Character Progress, new character.

The last few days have been concentrated on fast modeling. Time is running up and there is little time left for base modeling so I will have to make sure the meshes are ready for skinning some time during this week. The issue here is not trying to solve anything particularly difficult, it’s more a question of doing everything very quickly. Hopefully, without having to cut away to much when comes to quality.

My focus during this project is mainly to develop my skills for working in production as opposed to model something that’s incredibly advanced. Though it’s a bit frustrating not to be able to give the characters the amount of time I would like, learning to pick up the speed is extremely valuable to me in my development as an artist.

The female character Yesim still has a bit more work that needs to be done before I can start sculpting on her (the some goes for the other character). As soon as I’m done with the topology I will flesh out the forms a bit more in Zbrush before it’s time for skinning. After that I’ll spend some time sculpting displacements to give the characters their real look. Creating the topology is really the tough bit. As soon as it’s done I will be able to focus more on the artistic part of this project, that means making sure the characters actually look good. Before that though, I still have a few days of modeling left.

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2 Responses to Character Progress, new character.

  1. Olle Rydberg says:


    Sorry I’ve been meaning to check in here more often.

    Are you guys planning on doing cloth sim on the clothes? If so I would suggest having the polygons more evenly spaced and more square in their shape. And have supporting edges were the natural seams in the cloth would be. Also If it should be simmed it would be wise to experiment with polycount on the cloth. The polygon density and size of the polygons in the neck (in the character above) looks like it could work for the cloth.
    You could make a lowres with as clean and square topology as possible. Then subdivide that (and clean) and use that as your highres. And then sim the lowres and wrap the highres on top of that.

    If you’re not planning on simming it all above doesn’t matter that much. Although it’s always good to have evenly space polygons and have then as square as possible for better deformation.

    A good thing to think about as well is to have the meshes highres enough to work for the animators. If you rely on displacement on some areas the animators will come in contact with, it will be very hard for them to know where the siluette of the character actually is. So try and not change the volume of anything to much with displacement.

    Sorry this post was a bit rushed. Looking good so far guys!


    • daniel says:

      At this point we’re not sure how much we will be able to rely on cloth simulations. That’s mostly why I tried to get the topology to mach the possible deformation of the clothes. I’ve tried to look a bit at Allessandro Baldasseroni from blur (, to get a good feel of the cloth work. I will look up the polygon spacing though.

      To get the cloth to act as good as possible we will have tried a few dynamic rigging solutions, using hair curves to simulate some secondary motion. We will start experimenting with cloth soon though, just to see if it’s possible at all under our time strain.

      Thanks for the wise comments, we will make sure to make some adjustments!

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