Chapter 1.

Designing Your
Character
CD Files
FaceScan.tif
MainScan.tif
GraeColorRender.tif
KilaColorRender.tif
PLAYING A COMPUTER GAME is in soe !a"s #er" siilar to readin$ a %oo& or !atc'in$
a fil( It is )*re esca)is. For t'e d*ration of t'e $ae+ t'e )la"er %ecoes t'e 'ero.
,*rin$ t'ese fe! 'o*rs t'e" ste) into anot'er !orld+ lea#in$ !orries and tro*%les %e'ind.
T'e o#erall desi$n of t'e 'ero )la"s a &e" )art in t'e )la"er-s distraction. a $ood desi$n+
co%ined !it' a $ood stor"+ can enca)s*late t'e )la"er+ iersin$ t'e f*ll" in t'e
$ae. A %ad desi$n !ill onl" ser#e to s'atter t'e ill*sion+ !'ic' co*ld sin$le/'andedl"
ca*se "o*r $ae to fail in t'e ar&et)lace.
So !'ere do "o* start !'en desi$nin$ a c'aracter0 T'is de)ends o t'e )ro1ect. If "o*
are !or&in$ on a licensed )ro1ect+ a cartoon for e2a)le+ or a coic %oo& or o#ie
license+ "o* !ill %e s*))lied !it' all t'e rele#ant aterials to 'el) "o* create "o*r
c'aracters. T'ese aterials i$'t incl*de #ario*s odels and color s'eets+ or e#en
)'oto$ra)'ic references.
In t'eor"+ not 'a#in$ to !orr" a%o*t c'aracter desi$n for "o*r $ae co*ld sa#e tie and
!or&+ %*t in realit" "o* !ill find t'at t'e licensor !ill !ant t'e 3, #ersion of t'eir creation
to sta" tr*e to its ori$inal st"le and desi$n. Acco)lis'in$ t'is !ill in#ol#e a $reat an"
s*%issions of "o*r art!or& to $et feed%ac& fro se#eral )eo)le. First+ "o* *st %e
'a))" !it' t'e )iece+ and t'en "o*r iediate ana$ert'e lead artist on t'e
)ro1ect*st a))ro#e it. T'e !or& !ill t'en %e )assed to "o*r art director %efore it is
finall" )resented to t'e client. And it-s not done "et( T'e client a" 'a#e to )ass it
aro*nd aon$ a fe! collea$*es %efore "o* recei#e an" feed%ac&. All t'is can t*rn o*t to
%e a len$t'" )rocess and !ill *ltiatel" ean "o*r 'a#in$ to a&e )lent" of inor
alterations %efore t'e c'aracters are 4si$ned off4 as co)lete.
If+ on t'e ot'er 'and+ "o* are de#elo)in$ a )rod*ct inde)endentl"+ all t'e c'aracter
desi$ns !ill %e de#elo)ed in 'o*se. Passin$ t'ro*$' fe!er )eo)le eans a))ro#al ties
!ill %e s'orter. T'is also eans "o* !ill 'a#e ore creati#e freedo+ as lon$ as "o*r
)ro1ect ana$ers are 'a))" !it' t'e res*lt.
In t'is first c'a)ter I !ill s'are " o!n t'o*$'ts a%o*t t'e c'aracter desi$n )rocess+ and
in )artic*lar " ideas a%o*t desi$nin$ t'e t!o ain c'aracters t'at !e !ill de#elo) as !e
!or& t'ro*$' t'is %oo&.
What Makes a Successful
Character?
,esi$nin$ a c'aracter can %e diffic*lt. not onl" 'a#e "o* $ot to %e fres' and ori$inal+ %*t
"o* *st also %e a%le to co*nicate "o*r ideas to ot'ers t'ro*$' "o*r art!or&. Yo*
don-t 'a#e to %e an e2cellent traditional artist. all "o* need at t'is )oint is t'e a%ilit" to
ro*$'l" s&etc' "o*r ideas and )*t t'e onto )a)er for ot'ers to see. Once t'e s&etc'es
are a))ro#ed+ "o* can s)end ore tie creatin$ %etter renderin$s of t'e conce)ts to
fles' o*t "o*r %asic ideas.
So !'at are &e" )oints to &ee) in ind !'en desi$nin$ a s*ccessf*l c'aracter0
Target Audience One of t'e first t'in$s to consider is for !'o "o* are desi$nin$
t'is c'aracter. 5'o is t'e $ae aied at0 T'e desi$n and st"le for t'e c'aracter s'o*ld fit
t'e tar$et a*dience-s a$e $ro*). If "o* are desi$nin$ for a "o*n$er+ )re/teen )la"er+ t'e
c'aracter co*ld %e ore of a caricat*re or co*ld 'a#e a cartoon st"le !it' e2a$$erated
)ro)ortions and %ri$'t colors. An ad*lt a*dience !ill connect %etter !it' a ore realistic
'ero.
Plaer !denti"cation As !it' t'e c'aracters in a fil+ t'e ore )la"ers can
identif" !it' t'e $ae 'ero+ t'e ore dee)l" t'e" !ill %e dra!n into t'e $ae. Pla"ers
*st want to %e t'e c'aracter+ to ste) into t'ose s'oes for t'e d*ration of t'e $ae.
Character Depth Yo*r c'aracters- )ersonalities !ill contri%*te treendo*sl" not
onl" to t'eir #is*al desi$n %*t also to t'e !a" t'e" act. T'eir 4%ac&$ro*nd4 is !'at s'a)es
t'eir )ersonalit"+ so it-s essential t'at "o* 'a#e $ood &no!led$e of t'e c'aracters- )ast and
)resent.
#randing If "o* are desi$nin$ t'e ain c'aracter for t'e $ae+ it co*ld %e t'at all
ad#ertiseents !ill %e %ased *)on t'at c'aracter. 5it' t'is in ind+ t'e c'aracter *st %e
ori$inal and eora%le as !ell as ar&eta%le.
Technical Considerations 5e tal& ore a%o*t tec'nical atters later in t'e
c'a)ter. Kno!in$ t'e tec'nical liitations t'at affect "o*r c'aracter !ill 'a#e an i)act on
"o*r desi$n of t'at c'aracter.
The $a%e World Finall"+ loo& at !'at t'e le#el6!orld %*ilders in "o*r $ae are
doin$. 5or& to$et'er !it' t'e+ so t'at "o*r c'aracters and t'eir !orld fit to$et'er. If t'e
st"les co)ete+ t'e c'aracter a" loo& o*t of )lace+ and "o* lose t'e )la"er-s connection
!it' t'e $ae 'ero.
5e no! 'a#e a $ood idea of !'at 7*alities a&e *) a $ood c'aracter+ %*t !'at else can
'el) *s conce)t*ali8e t'at c'aracter0 Ins)iration certainl" can+ and it-s all aro*nd *s.
Coics are a $ood so*rce of ins)iration. t'e" $i#e *s an" of toda"-s cool c'aracters.
S*)eran+ for e2a)le+ is one of t'e ost )o)*lar 'eroes of o*r tie. 9is 4S4 s'ield is
reco$ni8ed !orld!ide. T'e stri&in$ red+ %l*e+ and "ello! colors of 'is cost*e+ 'is s!irlin$
ca)e+ and t'e *nder!ear !orn on t'e o*tside of 'is o*tfit are all )art of 'is tradear&.
