This weeks tasks includes further development of the character’s model and textures. Finishing anything more details that the character needs, including sculpting and texture sets.

Inside of the Mouth

My model requires teeth. I intend to shorten the process of acquiring this part by using an externally sourced 3D model. This will help me to save time on an asset like this that will be mostly hidden from view. The possible models I found were as follows:

Figure 1 is the most ideal in terms of model shape and polycount, since it is very low poly. Though, the downside is that it does not have a texture. Figure 2 has a higher poly count, and has the best visual detail applied with the texture maps, however it includes a throat, which is not necessary for me. The upper and lower teeth are not separated, which is not acceptable for my purpose. I would need to edit the mesh and possibly destroy the already made UV map in the process. Which will cause issues with the texture map arrangement. Finally, figure 3 has qualities comparable to a mid point between the other two models. Figure 3 has a suitable shape and texture already in place, therefore is ready for me to use straight away.

The model in figure 3 appears to be the best in terms of practicality, I will use this one. However, the visuals are lacking in comparison. I can fix this or leave the model as it is. It is currently acceptable for my purpose, without any essential changes needed. So, if I have spare time, I can still decide improve upon it or not.

Taking inspiration from figure 2’s visual quality would be ideal.

Ring

I intend to add a wedding ring onto the protagonist’s finger using a parent constraint, after the main body rigging is done. That way I will not disrupt any symmetry required for the body’s rig. This too, will most likely be an imported model, unless I have time.

The image above is the ring and hand’s most basic appearance with a white sky dome, therefore, it will not be very aesthetically pleasing at the moment.

UVs

Uv to do list:

• Head
• Eyes and sclera.
• Hair, eyebrows and scalp.
• Shirt
• Trousers
• Hands
• Socks
• Shoes
• Extras- buttons, suspenders, clips and pocket.

I implemented the UV symmetry tool in order to make the necessary UV’s symmetrical.

I have grouped together certain objects into single UV texture sets, to save on how many texture maps I will need to plug into the object materials. I am unsure how to create texture sets (texture maps for multiple objects), since when I create the material for each object in Substance Painter, each object will produce their own PBR texture maps. Therefore, I plan to edit together these texture maps in Photoshop and then plug them into Maya that way.

Sculpting and Baking

When baking Obj files by transferring maps between high-poly and low poly models in Maya, there were lines left on the maps. See the image above. However, if I extracted the normal map in Mud box first, this produced the correct outcome, thankfully. Therefore, the problem was solved.

This research link helped me to develop a better understanding about using normal maps vs baking from high-poly to low-poly: Tutorial: How Normal Maps Work & Baking Process (80.lv)

Texturing

Based on an answer I received on the Autodesk Maya forum, I plan to duplicate and smooth the model only for texturing a higher poly model. While using unsmoothed UVs for texturing. Then use smooth preview when rendering.

Forum link:

Solved: Should Uv’s be smoothed or unsmoothed for texturing in Substance if they will be smoothed in the ren… – Autodesk Community – Maya

Notes to self:

Plan for the hair: PSD hair texture sets alpha maps.

Clothes: aged and ragged. Try using alpha maps to cut away at certain parts of the clothing (rips or holes). This is an extra if I have time.

Shirt

When completing the t-shirt, I was able to use Substance Painter to assign a shirt smart material, very close to my intended look. However, the lines on the shirt followed the UV and model topology directions. Therefore, the thick shirt lines converged around the neck. I will readjust to redo these by hand.

I also added a dirty look to the shirt. The new shirt texture looks much better. One thing I want to add is that the stains I added do not seem to show very well. If I have time, I will change this quickly. By adding this detail, I can exaggerate the fact that the character has ‘got scruffy’, as he puts it. I need to make this clear (e.g. with a large stain, not just a dirty looking shirt).

Trousers

For the character’s trousers, I haven’t been able to get a natural topology-texture line when applying materials from Substance painter. I believe that I need to redo the UVs to be straight and aligned with the material so that it is vertically straight when applied in Substance painter. Like so:

Final Textures (Rendered in Substance Painter)

I am very satisfied with these textures so far, although some may not be substantially and realistically accurate, they fit my purpose at the very least. For example, the hands do not look like an old man’s hands. Nevertheless, my next challenge is to input all of the texture maps into Maya, with the correct settings. To ensure that the quality is maintained.

The hair is something that definitely needs some work. I plan to take the base colour map into Photoshop in order to erase most of the grey base colour and create an alpha map to input. I will also need to rearrange some of the hair mesh in Maya, since it is unrealistic. I need the layers to flow on top of each other.

Texturing Skin

Skin texture in Substance Painter:

In the next images you can see all of the photoshop editing I made to test different skin colouring.

These renders are how the texture maps from above looked in Maya. The skin looked very difference in Substance Painter than it did in Maya, unfortunately. Even with all of the maps applied correctly.

I had some issues with the displacement maps I applied to the face and clothing. The image below of the rendered map when catclark subdivision iterations and displacement height were both set to 0. Yet, I could not get rid of the budging appearance.

The displacement map on the face and hands did not correlate either. While I was able to adjust the face appropriately, at the same time, the hands still looked bulging. This is how the character looks like with the texture. I have yet to fix colouring or the hair alphas. Considering time constraints, and the quality I have achieved so far, I will change those parts at a later date. Focussing on the rigging next, the priority right now.

Adjusting the Clothes

I cropped together the clothes texture maps so that I can apply them all to one material, making things easier. See image below.

Then, I edited the clothes map in photoshop, to see if improvements could be made. Such as lightening the texture map. See below:

I experimented with opposing colour schemes by inverting the colour hue. But most of all, I altered the brightness, contrast, hue and saturation. Personally I favoured the lighter versions of the original texture, since it was quite dark.

Suggested Improvements and Feedback to be made:

• Lighten and brighten all of the clothes.
• The shirt should be bolder.
• The face is a little too red.
• The hair definitely needs to be made into alpha maps.
• Perhaps some loose threads could be added to the shirt.
• Perhaps the eyes are too light/ bright?
• Hands need to look older. Add hair, freckles and wrinkles.
• Fix the hair.
• Choose the lighter clothes texture.
• Add facial hair, even if it is just stubble.

Eyelashes

I decided to add eyelashes using a curved plane and alpha maps:

Since I applied these eyelashes late, I connected them to the rig/mesh using a wrap. As you can see below (in the eye close-up) they are very faint. This render shows version 1 thinner eyelashes.

Here are some in-progress renders of the character’s appearance.

General Critical Review of the Model

I believe that my current model is sufficient to use in my animation, however, it could have been improved in many ways. For the sake of ease when rigging, to enhance the advanced movement of the limbs, the topology could have been more accommodating. For instance, when looking back, I was troubled when the shoulders were moved with rig from T pose to A pose. The model’s mesh somewhat collapsed/ squashed incorrectly. The mesh did not have the edge loops in exactly the correct place, which made the limb movement ridged and broken looking. Furthermore, the same can be said with the facial topology, for example the smile line was too low, which caused errors or incorrect movements with the advanced skeleton auto rig. These are personal critiques, which I have worked around. They will not and have not impaired my ability to complete the assignment, since I have worked on finding ways to accommodate to these areas. I will remember these minor details for the future so that I can ensure a cleaner mesh, ready for smooth rigging.