このコースについて

次における4の3コース

100%オンライン

自分のスケジュールですぐに学習を始めてください。

柔軟性のある期限

スケジュールに従って期限をリセットします。

中級レベル

Familiarity with Maya 3d modeling software essential, basic knowledge of zbrush, substance painter, and marmoset also needed.

約14時間で修了

推奨:8 -12 hours per week can be expected. Workload is based on complexity of chosen subject....

英語

字幕:英語

学習内容

  • Check

    Model accurate block-in, mid poly meshes

  • Check

    Create high poly models with a real world level of accuracy

  • Check

    Create game-ready low poly meshes for a real-time environment

  • Check

    Texture and render models to give them the appearance of photo-realism

次における4の3コース

100%オンライン

自分のスケジュールですぐに学習を始めてください。

柔軟性のある期限

スケジュールに従って期限をリセットします。

中級レベル

Familiarity with Maya 3d modeling software essential, basic knowledge of zbrush, substance painter, and marmoset also needed.

約14時間で修了

推奨:8 -12 hours per week can be expected. Workload is based on complexity of chosen subject....

英語

字幕:英語

シラバス - 本コースの学習内容

1
4時間で修了

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件のビデオ (合計93分), 2 readings, 4 quizzes
9件のビデオ
Essential Modeling Tips8 分
Essential Modeling Tools18 分
Essentials Substance Painter9 分
Essentials ZBrush9 分
01 Reference8 分
02 Image Planes7 分
03 Initial Block-In19 分
04 Refining Initial Block-In3 分
2件の学習用教材
Essential Skills/Software10 分
Choosing Your Project10 分
3の練習問題
Essentials Quiz16 分
Planning and Reference
Rough Block-In
2
2時間で修了

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件のビデオ (合計83分), 2 quizzes
8件のビデオ
02 Mid-Poly Eye Piece Swivel8 分
03 Mid-Poly Eye-Piece Viewer7 分
04 Mid-Poly Body15 分
05 Mid-Poly Battery4 分
06 Finish Mid-Poly Body15 分
07 Mid-Poly Swivel Mount8 分
08 Mid-Poly Strap Mount8 分
1の練習問題
Mid-Poly Modeling
3
3時間で修了

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件のビデオ (合計104分), 3 quizzes
10件のビデオ
02 High-Poly Eye Piece Swivel5 分
03 High-Poly Eye Piece4 分
04 High-Poly Swivel Mount5 分
05 High-Poly Objective Lens14 分
06 High-Poly Battery & Switch14 分
07 High-Poly Body Cap12 分
08 High-Poly Prepping the Body12 分
09 High-Poly Body10 分
10 High-Poly Floaters17 分
2の練習問題
Sub Division Modeling
ZBrush Modeling
4
2時間で修了

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件のビデオ (合計49分), 2 quizzes
9件のビデオ
Low Poly Objective Lens9 分
Low Poly Strap Mounts3 分
Low Poly Battery Pack3 分
Low Poly Battery Switch3 分
Low Poly Swivel Mount3 分
Low Poly Eye Piece4 分
Low Poly Finishing Body11 分
UV Layout4 分
1の練習問題
Low-Poly

講師

Avatar

Andrew Dennis

Professor of Practice
Media and Information

ミシガン州立大学(Michigan State University)について

Michigan State University has been advancing the common good with uncommon will for more than 150 years. One of the top research universities in the world, MSU pushes the boundaries of discovery and forges enduring partnerships to solve the most pressing global challenges while providing life-changing opportunities to a diverse and inclusive academic community through more than 200 programs of study in 17 degree-granting colleges....

Art for Games の専門講座について

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....
Art for Games

よくある質問

  • 修了証に登録すると、すべてのビデオ、テスト、およびプログラミング課題(該当する場合)にアクセスできます。ピアレビュー課題は、セッションが開始してからのみ、提出およびレビューできます。購入せずにコースを検討することを選択する場合、特定の課題にアクセスすることはできません。

  • コースに登録する際、専門講座のすべてのコースにアクセスできます。コースの完了時には修了証を取得できます。電子修了証が成果のページに追加され、そこから修了証を印刷したり、LinkedInのプロフィールに追加したりできます。コースの内容の閲覧のみを希望する場合は、無料でコースを聴講できます。

  • 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

  • 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.

  • 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!

  • 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.

さらに質問がある場合は、受講者向けヘルプセンターにアクセスしてください。