Yet 'is *nifor is relati#el" si)le in desi$n. :atan is anot'er $ood e2a)le deri#ed
fro coics. 'is desi$n deonstrates $ood *se of color and a stron$ sil'o*ette%ot'
i)ortant factors in a c'aracter-s desi$n.
It-s safe to sa" t'at coics 'a#e lon$ %een a so*rce of ins)iration for $ae
c'aracters. ;isit an" $ae de#elo)ent st*dio and "o* !ill %e 'ard )ressed to find an
artist-s des& t'at doesn-t dis)la" soe coic eora%ilia.
5e can also learn s*%stantiall" fro st*d"in$ ot'er s*ccessf*l $ae c'aracter desi$ns.
T'e '*$el" )o)*lar Final Fantas" series $i#es *s colorf*l c'aracters t'at 'old a lot of
)ersonalit" and #is*al st"le. 5it' eac' ne! Final Fantas" $ae coe ne! st"les and
fres' ne! c'aracters+ eac' *ni7*e in its a))earance. La#is' s!ords and !ea)onr"+
'i$'l" ia$inati#e o*tfits+ and !ell/concei#ed c'aracters add to t'e $ain$ e2)erience.
Metal Gear Solid is anot'er e2a)le of stron$ c'aracter desi$n+ in t'is case ta&in$ a
ore '")er/realistic st"le. T'e c'osen colors fit t'e c'aracter )erfectl"'e is a ood"
tactical c'aracter !'o *ses stealt' effecti#el"+ and 'is o*tfit 'as to re)resent t'is %"
%ein$ )ractical as !ell as st"lis'.
Finall"+ !e 'a#e $aes s*c' as t'e <a& and ,a2ter or Ratc'et and Clan& series+ !'ic' are
co)lete de)art*res fro t'e )re#io*sl" entioned titles. T'ese Pla"Station $aes offer
!ell/desi$ned c'aracters *sin$ a ore a%stract and cartoon" st"le+ %eca*se t'is sort of
$ae needs to a))eal to a !ider a*dience+ )artic*larl" t'e "o*n$er $aer.
The Three Stages of
Concepting
So !'ere do !e start !it' o*r conce)t0 ,o !e sit do!n and %e$in to s&etc'0 <*st )o*r
o*t o*r ideas onto )a)er0 No)e. Not "et. If "o* $o to t'is ste) too earl"+ "o* i$'t
end *) !it' a $ood desi$n+ %*t it !ill not %e !'at "o*r ana$er !ants.
Concepting *s*all" 'a))ens in t'e )re/)rod*ction )'ase of a $ae+ and soeties
earlier. ,*rin$ t'is tie t'e desi$ner+ alon$ !it' t'e conce)t artists+ !ill !or& on t'e
$ae-s desi$n and o#erall st"le. Yo* !ill %e a))roac'ed %" eit'er "o*r lead artist or t'e
art director and as&ed to )ro#ide soe conce)t art!or& for t'e desi$n. T'e" !ill )ro#ide
soe %asic inforation to start "o* off =for e2a)le+ t'e $eneral st"le and o#erall loo& of
eac' c'aracter>. Yo* can t'en %e$in )lans to fles' o*t t'is inforation. t'is is co#ered in
ore de)t' in t'e 4Pre)aration4 section.
T'e ai is to 'a#e a clear idea of !'at direction "o*-re ta&in$+ 'a#in$ a #ision in "o*r
ind of !'at t'e c'aracter !ill loo& li&e and !'". Conce)tin$ a c'aracter 'as t'ree
sta$es(
Researc'
Pre)aration
,esi$n
As "o* $ain ore e2)erience in conce)tin$+ "o* a" find t'at "o* need to do less d*rin$
t'e first t!o sta$es and can ore or less o#e strai$'t into t'e desi$n =s&etc'in$> )'ase.
For t'e no#ice+ 'o!e#er+ it is i)ortant to %e$in at t'e %e$innin$( researc'in$ t'e
c'aracter.
&esearc
h
O*r )riar" 1o% !'en doin$ c'aracter researc' is to $ain as *c' inforation as )ossi%le
a%o*t t'e c'aracter. Yo* can $et t'e %asic details fro t'e lead desi$ner+ as !ell as
inforation on $ae ec'anics. All of t'is !ill tell "o* !'at t'e c'aracter needs to do in
t'e $ae+ !'ic' !ill 'a#e an i)act on t'e desi$n. Cons*lt "o*r lead artist and art
director a%o*t t'e $eneral st"le and loo& of t'e $ae. Ideall"+ "o* s'o*ld 'a#e t'e
%asicsa$e+ 'ei$'t+ se2+ and 'air6e"e6s&in color%*t if )ossi%le "o* s'o*ld $et a ore in/
de)t' descri)tion. <*st %ein$ told t'at t'e ain c'aracter is a 4$*" !it' a $*n4 !ill not
do.
9a#in$ a %rief 'istor" or %io$ra)'" of t'e c'aracter can %e in#al*a%le. Foldin$ t'is insi$'t
into t'e c'aracter-s )ersonalit" !ill 'el) "o* decide not onl" !'at t'e" !o*ld !ear %*t
!'" t'e" !o*ld !ear it. 5ill t'e c'aracter 'a#e a distin$*is'in$ feat*re or soe sort of
#is*al scarrin$0 5'at a%o*t t'e 'air st"le and color0 Yo*r desi$n s'o*ld fit t'e %rief. for
e2a)le+ a conser#ati#e c'aracter !o*ld not s)ort a %ri$'t/)in& o'a!&!ell+ not *nless
t'e $ae $*idelines as& for it.
A Sa%ple Character
'istor
To 'el) deonstrate t'e i)ortance of c'aracter 'istor" or %io$ra)'"+ I 'a#e coe *)
!it' a %asic $ae idea and t!o ain c'aracters+ Kila and Grae. T'e follo!in$
introd*ction $i#es "o* a ro*$' idea of t'e o#erall $ae and introd*ces "o* to t'ese &e"
c'aracters.
It was a crisp autumn morning; the sun shone through the trees, gently melting
the frost that had formed during the night. Kila lay quietly on the park bench.
She had been awake for only a few minutes, but it felt like an eternity.
Shivering slightly, she dared not move or open her eyes, for the moment she
did, the hangover she had so far avoided would no doubt kick in with a
vengeance. She could hear movement all around herpeople on their way to
work, cars stopping and starting and idling in the rushhour tra!c. "ife was
happening all around her, and she wished it would be quiet. Carefully she lifted
her head from the wooden slats of the bench. #o her surprise and relief, her
di$$iness, nausea, and headache disappeared.
Confused, Kila tried to recall the events that led up to her night on the bench,
but her memory was patchier than usual. She could remember %nishing work
at the club and having a few drinks with her friends, but that was about all;
the rest was a blur. She smiled, thinking that the lack of memory probably
meant it must have been a great night. &o doubt the details would trickle
back to her as the day went on. 'eeling surprisingly well, she rose from the
bench and headed home.
()orning, Kila. *ood night+( shouted her neighbor, Su$ie.
Kila, fumbling for the keys to her apartment, turned to face her friend.
(,eah, what I can remember of it,( she -oked as she opened her door.
