I plan to make a low-poly character in Maya first, and then sculpt a high-poly model using Mud box. Then, bake the high-poly model onto the low-poly model in Maya. This is only if I have enough time. Otherwise I will only be able to make the low-poly character

Personal reminder: Keep the UVs the same on both models to bake properly.

Modelling the Head

Reference used to make model:

I have decided to reuse the eye model from another project, except I believe that customising the colour and decreasing the size of the pupil would be preferable.

Modelling the Body

The torso (see figure 9) was made from a smoothed cube, with added edge loops, and then elongated. A lattice deformer was implemented to change the shape of the body.

The edge loop topology was edited according to figure 8’s tutorial using the multi-cut edge tool.

I made this neckline with the head as a reference, using the multi-cut tool.

Figure 12 includes the trouser mesh combined with torso mesh and retopologize. As well as shoe blocking.

I had to remake the shoes a few times to understand how to make the topology for the shape properly. I especially found the lip to be challenging. Specifically the area of vertices that I had highlighted in figure 17.

Modelling the Hand

I have the intension for my character’s hands to be quite bony. I like that style and I believe this will suit my character. So that he will seem more fragile and less sturdy or strong. I used figure 20 as a method and technique reference. I also implemented an external 3d model as a visual and scale reference. To ensure that I scale the fingers and palm correctly.

I used sculpting tools to move the suspenders mesh plane closer to the shirt mesh.

Modelling the Body Continued

For the purpose of keeping the rigging process easy, I made the shirt collar one sided. Since the texture will appear on both sides once rendered anyway. Instead extruding the thickness to produce an extra layer for the shirt. That method would not be preferable to me, too excessive and unnecessary. See figure 22, I had some trouble with how the topology should look where the shirt divides, though, I opted for the most symmetrical layout I could make.

Face Model Development

Face Sculpting

I used the Maya sculpting tools for adding details, for example, the eye bag area or the mouth.. Additionally, this tool was used to move around topology into more suitable placements.

Taking a look at the model now, and comparing it to professionally accurate versions, I can tell that there are improvements to be made on the topology. For example:

• The smile line should be in the middle of the side of the nose.
• There should be more lines for the forehead and upper eye area. The rest of the face has smaller topology sizes in comparison, for instance the cheek. These should be more evenly sized.
• The mouth line could be more straight.
• The ear could be more detailed (although I plan to use a high-poly bake to add detail to the ear).
• The nose model could have been structured better.

Overall, the model is suitable for my purpose and is usable in the rigging. The improvements can be applied in the next project.

Hair

References:

At first I considered the many ways in which I could model the hair:

• Xgen. (time consuming, complicated, difficult and will increase the rendering time very much).
• Stylised block hair (less modelling forms).
• More intricate modelling (more modelled forms).
• Alpha map plane with many layers.

Hair Design: First Version

I decided that the lowest poly model with good looking texturing work should be the best solution. I can always consider using Xgen to create the hair and eye brows later, but for the sake of time and simplicity, this is the most efficient option.

At first, I attempted to follow this tutorial which uses CV curves and curve wraps which allows me to manipulate the shapes very easily.

However, the process described in the video did not work for me. Firstly, the CV curve did not follow the mesh surface, as it did in the video, when I placed the points. But instead the points were made in the far distance or a few on the mesh. Some even snapped to the models vertexes.

I used a simple sphere as a test to represent the hair strands, though it did did not act as it should have. This inconsistency was not usable. I tried making a simple curve (not CV) and then following the rest of process, however, when curve wrapping, something always went wrong. It warped at one end of the curve, and on some occurrences the hair model, after pressing ‘curve warp’, did not reposition itself onto the curve, but somewhere entirely different.

Hair Design: Second Version

This hair model version is based on the method in video figure 29. Though, I believe that this form looks too unnatural. See figure 30-32.

I added a two sided scalp under the hair strands, which will also be textured. From instruction from my tutor, this will ensure to cover any gaps between the hair strands that may be there. Also, in case the scalp edges are seen then I added some details to the shape, see figure 33.

Feedback on the Second Version of the Hair Model:

( I have reminded all of the people who give me feedback on the hair that it will look different when the texturing is applied. And to imagine hair strokes in these clumps instead of thick hair with this visual style.)

• Looks unnatural.
• Looks to clean-cut.
• Too bulky to be natural.
• Looks like a bunch of bananas.
• the hair directions at the back bottom should be more down.
• The hair at the front, where the sideburns are should be facing the down direction (this feedback is wrong, based on my reference images but it is interesting to take into account).

Designing the direction of the hair strands:

Hair Model: Third Version

With this version, I altered the initial shape to have more detail and used ‘deform>lattice’ to alter the shapes further. This time they are thinner with more variety of size and shape distribution. I have added small strands in particular areas such as the front and the lower back of the skull.

Complete Model Screenshots: