Topology Chapter 01 | An Introduction to Topology
Chapter 01 - An introduction to Topology Software used: 3ds Max
Introduction Over four chapters we’ll be talking about topology. This is a subject that causes problems to many people and in most cases the problem is purely in simple details that can be easily avoided if we plan our modeling and try to get clean topology.
There are a large number of issues that are recurrent concerning topology, especially when the models are made for animation. This will be our focus: making good topology for animation. Once you can do this you should be able to cope with anything, even high poly models for still images (Fig.01 – 02). We will also look at how to achieve functional topology. We will talk about the theory of edge loops .The tools we use to do this will not be focused on, as what is important is the principles. Once you understand these they can be applied in any package.
To begin it is important to say that when it comes to modeling there is no single correct way to work. Every modeler should understand the way that works best for him or her and choose their own pipeline and method. In this series I’ll be working with a pipeline that works for me in most cases, especially for characters. Nevertheless there is a short list of things that are important to keep in mind. So let’s get started.
I’ll be demonstrating these points using a character from a personal project ( Fig.03). His name is Miranda. We won’t focus on the modeling process so we will move straight onto topology.
Most tutorials start by teaching the boxmodeling technique and it’s really important to know how to use and understand these tools,
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Chapter 01
Chapter 01 | An Introduction to Topology Topology but today we have the retopology process. This allows us to separate the art/sculpture process from the technical one. We can focus on the shapes, gesture and design without coming across technical issues all the time (a spiral loop or triangles for example). This means that you can create the model in an artistic way and then clean the topology afterwards.
To do this you would use tools like the Snap tool, which allow us to work freely by changing the direction of loops, and deleting and creating polygons. It’s faster to do things this way and means that the result is 100% clean and functional topology. However, this does highlight one of the problems with box modeling. It means there are many loops and polygons that will appear useless.
These days the process no longer needs to be linear. We can come and go easily from one program to another to make adjustments using the Projection tool or the GoZ plugin. In addition, all major 3D programs import .obj extensions. For this tutorial I will use XSI for polygonal modeling, ZBrush for sculpting and Silo for the retopology.
I will be looking at a character that has organic and inorganic forms. We will start the tutorial with a rough base without worrying about the loops as we just need something to work with in ZBrush. Fortunately for us artists new tools are appearing all the time that help us avoid the base mesh process, such as ZSpheres. After you have created the base mesh, export
until you have the shape and proportions you
So to start with you need a rough base mesh,
the .obj le into ZBrush (Fig.05). The next step
are happy with. Don’t forget that things can
which in my case was made in XSI. Note that I
is to start the blocking process, which in my
still be adjusted after you have handled the
don’t even have loops for the eyes and mouth,
opinion is the fun part. As it’s not the point of
topology, but we will come back to that later.
etc (Fig.04).
this tutorial I won’t talk about the sculpting of
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my image; you will have to create your own
I worked with stylized characters proportions:
character and then we will look at the topology
a big head, heavy hands and thin arms ( Fig.08
of it. To make my model I primarily used three
– 9). You can see the legs before and after the
tools: the Standard, Clay and Move brushes.
sculpting process in Fig.10 – 12.
Fig.06 – 07 show a few of the stages of my
As I mentioned, the point of this process is not
modeling process. Work with your character
to talk about the sculpting process, so let’s start
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Chapter 01
Topology Chapter 01 | An Introduction to Topology working on our topology. I use Silo because I really like the way the Snap tool works, but the principles can be followed in other software packages as well.
I usually start the process by making the high poly model slightly transparent as I think it helps with viewing the topology. If you are using Silo you can turn on Ghost Shaded mode and hide the wireframes (Fig.13 – 14).
Remember to turn on the Snap tool before starting to retopologize. You can nd this tool in all the main software like Maya, 3ds Max, XSI and modo etc. Even ZBrush has great tools to do this (Fig.15).
It is very important to make the loops follow the ow of the volumes/shapes and avoid triangles and shapes with any other amount of sides than four. You will come across problems if you use shapes with more sides than four when using blend shapes, rigging or even when rendering. Some software doesn’t work correctly when rendering displacement maps and using geometry with triangles.
Start by creating a single polygon and extruding the edges from it. In the beginning the most important thing is to set the direction of the loops (Fig.16 – 17). I usually work in separate areas and then try to connect them. You can see this at work in Fig.18 – 21.