()ust have been good,( teased Su$ie. (,ou can %ll me in on the details
later.( /s she passed on her way out of the building, Su$ie added (0ey, cool
contacts. Catch you later.(
(,eah, see you Su$ie.( #he door closed behind her; Kila was home at last. She
walked down her hallway toward the bathroom, where she turned on the
shower and removed her -acket. 1ait a minute2cool contacts+ She suddenly
remembered what Su$ie had said. (3ut I don4t wear contact lenses.( Confused,
she moved in front of the mirror, wiped o5 the condensation from the
steaming shower, and stood still in ama$ement. 0er once brown eyes were
now bright green; they even seemed to glow. She moved closer to the mirror,
inspecting her eyes. )aybe she4d got some contacts from her friends+ /fter
all, they were all the rage on the clubbing scene. She gently pulled her eyelids
apart, and to her horror saw that the glowing green eyes were really hers.
1hat was going on+ 0ow had this happened+ She backed away from the
mirror and walked into her bedroom, moving toward the fulllength mirror in
the corner.
/s she approached the mirror, she caught a glimpse of something dark on her
left arm. 0alting in ama$ement, her eyes crept slowly along the long, gothic
tattoo that crawled all the way from her shoulder down to her wrist. #wisting to
look at the back of her arm, she was faced with another shockthe tattoo spread
to her back. 'rightened, she pulled o5 her shirt and looked in alarm at her
back. #he beautiful tattoo covered nearly all of her back. 0ow had she ended
up with something like this+ (#his has to be a -oke, I don4t remember having
anything like this done last night.( &ow panicking, she licked her %ngers and
desperately tried to wipe the tattoo o5, hoping it was temporary, maybe a
practical -oke. It did not budge.
Kila sat at the foot of the bed, her head in her hands. Steam from the shower
still running in the bathroom 6oated into the hallway. 7nly one thought
hammered in her mind8 (1hat happened to me last night+( She wracked her
brains, trying to remember the slightest clue to how her eyes could possibly
change color, and how she could have obtained the e9traordinary tattoo. /
tattoo of this si$e would take weeks to heal, but this one looked months oldyet
yesterday it hadn4t e9isted. She would qui$ her friends, the other dancers she
worked with at the club. Someone had to know.
"ater that evening, hoping to %nd some answers, Kila headed to the club where
she worked. /s she walked through quiet streets, she couldn4t help but notice a
car following her at a distance. &ervous, she picked up her pace and ducked
down an alley that was guarded by two posts preventing vehicles from
entering. 0er heart was pounding in her chest and she could feel panic rising.
Chancing a quick glance behind, she was reassured to see no oneshe was no
longer being followed. 3reathing a sigh of relief, she turned and continued on
her way.
(0ey, babe.( came a voice from the shadows. (1hat4s a pretty thing like
you doing in a place like this+( Kila spun around, squinting to see where the
voice was coming from. :ventually she glimpsed si9 %gures emerging from
the shadows. ("ook, I don4t want any trouble,( she pleaded, trembling, as the
men surrounded her.
"Well that's too bad, because we do," one of them replied. As they moved in,
she could feel her heart racing, pumping adrenaline through her veins. She
spun around to get her bearings, and then she felt it. Her skin began to warm
the heat grew uncomfortable, bordering on painful. She could feel something
deep inside her body growing, taking over. Suddenly, as if a switch had been
!icked, she stood perfectly still, no longer "uivering, steady as a rock. Slowly
she raised her head and stared directly at the one who had threatened her. Her
green eyes were glowing wildly, her breathing heavier and deeper now. #he
thug hesitated but was only brie!y impressed. "$ice trick, babe, but it doesn't
scare me." He reached around to the back of his %eans and produced a long
knife. "&ou see, ' can be scary, too," he threatened, pointing the weapon at her.
"$ow hand over your cash like a good little girl. #hen ' think we'll have a bit of
fun. What do you say, guys(" A murmur of e)citement spread around the circle.
Kila4s glowing eyes were %9ed on the leader. / moment passed and then she
spoke8 (,ou want it, come and get it.( 0e looked her up and down, then moved
toward her, still brandishing the knife. Kila was very still, eyes pinned on her
adversary, waiting for the right moment.
0e was a few feet away when she made her move. In a split second, her left
arm 6ung out in front of her, and what seemed like ribbons of 6esh 6ew out of
the tattoo, impaling the thug in his chest and throat. #here was a gasp from
the rest of his gang as they watched their leader seem to hang in midair,
struggling to breathe, body twitching wildly. Kila smiled coldly; she seemed to
en-oy seeing him su5er. She pulled back, retracting the deadly weapon, and his
limp body dropped lifeless to the ground. #he silence was deafening; no one
moved or spoke. #hrough his fear, one of the others found his voice. (She2she
killed *reg.( /nd from behind her, she heard (*et her.( #here was a mad rush
and they were upon her.
Suddenly a brilliant 6ash momentarily stunned Kila4s attackers. 0er arms
seemed to be forced apart by invisible hands, and she felt herself rising slowly
from the ground. /s she 6oated, tendrils spun out of her back and began to
wrap around her body, layer upon layer, enclosing her like a spider wrapping
up its prey. )eanwhile, something began to take shape, a form gradually being
created by the tendrils8 a torso, and then arms, legs, and %nally a head. 1hat
was once Kila was now a ;<foot beast, a demonic monster. #he thugs were
horri%ed. 1ith a mighty roar, the beast took a huge swipe at the circle,
knocking two of them 6ying, into the surrounding walls. #he rest of the men
fumbled for their concealed weapons and let rip with a hail of bullets.
#he bullets entered the beast from several directions, but its body seemed to
absorb them. #hey had no e5ect other than provoking it, making it angrier. It
lunged for another thug who managed to dodge the attack,
using the opportunity to escape. (I4m getting out of here. 1e weren4t paid to
handle this. 1hat the hell is this thing+( 0e 6ed, closely followed by his
comrades. #he beast, once Kila, was alone in the alley. It looked around for
another victim, its deep, rough breaths gradually slowing. /s it calmed, it
began to glow gently, and the wrapped tendrils began to retract back into Kila.
Slowly, eventually, she was back to herself again. She glanced down and saw
the lifeless body of the thug she had killed, dropped to her knees and began to
cry. (1hat4s going on+ 1hat was that+( she sobbed. Kila didn4t want to kill
anyone. Indeed, Kila hadn4t killed anyoneit was that thing inside her who had
done it.
As *ila wept, a dark +gure of a man in the shadows at the far end of the
alleyway took a long drag on a cigarette, then dropped it to the pavement and
e)tinguished it with his foot. #he stranger was pleased with what he had seen
this could work out better than e)pected. Satis+ed there was nothing more to
observe, he turned and got back into his car and drove away.
T'is stor" sets t'e scene for t'e $ae. A "o*n$ !oan-s life is t*rned *)side/do!n !'en
s'e finds 'erself )art of a s"%iotic relations'i) !it' Grae+ t'e or$anis li#in$ inside 'er.
Grae can ani)*late Kila-s ,NA in n*ero*s !a"s+ t'e ain one %ein$ to s'o! 'is tr*e
for. T'ro*$'o*t t'e $ae+ Kila str*$$les to find ans!ers as to !'" t'is 'as 'a))ened+
!'ile str*$$lin$ !it' t'e o#er)o!erin$ e#il t'at 'as in#aded 'er %od".
