ScottHomer - OrnateBookBreakdown V2

SCOTTHOMER.CO.
UK ORNATE BOOK - BREAKDOWN PDF

ORNATE SPELL BOOK BREAKDOWN
TIPS ON CREATING THE HARRY POTTER INSPIRED BOOK BY SCOTT HOMER - WORK IN PROGRESS - UPDATED 24/10/2014
SCOTTHOMER.CO.UK - SCOTT@SCOTTHOMER.CO.UK
CLICK HERE FOR TURNTABLE!
SCOTTHOMER.CO.UK ORNATE SPELL BOOK - BREAKDOWN PDF
FOREWORD..
Dear Reader/3D Artist/Student/Professional/Game Artist,
I created this booklet during September/October of 2014, mostly as a teaching
aid for some guest lectures/workshops that I was fortunate enough to have the
opportunity to run at a few Universities around the UK. I have intended on putting
something of this nature together for a few years but had never managed to get
around to it..Better late than never eh?
*As you read this booklet please bare in mind that these techniques *may* not be
the right techniques, but they are the ones that I use and should be considered
as such. Some bits may seem hacky, but I have always tried to take the shortest
route to my desired goal leaving as little mess along the way.
The tools that I used to create the Book are irrelevant, even though there is some
software specific stuff in here, this should mainly be seen as a booklet full of
cross-platform tips and tricks, rather than a guide on how to use any software in
particular.
If there is anything in here you object to, any mistakes or spelling issues, please
contact me at Info@Scotthomer.co.uk and Ill do my best to update and fix any
issues as I go along.
I decided to release this stuff for free in an effort to help anyone out that was
interested in seeing how I put the Book together, anyone that needed some insight
into a different approach to making 3D art, and ultimately to say thank you to all
of you awesome artists out there.
Here goes nothing...
Scott Homer - 21/10/2014
SCOTTHOMER.CO.UK ORNATE SPELL BOOK - BREAKDOWN PDF
CONTENTS
MOODBOARDS AND PLANNING
HIGH-POLY
BUILDING A KIT-BASH SET
IMPORTANCE OF KIT-BASHING
CONCEPTING/PLANNING KIT-BASH ORNAMENTS
MODELLING ORNAMENTAL PIECES
THE IMPORTANCE OF SOFT EDGES
BUILDING THE BOOK
CONSTRUCTING THE 3DSMAX BASE-MESH
ZBRUSH TECHNIQUES
ZBRUSH TECHNIQUES CONTINUED
FINAL ZBRUSH MODEL
LOW-POLY AND BAKES
LOW-POLY THEORY
A NOTE ON UVS
BAKING THEORY
BAKING THEORY CONTINUED
BAKING IN XNORMAL
OUR OBJECTIVE?
IMPORTANCE OF MOODBOARDS AND REFERENCE
WORKING TO SCALE, ON THE GRID
TEXTURE MAPS
AO + DIFFUSE
NORMAL + DISPLACEMENT
METALNESS + GLOSS
PBR THEORY
USING REFERENCE TO IDENTIFY TEXTURE DETAIL
RECONSTRUCTING THE LOW-POLY
SCOTTHOMER.CO.UK ORNATE SPELL BOOK - BREAKDOWN PDF - WORK IN PROGRESS
HIGH-POLY MODEL
3DSMAX + KEYSHOT
OUR OBJECTIVE?
TO BAKE OUR HIGH-POLY MODEL ONTO OUR LOW-POLY MODEL,WITHOUT LOSING HIGH-POLY DETAIL
LOW-POLY MODEL
3DSMAX
BAKED + TEXTURED
MARMOSET TOOLBAG 2
IMPORTANCE OF MOODBOARDS AND REFERENCE
Moodboards are integral to the design process, they are useful for
rapid Idea development, and to give you the ability to put yourself
into the correct place (mentally) to continue working on a project
each day.
They are a great way to gather reference images and collate
them into one place, rather than having to scrub through multiple
images.
For each asset/project/level I find it best to gather as many
photographic references as possible, even for stylised projects,
almost everything is either grounded in reality or heavily inspired
by traditional art mediums.
I always try and take photos of anything useful as first hand
reference, such as FIG B taken on a recent visit to Disney World in
Florida. I collected a number from various hotels, and even visited
the Harry Potter studio tour in order to snap some first hand
reference for my project. I find sometimes when you physically
surround yourself with the subject matter it helps make creating a
final piece easier to visualise.

