Stock 3d Models Library and Rendering Tutorials

Modeling the Hands

Figure 1: Sketch as a reference

Similar to the face, the human hands contain many details that can make modeling difficult. It is therefore recommended to first work on the basic shape of the hand and fingers and to add details when necessary. Complex structures like the raised veins on

the back of the hand or the deeper creases at the knuckles and finger joints can often be simulated with textures. Thankfully, all fingers are built in a similar manner, even though they differ in length. This will save us some work, as we will see

during the modeling process. As with all modeling, there first should be thorough research for references. Different from the face, for which a mirror is needed to model from, hands are always in our line of sight. Thus, our own hands should be used

as reference as well, even though they might be male hands. The structure of male hands is identical to female ones. In our case I look for photographs that, as described in the first chapter, match in size and position, and trace their contours. Figure 1 shows the result. This helps us to keep our focus on the essential shapes.

Especially important is, besides the size of the hand, the position and appearance of the fingers. Fingers are rarely completely straight and their length differs greatly from

one person to another.

Special attention should be paid to the thumbs. It is especially common for beginners to attach the thumb at the side of the hand. This might be true when the hand is pressed flat on a table, but when it is relaxed or grabs something, the thumb rotates away from this plane and is then almost in a position perpendicular to the finger plane. In order to be able to generate different poses of the hand, it should be modeled in a relaxed pose.

Fingers

fig 2 An octagonal cylinder as the base for

finger modeling

Create a basic cylinder object without caps. The object should look just like a pipe.

Subdivide the pipe into eight parts. The pipe now looks like an octagon. Since the

object will be rounded later, this number of subdivisions is sufficient.

Place the cylinder over the top-view image template and adjust the radius and length

to the shape of the middle finger. This is the longest finger of the hand.

Before you start adjusting the outer shape of the octagonal pipe to the fingers, add

more subdivisions where the finger joints are located. One of the three subdivisions is

placed exactly in the middle of the joint, and the other two subdivisions border the outer

area of the joint where the deepest creases are located.

The upper screenshot in Figure 2 shows the result of these subdivisions. In the lower

part of the figure the octagonal profile of the pipe can be seen.

The additional subdivisions at the joints have two benefits. We define an area

where the creases can be easily created. The second, more practical use is that

because of the subdivision at the joints, the hand becomes mobile in 3D programs. By

adding deformers, these areas can later be bent and the fingers moved.

Figure 3: Shaping and closing the cylinder

Figure 4: Selection of the fingernail polygons

It is, therefore, important to place these subdivisions on the joints as exactly as

possible. Then begin in the next step to adjust the shape of the pipe to the image template. As we can see in Figure 3, it is a three dimensional procedure because the shape

should fit in the top view as well as in the side view. Use the subdivision at the joints on the

underside of the fingers to create a distinctive groove. Note that the finger thickens mainly

at the first joint. This is not so distinct at the joint closest to the tip of the finger.

When you are pleased with the result, add another point at the fingertip and connect

it, with quadrangular faces, to the front edge of the pipe. The finger is now closed

at the fingertip. The base of the finger remains open.

It is also important to arrange the fingers along a slight curve and not in a straight line

like the teeth on a fork. Another thing to consider is that the transitions

between the fingers are not shaped like a V but are more round. We will get into that

during the modeling process later. Start by loading the created image

templates for modeling the hand into a new, empty scene and place them

according to the editor views.

Fingernails

Figure 5a: Extruding and moving the fingernail

polygons

The fingernails are the most complex part of the finger. They grow out of the finger

and are connected to it at the base end, while at the other end , they are completely

separated from the tip of the finger. The skin borders the nail bed and along the

side of the nail, and bulges slightly upward. We start by selecting the two polygons at

Figure 5b: Extruding the nails

the upper part of the fingertip. From these faces we will model the nail bed and the nail

itself. Figure 4 shows this selection from different perspectives.

Because the finger should bulge next to the nail and the nail at its base should disappear

inside the finger, we cannot use these faces directly for the modeling of the nail. We first

have to create a base. Therefore, extrude these two faces and

shrink the resulting faces slightly. Move the new points located at the nail bed

slightly downward and in the direction of the leading finger joint. Figure 5a indicates

these two steps with arrows. This base is then extruded another time

but this time mainly upward, vertically. The height of this extrusion determines

the thickness of the nail. The height of the extrusion can be slightly less at the base of

the nail since this is where the nail disappears under the skin. The necessary move is indicated in Figure 5b with the arrow pointing in the direction of the first joint. The amount of movement will later be checked on the smoothed object. If necessary, pull the edges of the extruded nail further upward in order to frame the nail more by the finger. At the base and

sides of the nail it shouldn’t look like the nail was placed on top of the finger. Only when

the nail reaches the fingertip should it be slightly separated from the finger. Depending on how long the fingernail should be, the shape can now be finished with the

available polygons. A possible result can be seen in Figure 5c. Note the area of the nail

bed where the nail polygons are moved far into the finger to better integrate the nail.