Fro a desi$n )oint of #ie!+ Kila s'o*ld %e 7*ite a#era$e loo&in$+ not'in$ too fanc" or
flas'". T'ere are t!o reasons for t'is(
Kee)in$ 'er a))earance a#era$e !ill allo! t'e )la"er to relate to t'e c'aracter.
A )lain and not/too/fanc" Kila !ill )ro#ide ore of a contrast %et!een 'er and
t'e onstro*s Grae.
()T*
T'is first+ *nrear&a%le desi$n for Kila !ill !or& !ell as an introd*ctor"
c'aracter for t'is %oo&+ allo!in$ e to disc*ss t'e %asic )rinci)les
associated !it' creatin$ a real/tie c'aracter.
Grae-s desi$n s'o*ld %e co)letel" different fro Kila-s. To start+ 'e !ill %e lar$er and
'is )arts !ill 'a#e ore o*tra$eo*s )ro)ortions. 9e s'o*ld incl*de soe of t'e ore
ad#anced eleents associated !it' odelin$ creat*res for $aes+ s*c' as !in$s and
do*%le/1ointed le$s =do$ le$s>.
()T*
T'e Grae c'aracter !ill co)rise ad#anced areas of c'aracter desi$n for t'e
reader-s instr*ction.
(a%e +ila.
Age ??.
'eight @ feet+ A inc'es =B.C eters>.
)ccup
ation
E2otic dancer in a ni$'tcl*%.
Main
)ut"t
Ri))ed 1eans and s'ort to). O#erall
o*tfit 'as a sli$'tl" st"li8ed loo&.
'air
Color
,ar& %ro!n !it' a red tint.
*e
Color
Green =ori$inall" %ro!n+ %efore t'e
e#ol*tion to Grae %e$an>. 9er e"es
a))ear to $lo!.
#rief
#ackgr
ound
Ta&en a!a" fro a%*si#e )arents
!'en s'e !as D "ears old and
raised %" a foster fail". At BA+ s'e
left 'oe !it'o*t t'eir consent.
Alone in t'e %i$ cit"+ s'e finds
'erself t'e tar$et of )i)s and
croo&s and resorts to crie to $et
one" to li#e. E#ent*all"+ at BE+
s'e $ot a %rea& as a dancer in a
local ni$'tcl*%+ !'ere s'e 'as %een
earnin$ an 'onest li#in$ e#er since.
Person
alit
On t'e o*tside+ Kila is 7*ite a
stron$ c'aracter+ #er" confident
and soeties coc&". T'is is 1*st a
front+ 'o!e#er. on t'e inside s'e is
#*lnera%le and sensiti#e.
)ther
Detail
s
S'e 'as a lar$e+ #isi%le $ot'ic
tattoo t'at starts on 'er %ac& and
left ar and s)reads do!n to t'e
%ac& of 'er left 'and.
(a%e Grae+ or GF/CE?.
Age Un&no!n.
'eight 3G feet =E eters>.
)ccup
ation
Un&no!n.
)ut"t 9is %od" is ade *) li&e a *"+
!it' stri)s of fles' !ra))ed and
la"ered to %*ild 'is %od".
'air
Color
Grae is 'airless.
*e
Color
9is e"es s'o*ld $lo! $reen to tie in
!it' Kila-s.
#rief
#ackgr
ound
Part of a secret e2)erient+ Grae is
alost BGGH an*fact*red. t'e
&e" co)onent of 'is str*ct*re is
of e2traterrestrial ori$in. Kila is an
accidental test s*%1ect+ t'e
intended s*%1ect %ein$ t'e scientist
!'o created 'i. On t'e ni$'t
%efore 'e is d*e to in1ect 'iself+
t'e scientist $oes o*t for one final
At t'is )oint+ "o* )ro%a%l" 'a#e a fe! ideas of "o*r o!n a%o*t 'o! Kila and Grae
s'o*ld loo&+ %*t %efore !e o#e on !e need to $at'er soe ore inforation on t'e
t!o c'aracters. T'e follo!in$ ta%les are a &ind of 4%io+4 )resentin$ %asic details and
soe set )ieces of inforation a%o*t t'e c'aracters.
and t'e" $o %ac& to 'is a)artent. S'e is
accidentall" in1ected !it' GF/CE? !'en
t'ie#es in#ade t'e a)artent. t'e scientist
is &illed+ %*t Kila esca)es.
Perso
nalit
Grae is e#il. 'e deli$'ts in t'e )ain
of ot'ers. T'e onl" )erson 'e loo&s
o*t for is Kila. 9is ain ission is
to )rotect 'is 'ost+ alt'o*$' t'is
)rotection is )*rel" selfis' =if 'is
'ost dies+ t'en 'e dies+ too>.
)ther
Detail
s
Grae-s !in$s !ill consist of tendrils.
If )ossi%le+ t'ese !ill 'a#e constant
otion !'en t'e"-re o*t+ %*t t'e"
!ill %e stored a!a" in 'is %ac&
Technical
,i%itations
5it' all t'is inforation at 'and+ !e 'a#e a )rett" $ood startin$ )oint. Fro t'e
introd*ctor" stor"+ !e &no! a little of 'o! t'e $ae %e$ins and !e 'a#e insi$'t into t'e
ain c'aracter-s )ersonalit". Ne2t !e 'a#e t'e set details listed in t'e fore$oin$ ta%les.
T'ese are e2)licit $*idelines a%o*t t'e c'aracter t'at !e *st follo! !'en !e %e$in to
desi$n.
Norall" t'is is all "o* need for c'aracter desi$n+ %*t for t'e )ro1ect o*tlined in t'is
%oo& !e are creatin$ a real/tie c'aracter. t'at eans t'ere are ot'er considerations
t'at co*ld affect "o*r desi$n. As !it' an" $ae art!or&+ "o* are e2)ected to !or&
!it'in certain tec'nical liitations. E2a)les are )ol"$on co*nt+ te2t*re )a$e si8e+
aniation data+ and e#en 1oint liits =all of !'ic' are co#ered in later c'a)ters>. T'e
lead artist+ 'a#in$ !or&ed closel" !it' t'e lead )ro$raer to coe *) !it' t'e
n*%ers+ !ill i)ose t'ese restrictions.
So 'o! does t'is affect "o*r c'aracter desi$n0 Let-s loo& at t!o e2a)les.
*-a%ple A. /ohn Doe In t'is case "o* are creatin$ a $eneric c'aracter !'o !ill %e
onscreen !it' a '*ndred ot'ers+ )l*s #e'icles and t'e $ae !orld. T'e )ol"$on
co*nt liit is %et!een @GG and BGGG+ %*t "o* are *r$ed to $o as lo! as )ossi%le+ as
is al!a"s t'e case !'en creatin$ real/tie art!or&. T'e less o#erall eor" "o*r
c'aracter ta&es *) t'e %etter+ as t'e entire $ae !ill 'a#e to fit inside a ti$'t %*d$et.
In addition+ let-s sa" "o* are infored t'at <o'n ,oe !ill 'a#e to *se a %asic
s&eleton+ !'ic' !ill )ro%a%l" ean a liit of a%o*t B@ 1oints. Yo* are not $oin$ to see
'i *) close+ so t'ere is no need for si$nificant detail.