MOODBOARDS AND IDEAS
FIG A - MY MOODBOARD
FIG B - WALT-DISNEY-WORLD ORNAMENT
WORKING TO SCALE, ON THE GRID
Working to scale is crucial for any type of Environment
Art, especially in Video Games. Working to scale
ensures that everything within a scene is correctly
proportioned relative to each other, something that can
ultimately make or break a scene.
Generally fixing scale later into a project can be hugely
problematic, and often impossible.
When exporting art to a Game Engine, such as Unreal
Engine 4, the scale of the object is key for not only
ensuring that the object fits within the scene, but also
that the way the light hits the object is calculated and
displayed correctly.
When creating modular Environment Art, using the Grid
within Max/Maya is useful for ensuring that modular
pieces snap together and line up with those next to
them.
Matching the 3Dsmax/Maya grid spacing to the grid
spacing in Engine is important to ensuring that the
size and positioning of assets within 3Dsmax is
representative of the positioning in-game.
When initially planning the book, I took the size of an A4
piece of paper (FIG A) and used that as a basis for the
size of the book. I scaled the base-mesh up to ensure
that the A4 paper would fit within the extents of the book
cover and then snapped the bounding points to their
closest grid points on a 1cm grid.
BUILDING THE HIGH-POLY
FIG A - USING REAL WORLD MEASUREMENTS FIG B - ROUNDING UP MEASUREMENTS TO WHOLE NUMBERS
BUILDING A KIT-BASH SET
Kit-bashing is a technique that has been used by
physical model builders for years, they take pre-
existing sets and break them apart in order to use their
pieces in their own models.
Building from scratch often requires a huge time
commitment, However with kit-bashing we are able
to spend that time once, and then use the same pieces
over and over to great effect.
A useful kit-bash set is generic enough to be powerful
in many situations, with each piece fitting together with
others in the same set to build a new, unique piece.
Many artists are famed for kit-bashing, employing the
work smarter, not harder approach to art to ensure
that they arent wasting time making the same thing
over and over.
IMPORTANCE OF KIT-BASHING
To the left you can see two examples of ornamental
filigree created using different kit-bash pieces created
for different purposes, these assets are simply
combined in order to create new, bespoke pieces.
Each combination takes less than a minute and at that
point the main concern is ensuring that the design flows
and that the weighting and form of the ornament makes
sense.
These ornaments were created flowing outwards from
a central point, as is typical in Baroque ornamental
patterning. FIG C specifically was created with the
purpose of surrounding a mirror or picture, with all
of the floral elements leading into the focal point (the
mirror itself!)
Each time a variant of a kit-bash part is created, these
are added to my library of assets, for reuse in the
future.
FIG A - KIT-BASH PIECE IN 3DSMAX
FIG B - WIREFRAME KIT-BASH PIECE
FIG C - ALTERNATE KIT-BASH PIECE IN 3DSMAX
FIG D - ORNAMENT FLOW
CONCEPTING AND PLANNING KIT-BASH ORNAMENTS
In most cases, there will be a fairly useful Ornament design already available online
to use as a template for your 3D model, however sometimes I will find a case where
there are elements of several separate designs that I like and want to combine.
Usually I will take these images and piece the elements together, as seen in FIG A.
The flow is much more important than the way they fit together.
In FIG B I then set about painting in my flow to unify the 2-3-4 pieces of ornament
together as a basis for my design. These are invaluable in the process of
constructing these ornaments, and the process should only really take 5-10 minutes
to complete and will ensure that your ornament works further down the line.
In FIG D you can see the basis for one of these Ornaments, I have taken my concept
and traced the flow using splines. This will allow me to snap my vertices to the
spline and make the job of keeping things rounded and smooth much more accurate
and minimize the manual positioning of each vert in order to achieve our shape.
FIG A - SEVERAL IMAGES PIECED TOGETHER
FIG B - PAINT-OVER TO COMBINE SEVERAL ELEMENTS
FIG C - ALTERNATE KIT-BASH CONCEPT
FIG D- CONCEPT USED AS THE BASE FOR A FLORAL ORNAMENT
MODELLING ORNAMENTAL PIECES
In order to model the ornamental pieces, I used the Box Modelling subdivision technique in 3Dsmax.