Make the loops follow the general ow of the muscle. Knowledge of anatomy helps at this point. If you don’t feel condent doing this, nd a reference that will help you to make sure it ows
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Chapter 01
Chapter 01 | An Introduction to Topology Topology correctly. You will also nd that the pieces join together better if you follow this rule.
In Fig.22 you will see a higher density of edge loops at the corner of the mouth. This is quite important because if you were making it for an animation you would need these to make the face smile, speak or kiss. You can see how the polygons ow around the face and around the neck (Fig.23 – 25).
In Fig.26 you can see how the direction of the loop follows the collarbone. At the tip of the collarbone we will need to create a circular shape that allows for the rise in the shape of the shoulder.
Make the shoulder loop ow down the chest. This will allow the geometry to behave in a similar way to muscles after rigging (Fig.27 – 28). If you do this correctly you can get good results using simple blend shapes matching the bone’s rotation.
Continue to follow the ow of the muscles and forms for the nose and eyebrows, as I have done in Fig.29 – 30. You will be doing this all over your model, matching the ow in the
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Chapter 01
Topology Chapter 01 | An Introduction to Topology separate areas and then joining them together when the different areas meet ( Fig.31 – 34).
In Fig.35 – 36 you can see how to x problem areas in the topology. In Fig.35 you can see the unwanted triangle and the adjustments made. Each problem area you come across will require a tailored solution. When you browse for shapes that haven’t got four sides in your geometry you will come across a few areas where there are problems. Usually this can be solved quite simply by connecting the problem shape with the polygon next to it. This would usually create a square. Another trick is to cut the geometry and make it a quad.
Try to keep the same distance between the loops as much as is possible. This will prevent many problems when creating the UVs and textures, and will avoid division problems when rigging and animating Fig.37 - 38.
Fig.39 is a snapshot of the nal head topology. This topology provides enough loops to help the animator to achieve the creases that would be made when the face is expressing emotions. In a professional environment it would be necessary to speak to the rigging and animation team to make sure that you cater for every sort of animation that they would like to do.
When you have done this you can delete the high poly base and nalize any of the remaining details like the inside of the mouth and around the eyes. In the next chapter we will be looking at creating the rest of the body and the accessories.
Diego Maia For more from this artist visit: http://maia3d.blogspot.com/ Or contact him at:
[email protected]
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Chapter 01
Topology Chapter 02 | Limbs and Accessories
Chapter 02 - Limbs and Accessories Software used: 3ds Max
In the rst chapter we talked about the concept of topology and how retopologizing can make the process faster and help you get much better results. We have already done the retopology for the head and the torso, so now we are going to talk about the arms, hands, feet, pants and shoes (Fig.01 – 02).
As I mentioned in the previous chapter it is important to choose the direction the loops follow. So open the model that you left at the end of the rst chapter and we will start working on the forearm and linking it to the shoulder.
At this point you can work with larger polygons and add a subdivision later if you want as this is a bit faster. Just be careful because it can generate loops and polygons that are not necessary (Fig.03).
You can see in Fig.04 – 05 how this way of creating the topology allows you to create loops that follow the contours of the anatomy.
We now have enough loops to create Blend Shapes to inate or reduce any muscle/volume on our geometry. It is worth pointing out that you need to try to make sure the polygons have
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Chapter 02
Chapter 02 | Limbs and Accessories Topology
an average size and distance. Avoid having tremendous differences between polygon sizes.
The next step is to dene the direction of the loops on the hand and ngers. Note that I didn’t start from the edges that come from the wrist (Fig.06 – 08).
Next we will move on to the pants. You need to follow the same procedure as stated before. Even though this is simulated cloth, it is worth
When you move on to create the thigh area,
creating topology that ts the cloth’s folds. This
extrude a large polygon, then subdivide the
is so that these folds can be exaggerated if the
points and position them using the Snap tool
character is to be animated. If you are modeling
(Fig.12).
a character that has very detailed topology it is probably not necessary to create these folds in
The loop then goes below the knee, which
the cloth (Fig.09 – 10).
means that we will have the shape of the knee when the leg bends. This means we will avoid
In Fig.11 you can see how you should detail the
the appearance of a bent cylinder. This can be
pocket area by following the direction that the
further improved with the use of a Blend Shape
pockets would ow in.
to pull the knee out, or even in the folds from the
back of the leg. It is very important to talk to the rigger or director about these technical details before you start, because sometimes it can be done in other ways (such as an animated Displacement or a Normal map) or even unnecessary (Fig.13 – 14).