5it' s*c' sall )ol"$on and 1oint liits+ "o* !on-t %e a%le to %*ild lon$ flo!in$
'air+ or t'at co)le2 roc&et )ac& "o* 'ad in ind. Instead+ "o* !ill %e %etter off
stic&in$ !it' a %asic odel( ars+ le$s+ 'ead+ and )ro%a%l" 'ands t'at are fi2ed
in a certain )ose %eca*se "o* !ill not 'a#e eno*$' )ol"$ons or 1oints for
se)arate fin$ers. In addition+ "o* !on-t 'a#e s*fficient )ol"$ons to 'a#e nice+
ro*nded *scle tone+ so "o* !ill 'a#e to rel" on t'e te2t*res to s'o! an"
needed detail. Since t'e c'aracter !ill al!a"s %e )ositioned a!a" fro t'e
caera+ 'o!e#er+ an" detail in t'e te2t*re !ill %e lost.
T!P
5'en co)ilin$ "o*r researc'+ tr" to $et a $ood idea of 'o! %i$ t'e
c'aracter !ill %e onscreen+ t'is !ill allo! "o* to $et a $ood idea of 1*st
'o! *c' detail "o* !ill need.
*-a%ple #. 'ercules T'is is t'e $ae-s ain c'aracter. 'e !ill %e seen %ot'
close *) and fro a distance+ %*t t'e $ae is )redoinantl" #ie!ed in t'e t'ird/
)erson )ers)ecti#e =fro %e'ind t'e c'aracter>. As t'e $ae-s c*t scenes are
rendered real/tie+ 9erc*les !ill also need f*ll" )osa%le fin$ers+ as !ell as facial
aniation. Yo*r )ol"$on liit is 3GGG+ and t'e c'aracter needs to loo& $ood at all
resol*tions.
T'is s'o*ld $i#e "o* sco)e to create a decent desi$n for 9erc*les. Yo* 'a#e
s*fficient )ol"$ons to $et t'e detail "o* need. Pl*s+ 'is %ein$ t'e ain c'aracter
eans "o* can $o to to!n on a&in$ 'i loo& $reat. S*fficient le#els of detail
can %e ado)ted to a&e s*re 'e loo&s $ood at an" distance !'ile ens*rin$ 'e
onl" *ses t'e needed )ol"$ons. =5e tal& ore a%o*t le#els of detail in C'a)ter
BG.>
T!P
9ere-s one t'in$ to ree%er !'en creatin$ a c'aracter !'o is #ie!ed
fro t'e t'ird/)erson )ers)ecti#e( C'ances are t'at EEH of t'e tie
t'e c'aracter !ill %e #ie!ed fro %e'ind+ so "o* !ill !ant to a&e t'e
c'aracter-s %ac& interestin$ for t'e )la"er.
T!P
An RTS =real/tie strate$"> $aea to)/do!n+ isoetric+ ,ia%lo/or
5arcraft/t")e $aeoften re7*ires soe e2tree )ro)ortional
distortions for its c'aracters to read !ell onscreen( 9ead and s'o*lder
areas often need e2a$$eration+ and li%s i$'t re7*ire t'ic&enin$ to
a&e s*re t'e" don-t 4!in& o*t4 at distances =%ecoe too ne$li$i%le in
!idt' to erit a )i2el onscreen>.
Ani%ation Considerations
Yo* can see 'o! a $ae-s tec'nical restrictions can affect t'e loo& of "o*r desi$ns.
Anot'er i)ortant 7*estion "o* s'o*ld as& is+ 45ill it aniate o&a"04
I)leentin$ a ca)e+ ri%%ons+ or 'air into "o*r c'aracter conce)t a" loo& cool%*t
!'en it coes do!n to it+ do "o* 'a#e t'e reso*rces to aniate t'e feat*re
s*ccessf*ll"0 Ta&e t'e ca)e+ for instance. Essentiall"+ if it-s 'and aniated+ "o* can
consider it an additional c'aracter. So do "o* or t'e ot'er aniators on t'e )ro1ect 'a#e
tie in t'e sc'ed*le to aniate it0 Yo*r )ro$raers a" 'a#e a nice d"naics en$ine
!'ic' !ill dri#e t'e ca)e clot' for "o* !'ile o%e"in$ real/!orld )'"sics+ s*c' as !ind+
dra$+ and $ra#it". T'is !ill sa#e tie+ %*t !ill it $i#e a $ood eno*$' si*lation0 5ill it
o#e con#incin$l"0 T'ere are dan$ers in e)lo"in$ a d"naics si*lation to aniate
clot' or 'air+ and if done !ron$ it can destro" t'e )la"er-s connection !it' t'e ain
c'aracter and t'e $ae. If t'e si*lation o#es *n)redicta%l" or )o)s t'ro*$' t'e
c'aracter or s*rro*ndin$ area+ it !ill distract t'e )la"er fro t'e $ae and *ltiatel"
%ecoe anno"in$.
Soe ot'er aniation iss*es to consider( 5'en desi$nin$ clot'in$ at or near 1oints+
t'in& a%o*t 'o! t'ese areas !ill %e'a#e !'en t'e 1oint %ends. Loinclot's+ s&irts+
s'o*lder )ads+ lon$ slee#es+ c*ffs+ and o#erla))in$ aror can ca*se soe of t'e ost
fr*stratin$ )ro%les !'en s&innin$ "o*r c'aracter =co#ered in C'a)ter BB>+ and often
re7*ire additional control %ones not allo!ed in "o*r 1oint %*d$et.
T!P
Cons*lt "o*r tec'nical director or lead aniator a%o*t an" desi$n eleent
t'at loo&s tro*%lesoe or t'at i$'t need s*%stantial secondar" aniation
or an" control %ones. And do it %efore e%ar&in$ on t'e odelin$ sta$e.
"o* a" %e sa#in$ "o*rself a lot of re!or& later on.
Su%%ing 0p the ,i%itations
So let-s s*ari8e t'e %asic tec'nical liits for o*r t!o c'aracters.
Pol"$on
Liit
I@GG or less @@GG or less
<oint
Liit
No ore t'an AG+ if )ossi%le No
ore t'an AG+ if )ossi%le
Te2t*re T!o.
T'ree. @B?2@B?
Technical *le%ent +ila $rae
#his is "uite a short list, and on a real pro%ect there will be other areas to consider. How
will facial animation be handled in the gamewill it be %oint driven or will you use blend
shapes ,we will discuss this in -hapter ./0( What about e)tra te)ture e1ects like alpha,
specular, bump, or normal mapping( Will 2rae's wings be %oint or dynamics driven( #hese
"uestions may look scary to the uninitiated, so for now we will concentrate on the basics.
3ther technical considerations and concerns will be covered as we work through the
book, building, te)turing, and rigging our characters.
L*c&il"+ Kila and Grae are t'e ain c'aracters+ so !e 'a#e %een $i#en $enero*s
)ol"$on+ 1oint+ and te2t*re liits. Grae is 7*ite lar$e and also 'as !in$s+ so 'e !ill
need ore 1oints+ )ol"$ons+ and =)ossi%l"> te2t*re s)ace t'an Kila.
Preparatio
n
9a#in$ done t'e researc'+ !e no! 'a#e all t'e inforation !e co*ld )ossi%l" 'andle+
ri$'t0 No! do !e start to dra!0 No)e+ !e o#e on to t'e ne2t sta$e( )re)aration.
5e need to $at'er reference aterial and co)ile a style sheet.