The principal is simple; I begin with a plane primitive with 1 width and 1 height segment, and snap its
vertices into position as can be seen in FIG E (in this case, on our flow spline, created to follow our
concept) to begin my model.
From here, I hold shift with an edge selected to drag out each edge extrusion, hitting S to enable snaps
allowing me to select the vertices of this new face and snap them to the spline ensuring that the poly-
flow conforms to the flow of the ornament.
After laying down my base topology, I select the loops in the middle of my faces (as seen in FIG H) and
drag these into position to create ridges and add depth to my ornament. Chamfering these edges holds
them in position when the model is turbosmoothed.
In FIG I you can see how I have collapsed the ends of these chamfers in order to create the recognisable
pinches or flicks at the end of my ornaments turbosmoothed geometry.
FIG E - BOX MODELLING BEGINS, SNAPPING TO SPLINE
FIG F - SUB-D MODEL FOLLOWING THE FLOW OF THE ORNAMENT
FIG G - KIT-BASH PIECE TAKES SHAPE
FIG H - ADDING DEPTH TO THE ORNAMENT WITH CHAMFERS FIG I - USING TRIANGLES TO PINCH
THE IMPORTANCE OF SOFT EDGES
The importance of soft-edges has been a fiercely debated subject for a number of years now. Realistically objects
in real life have sharp edges, others dont..However when we are creating high-poly models for normal maps,
we must exaggerate our edges in order to ensure that normal maps are baked out correctly and stand up to
scrutiny even at a distance.
In FIG A, we can see how sharp edges disappear at a distance far quicker than those that are softer. This is
simply because the normal map texture on the sharp examples edges occupies far less space than the functional
example; As the model and texture size decreases (MIPS) these will disappear.
One of the techniques I use to soften my edges (regardless of how hacky it is) is to use a push modifier in Max to
subtly push my edges outwards and soften the bevelled edges. A similar tool exists in Zbrush, called Inflate
which works in the same way. These tools scale our object along each vertices normals to puff it up.
The 2 examples below (FIG B + C) show some of my models and how soft their edges really are in the quest for
nicely smoothed edges, even at a distance.
FIG A - ILLUSTRATION OF THE IMPORTANCE OF EDGE-SOFTNESS
(SOURCE: HTTP://RACER445.COM/ - EVAN HERBERT)
FIG B - SOFT TURBO EDGES FIG C - USE PUSH TO HELP SOFTEN EDGES
BUILDING THE BOOK
When it came time to construct the book, I used the base shape of the
book as a template (as on page 6) and began to quickly see what kind
of shapes looked best. I probably iterated with about 3 or 4 layouts
until I found one that I was really happy with.
I began with defining the most important lines and worked from
large to small in order of size and importance to the overall design of
the book.
I knew that each side would feature a key motif, the front and side
with the Hogwarts Crest and the back with the Hogwarts Inlay.
With this in mind I tried my best to highlight these as the focal point
of the book.
Additionally the front has Prof Albus Dumbledore in scrolls at the
top and bottom, which I highlighted using additional floral ornaments
drawing the eye into this text.
This can be related back to general design, the construction of a car
body is usually built around key features, the lines of the car are
simply there to punctuate these.
FIG A - ORNAMENT FLOW ILLUSTRATED
FIG B - BODY LINES IN A CAR
CONSTRUCTING THE 3DSMAX BASE-MESH
There are a few considerations that need to be taken into account
before bringing the model into Zbrush and detailing the high-poly to
add that extra level of detail across the mesh.
Density/Tessellation:
Ideally our mesh should have evenly distributed polygon density
across the model to allow for the subdivided mesh to support the
meshs original shape. Gaps (FIG B) in poly distribution, will cause the
meshs resolution to be insufficient to support detailing in Zbrush.
Supporting Loops:
Zbrushs subdivision algorithm is different to 3Dsmaxs and as a
result It is important to ensure that any hard edges in the model have
sufficient supporting loops in place in order to prevent them retracting
and deforming our mesh as shown in FIG C.
FIG A - PRE-ZBRUSH 3DSMAX MODEL
FIG B
FIG C
ZBRUSH TECHNIQUES
FIG A shows part of the base-mesh in its original, sub-d modelled
form within 3Dsmax, each ornamental element is separated into
its own mesh to allow for easy placement and adjustment. These
are crudely positioned to fit the vision I had in mind.
