In this course, we will cover a workflow for building geometry to better receive high resolution detail. Sculpting high resolution detail into our models has become common practice. To get the high resolution detail out of our particular sculpting package and onto more reasonably detailed meshes requires the use of normal or displacement maps. But the topology that we use to sculpt these meshes isn't always the best when creating our final asset. In this course, we will learn how to redefine the topology on a low resolution mesh so that it better matches the shape of the high resolution version. Using our high resolution mesh as a template, we'll use a variety of polygon modeling tools to redraw our geometry into a more useable form. We'll layout the UVs and finally we'll use Transfer Maps to get the detail from our high resolution geometry to our base mesh. Upon completion, you'll be able to optimize your own models in preparation for adding normal maps. Software required: Maya.
Justin thrives as a lead modeling author at Pluralsight. Growing up, Justin found a deep interest for the computer graphics industry after watching movies like Jurassic Park, Toy Story and The Abyss. His ambition would lead him to work at Sony Imageworks in Los Angeles on movies like Monster House and Surf's Up. Justin has also had numerous articles, tutorials and images published in 3D World and 3D Artist.
Introduction and Project Overview [Autogenerated] Hello, everyone. And welcome to this course with digital tutors landing. Was Gordon going on over the next series of lessons, I'll be explained how we can design characters using various programs on your computer. Currently, I'm working as a freelance artist. The past I've worked on various projects ranging from graphic design and advertising work, Thio comic books and independent films. Did some storyboarding on the Ice Age three films. Hopefully, I can teach you some of the stuff I picked up throughout the years and help you guys create some cool characters out there more about the course itself. We're gonna be using four Program's gonna use Photoshopped, Maya Z Brush on Keisha, And the idea is to start a character from scratch and put them through the three D pipeline so that in the end you will have a fully realized character in three D with proper edge flow in topology for animating. If you wanted to animate it, we'll also set up a material with U V's and texture map supplied to it. And then we'll also go through how to render some of these characters out using mental right inside of Maya as well a ski shop, so you have a couple other options. And how do you wantto render these images out? And then, in the end, will quickly go over how we can prepare some of these models for three D printing on do a little bit of creating Russia's well inside a Z brush. So let's get started with the first lesson.