CG Character Development Session 13

Session Review

Considering my now deeper insight into the culture of the characters and developing personality, I decided to create a sprite while I gathered all of my reference images around it. The reason for me creating a sprite is simply because I have created sprites for a number of years.

Furthermore, I prefer to either create sprites and roughly sketch my concepts before drawing the final reference art where I draw technically carefully thinking of the anatomy height, width and limb arrangement while layering the characters feature over one another.

For example, I draw the geometric shapes first then apply human definition such as muscles. I then apply undergarments such as underwear or bodysuits. I then continue to layer each set of clothing or armour in the same fashion a human would get dressed.

In addition, I found another useful character tutorial that demonstrated how to create a female cyborg from sketches to fully rendered figurine.

This tutorial and the other available assets I have access to on File Silo and Lynda.com will be invaluable throughout the characters production.

Overall for the next session, I will be ready to begin the improved reference image this time on an A3 sheet of paper so I can place additional key features of the character in the extra paper space.

By Sebastian Jones

Comments

Nomad Production: Finishing Touches

Session Notes Taking a moment to resume progress with the character I have made sure each part of the model's vertices, uv mapping, textures and topology areas clean and organised as possible before attempting to pose the character in Zbrush. using a plugin named Transpose However, while successfully importing a clean model of my character into Zbrush using the spheres to rig the character proved challenging considering I am still new to some of Zbrush's features and thus proved far too time-consuming for the academic deadline. Nevertheless, I have downloaded KeyShot 5 and attempted to render features of the nomad such as the tribal mask and truly show it off by making the render look as detailed as possible. Browsing ArtStation once more and observing others renders I pasted and edited a lovely forest green grunge background along with applying subtle lighting effects I learned from Photography to create a colour and vibrant render sheet. Henceforth, after combini...

CG Character Development Session 46

Session Review Figure a Following on from the previous session, over the past week I have proceeded to create a series of my own texture in order to replace most of the ones I located across the internet in order to avoid plagiarism and make the nomad character as authentic in its production as possible. Figure b Moreover, considering that my other classmates have applied bump maps to their characters in order to add definition to their character's clothing. I recalled a free piece of software known as "Crazy Bump" which is a quick and easy way to create bump maps from image files. It is also worth mentioning that when applying the bump map that the type of bump map is set as shown in figure a. The reason I chose to use my map as a "Tangent Space Normals" is because to my understanding from the tutorial it is normally used for standard game models according to the instructor. Additionally, the bump maps have applied a tremendous amount ...

CG Character Cont'd Development 3

Session Notes Resuming progress with the new nomad head model. I finally adjusted my reference image to have accurate measurements for the eys, nose and lips in order for me to accurately use the tutorial and model a geometrically clean head. (figure a) Figure A Furthermore, during the past sessions of creating the old nomad model I found the tutorial by James Taylor to complicated to follow although using cylinders to create the eyes and mouth area is a faster and more efficient approach to creating a loy poly character head. (figure b) Figure B Interestingly as I slowly adjusted the vertices for the second cylinder to form the lips. The multi-cut tool (figure c) as used in James Taylor's guide, was extremyl efficent at creating intricate edge loops. Figure C However, I had to delete some o the additional vertices the tool created and simply reconnected the vertices together in order to form a clean line with three verts on each lip line. Referances https...

ANIM2001 CG Character Production Logs

Search This Blog