hich re(ain the sa(e %&r eery&ne are that

separate layers sh&uld )e used %&r eery separate secti&n &% the )&dy- and that i% detail layers

&erlap &n t& the sa(e )&dy part the layer *ith the s(allest detail sh&uld )e laid &n t&p &% the layer

*ith )r&ader- less de%ined details.

In (y pers&nal *&r,%l&* I pre%er t& )egin *ith the larger detail areas- the %r&nt and )ac, &% the

t&rs&. I create a layer %&r each and add details in- cycling )et*een the t*& as appr&priate. 5nce Ihae c&(pleted these I then (&e &n t& the legs- then ar(s. s y&u can tell this *&r,%l&* all&*s

(e t& add detail seuentially as it )ec&(es %iner- this is )ecause I %ind it easier and uic,er t& add

su)diisi&n leels and assign ne* layers as I (&e al&ne (a,ing the (&del (&re detailed.

5nce I hae %inished the )&dy I (&e t& the head- %&r this secti&n I g& against (y prei&us

*&r,%l&* and )egin *ith the secti&ns *ith the %inest detail- the %ace. The reas&n I pre%er t& d& this is

that the hair &n a head (ay )e thic, and l&&, li,e a )l&c, &% detail )ut it still &erlaps the %ace and

scalp. In leaing the hair detail until a%ter the %acial detail I can a&id (a,ing the c&((&n (ista,e

&% %&rcing detail t& c&(e thr&ugh *hich *&uld naturally )e c&ered )y the hair.

Bel&* are s&(e isual exa(ples &% the detailing I hae re%erred t&.



Chapter " – #nitial Texturing

t this stage *e hae c&(pleted the physical changes t& the (&del and *e are ready t& )egin

painting super%icial details. ;e can- h&*eer- g& )ac, t& sculpting the (&del at any ti(e )ut *e

(ust ,eep in (ind that d&ing s& (ay cause dist&rti&n t& the textures *hich *e hae already painted

&n t& the (&del.

This stage is used t& set a ne* (aterial and all &% the de%aults *e reuire %&r the (&del. I hae

ch&sen a plain *hite de%ault di%%use and s&lid )lac, specular- gl&ss and incandescence. I hae

ch&sen these &pti&ns )ecause I pre%er t& paint &n t& a plain (esh and use re%erences t& paint the

reuired e%%ects. I d& this )ecause ery %e* &rganic (&dels *ill hae the sa(e alues all &er- this

(a,es a (&del l&&, unnatural in (&st lighting situati&ns.

5nce (y (aterial is set I create a starting paint layer &n the di%%use channel. This paint layer is used

t& h&ld the )ase c&l&ur- &r in this case a pr&+ected texture- &% (y entire (&del. The reas&n %&r this is

that i% I a( eer unhappy *ith the )ase c&l&ur I d& n&t need t& repaint it- I can ad+ust the strength &%

the layer t& )e lighter and (&re )lended.

Bel&* is en exa(ple &% (y initial U8 lay&ut.



Chapter $ – %ainting Channels

5nce y&u hae a (aterial %&r y&ur (&del y&u can then start t& add paint layers. s *ith sculpting-

paint layers are )est used )y secti&n. The secti&ns here (ay n&t relate t& the secti&ns used in

sculpting- %&r exa(ple- instead &% designating l&cati&n)ased layers y&u (ay *ish t& designate

layers t& )e &% areas *ith a si(ilar c&l&ur &r a si(ilar pr&+ecti&n i(age &r sta(p.

;ith using paint layers there is an&ther leel &% c&(plexity present- the use &% texture channels. ll

texture channels can )e painted &n )ut they all als& )ehae in a di%%erent *ay. The %irst channel-

*hich *e hae already t&uched up&n- is the di%%use channel. This channel is resp&nsi)le %&r the

c&l&ur &% the (&del- this channel *ill c&ntain the highest density &% layers as it applies t& eery

aspect &% the (&del.

The sec&nd (&st painted channel is the specular channel. This channel is resp&nsi)le %&r the light

re%lecti&n &% the (esh. This channel (ainly h&lds an intensity alue )ut can als& h&ld a c&l&ur

alue. The intensity alue is resp&nsi)le %&r the leel &% shine &n a (&del- the lighter the c&l&ur

<higher intensity= the (&re light *ill )e re%lected %r&( the (esh- the c&l&ur alue adds a tint t& the

light re%lected.

The %inal (&st painted channel is the gl&ss channel. The gl&ss channel is resp&nsi)le %&r adding a

gl&ssed e%%ect t& the specular (ap. Si(ilar t& the specular (ap the gl&ss (ap h&lds an intensity

alue and a c&l&ur alue. The higher the intensity &% the gl&ss (ap- the )&lder the light re%lected )y

the specular (ap *ill )e- causing a gl&ssed e%%ect t& appear &n the painted area.

n&ther c&((&n channel *hich *e use is the n&r(al channel. This channel can )e painted &n )ut

is ery di%%icult t& achiee a realistic l&&, *ith this (eth&d. >&u can- i% y&u *ish t& paint %alse

detail &n t& a (&del- use the )u(p channel. The )u(p channel *&r,s thr&ugh an intensity alue and

is easier t& paint )ut pr&ides a (uch less realistic result &n a %lat plane.

The *ay a n&r(al (ap *&r,s is that it st&res n&r(al directi&n alues straight &n t& the ?'B &% an

i(age. These alues are ta,en *hen light hits the &)+ect plane and s& calculates a shad&* )ased &n

the separate c&l&urs and intensities- ?ed &n the x axis- 'reen &n the y axis and Blue &n the : axis.

Bel&* is (y c&(pleted highp&lyg&n painting &% the %ace &% (y (&del.



Chapter & – 'xtracting (or )a*es

;hen *e extract &ur textures %&r ga(es *e *ill ign&re displace(ent (aps as ga(e engine

renderers *ill n&t )e a%%ected )y the(. The t*& crucial textures *e reuire are the di%%use and

n&r(al (aps. ;e (ay als& use the a()ient &cclusi&n (ap as a (eans t& add s(all pieces &% detail.

The *ay in *hich *e achiee this is t& ta,e the alpha (ap a*ay and &erlay it &n t& the di%%use

(ap.

s discussed earlier- the di%%use (ap c&ntains all &% the c&l&ur detail %&r the (&del. In &rder t& (a,e

exp&rting the (&del t& /aya an easier and %aster pr&cess y&u sh&uld %irst (erge all &% the di%%use

layers )e%&re y&u extract the di%%use texture.

The n&r(al (ap *ill c&ntain all &% the detail ta,en %r&( the highest su)diisi&n leel &% y&ur (esh.

This detail *ill then )e translated in t& a ?'B texture and applied t& the n&r(al channel &% the )ase

(esh in &rder t& gie the illusi&n &% %ine detail &n the %lat p&lyg&ns acr&ss the (&del.

Bel&* is a c&(paris&n &% (y highp&lyg&n<2.12 (illi&n p&lyg&ns- t&p= (esh and (y )ase

(esh<2-@6 p&lyg&ns- )&tt&(=.

COM604 Tutorial 3

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