Book Image

3ds Max Speed Modeling for 3D Artists

By : Thomas Mooney
Book Image

3ds Max Speed Modeling for 3D Artists

By: Thomas Mooney

Overview of this book

Production of 3D art is an exciting medium, but the task of modeling requires intense attention to detail, so speed and efficiency are vital. This book breaks down speed modeling workflow in 3ds Max into stages you can easily achieve, with a focus on hard surface modeling and methods you can apply to your own designs."3ds Max Speed Modeling for 3D Artists" will help level up your 3D modeling skills. It focuses on hard surface modeling, and shows the range of tools and techniques in 3ds Max 2013.This book shows content creation methods aimed at 3ds Max modelers preparing to show their skill to the industry. The key feature of modeling that artists must exhibit is speediness while preserving technical accuracy. The author helps you follow set project guidelines while pushing creativity and outlines the entire workflow from concept development to exporting a game-ready model.The book begins with introductions for new users to the interface and modeling tools, and progresses to topics aimed at users already familiar with 3ds Max, who want to improve their content creation process. You'll also see ways 3ds Max content is used with other applications, like sculpting software and game editors, and learn features of speed modeling, efficient workflow, re-use of content, and tips on getting more done, more quickly.By the end of this book you will have learned key topics in modeling, ready to face professional level work with elan.
Table of Contents (17 chapters)
3ds Max Speed Modeling for 3D Artists
Credits
About the Author
About the Reviewers
www.PacktPub.com
Preface
Index

Combining texture islands to save draw calls


The first time I worked on a game doing environments, a programmer came up to me one day and gave me, very gravely, some instructions on how a game engine renders to the screen. The point of the discussion was that, since I was unwrapping models for texturing, I should use fewer UV islands. Every UV island, at least in a game engine, tends to represent a draw call, so the more of those you have then the more costly assets using the texture becomes. For a tree, for instance, if you have two textures (one for the wood and one for the leaves), that's two draw calls. On top of that, if your UV mapping has two islands for the front and back side of the tree trunk, for example, you're adding more draw calls. Games often have lots of trees, so efficiency is the key.

In the following steps we'll look at how to join two texture islands together, continuing from where we left off:

  1. We have a strip of polygons and a flat circle. They are contiguous on the model...