For the feet we will do things in the same way as we did the head. Create a polygon and
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Chapter 02
Topology Chapter 02 | Limbs and Accessories
extrude its edges to cover the model to create the topology (Fig.15 – 16).
Although we have two objects here (foot and shoe), the blocking should be done as one subtool. This kind of choice can speed up the process as we can easily separate the objects later (Fig.17 – 18).
A common mistake is to keep the amount of polygons in the mesh quite low. This economy of polygons, in most cases, is irrelevant. The idea is to have geometry with sufcient polygons
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Chapter 02
Chapter 02 | Limbs and Accessories Topology to maintain the overall shape of the character without subdivision, and to not have a big difference between the polygon sizes. Keep the polygons as close as possible to a square shape as well. It’s exactly what we did for the head (Fig.19 – 20).
In Fig.21 we can see the details from the bottom of the pants. It’s also nice to give thickness to our geometries. The amount of detail we show here will depend on the purpose of the model. If it is for a production that requires no detail on the mesh they will probably prefer Displacement or Normal maps or neither. However some objects (especially for close-ups) need extreme detailing. This kind of work without retopology can become a nightmare and last for days, weeks or months.
In Fig.22 you can see how I created the pocket. Create an opening for the pocket as a Blend Shape so the character’s hand or anything else could be put in it.
Extract a loop of polygons from the pants to create the belt. It is strongly recommended when overlapping geometry because it allows the upper model to follow the surface of the one bellow. When box modeling it’s best to start with a cube and the new parts should be extracted from this topology (Fig.23).
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Chapter 02
Topology Chapter 02 | Limbs and Accessories
Create the belt fasteners as separate geometry.
adjustments and re-projection in ZBrush. This
In most cases this is not a problem, but if you
will be the subject of our next tutorial. I hope it’s
are doing this to be animated and you are
been helpful so far (Fig.25).
unsure, ask the rigger (Fig.24).
Diego Maia That’s our retopology complete. See how the
For more from this artist visit:
geometry keeps the shape and design even
http://maia3d.blogspot.com/
with no subdivisions. Now it’s time for nal
Or contact him at:
[email protected]
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Chapter 02
Topology Chapter 03 | Cleaning Up and Adjustments
Chapter 03 – Cleaning Up and Adjustments Software used: 3ds Max
In the last two chapters we discussed the theory of topology as well as how to retopologize the head, body and accessories. Now it is time to make some nal adjustments to make it perfect for the rigging process. Let’s start by making the nal adjustments on the head ( Fig.01).
We need to build some geometry inside the mouth to simulate an open throat inside the character’s mouth. I usually pull the inside edges of the lips and form a channel that goes down the neck, but this can be done in a number of different ways. Sometimes I like to make it rounded inside the mouth. It’s up to you, the rigger or director. I’m also used to extruding the inner edges to the inside of the eyes. In some cases we need the model without holes, so it pays to close the back of the eyes, just like the mouth.
Whenever possible I like making nails separate objects to make the shading easier. This can be done easily if we draw appropriate topology in the retopology process (Fig.02).
Now it’s time to remove all the triangles and n-gons from our model. I like to use XSI for that because it points out where these are ( Fig.03).
The same goes for the shoes and feet ( Fig.04).
Note that some loops make a curve and meet others. This is a great solution, otherwise you would have a very large number of edges going up the arm (Fig.05).
Now it’s time to re-project the ZBrush details onto your new mesh. This is very easy and fast. Just import our new geometry in exactly the same position as the old geometry, split it with the same number of subdivisions and click the ProjectAll in the Subtool palette ( Fig.06).
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Chapter 03
Chapter 03 | Cleaning Up and Adjustments Topology
Sometimes this causes some problems at small points, so I usually mask the edges and regions too close to others such as the corner of your mouth, between ngers and extremities. This helps you avoid problems when we’re reprojecting (Fig.07 – 10).
If you still have problems with this you can also make the projection several times, starting in the lower divisions and so on. Now you can export your geometry in order to make the nal adjustments.
For the geometry of the eyes, it is very common to see a model with one single object for the eye ball, but it is also common to use two models to get a more realistic result – one for the iris and another for pupil. For the inner geometry make two extrusions going inside. Use a simulated sphere with the transparency and the volume of the iris, breaking the silhouette a bit. The reections and shading look much more realistic this way (Fig.11). After all the details are set I recommend deleting one side of the model and applying Symmetry, just to make sure that the vertexes did not lose their position.