When the nails are longer, the polygons in front of the nail should be extruded, as

shown in Figure 5d. This allows you to adjust the shape of the nailtip more precisely.

Subdivide the edges that border the joints on the underside of the finger, as shown in

Figure 5e.

Figure 5c: The finished fingernail

Figure 5d: Extending the nail

Figure 5e: Creases on the underside of the finger

Joints

To create the creases under both joints, we need more subdivisions in these areas.

This is where we create V-shaped indentations. Two indentations at the joint

closest to the base of the finger and one at the joint near the tip should be enough.

Figure 6a: The upper creases on top of the joints

On top of the joints we create rhombic or circular subdivisions, as can be seen in Figure 6a. This is similar to the concept of the polygon loops that we used when modeling

the face. Especially at the larger second joint in the middle of the finger, it is apparent that the creases of the skin are running in an elliptical course around the joint when the finger

is extended. The only exceptions are the creases that are located directly above the

joint. These cross the finger perpendicular to the direction of the bone.

This circular arrangement of the faces can be used to reproduce the creases. This loop

also helps us to limit the number of faces needed in the area of the joint, so we don’t

have to make so many cuts through the whole finger. Too many cuts could result in

problems on the underside of the finger. We need at least two additional vertical

cuts on the second joint, since the area of the creases there is quite large and we will

need to create at least three more creases. The smaller creases can be added later with

a material. The additional edges can be seen in the side view of the finger in Figure 6b.

Figure 6b: The creases of the joints

Figure 6c: The smoothed view of the finger

Lower the edges over the joints slightly so a small indentation appears.

Skip the following edge loop and lower the next one. This creates a zigzag shape on top

of the joint that will result in nice creases when smoothed. Don’t overdo the depth of the creases on the finger. After all, these should be the hands of a young woman. The rules that apply to the hands also apply to the face: Creases are added only where they are necessary for the function of the joints, muscles, or skin, or support the character of the person. Creases caused by age generally don’t need to be added. Also note how additional subdivisions at the underside of the fingers are used to narrow the joints and to add more volume to the area between the joints. Figure 6c shows the smoothed version of

the finger model. Clearly visible are, especially on the underside of the finger, the voluminous

areas between the joints, bordered by the joint creases. This is the location of the muscles

that give the fingers the ability to move. Also take note that the last portion of the

finger, meaning the fingertip, is modeled to appear very soft and voluminous. This

prevents the finger from appearing too pointy.

Remaining Fingers

Figure 7: Scaling and placing the finger copies

As mentioned at the beginning, the fingers differ mostly with regard to thickness and

length. The basic construction of each finger and the proportion of the segments between

the joints, with relation to the overall length of the finger, are the same.

Therefore, we can use the modeled finger as a base for the remaining three fingers.

I deliberately exclude the thumb since it contains a different order of joints and even

lacks one near the tip. But even with the thumb we will use parts

of the basic model of a finger and save ourselves a little work. We start by duplicating the existing finger and moving the new object so it fits the sketch of the index finger. The profile of the middle finger and index finger are almost identical. Therefore, when changing the size,

only the length should be changed. Because the fingernails stay the same,

regardless of the length of the fingers, reducing the length of the fingers should

be achieved by shortening the segments between the joints.

As a basic rule, the shorter middle segment of the index finger, compared to that of the

middle finger, makes the difference in length between these two fingers. By comparison,

the ring finger has a shortened segment between the hand and first joint.

With the little finger, the first two segments are shortened, meaning the segment

between the hand and the first joint, and the one between the first and second

joints. Keep this in mind when copying and scaling duplicates of the basic finger. Also

use the image templates, which show the length of the fingers when viewed from

above, as a guide. After a first rough placement, correct the

shape of the fingers. As mentioned before, fingers are seldom completely straight.

Rather, the fingers, when placed next to each other, angle toward each other, especially at

the fingertips. When considering the palm of the hand as the base, the overall shape of the fingers looks like a triangle. The fingers don’t just run straight out of the palm.

In addition, the fingers, with their complex joints and tendons, follow, at their base,

the curve of the rounded shape of the back of the hand. The fingers therefore vary in

height as well as in length. As can be seen in Figure 7, the fingers form

a soft curve. It is important to consider this so the hands don’t appear unnaturally stiff.

This curve is continued on the side toward the thumb, which we still have to add and

which, of all the fingers, has the most spacein which to maneuver.

Palm Object

Figure 8a: A cube as the base for the palm

Figure 8b: Adjusting the shape of the cube

Before the missing thumb can be added, the basic shape of the hand should be created.

