What is a 3D object actually made of?

A dog made from glass
(Image credit: Future)

It is weird to think that every time we see a 3D rendering of a character or environment, it’s essentially a bunch of equations that place points in an infinite computer void, and then the computer connects them in the 3D application. This is true whether you’re using the best 3D software or just starting out, because every polygon-based 3D model is constructed from three components: vertices, edges and faces.

Everything else regarding the model depends on how these three parameters work together, from texturing, which maps to the polygons, to animations that depend on organised edge flow. And of course, all of this runs a lot smoother when you’re working on the best laptop for 3D, especially once scenes get dense and complex.

1. Object mode vs Edit mode

Most 3D applications have two basic states: Object mode treats your model as a single item, and Edit mode lets you access the geometry. Be mindful of parametric shape types, which are application-specific. This is especially the case in Cinema 4D, as these are controlled via inputs and can be converted to become basic meshes.

2. Vertices, edges and faces

In Edit mode, you can select individual components. Vertices are points – the corners and control points of your geometry. Edges are the lines connecting vertices. Polygons are the flat surfaces enclosed by edges. Most 3D apps let you switch between these modes. Also, be mindful of normals; the ‘direction’ that a polygon is facing.

3. Why topology matters

The arrangement of vertices, edges and faces is called topology. When importing models from a sculpting or CAD application, these can export topology, which can involve learning how to ‘remesh’ a model to work with your 3D applications – for example, with characters where topology can define creases in a face.

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Mike Griggs
Freelance writer/digital content creator

Mike Griggs is a veteran digital content creator and technical writer. For nearly 30 years, Mike has been creating digital artwork, animations and VR elements for multi-national companies and world-class museums. Mike has been a writer for 3D World Magazine and Creative Bloq for over 10 years, where he has shared his passion for demystifying the process of digital content creation.

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