At t'is )oint+ !e &no! !'at t'e c'aracter !ill loo& li&e and !e 'a#e a )rett" $ood
idea of !'ere to start. 5'at I li&e to do ne2t is co)ile a st"le s'eet to 'old all t'e
rele#ant ia$es I find !'ile collectin$ " reference aterial. T'e Internet+ !it' its
*nliited ia$e reso*rces+ is an e2cellent so*rce for t'e $at'erin$ of aterial. Ot'er
$reat so*rces are a$a8ines and e#en ,;,s"o* can $et references fro an"!'ere+
reall".
Loo&in$ at t'e inforation on o*r c'aracters so far+ !e can see t'at Kila is a cas*al+
a#era$e/loo&in$ $irl in ri))ed 1eans and a T/s'irt. So to start+ !e can $o to one of
t'e an" Internet searc' en$ines t'at 'a#e t'e o)tion to searc' for ia$es+ and do
a searc' for 4ri))ed 1eans4 or si)l" 41eans.4 After 7*ic&l" scannin$ t'e res*lts for
an"t'in$ rele#ant and $ra%%in$ it+ !e o#e on to t'e ne2t ite of clot'in$ !e !ant
to desi$n+ and so on and so fort'. Ma"%e !e e#en add a %elt of soe sort. After !e
'a#e eno*$' references for 'er clot'in$+ !e can o#e on to 'er 'airst"le+ a&e*)+
and ot'er eleents. T'e earlier %io ta%le s)ecifies a lar$e+ $ot'ic tattoo+ so !e loo&
for references on tattoos. T'e ain idea of a st"le s'eet is to $at'er e#er" ia$e
"o* !ill need into one location+ and "o* t'en onl" need to refer to t'is !'en "o*
%e$in to s&etc'. T'e st"le s'eet is also *sef*l for s'o!in$ to ot'ers+ to $i#e t'e a
feel for t'e st"le of t'e c'aracter.
T!P
Good 5e% sites for clot'in$ ia$es are online catalo$s and s'o))in$ sites.
T'ese contain ia$es of )eo)le in #ario*s )oses !earin$ entire o*tfits.
t'ese )ict*res can also %e *sef*l references for "o*r conce)t dra!in$s.
Once "o* 'a#e all t'e ia$es "o* need+ "o* can si)l" load t'e all into P'otos'o)
and co)ile t'e into one lar$e ia$e+ *s*all" an D.@4 %" BB4 s'eet at a resol*tion
of 3GG d)i. T'en )rint it+ and it-s read" for "o* to *se. ,on-t %e afraid to co)ile a
n*%er of st"le s'eets if "o* feel "o* need t'e. Or+ if "o* are l*c&" and 'a#e
access to a lar$er/forat )rinter+ )rod*ce one to t'at si8e.
Figure 1.1 s'o!s an e2a)le of a st"le s'eet la"o*t. =Unfort*natel"+ d*e to
co)"ri$'t restrictions+ I cannot s'o! t'e act*al ia$es I co)iled for Kila and Grae
%*t t'is s'o*ld $i#e "o* a $eneral idea.>
Figure 1.1. Sa%ple laout for a stle sheet
[View full size image]
Desig
n
5e are no! at t'e final sta$e+ desi$n"o* are no! read" to %e$in dra!in$. Alt'o*$' t'e
first t!o sta$es of researc' and )re)aration a" see li&e a lot of !or&+ %elie#e eit is
!ort' it. 5it'o*t t'e )ro)er )re)aration+ "o* co*ld end *) st*%lin$ a'ead %lindl"+ %*t
'a#in$ 'el) at 'and earl" on !ill &ee) "o* fro fallin$ later. It-s trite+ %*t tr*e( 4If "o*
fail to )re)are+ "o* )re)are to failJ4
Let-s 'a#e a loo& at soe of t'e &e" )oints to consider !'en fles'in$ o*t t'e desi$n of
"o*r c'aracter.
A $ood1 Fresh Stle A stron$ #is*al st"le is i)ortant and *st reain consistent
t'ro*$'o*t t'e !'ole desi$n. Coin$ *) !it' an ori$inal st"le can %e diffic*lt. don-t %e
s*r)rised if+ !'ate#er "o*r c'aracter loo&s li&e+ soeone in t'e a))ro#al list !ill coent
on 'o! 4it loo&s li&e s*c'/and/s*c'.4 Tr" not to directl" co)" an e2istin$ st"le+ and instead
*se a i2t*re of different infl*ences to coe *) !it' soet'in$ ori$inal.
Contrast A%ong Characters 5'en desi$nin$ a series of c'aracters+ it is
i)ortant to 'a#e contrast aon$ t'e. Tr" not to a&e an" t!o c'aracters too *c'
ali&e. A $ood !a" to c'ec& t'e s*ccess of "o*r conce)t in ters of contrast is to line *)
"o*r c'aracters and s!itc' off t'e li$'ts so t'e c'aracters are onl" #isi%le in sil'o*ette. Can
"o* tell !'o is !'o0
As%%etr To a&e "o*r desi$n ore interestin$+ a&e s*re t'e c'aracter is not
co)letel" s"etrical. ;ariation is t'e &e"+ 1*st as it is in t'e real )eo)le all aro*nd "o*.
No one-s feat*res are co)letel" s"etrical.
Appeal Yo*r c'aracter 'as to %e a))ealin$ to its tar$et a*dience. If t'e $ae is
aied at "o*n$ c'ildren+ reflect t'is in "o*r desi$n %" incl*din$ %ri$'t colors and
o*tra$eo*s )ro)ortions. Ma&e t'e c'aracters f*n to loo& at as !ell as )la" !it'.
Color T'e colors of "o*r c'aracter can sa" a lot a%o*t t'e. ,ar&er colors tend to
re)resent e#il or a re%ellio*s nat*re. %ri$'ter colors are *s*all" associated !it' a $ood+
)*re )erson.
Proportions T'e si8e and scale of "o*r c'aracter can add $reatl" to t'e desired
st"le. As a r*le of t'*%+ a realistic '*anoid c'aracter tends to %e aro*nd ei$'t 'eads
'i$'. Loo&in$ at t'e co)arison in Figure 1.2+ "o* can see t'e )ro)ortions of a ore
'eroic+ st"li8ed ale c'aracter. 9e !o*ld 'a#e a sli$'tl" saller 'ead %*t *c' lar$er
s'o*lders t'an t'e a#era$e fi$*re. T'e le$s !o*ld %e lon$er+ %*t in contrast 'is torso !o*ld
%e s'ortened and 'is !aist saller.
Figure 1.2. Male character stle co%parison
Figure 1.3 ill*strates t'e difference %et!een a realistic and st"li8ed feale. T'e
ore st"li8ed #ersion 'as lon$er le$s+ a saller !aist+ and"e)+ "o* $*essed it+ a
lar$er c'est. In t'e face s'e 'as ore )rono*nced c'ee&%ones+ lar$er e"es and
e"elas'es+ )l*s ore #ol*)t*o*s li)s t'an t'e realistic #ersion.
Figure 1.3. Fe%ale character stle co%parison
5it' cartoon c'aracters+ "o* can )la" aro*nd !it' t'e n*%ers+ c'an$in$ t'e
drasticall" to ac'ie#e e2a$$erated )ro)ortions. :*t a $ood startin$ )oint is to 'a#e
t'e o#erall si8e of "o*r c'aracter aro*nd t'ree 'eads 'i$'. T'is !ill $i#e t'e a
lar$er 'ead in )ro)ortion to t'e %od"+ so add to t'is contrast %"
increasin$ t'e si8e of t'e 'ands and feet =
Figure 1.4
0. 'f they are meant to be cute, you can give them large eyes, too.
