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Re: How The F*#% Do I Model This? - Reply for help with specific shapes - (Post attempt before asking)

@rudenko_je Welcome to Polycount. Consider checking out the forum information and introduction thread.

This thread has a lot of great resources so it's probably worth taking some time to skim through the recent posts and look for examples of how other artists have solved similar problems on other shapes.

A couple of posts up there's a recent write up that covers the basics of cutting holes in curved shapes without creating noticeable smoothing artifacts. The same basic concepts can be applied to these rectangular slots on the side of the cylinder.

A few pages back there's also a couple of other posts that cover different approaches to similar topology issues.


There's a few different ways to approach this problem so it makes sense to start with the easiest solution first.

The current edge bevel weight layout stops at the corners of the intersecting shapes and this means there's no path for the new edges to run out across the rest of the mesh. This forces the bevel modifier to merge the new edges in the corner of the shape, which deforms the side of the cylinder and the corners of the rectangular cut out.

Adding bevel weights to the loops directly behind the rectangular cut out provides a path for the new edges to run out across the rest of the mesh and connect to the adjacent shapes. This improved topology routing should solve most of the smoothing issues around the corners of the rectangular cut outs but may cause minor smoothing issues where the new edges run parallel to the edge segments that make up the walls of the cylinder.

Provided there's enough geometry density, the new edges that run parallel between the existing segments of the cylinder shouldn't cause any major smoothing issues. If the new edges do cause minor smoothing issues then it may be necessary to slide them along the surface of the cylinder to relive the smoothing tension caused by the subdivision.

It is worth noting that this kind of adjustment isn't entirely optimal since it can contribute to shape inaccuracy and potentially cause other types of smoothing artifacts. While there are some situations where it makes sense to manually adjust the supporting geometry, in most cases it's generally considered best practice to use an appropriate amount of geometry in the base mesh to accurately hold the shapes.

Below is a comparison of two different edge weight paths used to control the support loops generated by the bevel modifier.



Another strategy would be to use the existing geometry of the cylinder as part of the outer support loop around the shape intersection. In most cases this can be achieved by offsetting the intersecting geometry or using inset operations to create the inside profiles of the cut outs. When joining or subtracting shapes from curved surfaces it's important to match the segments of the intersecting shapes and provide some space between the existing geometry for the support loops to take up any difference between the geometry that defines each surface feature. This topic is covered in depth a few posts up in the thread.

Here's an example of what this process could look like when cutting a rectangular shape out of a larger cylinder. Start by adding the support loops on either side of the intersecting shape. Select the interior faces that define the area of the rectangular cut out and run an inset operation. Dissolve the interior geometry to create the rectangular cut out. Add the perpendicular support loops near the corner of the shape intersection then add the support loops on the inside of the rectangular cut out.



Either approach will work, when using the appropriate amount of geometry, on both solid and hollow shapes.



Recap:

Provide a clear route for support loops to run around the shape and terminate unnecessary support loops in an area that won't disrupt the underlying topology. When merging shapes with curved surfaces it's generally going to be a good idea to match the segments and provide some space between the existing geometry elements to act as a support loop and take up any difference between the shapes.

Re: The Bi-Monthly ENVIRONMENT ART Challenge | July - August (73)

Hi all! I brought mine into Unreal the other day, wanted to show off my ab chair for a nice chuckle....lol. Just blocking out rough shapes that I plan on either modeling better later or sculpting, depending on the importance of it. Ab chair is in the sculpt column haha.

Color helps me block out shapes better, still a good amount of adjustments to do in terms of silhouette of each prop, but that seems to always be a thing that improves as you go. And some things are straight up missing, but hoping to get more in this weekend. Pretty tired this week.

kateblackskateblacks
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Re: The Bi-Monthly ENVIRONMENT ART Challenge | July - August (73)

High poly and low poly are mostly done, now is the time for some cleanup and for materials. I am planning to use separate material for sails and ropes and reuse the same UV for wooden masts and beams.
I also think it is a great chance to work with Unreal water and volumetric clouds.


TnnvTnnv
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Re: The Bi-Monthly ENVIRONMENT ART Challenge | July - August (73)

Hello everyone! I'm thrilled to participate in this challenge because Bryan made an amazing concept that is a big pleasure to work with. Just finished the blockout (it's a little far for just a blockout, but still), and want to share with you my WIP, guys. The most valuable feedback I got on this - "exaggerate the shapes because everything is too uniform". I will do it in ZBrush phase, where I'm planning to create the majority of my normal info and go crazy with shapes as I'm planning to retopo later in 3DCoat. 
Btw, I got a lot of modular pieces to save time: walls, pillars, windows, stairs.


MikeKhineMikeKhine
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Re: The Bi-Monthly ENVIRONMENT ART Challenge | July - August (73)

Started on my blockout last night in Maya. Still have a lot of proportions to work out and a lot to add that'll inform better proportions. Was fun to have some murder mysteries in the background with this kind of scene.


kateblackskateblacks
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Re: The Bi-Monthly ENVIRONMENT ART Challenge | July - August (73)

I'll be joining this slowly. Still trying to wrap my head on what to do next. Did a blockout in Blender and threw it into UE4, and trying to match cameras. Not there yet.  adding to my stuff. I've never used blender, this is a challenge for me as I am primary a 3Ds max user who's migrating.
wirrexxwirrexx
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Sleepyhead

Hey guys!
Eversince I saw the sleeping lady's sketch by amazing Deema Egorov, I knew I would sculpt this one day!
Sculpting and polypainting is done in Zbrush and Rendered in Marmoset toolbag, and the cool black lines around the shadows are rendered in 3D and refined in Photoshop!
Here is the link to Turntable:   https://vimeo.com/574070360 
I hope you guys enjoy it




MiladbahariMiladbahari
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Re: LOW-POLY ART


24 tris
128x128 texture



68 tris
64x128

dadnabbitdadnabbit
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