In FIG B I have brought the floral element into Zbrush as an .obj,
I usually subdivide the mesh at this point in order to completely
smooth my mesh.
In FIG C I have used Geometry - Split - Groups Split to split the
mesh into separate subtools allowing me to work on each element
independently of the other elements around it.
In FIG D I have gone through a process of ensuring that each floral
element has the same amount of weight and volume. As a result
of the kit-bashing process (scaling elements up and down) floral
elements can often be significantly thicker than those joining to
them.
In order to balance these elements out, I go through each subtool
using Deformation - Inflate and subtly pump up each subtool to
balance them out as in FIG D.
FIG A - BASE-MESH IN 3DSMAX
FIG B - BOUGHT INTO ZBRUSH AS 1 TOOL
FIG C - SPLIT INTO COMPONENT PARTS
FIG D - BALANCED IN ZBRUSH
GROUPS SPLIT INFLATE
ZBRUSH TECHNIQUES CONTINUED
FIG E - shows a process in which I merge all of my subtools to a new
subtool (Subtool - Merge Visible, then Append the Subtool into the
current Ztool) and then again use Deformation - Inflate to increase the
weight of the merged subtool. Using the Edit - Move (Transpose tool) I
then scale this merged element in the Z axis in order to create a base
for the ornament as seen in FIG I.
FIG F - I began to detail my ornament by softly removing crisp edges
using the Claytubes and TrimDynamic brush. This helps to both add
wear to the model, and create random damage in the normals which
will catch the light and give the asset some life.
FIG G - As the model progresses the hard, sharp edges are eroded
away and the unified level of damage brings all of the elements
together.
FIG H - In the example (spine of the book) I have detailed the models
edges wherever possible. You can see how relative to the scale of the
book, the added detail becomes small and simply serves to add small
highlights and enhance the realism rather than significantly change in
the shape of the model.

FIG E - CREATING A BASE FOR THE ORNAMENT
FIG F - DETAILING IN ZBRUSH
FIG G - MORE DETAILING IN ZBRUSH
FIG H - EXAMPLE OF ZBRUSH DETAILING IN PRACTICE
FIG I. SIDE PROFILE OF THE BASE
FINAL ZBRUSH MODEL
FINAL ZBRUSH MODEL, READY FOR BAKING AND TEXTURING.
LOW-POLY THEORY
The low-poly model forms the basis of the in-game model, it is
the canvas on which our normals are baked and the textures are
displayed.
Generally its best to make sure that the low-poly is as simple as
possible. Silhouette is the most important thing here, the normal
and height maps will do the rest of the work.
The power of the normal/height maps should never be
underestimated, it is perfectly possible to create a smooth edged
low-poly model with just 2 faces meeting at a 90 degree angle.
Smoothing groups are key to ensuring that normal maps are
baked out seamlessly.
The low-poly and high-poly are usually split apart (or exploded)
prior to the baking process in order to ensure that each element
bakes separately from the rest of the model.
Generally it is key to aim to create a low-poly model that
completely encapsulates the shape of the mesh, however details
that are going to be baked onto the surface can clip through the
surface of the low-poly as shown in FIG B.
FIG A - THE LOW-POLY MODEL WITH THE DECIMATED ZBRUSH MESH
FIG B - THE LOW-POLY WITH THE HIGH-POLY (GREY)
A NOTE ON UVS
Whenever I create my UVs, I always aim to add plenty of padding between
each UV island, this is the secret to great, working textures.
The more padding between each UV island, the smoother our edges will
be and the better quality our normal maps will be.
This is a technique to fix an optimization that most games engines use,
simply put, as the player moves away from an object, our textures are
reduced in size, causing bleed from one UV island to another. The more
padding we add, the less evident this is. See FIG B.
FIG A - THE BOOKS UVS, WITH PLENTY OF SPACE BETWEEN EACH UV ISLAND.
FIG B - PLENTY OF PADDING IN OUR NORMAL MAP
BAKING THEORY
In the examples to the left, I am showing 3 different techniques to bake
normals, A and B are both right however in this instance technique B is the
correct technique to create great results from our low-poly mesh.