Figure 1.4. *-a%ple of cartoon character proportions
Anato% A $ood &no!led$e of anato" is essential !'en creatin$ c'aracters.
Understandin$ t'e %asics of *scle and %one str*ct*re !ill 'el) "o* s'a)e "o*r
fi$*res+ a&in$ t'e ore realistic and correctl" )ro)ortioned. 9a#in$ a $ood
selection of anato" %oo&s to refer to is al!a"s a $ood idea.
Your *arl
Sketches
Usin$ "o*r st"le s'eets+ "o* can no! %e$in to ro*$'l" s&etc' o*t soe ideas. Ta&e "o*r
tie if "o* 'a#e it+ and s)end a fe! da"s )la"in$ aro*nd !it' ideas. Figure 1.5 s'o!s a
fe! earl" s&etc'es I )rod*ced for Kila. "o* can )ro%a%l" see t'e )ro$ression of 'er desi$n
and t'e dee) contrast %et!een t'e first idea and 'er e#ent*al loo&.
Figure 1 5. #rainstor% sheet for +ila
5'ile desi$nin$ Kila+ I tried to a&e 'er loo& noral %*t !it' s*%tle differences. Earl" on+
I $a#e 'er !ild 'air and e2tra#a$ant clot'in$+ %*t t'is all loo&ed o#er t'e to). I also tried
to tone do!n t'e ao*nt of s"etr" s'e ori$inall" 'ad. Notice t'at 'er 'air is no!
lon$er on one side+ and across 'er !aist t'e %elt and sas' cross fro o))osite directions.
Figure 1.6 s'o!s t'e s&etc'es I )rod*ced !'ile creatin$ t'e conce)t for Grae. M" initial
idea !as to 'a#e Kila #isi%le inside 'is c'est+ !it' all t'e tendrils !ra))ed aro*nd 'er. I
e#ent*all" dro))ed t'is idea+ first %eca*se of )ol"$on restrictions+ and secondl" %eca*se
it co*ld 'a#e ca*sed )ro%les !'en aniatin$.
Figure 1.6. #rainstor% sheet for $rae
Once "o* feel confident and coforta%le !it' an idea+ "o* can create a cleaner )iece+
!'ic' "o* t'en s'o! to "o*r lead artist and $ae desi$ner. A$ain+ t'is s'o*ld %e a 7*ic&
ia$e to $i#e an idea of t'e desi$n. It-s li&el" "o*r colla%orators !ill !ant it re#ised. "o*
can )rett" *c' %e s*re "o*r first idea !ill not %e t'e one t'e" li&e.
If "o* 'a#e t'e tie and are $i#en t'e freedo to do so+ !'" not render soe nice
color )ieces li&e t'e ones in Figures 1.7 and 1.8. Soe co)anies enco*ra$e t'is ste).
T'e" also li&e "o* to )resent t'e c'aracters in a !ell/arran$ed s'eet s'o!in$ t'e final
render alon$ !it' a fe! s&etc'es. T'ese s*ar" s'eets loo& )rofessional and
i)ressi#e+ and at t'e end of t'e da" "o* !ill end *) !it' a nice )iece of art!or& to $o
in "o*r )ortfolio.
Figure 1.7. +ila renders
Figure 1.8. A co%plete render for $rae
Creating the Model
Sheets
GreatJ T'e" lo#e "o*r idea and $i#e "o* t'e $o a'eadJ :*t %efore "o* or soeone else
starts to odel+ "o* need to create a fe! odel s'eets to !or& fro. T'ese s'eets
s'o! t'e c'aracter in an" different !a"s. t'e" are t'e %l*e)rints for %*ildin$ t'e
c'aracter.
Ia$ine soeone else is $oin$ to %e %*ildin$ Kila+ and )lan o*t e#er"t'in$ for t'at
)erson.
First of all+ "o* s'o*ld )rod*ce a t*rnaro*nd #ie! =Figure 1.90. #he basic images
incl*ded in t'is are a front #ie!+ side #ie!+ and rear #ie!. Yo* can also incl*de a t'ree/
7*arter #ie! if "o* 'a#e tie. If t'ere are an" desi$n areas a%o*t !'ic' "o* can
alread" %e s)ecific+ or if "o* feel soet'in$ needs ore e2)lanation+ incl*de t'ese
s)ecifics in t'is t*rnaro*nd s'eet.
Figure 1.9. +ila %odel sheet1 turnaround :ie;
Notice t'at t'e sil'o*ettes for t'e front and %ac& #ie!s are t'e sae. Yo* a" %e a%le to
a&e o*t faint lines across t'e ia$e. t'ese are i)ortant %eca*se "o* need t'e
)ro)ortions to %e t'e sae for eac' an$le.
To 'el) t'e )erson !'o is $oin$ to odel "o*r c'aracter+ "o* can )rod*ce a 'ead s'eet
li&e t'e one in Figure 1.1<. T'is is li&e t'e t*rnaro*nd #ie! s'eet %*t foc*ses on t'e
'ead-s front and side #ie!s alon$ !it' an" additional inforation needed.
Figure 1.1<. +ila head sheet
5'e!J 5it' conce)tin$ co)lete+ "o* s'o*ld 'a#e a !ell t'o*$'t o*t and $reat
loo&in$ c'aracter to !or& !it'. So )*t "o*r cra"ons a!a" and %oot *) "o*r
co)*terit-s tie to %*ild "o*r creation in $lorio*s 3,.
Su%%ar

In t'is c'a)ter+ !e co#ered t'e ain )'ases of creatin$ "o*r o!n conce)ts for real/
tie c'aracters. In addition+ !e e2ained t'e art!or& t'at s'o*ld %e )re)ared
%efore "o* o#e on to odelin$ a c'aracter.
5'at "o* s'o*ld 'a#e at t'is )oint are soe nice c'aracter conce)ts t'at 'a#e %een
a))ro#ed %" "o*r ana$er. Fro t'ese+ "o* !ill 'a#e created t'e odel s'eets
needed to o#e to t'e ne2t sta$e. In t'e ne2t c'a)ter+ !e !ill start to %*ild "o*r
c'aracters+ at t'e sae tie introd*cin$ "o* to Ma"a-s en#ironent and %asic
odelin$ tools.
Chapter 2. Modeling
+ila
CD Files
KilaK:asic.%
KilaKCo%ined.%
KilaKPriiti#e.%
KilaKStart.%
In Scans directory8
KilaFront.1)$ KilaSide.1)$ MainScan.tif KilaFront.t$a KilaSide.t$a T9E CONCEPTING
IS COMPLETE for o*r c'aracters Kila and Grae+ so it-s tie to
o#e onto t'e co)*ter and into Ma"a. 5e %e$in t'is c'a)ter %" s'o!in$ "o* 'o!
to )re)are and store "o*r art!or&+ as !ell as t'e )roced*re for confi$*rin$ Ma"a-s
en#ironent. T'en !e-ll e2)lore t'e %asic odelin$ tools as !e %e$in to %*ild o*r
c'aracters.
