SOE Character Art Test

This document contains a brief description of the steps I took to create the character assignment for your Art test. Besides the provided design sheets, the following resources were used in the process: Visualizing Muscles by John Cody, M.D. Anatomy for the Artist by Jeno Barcsay Anatomy by Burne Hogarth Various X-Men comics and images Various Bodybuilder images

I delete the faces on the left half. I continue by adding the pectoralis major muscles. I place the full body references in a new Maya scene and align them correctly. four for height and two for depth. I move them away from the center grid as to not block my view while modeling.First off. I duplicate the remaining faces as an instance and mirror them across the middle axis. As I go along. Time: 2 minutes I begin the blocking of the shape of the torso using the reference files as a guide. making sure their size is relative to each other. I add little extra detail to achieve a rough outline of the torso shape. Time: 20 minutes . I use four subdivisions for the width. Time: 1 minute I create a polygon cube for the body. I refine the shape of the upper and lower torso.

Time: 25 minutes Next I extrude out the shoulder area. convert it to polygons and attach the resulting mesh to the torso. I am trying to achieve a natural flow from the pectoralis major to the deltoid muscle to both define the shape accurately as well as allow for a better deformation in the animated model later on. I will leave the hands alone for now until I can better determine whether my polygon budget will allow for individual fingers or only a blocky fist. Time: 30 minutes Next I add the neck muscles and create the rough outline of the head. Similar as for the legs. I add some extra detail around the pelvis area. I like to use a NURBS cylinder. Time: 15 minutes .Next I create the rough shape of the leg. At this point the model is fully blocked. I create a rough shape of the arms using a NURBS cylinder. with the exception of the hands. create the shape and then convert the NURBS cylinder to polygons. After I attach the legs to the torso. For this task.

Time: 25 minutes I add extra detail to the back and side to define the predominant muscle groups. I try to mimic the most dominant muscle groups. Using the reference images and anatomical resources.I continue by adding detail to the leg. Time: 30 minutes I add extra detail to define the abdominal muscle groups. Time: 25 minutes .

like the head. the model shows a nice amount of detail. I place simple spheres for the eyes and add detail around that area. I like to work in a different Maya scene. Time: 80 minutes . Next I extrude out the nose. I export the faces that make up the head into a new file and add the detailed reference images. So far. Since the face is the most recognizable feature of any character. At this point. Time: 60 minutes At this point. For areas of detail. I need to start working on the head. the budget stands at 2658 triangles. I will need to add a fair amount of detail to this area.I continue by adding detail to the arm and neck area. I work out the mesh around the cheek bones and the eyebrows. I add extra detail around the mouth and define the general shape of the head. I can export the model back to the main file and combine it with the torso. Before I can further refine the model.

Time: For the beard. I first place some NURBS cones and model the individual spikes. I create a simple polygon box. the model now stands at 3526 polygons This leaves enough detail to model the hands with individual digits. I collapse edges and merge the vertices where I see fit to shape the hair.Combined. set the subdivisions to four in width and two in length and start extruding out the fingers. Time: 65 minutes After adding the hair and beard. To create the hair. I duplicate these splines. move them a little outward and loft the surfaces for the beard. For now I will leave the hand at this relaxed position to allow for easier UV mapping. I turn the body mesh into a live surface and draw a couple of splines onto the face. This should leave enough detail to model the hair with individual spikes. Time: 20 minutes . I then convert the NURBS surfaces to polygons and close the seams. the model now stands at 3234 polygons.

turning edges and adding or removing geometry. I will modify some of the edge flow and add or reduce detail in certain areas of the model. Time: Next I’m creating a simple skeletal system to test out the deformation of problem areas. Time: 95 minutes At this point I usually create a character rig from the simple deformation test setup. just a little under the maximum budget allocated for this project. however. I will not go into further detail on how I created it. Since I added the character rig as a bonus. The poly count stands at 3890. I then fix these areas by splitting faces. the modeling process is close to its final stage. I will gladly add this part on request. If you should have any questions. I look for edges that flip during deformation and for places where the mesh pinches undesirably. The next step is to conduct some simple deformation test to see how the model will perform when animated. Time: - . I take one final pass around the model to fix any areas that differ from the reference images.At this point. During this process.

I use alpha brushes for finer detail and for areas like the beard or the belt I paint displacement maps in PhotoShop and apply them to the model. but not on the body Time: 50 minutes For the most part I use cylindrical or planar projection to create the UV layout. Time: 625 minutes . After the UVs are created I use the checkered texture to scale the separate pieces proportionally and lay them out within the UV texture space. Time: 60 minutes Next I break up the model into smaller parts and export them as OBJ files for use in Z-Brush. it is now time to create the UV layouts.Getting the model to a point where drastic changes to the geometry are unlikely. I apply a checkered texture to the whole model to show stretching and pinching of the UVs and correct the faulty areas. I decided upon creating two 512x512 shaders rather than one 1024x1024 shader because I intend to use an alpha channel on the face. I create high resolution models by painting detail in Z-Brush. I combine all the normal maps into one each for the body and the face. After I created the high resolution models I export displacement and normal maps to Photoshop.

I use the displacement map I exported from Z-Brush as a starting point to create soft shadows. Time: 250 minutes As for the body texture. Finally. I use the displacement maps from Z-Brush as a guide to create the texture for the head. always checking any changes in the real time preview of the model. I use a desaturated version of the color map to create the specular. I create an alpha channel for the teeth and the beard. I start by blocking in the different parts with solid colors. Time: 45 minutes For the body color map. I adjust the levels accordingly. Time: 190 minutes . Switching back and forth between PhotoShop and Maya I attempt to minimize the visible seams of the texture.After applying the normal map to the model in Maya I look for areas that still need some refinement and adjust the normal maps accordingly. I create a specular map from a desaturated color version and add small highlights to the hair and beard.

Since I added the character rig as a bonus. Once done with the rig I spend some time creating poses to see how the character will perform in action. I will gladly add this part on request. spent on finding solutions for problem areas) . Working with a copy of the original mesh. Time: 115 minutes At this point I create my final character rig and the user interface. I make sure to only collapse and delete edges rather than moving any vertices to assure that the UV layout will not be modified significantly. however. I reduce the detail. I will not go into further detail on how I created it. If you should have any questions.As a next step I create one LOD of around 1000 Polygons. Total Time for Modeling: 10 hours 8 minutes Total Time for Normal Map: 11 hours 10 minutes Total Time for Texturing: 9 hours 10 minutes Total Time for Art Test: 30 hours 28 minutes (NOTE: Since I timed only the time I actually worked on the model it is safe to assume that the actual time might be up to three hours longer. Time: That’s it.

Mike Michael S. Should any questions you might have still remain unanswered please do not hesitate to contact me at mike@mk3d.com .R.com www.mk3d. 508 San Francisco CA. Kiessling 887 Bush Apt.com Thank you very much for your consideration. 94108 415-928-2742 mike@mk3d.I hope the preceding description gave you some insight into my workflow.