This contains the back and the palm of the hand. These faces connect the fingers to

each other and end at the wrist where the forearm connects. In order to keep to a minimum the number of faces connecting the hand to the arm, the number of faces at the wrist, where the forearm connects, should be reduced. We start with the modeling of the basic

shape of the hand. The object to use would be a basic cube, as shown in Figure 8a.

In order to have enough faces available to connect the fingers, the cube should have

eight subdivisions in its width, three in its length, and two in its height. This results

in four polygons for each finger on the front surface. Move the points at the front surface of the cube so that a small gap remains between the fingers and the cube.

In the side view adjust the position of the faces of the front surface so four polygons

are centered behind the open end of each finger cylinder.

This results in a slight bulge of the back of the hand, as can be seen in Figure 8b.

Then unite the fingers and the new cube to a single object so we can create connectingfaces between the separate elements in the next step. Delete the polygons at the wrist and finger ends of the cube so a flat square tube is created.

fig 8c

fig 8d

The fingers can now be connected, on top and bottom, directly to the now open edge of the cube. Simply merge the lateral points between the fingers, as can be seen in 8c. Add another subdivision to the transition between the fingers and the hand, at the base of each finger. This prevents this area from appearing too pointy. Then delete the faces that previously connected in the middle. The result is an opening as shown in Figure 8d. Combine the middle and lower points of the edge of the opening. These points are marked in white in Figure 4.17.

Figure 8f: Edge selection

Figure 8e: The new finger base

With the help of a new quadrangular face, the remaining hole can be closed. This face

is marked in red in Figure 8e. Part the edges in the area between the fingers, as shown in Figure 4.18. This area represents the skin that looks like a web when the fingers are spread apart. The connection of the fingers is now complete for the upper part of the hand.

However, a look at the underside of the hand reveals that contours are missing. The

fingers appear to simply grow out of the hand without creases, which indicate the

joints above them.

Also, there is still a lack of subdivisions that could create these details sufficiently.

Select these edges at the underside of the hand, where the fingers connect. Expand

this selection to the middle of the edge of the hand and to the area between the index

finger and the still missing thumb. Figure 8f shows the path of the edge selection

in red. Double or part these edges to get two parallel edges. Figure 8g shows the result

of this action in red. Then delete the connecting faces in the area between the fingers. The resulting gaps are also shown in the image above. Close these holes with new faces, as shown in red in Figure 8h. These faces can be used to further shape the skin between the

fingers. The newly created edge is then moved upward toward the finger knuckle and

thereby creates a crease, as shown with arrows in Figure 8h.

Figure 8g: Parting the edge selection

Figure 8h: Closing the holes again

Back of the Hand

Figure 9: Shaping the Back

Depending on the position of the hand, the back of the hand can be flat or, when making

a fist, is shaped by knuckles. It also shows tendons when the fingers are spread.

We will discard blood vessels for now. These can be added later with a texture, just as

long as they are not so defined. However, even if knuckles and tendons are

not to be very pronounced, the subdivisions should still exist. This gives you the freedom

to attach these details to certain positions of the hand when, for example, morphing

the surface. Generally speaking, just a few faces have to be added since only the surface is raised slightly. Therefore, select four polygons on top of each knuckle and an additional four

polygons between each knuckle and the wrist. Extrude these faces and scale the

results slightly. The corresponding faces are marked in red in Figure 9.

Depending on the desired definition of this area, move the knuckle faces upward. The

faces for the tendons should be raised down the middle so only small segments protrude.

Reverse this in the middle of the hand so the tendons disappear completely under the skin

again, keeping this effect more subtle. It is important that the tendons not remain

parallel, but instead move closer to each other as they head toward the wrist.

Thumb

Figure 10a: Modeling the thumb

Figure 10b: The assembled thumb

Now we get to the thus-far-disregarded thumb. It has, as we can see on our own

hands, one less joint and is more compact and thicker than the other fingers. Nevertheless,

we will reuse parts of the existing fingers. For that reason, separate a copy of a complete

finger from the hand. Keep the complete tip of this finger, including the nail and the first

segment with the joint. Move the two remaining segments of the finger toward each other until the length of the thumb is achieved. Increase the circumference of the object to create the thickness of the thumb. The upper image of Figure 10a shows this end result. Rotate the thumb around its length axis until the side of the fingernail points upward. Make sure that the base of the thumb follows the curve of the other fingers. Then connect the two separate segments of the thumb with each other, as shown in Figure 10b. In addition, widen the opening of the thumb above the joint. Then delete the faces along the side of the hand next to the index finger and create new connecting faces that connect the thumb with the hand.

These faces marked in red can be seen from different perspectives in Figure 10c.