Generally speaking, when we are met with an angled corner such as in FIG
A, anything close to 90 degrees should have an hard edge. Splitting the
smoothing groups like this is key to ensuring that our normal maps are
baked correctly.
Each time we split our smoothing groups (as seen in Fig A) we MUST also
separate our UVs into individual UV islands. As seen in FIG B.
A B C
Welded UVs and 1 SGs
Useful for Organic shapes
Split UVs and split SGs
Useful for Hard Surface
Welded Uvs and Split SGs
Causes seams and broken
High-poly Model - Turbosmoothed
with soft edges
Low-poly Model, cube consisting of 6
sides (12 triangles)
A: 1 smooth group
B: Split smoothing groups, unique
groups per face.
C: Split smoothing groups, unique
Low-poly model and High-poly model
aligned
UVs for Low-poly Model.
A: Unfold mapped, all faces connected
and welded together, vertices welded.
B: Each face split from the adjacent face.
C: Unfold mapped, all faces connected
and welded together, vertices welded.
FIG A - USING SMOOTHING GROUPS CORRECTLY
FIG B - SPLITTING OUR UVS ACCORDING TO SMOOTHING GROUPS
BAKING THEORY CONTINUED
In the continued example on the left, we can see how in each example
we are using a projection cage. A cage is used to limit the distance
from the low-poly mesh that the normal map renderer (Xnormal in
this case) projects its rays to capture the high-poly detail onto the
low-poly meshs UVs.
In order to create a cage that Xnormal can read we must first
triangulate our low-poly model, we do this by placing an Edit Mesh
modifier on-top of our low poly. (See FIG A). From here we can add a
Projection modifier, to create our cage. In order to edit the extent of
our cage, we can use the push slider to encapsulate our high-poly.
To export our mesh into Xnormal, select the low-poly and hit File-
Export - Export Selected- Save as Type - Xnormal .SBM Exporter and
export the mesh with an appropriate name.
A B C
Welded UVs and 1 SGs
Useful for Organic shapes
Split UVs and split SGs
Useful for Hard Surface
Welded Uvs and Split SGs
Causes seams and broken
The box with a projection modifier
based cage.
Our bakes from Xnormal. Example As
normals are very wobbly, and as a result
they will compress badly. Example B
has nice, smooth Normals, with plenty of
padding to allow for correct smoothing.
Example C shows nice and smooth
Normals however with no padding they
will have seams on their edges
Our normals applied to the low-poly
geometry.
Our final results. Example A has
wobbly normals, deforming in the
light. Example B has smooth edges
and smooth normals. Looks seamless.
Example C has black seams across its
edges.
FIG A - SETTING UP OUR PROJECTION CAGE
FIG B - EXPORTING THE LOW-POLY AS A .SBM FILE.
BAKING IN XNORMAL
At this point I have, as can be seen in FIG A, my low-poly with the projection cage
correctly set up to encompass my entire high-poly mesh. We now need to load
our mesh into Xnormal, as in FIG B.
In FIG C we can see that in order to use the projection cage we must select Use
Cage from the low-poly tab.
In FIG D, we have now loaded our High-poly file into Xnormal, exported as any
accepted file format (including .OBJ)
In FIG E, we are ready to bake our mesh (its that easy to set up!) As mentioned
before, the more padding the better, so crank that right up and hit Generate
Maps to render those normals!
FIG A - OUR FINAL LOW-POLY PROJECTION CAGE, SET UP IN 3DSMAX
FIG B
FIG C
FIG D
FIG E
AO MAP
AREAS OF AMBIENT SHADOW (NOT CAUSED BY DIRECT LIGHT) ARE CAPTURED IN THE AO MAP. THIS IS USED
IN UE4/MARMOSET TO DARKEN DOWN OUR MODELS CREVICES TO GIVE THE APPEARANCE OF DEPTH.
TEXTURE MAPS
FINAL ZBRUSH MODEL, READY FOR BAKING AND TEXTURING.
DIFFUSE/ALBEDO MAP
THE ALBEDO MAP IS THE COLOUR OF THE OBJECT. IN A PBR WORK-FLOW THE ALBEDO MAP SHOULD NOT CONTAIN
ANY LIGHTING INFORMATION (SHADOWS OR HIGHLIGHTS). IN METALLIC AREAS THE ALBEDO COLOUR IS USED.