Now let’s take a look at our nal model ( Fig.12 – 13). On the face we have loops around the eyes/mouth and enough at the folds and places that demonstrate expression like the forehead, nose and corners of his eyes.
Behind the head we have enough topology to get skin folds when the character turns his head up. This can be done with blendShapes. Such
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Chapter 03
Topology Chapter 03 | Cleaning Up and Adjustments detail can also be worked in several different ways. This will depend on the needs of the model (Fig.14).
When you have a character that needs to have its head separated from its body (which usually occurs on the collar of a shirt or under some other accessory) the loop should follow right under the item (Fig.15 – 18).
It’s extremely important to keep in mind where the UV seams will go. Sometimes as you open the UVs you will realize that you would like to cut the diagonal out of a polygon, but you don’t have edge loops for this. It is important that no hole in the mesh is visible from any view.
If you have an overall look at your model you should see regular distribution of polygons. You should also see that the polygons are a similar size.
Fig.19 shows the nal render of Miranda. Our third chapter ends here, but there is a point I would like to make before I nish. Try not to use this tutorial as a guide for replicable loops; this can make the process much harder. The best way to perfect this is to understand the theory and practice. You will see that after a few hours the process will become faster and faster. The important thing is to work the topology as a nonlinear process. You can delete and change the direction of the loops at any time. With practice you can begin to solve these problems faster and gure out new ways of doing it.
In the next chapter I’ll be modeling a rie and talking about hard-edge topology.
Diego Maia For more from this artist visit: http://maia3d.blogspot.com/ Or contact him at:
[email protected]
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Chapter 03
Topology Chapter 04 | Hard Surfaces
Chapter 04 – Hard Surfaces Software used: 3ds Max
This is the nal chapter from our tutorial series about topology and we’re going to be talking about hard surfaces. As I explain the process I’m going to model a high-tech rie based on a personal design (Fig.01).
In Fig.02 – 03 you can see a sketch and a 3D render of the rie I designed.
For simple forms and objects such as this, box modeling is very effective in most cases. Usually it is not necessary to use ZBrush, but if the model has an organic design with detailed lines or at shapes ZBrush can be very helpful. In this case I will work with box modeling, but will describe the retopology process.
The strategy here is to draw the topology on a at model and when you have done this, correct the loops so we can we extrude the volumes and detail, in order to keep the shape even with no subdivisions.
At this point we can work with one plane and try not to take the vertexes of the axes to avoid wrinkles (try to move in X, Y, Z as much as possible). We’re also using symmetry, since the weapon has symmetrical sides (Fig.04 – 05).
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Chapter 04
Chapter 04 | Hard Surfaces Topology
In Fig.06 – 07 we can see that the shape of the weapon has began to appear alr eady, but without any extrusion. I have simply just drawn the outline of the general form and organized my topology on the inner part. Now we have everything in place we can extrude the volumes of the different pieces and start adding cuts to sustain the hard edges (Fig.08 – 10).
Avoid using the Chamfer tool too much (or the Bevel tool for XSi users). Instead, try adding edges as it allows you to x details easily.
In Fig.11 – 12 we can see various screws and small details on the weapon. Try to always make the round forms with six or more sides. Avoid circles with four sides. It’s too low when the model’s not subdivided.
I use cylinders to get the geometry for the barrel of the gun and tip ( Fig.13). This method is much more convenient than using retopology.
Note that even when doing inorganic modeling, I try to keep an average size and distance between the loops (Fig.13). Even if we don’t have blend shapes we must have the topology well-distributed in order to not have problems with textures and UVs slipping. So as in previous chapters, let’s try to keep an average size and distance between polygons.
Use the same process for the weapon’s support (Fig.14 – 15). Begin by drawing the topology on the at piece. Then extrude volumes after all the topology is in place. After you have done this
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Chapter 04
Topology Chapter 04 | Hard Surfaces
you can add even more details if you want to. I created the sight from separate geometry. In this case, we do not need all the pieces in the same mesh. It is important to not be able to see where one set of geometry joins another.
Note that you can use several divisions to keep the round shape, even without subdivisions. In this case our circle would be very low poly even with six sides (Fig.16 – 17).
Here are some close-ups of our nal topology (Fig.18 – 19).
You can see the nal model rendered in Fig.20.
That’s the end of our series about topology. I believe that practice improves your ability and optimizes the process. I hope these tips help and I hope you enjoyed the tutorials. Thank you for reading this article.
Diego Maia For more from this artist visi t: http://maia3d.blogspot.com/ Or contact him at:
[email protected]
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Chapter 04
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