INSIDE 3DS MAX® 7 [Electronic resources] نسخه متنی

1.

Begin by opening the file 9_head_start.max (Figure 9.43).

The scene consists of an incomplete head model. Around the eye area, you can see edges looping out from the eyelid. It's our goal to create the mouth and nostrils using a similar layout of geometry.

2.

In the Perspective viewport, zoom in to get a good view of the area you're working onin this case, the mouth region (Figure 9.44). Select the head, and navigate to Edge sub-object mode in the object's modifier stack. Enable Show End Result and disable Show Cage to make things clearer.

3.

From the Edit Geometry rollout, activate Cut. From the top of the place where the lips will begin, start to cut, clicking at each edge around the top to form the outline of the lips (Figure 9.45). At the corner of the mouth, add three cuts before continuing around to the bottom lip; you will need these extra points to connect to the existing edges.

Think of this technique with the Cut tool as "sketching into your model." You're drawing the outline for the model's lips directly onto the geometry. You can then refine/tweak the shape to suit your needs. The benefit of this is very quick visual feedback about where your detail is going before you fully commit to it.

4.

In Vertex sub-object mode, select corresponding pairs of vertices, and in the Edit Vertices rollout, connect them at what will become the corners of the mouth (Figure 9.46).

5.

Now it's time to tweak, using the Move tool to select vertices and fashion them into a more recognizable mouth shape (Figure 9.47). Be sure to keep Arc Rotating the viewport to see if the shape is working from all angles. If you alter the Reference Coordinate System to Local, it can be easier to move vertices while in the Perspective viewport.

Tip

Whenever you are modeling directly in the Perspective viewport, it's always a good idea to continually rotate around your object to see how shapes and forms are working. All too often, you'll see heads modeled that look wonderful from the front, but as soon as you rotate them left or right, they become flat or misshapen. By constantly checking the shape of your creations in all axes, you'll have a much better understanding of when things aren't looking right.

6.

Once you're happy with the shape of the mouth, select the edges that make up the outline, and from the Edit Edges rollout of the Modify panel, chamfer them slightly, creating two edges where you had one (Figure 9.48).

7.

You now have two outlines of edges. Leave the outer loop so it still represents the shape you want. We're going to treat the new inner edges as the opening of the mouth. To make this clearer, select all the polygons on the "inside" of the mouth and delete them.

8.

Now reshape the vertices to form the line of the inner lips, again remembering to keep rotating around to check the shape (Figure 9.49).

9.

You've created the two defining borders of the lipsthe outer edges and the inner edges. The next step is to flesh out the lips. Select one of the vertical edges that run around the lips, use Ring to select all the adjacent edges, and then use Connect to create a new edge loop.

Note

Functions such as Connect, Loop, and Ring are used extensively when modeling a character this way. Speed things up by using the right-click Quad menus to quickly access these commands. Or assign your own keyboard shortcuts from the Customize > Customize User Interface menu.

10.

Go back to the Vertex level. This time, pull out the definition of the lips using the points you've just created. The bottom lip tends to be the fleshier of the two, so try to reflect that in the shape you give it (Figure 9.50).

11.

Connect the edges and then, at the Vertex level, move the points so that the newly created edges form a more natural flow with their neighboring polygons (Figure 9.51).

Note

It's very common for the surfaces of models to take on a stiff or rigid appearance when modeled this way. Newly created vertices usually need to be manipulated to keep the model looking organic.

12.

Apply a TurboSmooth modifier to the head so you can see how it's shaping up. At the Editable Poly level of the stack, turn on Show Cage (if it isn't active already).

13.

At the Edge sub-object level, select the loop of edges that makes up the perimeter of the mouth, and from the Edit Edges rollout, open the Chamfer Edges dialog. Set the Chamfer Amount to around 0.10 (Figure 9.52).

1.

Remove the TurboSmooth modifier from the stack and disable Show End Result. Select the five edges shown in Figure 9.53 and then connect them.

2.

Switch to Vertex sub-object mode, and move the new points toward the edge of what will become the nostrils. Bunching the edges together like this will give us the desired definition from the face when it's smoothed.

3.

We're going to need some more points to flesh out the shape of the nostrils further. Select and connect the edges shown in Figure 9.54.

4.

In Vertex sub-object mode, select and connect the two vertices (Figure 9.55).

5.

You'll need to tidy things up in this area now, as you've got a few too many polygons with more than four edges. So choose Insert Vertex from the Edit Edges rollout and click the two edges of the triangular polygons you've made.

6.

Now you'll anchor these points by connecting them to their neighboring vertices. Then connect them to the vertices opposite and move them out (Figure 9.56).

7.

Turn on Show End Result and Arc Rotate the viewport until you can see under the nose. Select the large polygon face you've left there, and from the Edit Polygons rollout, bring up the dialog for Inset. Using the Inset Amount value brings the face inward (Figure 9.57); this poly face will now become the nostril opening.

8.

Delete the face you've just inset to get a clearer view of what the nose will look like when you create the nostril. You can probably see that the shape of the hole isn't quite right. You'll need to add some more geometry.

9.

In Edge sub-object mode, select the ring of edges that made up the septum (the bridge between the two nostrils) and connect them.

10.

This is the time to be looking in the mirror! In Vertex mode, move the points around the nostril until you have defined the shape of the nostril (Figure 9.58).

1.

Time to bring the skin of the nostril back up into the head. Select the border of the hole and Shift-drag it back up into the nose (Figure 9.59).

2.

Select the ring of edges that now make up the ridge around the nostril area and connect them to create a new edge loop. This will give us sharper detail in this area when the model is subdivided (Figure 9.60).

3.

Apply a MeshSmooth modifier to the head model, and with Show End Result and Show Cage both enabled, tweak and pull the points until you're satisfied with the final shape of the nose (Figure 9.61).

You've almost completed the mouth and nose regions of the head. The only thing left is to check the flow of the edges you've used so far.

4.

If you zoom in on the region where the top lip meets the nose, you can see that you have a five-sided polygon where you would rather have a quad poly. To rectify this, first add some more points to the lip. Select and connect the edges that run from the lip upward to the five-sided polygon.

5.

Connect one new vertex to the existing one at the edge of the nostrils (Figure 9.62).

You can see how this has helped our model's structure by highlighting the clear set of edges that flow outward from the lips (Figure 9.63).

6.

Finally, just in case you did not do it earlier, apply a MeshSmooth modifier to the model (Figure 9.64).