NORMALS MAP
THE NORMAL MAP DEFINES THE WAY IN WHICH LIGHT INTERACTS WITH THE OBJECT. OUR GOAL IS TO BAKE
OUR HIGH-POLY DETAILS INTO A NORMAL MAP TO GIVE THE LOW-POLY THE APPEARANCE OF THE HIGH
DISPLACEMENT/HEIGHT MAP
THE HEIGHT MAP IS BAKED AT THE SAME TIME AS THE NORMALS/AO, IT CAPTURES THE VOLUME OF THE
HIGH-POLY IN ORDER TO DISPLACE THE LOW-POLY MESH. WHITE IS UP BLACK IS DOWN.
METALNESS MAP (OFTEN VARIES BETWEEN RENDERERS)
THE METALNESS MAP DEFINES THE BASE PROPERTY OF TEXTURE. WHITE/LIGHT AREAS ARE METAL, AND BLACK
REPRESENTS ALL MATERIALS NON METAL IN NATURE.
GLOSS/ROUGHNESS MAP (INVERSE IN SOME GAMES ENGINES)
THE GLOSS/ROUGHNESS MAP DEFINES THE TIGHTNESS OF THE SPECULAR HIGHLIGHTS. FOR EXAMPLE A VERY
GLOSSY (WHITE) AREA WOULD BE VERY SMOOTH AND REFLECTIVE WHEREAS A BLACK AREA WOULD BE MATTE.
PBR THEORY
Physically Based Rendering is a programming
solution to an age old problem in Games Rendering.
Historically, specular and gloss values were based on
arbitrary values that typically had little or no relation
to the way that specularity works in real life. When we
created games pre-PBR, specular values would often
vary greatly across levels, resulting in each objects
properties needing to be tweaked manually across
the game in order to unify them.
PBR addresses this by using real-world measured
specular values that are unified across the board.
Regardless of the renderer, if your textures are PBR
correct, your maps *should* work in the same way.
As you can see in FIG A, Specular/Metalness governs
the reflectivity and metallic property of the surface.
This should really be an ON/OFF deal (in real life,
surfaces are either metal or not) however dirty metal
may fall into the grey area between the two.
You can also see how Gloss/Roughness governs the
sharpness of surface reflections, with rougher less
glossy surfaces having bigger less defined reflections
across their entire surface.
Gloss/Roughness maps *can* contain far more detail
than Specular maps, generally they allow for more
manual tweaking without breaking PBR.
FIG A - PBR DEMONSTRATION IN MARMOSET TOOLBAG 2
USING REFERENCE TO IDENTIFY TEXTURE DETAIL
Reference is key to capturing reality, in the texturing phase I tend to pick out several key images and isolate
what makes those surfaces work the way that they do.
For example in FIG A, you can see dirt that has collected in the deep crevices, giving the surface the
appearance of having an almost Ambient Occlusion dirt property.
In FIG B, I like how the most outward surfaces (which would receive the most handling from the user) are
the most smooth and reflective. I wanted to capture this by smoothing my outward areas also and adding
this reflectivity in my PBR set up.
In FIG C, I used this example of worn paint as reference for the worn paint on the Hogwarts Crest, this shows
the way paint flakes off when heavily damaged/disturbed.
In FIG D you can see how dust collects on the top-most faces of the metal surfaces. I tried to capture this in
my model by using the normal map to select the top-most surfaces and lightened these in a similar fashion.
FIG A - DIRTY ORNATE DETAIL
FIG B - ORNATE CAST METAL SMOOTH, SHINY SURFACES FIG C - WORN PAINT TEXTURE FIG D - DUST ON TOP FACES OF A SURFACE
RE-CONSTRUCTING THE LOW-POLY
After completing the texturing and baking process,
the exploded model is ready to be reconstructed.
Using the original high-poly model as a template
I reconstructed the low-poly model of the book by
hand.
FIG A illustrates the UV mapped low-poly model,
with consistent chequerboard pattering, to show
that the density of the UVs is consistent across the
mesh.
FIG B shows the low-poly model in 3dsmax with
the diffuse map only.
FIG C shows the low-poly with all the PBR
goodness combined with the Displacement and
Tessellation on-top.
FIG A - UVS AND WIRES IN MAX FIG B - DIFFUSE + LOW-POLY IN 3DSMAX FIG C - TEXTURED, RENDERED LOW-POLY
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