Step #2: Analysis

So, you’ve gathered and cataloged the references. Great! Yet it is still too early to start modeling. There is no sense in just collecting images; now you need to get useful information and understand precisely what you are going to create. Consider this:

What primitives does the model consist of?

All models comprise basic shapes — rectangles, spheres, and cylinders. Determine which large forms your future model includes. Comprehend the mechanics of the object and decide which parts to highlight. Figure out how the model works and how its elements attach and interact with each other.

Which parts help you understand the size of the model?

There are things whose size everyone will recall — usually something a human would interact with often. It might be a ladder, a pistol trigger, a chair, or the front door. Such objects make the scale clear to the player.

What colors fit the model?

Examine your references and pick the ones with the best hues. You can even use images of something totally unrelated to your model but with suitable colors. Ultimately, choose three or four colors from both cold and warm palettes, which you will use for the model.

Step #3: Blocking

Finally, it’s time to make some polygons. Start with the biggest shapes and consider proportions, scales, and object mechanics. You should end up with the unmistakable silhouette of the model.

Blocking an average model should take you at most 40 minutes. If you commit more time to this step, you probably focus on things that do not affect the silhouette. That is, you won’t cope with the pipeline standards.

To avoid mistakes, concentrate on these:

1. Silhouette is the starting point of a first impression. Modeling details is only possible if the overall shape is readable. Form the model's body with the primitives, make sure it is expressive and obvious. If not, redo it because even the most exquisite textures will not save the model.
2. Scale and proportions convey the size of an object. Add details to the model to make it easier for users to understand dimensions. For example, a cereal box and a 20-story office may have the same rectangle shape. However, antennas, wires, and air conditioners hanging on the building make the difference in size distinguishable.
3. Parallel lines are okay while modelling man-made objects such as rails or furniture. But beware of straight formations when creating parts of the natural environment, as it always looks abnormal.

Step #4: Detailing

This step aims to make the model more realistic. To achieve that, you must fully work out mechanics, and transitions between elements and add necessary details. Then the model will look not only believable but also enjoyable.

The detailing is also a great opportunity to distribute colors over the model to understand its final appearance better. It helps specify accents and work out the palette before texturing. But don’t even think about mesh issues. There is an entire stage to resolve them. Worrying about the mesh at this step is a waste of time.

Stick with these points:

• Smooth the model after the previous step. There is a reason not to do it during blocking. If you designed the wheel arches but made a mistake with the silhouette, you will have to do it over.
• Form accurate transitions between elements. Mechanical parts are rarely inserted one into the other. They are either welded or screwed together, which creates seams and bevels.
• Finalize the mechanics of the model. To do this, study the references and understand how the object actually functions. If you are modeling a lorry, figure out how the suspension works. No need to be an engineer since the player is unlikely to notice that you have moved the shock absorbers a little.
• Nail the subtleties, get rid of weird-looking parallel lines, break up symmetry, and add details telling your model's story.

Review your work

When the detailing is over, it is time to review the blockout. If it turns out unclear, the final model will also be the same. In that case, you need to redo the work before moving to the next stage since fixing it later in development is impossible. Get in the habit of doing a decent blockout, even if it takes longer than you planned.

The checklist to make sure you have done well:

• Is it clear what kind of object it is?
• Is the silhouette of the model readable and eye-catching?
• Is the proportion correct?
• Is it clear how this object functions?
• Have you modeled all the essential elements?
• Did you add base colors?
• Are you satisfied with the look of the model?

The blockout is good if you answered “yes” to all questions.

What’s next?

There are two options here, depending on the objectives:

1. Full cycle: If you are creating a model for a game, proceed to the next stage of the pipeline — mesh optimization.
2. Portfolio project: Finish the model, paint, create a simple environment, and post your work. For novice 3D artists, stopping here and modeling another object is better. Learn to model readable blockouts before moving to mesh optimization and baking.

Remember, the most common beginner's mistake is to start modeling just after imagining the final result without preparation and understanding how the model works. An inexperienced 3D artist creates tiny details first and then goes to the bigger parts. As a result, they have exceptionally detailed car lights, wrong proportions, and no time left to finish the project. The proper approach is to start with big shapes by creating a blockout.

When you’re ready for the next stage of the pipeline, feel free to go further and become a 3D artist with our complete guide:

0. Introduction to AAA pipeline
1. Blocking-out (You are here)
2. Mesh optimization
3. UV unwrapping
4. Baking
5. Texturing

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Based on the material by XYZ Network

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