Crafting the Dual Bladed Sword

Overview

Back in October 2022, I was given the task of modelling and texturing a weapon from a single reference image. I was given a selection of melee weapon images, and I naturally chose the one that looked like something out of Star Trek. Yep, a double-edged sword with spikes in the middle.

I did make a joke at the time that I thought each end of the blade looked a bit like Woody the Woodpecker's head. For my own amusement, I went ahead and textured the blade to match (after I had completed the assignment).

Modelling

Anyway, you're here to read about how I made it. I began by importing the reference image into Maya as a texture for a plane and locked it into an upright position. I didn't have any scale to work with, unless you count the relative sizing of the sword. Meaning that the width and height ratio would remain the same.

After sorting out the reference image, I considered the primitive shapes that I would need to use in order to create the model. Two cylinders for the handle and handguard, then I used two cubes for the larger blade and the spikes. I figured that I would only need to make one of each, as I could duplicate each piece and place them where I needed.

Making the blade was a bit of a challenge, in that I knew if the poly was too thin, then it may cause issues down the line that could mean the weapon wouldn't texture correctly. My solution to this was to go for a thicker blade and then, if I needed to later, I could scale the model to be slightly thinner. I used edge loops and subdivisions to trace the outline of the blade from the reference image.

While manipulating the model in Maya, I predominantly used the front-facing camera to accurately gauge where I need to move vertices and which areas of the model need to be smoothed.

To add depth to the model, I used the perspective camera to get a better view of the curvature I was attempting to mimic.

To make the spikes, I decided to abandon the cube I had as a placeholder and attempt to display a different range of modelling skills. To do this, I took a plane and lined up the vertices with the detailing on the reference image. After this, I duplicated the plane and flipped it to create the other side of the spike. Finally, I welded the vertices of the two planes together to create a sort of arrowhead shape.

To make sure that the handguard has the best possible curvature (and to prevent a lot of guess work on my part), I chose to use a tool found in the Animation menus called Bend. I used this tool to curve the cylinder by rotating the subdivisions, matching the curvature needed for the handguard. ​

To model the handguard, I had to scale and move the edge loops to match the size and shape of the guard on the reference image. I began with the tips of the guard and gradually increased in size to form the hilts for both blades.​

Noticing that the guard is meant to have a seam running the length of the arch, I highlighted an edge in the middle of the design, or the flat edge, then scaled outwards until it matched the image I was working with.

Before making the gems, I felt that they first needed a hole to fit into. The hole was made by using a cube to cut all the way through the handguard. Subtracting the cube from the guard meant using Booleans.

  Mesh – Booleans – Difference

Making the gems was a simple task, duplicating the diamond shape used earlier for cutting holes and selecting edges to bevel. Bevelling each end of the diamond shape produced a cut jewel appearance, similar to the one in the reference image.

Looking at the handle of the blade, I noticed that the wraps would be easiest to model by treating each wrap layer as a separate shape (using cylinders instead of creating a spiral, each side of the blade would mirror). I used the extrude tool to match the outline and add detailing to the handle wraps.

Texturing

Before I begin this chapter, it has to be explained that this was my first attempt at using Maya's Hypershader. Where this was a university project, we were first told that we couldn't use the Adobe Substance Painter method, which we had been using until this point. The reasoning was that we couldn't use photo-texturing. Unfortunately, nobody (including lecturers) knew how to export the textures from Hypershader. meaning that the lecturers went back on this restriction and allowed us to use Adobe Substance Painter with what time we had left on the assignment. Personally, I feel that my first attempt at texturing this model was far superior.

Blades

Making the texture for the blades, I attached a new aiSurfaceMaterial and used a layer node to implement Curvatures, ramps and Fractal Textures to build up detail on the blades. Reversing some effects to darken the thinner areas of the model.

Spikes

For the spikes, I duplicated the Hypershade blueprint for the blades and removed some of the curvature features that were needed darken the back of the blade. This provided the lighter tones for the edges on the spikes.​

Gemstones

To make the Gems, I tried to make a texture without Hypershade. So, I attached a StandardSurface material and set the base colour to red to match gems in the reference image. Shifting the metallic and roughness properties, allowed the gems to gain a slight shine. I changed the diffuse colour to a sandy yellow to make it look like the colour of the guard is reflecting in it.

Handguard

Making the guard, I used a Checker template in Hypershade and repeated the base design 40 times to get a fine cross pattern around the handle. I changed the colour using the eyedropper tool, to the exact colours of the reference image. As before, I connected this to an aiStandardSurface.

Handle

​To make the handle, I took the cloth effect template and scaled it to repeat 100 times. This made the pattern scale down and look more realistic. I changed the colour scheme to match the reference image. After that, I added a Curvature node to highlight each strip of cloth wrapping around the handle. To finish the texture, I decided to add a plain dark orange layer and applied the Screen effect. This gave the wrap an aged look that I really liked. 

Texturing - Take Two

Importing

To import the model to Adobe Substance Painter, I selected the .fbx file from the folder I was using to export both model and textures from Maya to Unreal (probably saved as "please_work57.fbx"). I then set the resolution to 1024px, which is the equivalent to a 1k image. ​

After this I hit okay once I was happy with the rest of these settings. Making sure to use the UVs included in the .fbx file, which I made earlier.

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Baking

To bake the model, I needed to make sure the output size matches the document resolution.​ I also needed to bake all selected textures so no elements of this dual bladed sword model had skewed or discoloured materials.

Texturing

Given the limited time I had available, I had to texture this sword the quick way. Meaning I wouldn't have much time in the way of applying details to the model.

To apply textures to the layer, I need to click and drag a base material from the asset library to the model.​ From there, I could tweak the material properties to customise the attributes to try and match the styling of my reference image. Once I was happy with the textures I had made, I exported the textures as .png files, ready to import to Unreal Engine 5 for the last part of my assignment.

Importing to Unreal Engine 5.1

I imported the texture maps and model through the Unreal Engine Content Drawer.​

Next I had to Separate the maps into model components. I did this by making 5 individual material slots, adding the relevant maps to the material and then connecting nodes to the correct places.​

After this, I saved the materials and connected them to the model in the scene.