Overview

This project-based tutorial covers the creation of 3D assets in a game engine, from concept to implementation. You will learn the 3D pipeline using Maya and Substance Painter, which are industry-standard programs used for content creation in game development. You also will know how to add them and work with them in Unity. The book begins with an overall look at the production of game development and the different roles in creating assets. Then, starting with Maya, you learn how to start with a concept and take it through the entire production pipeline: base mesh, UV mapping, high poly, texturing, rigging, and animation. You will be working on one asset project throughout the entire book to understand how one phase leads to the next one. Lastly, you will cover asset placement and integration into Unity. What You Will Learn Build a thorough knowledge of the 3D game asset production workflow Understand how each phase leads up to the next one Know how 3D assets are implemented into Unity Texture, rig, and animate the 3D model Export and import the 3D asset or model Understand the iterative design process Who This Book Is For 3D artists, from beginners to specialists, who are interested in learning the 3D production pipeline of game assets as a whole

Full Product Details

Author:   Nova Villanueva
Publisher:   APress
Imprint:   APress
Edition:   1st ed.
Weight:   0.640kg
ISBN:  

9781484271957

ISBN 10:   1484271955
Pages:   315
Publication Date:   05 December 2021
Audience:   Professional and scholarly ,  General/trade ,  Professional & Vocational ,  General
Format:   Paperback
Publisher's Status:   Active
Availability:   Manufactured on demand  
We will order this item for you from a manufactured on demand supplier.

Table of Contents

CHAPTER 1: What is the 3D Production Pipeline and Why is it Important?Who this Book is Intended forAbout the 3D Pipeline and How it Fits in the Game Design Process3D Modeling3D TexturingWait! What about Rigging and Animation?Textures before Rigging or Backwards?3D AnimationGame Development WorkflowWorking with a TeamHow to Use this BookNon-Linear Game DevelopmentEmbracing and Utilizing Computer ShortcutsUsing the Right ToolsWhat is Maya?What is Substance Painter?What is Unity?PricingGetting StartedThe Importance of Using ReferenceGathering ReferencesSummary CHAPTER 2: Starting with MayaInstalling and Opening MayaWindows InstallationMac InstallationOverview of the InterfaceTop MenuStatus LineMenu SetsShelfChannel BoxAttribute EditorQuick Layout and Outliner ButtonsTime SliderRange SliderPlayback ControlsView PanelMarking MenusHow to Follow along with the StepsCreating PrimitivesTranslate, Rotate, and ScaleTranslateRotateScaleNavigationDuplicate ObjectsDelete ObjectsAdding Edge LoopsPivot ManipulatorMirroring Geometry MethodsDuplicate and ScaleDuplicate SpecialComponent Selection ModeFace, Vertex, and EdgeFace ModeVertex ModeEdge ModeSelectDelete Faces and EdgesTransformScaleRotateExtrude FacesBefore ContinuingShortcutsSet-Up ProjectSetting up the Mech ProjectSummary CHAPTER 3: Creating the Base MeshBase MeshException to the RuleTopologyN-gonsConcave FacesMetricsImage Plane ReferenceSwitching Between Panel ViewsStarting to ModelSymmetryScaleDeselecting and Inverting ComponentsUsing the Channel Box for TransformationUsing Duplicates to Speed Up ModelingDisplay ModesX-Ray ModeModeling the Leg ConnectorsDuplicating the shapes of the Leg ConnectorsModeling the Foot StabilizersModeling Armor for the Motor UnitsBuilding the BodyShaping the HeadAdding Thickness to the HeadModeling the Head DetailsAdding the Neck ModelPositioning the LegInstancing the MechSummary CHAPTER 4: Preparing the Asset for the Next PhaseAdopting Best PracticesPipeline RequirementsWhat is the Outliner and Why Do We Use it?Using the Outliner for Clean UpWhat is Construction HistoryCleaning Up the HistoryStarting to Use the OutlinerCombining, Naming and Freezing MeshesResetting TransformationsFreezing TransformationsPivot LocationsUsing Instancing for Fast PrototypingGrouping Our AssetSummary CHAPTER 5: UV Mapping the 3D ModelWhat Are UVs?The Different Ways You Can UV MapWhat is the UV Editor and What is it Used for?Clean Up for UV MappingSetting Up and Using the UV EditorCreating a Basic UV Map for the MechUVing Multiple Meshes SimultaneouslyDeleting History if Our UVed MeshesOptimization of Mesh UVsCutting and Sewing SeamsUnfolding UV ShellsHandling a Real-Life UV Pipeline ScenarioOptimizing and Arranging UVsTexel DensityMoving, Arranging, and Packing UVsIt Always DependsFinal Arrangement and LayoutSummary CHAPTER 6: Creating the High Poly ModelWhat is a High Poly Model?Why Create the Illusion of DepthThe Different Approaches to End Up with a Low and High PolySetting up for the High PolyWhat is the Difference between a Low and High Poly Model?Creating the High PolyAdding Details and Edge Definition to the BodyModeling in a Non-Destructive WayAdding Details to the FeetAdding the Rest of the Mech’s DetailsSummary CHAPTER 7: Texturing the 3D ModelUsing Floaters to Add Texture DetailsGetting Our Maya Files ReadyWorking With Multiple Texture on a Single ModelExporting the FBX ModelInstalling and Opening Substance 3D PainterOverview of the InterfaceTop MenuToolbarLayersPropertiesViewportTexture Set ListAssetsDisplay SettingsSetting Up to TextureBaking the ModelCreating Textures Using a PBR PipelineStarting to TextureMaskingWorking with Multiple MaterialsAdding Sticker DecalsExporting the TexturesConfiguring Custom Output Texture MapsSummary CHAPTER 8: Rigging the 3D ModelWhat is Rigging?Understanding Mesh AnimationWhat are Joints?Working with JointsCreating JointsArranging JointsMoving JointsMirroring JointsWorking with Control CurvesCreating a Control CurveUsing Kinematics for MovementCreating IKs for the LegsWhat are Constraints?The Importance of Using ConstraintsCreating GroupsSetup the Head ControlSetup the Body ControlSetup the Left and Right FemurSetup the Left and Right TibiaSetup the FeetGrouping SystemSummary CHAPTER 9: Bringing the Asset to LifeIterative DesignAnimating the MechAnimation StatesSet up the Scene for AnimationCreating the Idle the AnimationAdding Keyframes on the MechDeleting KeyframesExporting the Animated MechInstalling and Opening UnityOverview of UnityCreating a New ProjectNavigation in the Scene ViewInterfaceWorking with Assets in UnityUsing the HierarchyUsing the InspectorAdding Textures to Our MechChanging Shaders and Linking Textures to Map SlotsAssigning the Materials to the Mech AssetWorking with Level of DetailsPlaying the SceneWhat about Other Assets?SummaryWrapping it All UpWhere to Go from Here?Staying Inspired

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Author Information

Nova Villanueva is Professor of Game Design at Pratt Institute, New York, USA. She has taught game development for more than five years at Pratt, Parsons, and New York’s College of Technology, and is an independent game developer working on The Mills game. She live streams her game development process at twitch.tv/novavillan. Nova has previously worked as a 3D artist for Animatic Media, a 2D artist for the Webby award-winning Mafia Wars game developed by Zynga, and is a published artist featured in the Photoshop Creative magazine. She has an MFA degree in game design from the NYU Game Center in New York and a BS degree in media arts and animation from the Art Institute of Fort Lauderdale, Florida.

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