Project Week 4: Character Shading

As promised, here is the next update (this time only half a week late!). Shading took much less time than rigging, simply because there is much less work involved in the process.

Shading is just the process of creating the texture and color on your model. Given how lambert1 is rarely the most enthralling shader, I had to create a new shader, add a bump map to that shader, and then attach the shader to my character using a UV map.

At first, I created a Blinn shader, since I prefer working with Blinn (I think they display bump maps better, but that is mostly opinion). I then just altered the color to make it more stone-like, and changed the specular settings so that the reflections and eccentricity would not reflect much light.

Shader settings

After that, I added a bump map to create texture, so that Kopf actually looks like he's made out of rock instead of clay. I used a fractal bump map to make the texture kind of random, but still coherent, and set the bump value fairly low since the Easter Island heads are actually pretty smooth.

Fractal settings

Bump map settings

The final step involved mapping to shader to my character using UVs. Although the color applied itself without a UV map, bump maps cannot be applied without them. All I did was use the Automatic Projection tool, since I didn't have to worry lining up UV shells due to the fact that the shader was just a constant color. I had considered using a seamless rock image to make him actually look like stone, but the UV map was just too complicated to fix within my limited timeframe.

Model with shader

Overall, the result was pretty good. I may still alter the shader or bump map after I add lighting and start rendering, but this is a pretty decent start.

Project Week 3: Character Rigging

First off: I am a week behind at this point. Rigging is very, very difficult, and takes a REALLY LONG TIME. I'm still not even done, but I'll elaborate on that later on.

Rigging is, in a nutshell, the process of creating a manipulable skeletal system and control system, and then attaching that skeleton and system to the model. Creating the actual skeleton is as simple as tracing the outline of a skeleton (foot, ankle, knee, hips, spine, clavicle, shoulder, elbow, wrist, fingers, and neck are my major joints) with the Joint tool, and creating IK handles which make the skeleton move realistically when certain joints are moved (for example, the knees bend when you duck the hips down).

Creating the control panel is much more difficult. Using constraints to make joints move and rotate or track NURBS curves is basically all that you're doing, but keeping a clean hierarchy can be a puzzle at times. I used position constraints for things that would move like the feet and hips, orient constraints for things that would rotate like spine joints and wrists, and pole vector constraints for things that would bend in unique ways, like elbows and knees.

Attaching the skeleton and control panel to the skin is similarly difficult. Using the Smooth Bind tool, Maya will do a basic (read: pretty awful) job of making the model move with the skeleton. After smooth skinning it, you have to check the influence certain joints have on different areas of the skin, to make sure that joints aren't moving more than they should be (so that your chest doesn't cave in when you push the elbow closer to the body). Painting the skin weights manually takes FOREVER, so I am currently attempting to find a plug-in to assist with the process. (I'll include a link to the plug-in if I find one in an edit.)

So, here are the results of my labor:

Skeleton and control panel with transparent model

Skeleton and control panel sans model

I don't think wrists bend that way

DEAR GOD MAN GET THAT LOOKED AT

As you can see, I'm not entirely done yet. There's still some things to clean up, like overlapping wrist skin and that gaping crater in his chest that happens when he leans back. But that will all be allayed at a later date when I'm polishing, the brunt of the work is mostly over. Now, I get to begin shading the model. Given how I am horrendously backed up, I will work tirelessly over the weekend to catch up, and will attempt to get the next post up by next Wednesday.

Wish me luck. I will sincerely need it.

Project Week 2: Character Modeling

So I kind of sort of missed updating the blog last Friday because I was working until 5 o' clock on finishing Kopf's (which is his name, I have now decided) clothing. I apologize for the delay, but character modeling takes A REALLY LONG TIME, especially if you only have a cursory knowledge over the matter.

In a nutshell, all I did was extrude and match vertices and faces into the reference images from an initial polygon plane, and then fine tuned from there (AND THIS TAKES FOREVER). I used the Insert Edge Loop and Multi-Cut tools to create topography to add more edges and vertices to modify in greater detail. I created a separate head and body and connected their vertices with the Merge Vertex tool to create a neck (same thing with the hands/wrist). To create clothing, I just duplicated the body, deleted faces I didn't need, and used the Sculpt Geometry tool to pull the faces outward to create the different articles of clothing. Here are a few renders of the initial pieces, and one of them compiled.

The body

The head

The hand, after connection to wrist

Entire body, smoothed and connected

Body with clothes (the shaders are pretty sketchy at this point)

Again, sorry for the delay. But I overestimated my ability to actually be good at using Maya.