Critical Evaulation

I have attempted to develop a non-linear workflow to suit my artistic practices, in FMPA1 I focused on highlighting the weak areas of my technical abilities with 3D character design alongside adapting a thorough research and development protocol in both technical and theoretical areas.

In FMPA1 through technical research I was able to invest in a project that would allow me to develop my technical 3D, artistic practices and anatomy understanding by combining them into one project that would allow me to make the most of my time and organisation.

By combining all these elements into smaller projects within the brief I was able to condense a greater area of learning into the time I had available allowing me to manage the brief more affectively. By doing the two 3D models I highlighted that I was not content with the traditional process of 3D modelling and whilst I was able to this I it did not suit my way of developing my designs and I needed to find an alternative way of achieving my end results and this would need to be a further area of study that would needed to be incorporated into FMPA2.

For my theoretical research throughout the brief I was pleased with my development of ideas that helped me develop how my characters would be more engaging to the player, by investing time into historical and social studies I felt my design choices had a more believable aspect that the player would associate with. The design of the characters was the most evolutionary of the stages in FMPA1 with the concept taking into account of technical aspects of maintaining good silhouette and colour theory, the critical part for me was the actual evolution of the character concept with the design going through a process of cartoon to hyper-realism as I wanted to develop the character into a more intimidating entity.

To develop the concept fully and to the image I had in my mind I worked with the process of quick thumbnails looking for a shape that would read well, the importance of making sure the character has a good silhouette is to make sure the character would be easily distinguishable to the player even if the character was at a low level of detail in the distance. Once I had the silhouette for the character I then set upon developing the character into the more realistic character, to improve the dynamics of the character I continued to develop my anatomy studies by attending life drawing workshops. This helped define the extreme proportions of the design adding to its evolution and helping to bind it to a more real setting and development.

During FMPA2 I did further research in to a non-linear workflow before developing the character in 3D, after extensive research I had read documentation on a re-topoly workflow that released the artist from the normal restrictions of modelling. This process for constructing the model allows the artist to have freedom over the design without the need for precision at the very beginning.

The process is as follows;

Build rough model in traditional 3D package avoiding n-sided polys. No detail needs to be added at this point as only a generic shape is needed, this is then exported as an .obj file.

Take the file into a digital sculpting programme and using the concept as reference build up the character, starting at a low sub-division rough out the shape before continuing to sub-divide adding more detail through the divisions.

Export the model into a 3D application for re-topology, this is a process of building the base mesh over the high poly model before laying out the UV's. This allowed me to get a good polygon distribution and topology that would help make the texturing, rigging and animation smoother. Once the UV's had been laid out I then imported the mesh back in the sculpting programme where I baked the Normal map into the mesh using the high-poly sculpt as the reference, this gave me the same level of detail as in the high poly sculpt on my re-topolgised mesh.

This process of building the mesh can be adapted leading to the possibility to concept in 3D in either Mudbox or Zbrush using those concepts to construct a model, alternatively rough out the shape of the character then re-topologise and split UV’s before taking back into digital sculpting adding more detail. This adaptive workflow removes the overly technical aspect of traditional 3D modelling.

The toughest part of building a working model was the rigging, an unfamiliar area for me but it was rewarding to learn and now I don’t have a fear of experimenting with the rigging/skinning process.

Time management was a key factor in the project with my underestimation of what time would be required to complete the final model. A key lesson for me so that in the future I do not over promise on a project, the rule of thumb from my learning’s is to double the time expected countering the potential pitfalls.

For future study I will experiment further with the non-linear workflow building up my knowledge of anatomy and topology with the aim of reducing polygons within, I also will continue to use 3D digital sculpting using it for conception as well as a base for my re-topology work. I will also build a more contempory character with intentions to carry on with this project and build the lead character Cassie that will be rendered in a game engine to develop my understanding of this particular workflow.

The project has been successful and has given me a direction and path to follow with a solid foundation for future projects, the final character Shambler achieved the desired effect of being intimidating to look at. There are elements that I could now do better with the knowledge that I have obtained but this gives me confidence to move forward and to keep expanding my interest in character design.