ANIM2001 CG Character Production Logs

Session Review During the events of this final academic session of the nomad, my current concentration was focused on applying more detail to the nomad's helmet and creating a new skin texture. Moreover, the reason for me creating a new skin texture from the previous face skin was because of the previous skin had a harsher completion on the character and a fellow classmate found it unnerving. Moreover, browsing through my photography CDME module folder, I used a portion of my skin an d re shaded indigo in order to create a smoother and more tillable face skin for the nomad. I must say I was very impressed with the quality of detail with the final skin render (figure a). Furthermore, returning to the class I continued to face difficulty successfully, uv mapping the characters head.  However, thanks to constructive criticism from both the lecturer and fellow classmates I proceeded to follow a tutorial from Vimeo, which I personally felt was much simpler to follow a

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

Session Review Returning  to the nomad after experimenting with the available materials in maya ( figure 1) . The decision was made to return to make another series of uv mapping attempts and it was through the guidance of a classmate that I discovered a useful uv mapping tutorial that required time to observe in order to drink in the information. Figure 1 Moreover, the methods James Taylor used were simple and easy enough o intellectual follow as well as practically follow;however, I noticed that each limb of the instructors character was a separate mesh so I referred to auto desks website read their methods of separating areas of a model until the operated pieces are individual objects. Furthermore, while I was repeating the methods of un wrapping to the leg it was tedious but pleasing that I noticed several vertices in the leg were not merged together. In addition, I had to create a new foot purely because the previous version I had had terrible topology and at the

Session Review Proceeding from the previous session, I returned to progress my experience with uv mapping sand create a successfully flattened UV map of the character's arm as instructed in the tutorial. Moreover, this time I had certainly learned to allot and my work rate was faster, however, after trying to go to Create UVs > Projection and make my cut UV's appear in the UV editor window it did not display my selection with the edges of the model selected. Instead, I had to select the arms faces not edges in order for something to appear on the screen. Despite the fact I made the arm appear in the uv editor window. It appears that my multiple attempts to unfold and flatten the arm out was unsuccessfully(figure 2) and purely because the program itself appears to be glitchy. Figure 2 The Irony Naturally,  half an hour later I discovered a useful video boasting how to create a successful uv map by ??? Furthermore, before I returned to uv map the character, I dup

Session Review It is worth mentioning that I will not submit as many frequent logs as usual, Instead I will simply submit a production log for each major discovery or change has been applied to the nomad character. With hthat clarified, this session continued after the vents of the last session and I proceeded to merge the new model together and work on the mouth area of the model. I proceeded to observe the modelling techniques in another tutorial by Ryan Kittleson and continue to use the Hulk character rig a further reference and I realized in order to create a more relaxed and more organic lips I had to pull the upper lip down an the bottom lip upwards. I find the new mouth as shown in (Figure 1) to be more aesthetically pleasing to my artistic eye and with enough room from the lips to the nose allows an animated nomad character to freely move his lips. Figure 1 In addtion, I retunred to the ryan kittleson turorial on lynda.com in order to use his merthodfs for