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Bridging The Gap VA Family

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Khalid Swift
Khalid Swift

Low Poly Base Mesh High Quality


The rigging uses simple vertex groups. The hands use only enough rigging to pose fists or weapon grips. Because of the low poly count, some extreme poses will leave messy joints. The male/female faces have no details and the foot is as if wearing shoes (i.e. the toes aren't modeled). The bodies have very basic proportions (heroes might be taller and more muscular).




Low Poly Base Mesh


Download: https://www.google.com/url?q=https%3A%2F%2Furlcod.com%2F2u9w7d&sa=D&sntz=1&usg=AOvVaw1vy_kDnGtRxIgsS4oGHFb-



I have been looking around for nice low-poly human models that deform decently, and yours are them! THANK YOU!!!! Just one problem- I think you should have deleted a few vertices from the lower arm group, as it shrinks a bit when bending. GOOD JOB!!! KEEP IT UP!!! ;)


Clint, thank you so, so very much for this simple and effective model. I've been digging for a simple human mesh like this for generic drawing purpose, not just for game art creation. I just couldn't bother to make my own simple human mesh from scratch!


In this portion of the series we are going to cover creating a base mesh model. A base mesh is the model intended for sculpting and ultimately is the beginning of what our high poly model will be. For this project, the base mesh will include organic sections such as the face and body, which will then be sculpted and used as a basis for armor design in future sections. Using this workflow is a great way to increase speed and really get your ideas into 3D quickly, worrying about overall aesthetics first and clean topology second.


To begin, I split up the character based on the views that I will need. For me this is just going to be a roughguide to help ensure the accuracy of proportions. When it comes to detailing, I tend to switch to a freestyle workflow. In Photoshop, select the area that includes the front view of the character. Press Ctrl + C to copy the information, open a new document and save it as a new image. Repeat the process for the side view, making sure to take note of the height and width of each image (Fig.03).


From here on out, we will basically be using the same technique to mark key landmarks of our base mesh. The key to a good base mesh is evenly distributed polygons, meaning that all of the faces are roughly square and that no area is denser than the others. However, if the model is broken into different sections (e.g., a head and a body) the head could be denser than the body depending on what you need. Another important thing to keep in mind is that ZBrush does not play kindly with triangles, so the model should be mostly made of quads with triangles reserved for areas that won't need sculpting attention.Continue to extrude edges to mark the extreme angles of the character's face, outlining the brow, bridge of the nose and the chin. Try not to go into too much detail when creating the base mesh as a large portion of the high resolution work will be done in ZBrush. Also, the more dense a mesh is the more complicated it becomes to work with as there are more vertices to manage (Fig.13).


Extrude edges from the base of the clavicle all the way down to the waistline, adding a slight indication of where the chest will protrude. Using the side reference shot as a guide, begin to block in a loop for the entire waist. This quickly helps to show how wide the character will be and will also act as an anchor for connecting edges to the chest and legs (Fig.24).


From here define the mass of the deltoids. I like to create a loop that circles the upper portion and loops around the arm. This comes mainly from an animation standpoint that has carried over to my base model creation technique, but it also helps to define the valley where the clavicle, trap and deltoid meet (Fig.26).


To complete the body, the rest of the work is really just filling out these major points that we have defined with clean topology, keeping the mesh equally dense and composed of four-sided polygons. Much like the shoulders you should define the hips with a loop that will circle the legs. I also like to continue the edge flow of the shoulders across the entire back (Fig.27).


This package contains a low poly base mesh of a bear. The mesh consists of mainly quads and is optimized for sculpting with even poly distribution and slightly higher poly concentrations in areas of high detail like the head. The clean edge flow makes it easy to modify the mesh. It is also a great starting point for a low poly game model.


I'm a mega beginner, so I'm not exactly sure how to word my question to find good answers. I have been looking through videos and forums but I don't even know what it is I need? I just know I want to be able to paint this, and a high poly sculpt needs to be 'baked' (right?) onto my low poly retopo. I don't know where to go from here, please direct me to the right area. Maybe a short rundown/summary of the process would suffice if it's too complex to explain and I'll look up and research it, I just know what to look up or what do to at this point.


a) bake the Normal Map from the Multires Modifier OR bake it from the high-poly sculpt (1c) to the low-poly version. The purpose is to have a low-poly mesh but with the details of the high-poly/MultiRes version. (Low-poly + normal map == high-poly)


b) block out the base colors (Diffuse color) with a basic node setup (Ambient Occlusion and Pointiness). These nodes only work in Cycles. Baking them makes them available in Eevee and speeds up rendering


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