Book Image

Blender 3D Asset Creation for the Metaverse

By : Vinicius Machado Venâncio
Book Image

Blender 3D Asset Creation for the Metaverse

By: Vinicius Machado Venâncio

Overview of this book

If you are familiar with modeling, this book will help you discover a practical and efficient workflow designed to accelerate your asset creation process for use in multiple projects, including games and the metaverse. Complete with shortcuts and tips on how to speed up the process, this book guides you in modeling assets and characters with the help of references. You’ll learn how to optimize the modeled asset for maximum rendering performance within game engines and the metaverse. Next, you’ll get to grips with unwrapping the 3D model for texturing and explore multiple texturing techniques to breathe life into your 3D models. Finally, you’ll integrate the 3D model to work seamlessly across a myriad of programs and game engines. By the end of this book, you’ll have the skills to efficiently create any type of 3D asset from scratch for use in renders, animations, or immersive gaming experiences.

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Table of Contents (16 chapters)
Preface
Preface
Who this book is for
What this book covers
To get the most out of this book
Download the color images
Conventions used
Get in touch
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1
Part 1: Inorganic Asset Modeling
Part 1: Inorganic Asset Modeling
Free Chapter
2
Chapter 1: Modeling the 3D Asset
Chapter 1: Modeling the 3D Asset
Gathering references
A quick tour of Blender
Blocking out the asset’s general shape
Building the headphones inside Blender
Refining the block out to add detail
Summary
3
Chapter 2: Optimizing Your Asset for Better Rendering Performance
Chapter 2: Optimizing Your Asset for Better Rendering Performance
Deciding whether an asset has excessive geometry
Reducing excessive geometry
What to keep in mind while optimizing a model
Summary
4
Chapter 3: UV Unwrapping Your 3D Asset
Chapter 3: UV Unwrapping Your 3D Asset
Finding the right edges on which to place seams
Unwrapping the headphones
Packing the UVs
Checking for practical use
Summary
5
Chapter 4: Texturing Your 3D Asset Using PBR and Procedural Textures
Chapter 4: Texturing Your 3D Asset Using PBR and Procedural Textures
Setting up your workspace
A physically based rendering workflow
Summary
6
Chapter 5: Texture Painting and Using Real-Life Images as Textures
Chapter 5: Texture Painting and Using Real-Life Images as Textures
Setting up your texture painting workspace
Baking the textures
Summary
7
Part 2: Organic Asset Modeling
Part 2: Organic Asset Modeling
8
Chapter 6: Introduction to Blender’s Sculpting Tools
Chapter 6: Introduction to Blender’s Sculpting Tools
Blender’s default sculpting tools
Advantages of using a graphics tablet to sculpt
Suggested uses for the brushes
Summary
9
Chapter 7: Making the Base Mesh for a Humanoid Character
Chapter 7: Making the Base Mesh for a Humanoid Character
General body proportions for humanoid characters
Blocking out the base mesh
Summary
10
Chapter 8: Refining the Base Meshes
Chapter 8: Refining the Base Meshes
Refining the head and face
The neck
The chest
The upper back
The arms
The abdomen
The pelvic area
The legs
The hands
The feet
Merging the different parts
Summary
11
Chapter 9: Optimizing the Base Meshes
Chapter 9: Optimizing the Base Meshes
What is good topology?
Setting up the retopology mesh
Retopologizing the base mesh
UV unwrapping our base meshes
Summary
12
Chapter 10: Rigging the Base Meshes
Chapter 10: Rigging the Base Meshes
Types of movable joints in the human body
Rigging our character
Weight painting
Limiting the movements of the joints
Adding IK to our rig
Generating a full rig with the Rigify add-on
Summary
13
Chapter 11: Further Development as a 3D Artist
Chapter 11: Further Development as a 3D Artist
Improving quickly
The importance of feedback as an artist
Summary
14
Index
Index
Why subscribe?
15
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Packing the UVs

UV packing is the process of optimizing the UV island’s placement in the UV map, and it can be done to one object or several. It makes it possible to use just one texture in several objects (only necessary if you want/need one texture map for multiple objects or for baking the textures correctly, which will be explained in depth in the next chapter. You’ll use this for exporting your model to another program besides Blender, for example.)

Once again, if you have a high-poly version of your model and want to transfer the details from the high-poly to the low-poly version, only the low-poly version needs fully working UVs, so you’ll only want to do proper UV packing for the low-poly version.

To properly pack our UVs, we need to think about both the size and visibility of each object, and it’s pretty intuitive: the bigger or more important it is, the more space it should occupy in the UV map.

You should only manipulate the scale, rotation...

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