CG Character Development Session 43

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 creating trousers ands apply it to the creation of a new loin cloth woven from the characters legs. This method was allot more efficient and the final results (figure 2) after comparing it to the previous cube loin cloth is much more aesthetically pleasing to the eye.

Figure 2

Furthermore, I continued to create additional assets such as the two blades along the nomads left gauntlet. Both were simply to edited cylinders and was inspired by the methods of Christian Bradely from lynda.com and his Minotaur tutorial as shown in figure three.

(Figure 3)

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

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