Figure 10c: Connection between hand and thumb

Adding Details


Figure 11a: Thickening of the underside of the hand

The basic shape of the hand is now recognizable, but there are still details missing from the transition of the thumb to the hand and from the underside of the hand. We will start with adding volume to the base of the fingers. The extrusion depends on how meaty the hand should appear. The extrusion should be a little on the lighter side, since it is a female hand. With a male hand this area could be more pronounced, since calluses often appear there.

Figure 11a shows in red the resulting polygons after the extrusion. Depending on the shape of the hand, this area could be extruded as a continuous strip and not separately above each joint. This can also help to border the lifeline that begins at the edge of the hand.

Muscle at the Base of the Thumb

Figure 12a: The bulge at the base of the thumb

Figure 12b: Shaping the muscle groups

So far, the palm of the hand does not have enough subdivisions to show details like single lines or to model the bulges. Therefore, we will add a continuous subdivision in this area. As you can see in Figure 12a, the path of this cut goes through the polygons on the back of the hand, continues to the base of the thumb, and through the crease at the joint. At the inside of the hand, the cut curves again in the direction of the palm and connects at the edge with the starting point of the cut. Add a continuous cut at the base of the thumb, as can be seen in the top image of Figure 12a. Use these new faces to better control the shape of the thumb in the area of its base. Move the new edges of the inside of the hand, in the area of the ball of the hand, downward. This spot is marked with an arrow in Figure 12a. The goal is to simulate

the bulge of the thumb muscle in the palm. The characteristically round shape of this muscle is still missing. The points in this area need to be moved in order to restrict this area. Figure 12b shows this step. In Figure 12b you can see how the additional points and edges, created by the last cut at the base of the thumb on the underside of the hand, were moved in the direction of the base of the fingers. A similar movement is also necessary in the area of the outer edge of the hand. Located here are larger muscles that bulge out from the palm of the hand. Between these two “hills” the palm recedes slightly and creates a dent. In the center image of Figure 12b, you can see this dent at the location of the thin red arrow of the coordinate system of the hand. Use the faces located between the wrist and the previously moved edges to shape the described muscle groups. In an unusual view, originating from the wrist, the volume of these muscle groups and the resulting dent in-between can be seen very well. In the next step we will refine the transition to the thumb. Here too is the characteristic

stretching of the skin when the thumb is spread out, as we have already modeled between the other fingers.

Figure 12c: The stretched skin at the base

Figure 12d: Emphasizing the muscles
thumb

Select the connecting faces between the thumb and hand and extrude them. Slightly

shrink this polygon group and pull these faces slightly outward. The image series in Figure 12c shows these extruded faces in red. As can be seen in the last image of the series, a nicely defined web of skin has been created. Additional details should be added to the

palm if this part of your 3D character is to be visible very often. A reason for this is that

the muscle at the base of the thumb should have a more visible border at the wrist and

at the center of the palm. This is accomplished by extruding all faces and then shrinking the new polygons. Figure 12d shows the corresponding selection in red. Use the newly created points at the edge of these faces to create a crease at the wrist and in the center of the palm, as shown in the lower image of Figure 12d

Wrist

Figure 13a: Transition to the wrist

Figure 13b: Adding lines to

the palm

As mentioned before, the faces in the area of the wrist should be reduced so fewer

subdivisions transfer into the structure of the forearm. First, extrude the oval edge at the open end of the hand, doing this twice. These additional subdivisions are necessary so the

hand can later be bent at that spot. Then pull out, a little bit, every third point at the open edge of the wrist. A zigzag structure is created, which can be seen in Figure 13a.

This irregular shape allows us to create quadrangular polygons in the next step. These again create a closed and smooth edge. These new faces are highlighted in color in Figure 13a.

As you can see, the shape of the object has not been changed, but the number of

polygons at the wrist has been reduced to just eight. Simple parting of edges can be used when more details are needed on the palm. Figure 13b shows an example. However, this can only work without problems when the edges already run in the direction of the desired creases. Therefore, pay attention to the structures of the palm during modeling. This concludes this complex step, and we can now take a final look at the finished model (Figure 14).

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3d Modeling the Hands Tutorial for 3ds Max and Maya

Modeling the Hands

Fingers

Fingernails

Joints

Remaining Fingers

Palm Object

Back of the Hand

Thumb

Adding Details

Muscle at the Base of the Thumb

Wrist

Final Result

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Sunday, 20 October 2013

-:download free 3d Models Of sports equipment :-

3d Model of Candle

3d Model of Candle

Overview:-

Friday, 18 October 2013

3d Model of Clock

Thursday, 10 October 2013

Modeling the Hands

Fingers

Fingernails

Joints

Remaining Fingers

Palm Object

Back of the Hand

Thumb

Adding Details

Muscle at the Base of the Thumb

Wrist

Final Result

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