![]() The hair styles can and should be applied to multiple meshes. There you will be able to modify the hair width, clump width, curl, color and so on. It will take you to the hair attributes in the Attribute Editor. To modify them select one GMH Style at a time and click on Edit GMH Style. I then selected the polygon strip, selected the second GMH Style that was created and clicked on Apply Second GMHStyle.Īdding variations to the polygon strip Changing settingsĮach GMH Style has its own individual settings. Just like the first step, I clicked on Create GMH Style and named it hair02. The next thing to do was to create a second GMH Style and apply it to the same polygon strip, to give it some variation. It is still possible to modify the polygon strip (Move, Extrude etc) and the hair will adapt to it. Select the polygon strip, select the GMH Style that was just created and click on Apply GMHStyle and the hair is applied to the mesh. ![]() In the GMH2 window click on Create GMH Style and name it hair_01, for example. It basically works like this: Make a strip of polygons that is the shape you want for the hair strand. To make the beard for this character I used a script for Using GMH2 To give it a little more variation I used the Transpose tool to move and rotate some of the outer pieces.Ĭonverting the shoulder pad meshes to geometry Making the beard Once the orientation was fixed I could then render to see how it looked and then converted the MicroMesh to actual geometry by clicking on Convert BPR to Geo again. Then to match the orientation on all the polygons I isolated each polygroup and clicked on Spin Edge until they got the orientation that I wanted.Īligning the edges and changing the orientation Converting to geometry ![]() To rearrange the orientation of the polygons, first, I clicked on Align Edge to match the orientation of the all the polygons in the same continuous surface. Then with the new detail mesh applied to the base-mesh, I could clearly see the orientation of the MicroMesh.įinding the faults in the MicroMesh Fixing the mesh That way I could see a sort of preview of the detail mesh on the base mesh. First I turned on Draw Micro Mesh in Render>Render Properties and then turned Polyframe on (Shift+F). To fix this I used a more simple detail shape to identify what is going on. The result of clicking Convert BPR to Geo Finding the faultsĪll right, obviously this not what I wanted, so I stepped back a little. Then I clicked on Convert BPR to Geo in Tool>Geometry to see what it gave me so far. At this point I don't see anything different – but the Micro Mesh button is enabled, meaning that it's technically working. A message popped-up saying that micro-mesh is only visible in BPR, but I just clicked OK to make the message go away. With the base-mesh selected I then went to Tool>Geometry>Modify Topology, clicked on Micro Mesh and selected the detail mesh. Working with the base mesh for the shoulder pad MicroMeshes So if you make a detail mesh that is rectangular-shaped, you need to adjust it to a square-like shape, so the micro-mesh can properly fill up the polygons of the base mesh, otherwise it will leave gaps. It's important to note that the detail mesh needed to follow a 1:1 ratio. The shoulder pad model I'll focus on Creating the base meshįirst I needed to create a base-mesh that had the form I wanted for the shoulder pad, and the detail mesh that I wanted to replace the polygons of the base mesh with. This is what I will be working through in this article. Thanks to this, it was somewhat easy to get what I wanted, but there was some hiccups along the way that I had to figure out to get it correctly. To make the shoulder pad I used 'Micro Mesh' in ZBrush. The original concept credited to Alenxandr Pechenkin Making the shoulder pad It was a great opportunity for me to practice some of my skills as well as experiment and learn new ones. ![]() I ended up with the crossbow dwarf and I soon saw it as a good challenge due to the great amount of detail. The idea to make this model came up when a group of friends of mine decide to take on Alexandr Pechenkin dwarf concepts. I will cover some of the more complex processes that I used when making this character in order to help inspire other artists. In this article I will demonstrate how to create some of the details on this model using Maya, ZBrush and its features, like MicroMesh and GMH2 script. Discover how to create intricate shoulder pads and convincing facial hair in Maya and ZBrush, with Henrique Naspolini's detailed Dwarf project overview
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