Preparatio
n
Yo* are no! read" to create "o*r c'aracters. Yo* 'a#e all t'e needed reso*rces+ !'ic'
"o* 'a#e $at'ered "o*rself or 'a#e recei#ed fro anot'er conce)t artist. For a $i#en
c'aracter+ "o* s'o*ld 'a#e at 'and t'e follo!in$(
Model Sheet T'e odel s'eet dis)la"s t'e f*ll c'aracter fro #ario*s an$les+
)refera%l" t'e front+ side+ and rear #ie!s. S)ecific details a" also %e incl*ded on t'is
s'eet.
'ead Sheet T'e 'ead s'eet $i#es a close/*) of t'e c'aracter-s 'ead and facial
feat*res. Li&e t'e odel s'eet+ t'e 'ead s'eet 'as front+ side+ and rear #ie!s.
Color Sheet T'e color s'eet dis)la"s t'e f*ll" rendered c'aracter. Yo* !ill *se t'is
for color reference !'en it coes tie to a))l" a te2t*re.
,i%itations :efore "o* %e$in to odel a c'aracter+ it-s i)ortant t'at "o* &no! all
t'e a))lica%le tec'nical restrictions. T'ese !ill incl*de )ol"$on co*nts and te2t*re )a$e
liits.
5it' all t'e necessar" inforation read"+ let-s loo& at 'o! to )ro)erl" store it.
Art;ork
Storage
An i)ortant )iece of inforation "o* s'o*ld o%tain at t'is sta$e concerns t'e stora$e of
"o*r art!or&. Is t'ere a s)ecific director" str*ct*re in )lace0 ,oes an area e2ist on t'e
net!or& !'ere all t'e art!or& for a )artic*lar )ro1ect !ill %e stored0 ,oes t'is location
$et %ac&ed *) fre7*entl" and re$*larl"0
Man" $ae de#elo)ent st*dios 'a#e c*sto/!ritten soft!are in )lace to ta&e care of
art!or& stora$e+ %*t deser#in$ of ention is one of t'e %est and ost !idel" a#aila%le(
Alien%rain. A cle#er a))lication+ Alien%rain 'olds all t'e $ae assets on a ser#er to !'ic'
t'e de#elo)ent tea 'as access. 5'en a )iece of art!or& is %e$*n+ it is stored not onl"
locall" %*t also on t'e ser#er. T'ese ser#er files are t'en loc&ed. An indi#id*al !antin$ to
!or& !it' a file *st 4c'ec& it o*t4 and t'en c'ec& it %ac& in at t'e end of t'e !or&
session.
T'is is 1*st t'e ti) of t'e Alien%rain ice%er$( T'e )ro$ra is ca)a%le of *c' ore. It
'as )l*$/ins a#aila%le for Ma"a+ P'otos'o)+ and an" ot'er a))lications to s)eed *)
!or&flo! and a&e t'in$s ore *ser friendl"+ !'ile all alon$ &ee)in$ re$*lar %ac&*)s of
"o*r !or& in case t'e !orst s'o*ld 'a))en.
Yo* can find ore inforation on Alien%rain %" #isitin$ t'eir 5e% site !!!.n2n /
soft!are.co.
As $ood as Alien%rain is+ it does not set *) a director" str*ct*re for "o*. T'e leads on
"o*r tea s'o*ld esta%lis' t'is so t'at e#er"one &no!s !'ere e#er"t'in$ is at an"
$i#en tie. T'e director" frae!or& can %e as si)le as t'e str*ct*re seen in Figure
2.1.
Figure 2.1. A =asic director structure
Preparing the Work
*n:iron%ent
No! t'at "o* &no! !'ere to store "o*r art!or&+ "o* can %e$in to )re)are "o*r
!or&in$ en#ironent.
Scanning in the Model
First+ "o* need to scan in "o*r odel s'eet. :" 'a#in$ t'ese ia$es a#aila%le on "o*r
co)*ter+ "o* can i)ort t'e into Ma"a and *se t'e as a $*ide !'en "o* %e$in to
%*ild t'e odel. Man" de#elo)ers find t'is arran$eent to %e a *c' %etter !a" to !or&
%eca*se "o* can *ltiatel" create a ore )recise odel. Atte)tin$ to odel fro
eor" or %" referrin$ to 'ard co)" references !ill *ltiatel" lead to errors+ and t'e
)ro)ortions of t'e final odels !ill li&el" %e off.
T!P
Yo* don-t need t'e scanned ia$e to %e '*$e+ %*t it s'o*ld retain ost of t'e
details t'at e2ist in t'e art!or&. Scan in t'e odel s'eet at BGGH or a
resol*tion of 3GG d)i. t'is is 7*ite %i$+ %*t it-s easier to s'rin& t'e ia$e later
on t'an to enlar$e it. In addition+ scannin$ it 'i$'er and t'en red*cin$ it !ill
$i#e "o* a %etter/7*alit" ia$e t'an if "o* initiall" scan at a lo!er d)i.
Preparing the Scanned !%age
5'en "o* ta&e t'e ia$e into P'otos'o) =or "o*r )referred di$ital ia$in$ )ac&a$e>+
"o* first need to rotate it+ in t'is case EG de$rees co*ntercloc&!ise. Sa#e
t'e rotated ia$e no! for *se as reference.
Once all t'at is done+ "o* can s'rin& t'e ia$e. All "o* need to do is ad1*st t'e ))i
=)i2els )er inc'>. t'is !ill scale t'e o#erall ia$e =Figure 2.2>.
Figure 2.2. Scaling an i%age in Photoshop>s !%age Si?e ;indo;
()T*
Ma&e s*re Resa)le Ia$e is ena%led+ If "o* lea#e t'is o)tion *nc'ec&ed in
t'e Ia$e Si8e dialo$ %o2+ c'an$in$ t'e d)i =dots )er inc'> does not alter t'e
)i2el resol*tion of t'e ia$e =or its stora$e si8e on dis&>. It onl" affects t'e
si8e of t'e ia$e !'en it is )rinted.
Ad1*stin$ an ia$e to C? ))i *s*all" $i#es an acce)ta%le res*lt. 5'en "o* need to !or&
!it' a %etter+ ore detailed ia$e+ )la" aro*nd !it' t'e ))i *ntil "o* 'a#e soet'in$
acce)ta%le. I recoend *sin$ a lo!er resol*tion in order to cons*e less eor" on
"o*r ac'ine+ %*t "o* do not !ant to end *) !it' an ia$e so sall t'at "o* can-t
a&e o*t an" details. See Figure 2.3 for an e2a)le of a $ood and a %ad red*ction.
Figure 2.3. !n the i%age reduction on the right1 the ppi
resolution is set too lo;.
Storing the !%age
No! t'at "o* 'a#e "o*r ia$e stored !it' a resol*tion "o* can !or& !it'+ "o* can c'o)
it *) and store t'e )ieces =Figure 2.4>. An ideal )lace to &ee) t'e !o*ld %e in a Scans
director" inside t'e ain scene folder. T'ese )ieces !ill t'en %e i)orted into Ma"a later
as ia$e )lanes+ $*idelines for odelin$ o*r c'aracters.
Figure 2.4. The chopped i%ages
To store t'e )ieces of an ia$e+ norall" "o* !o*ld follo! t'e director" str*ct*re
dictated %" "o*r )ro1ect ana$er+ %*t for t'is %oo&-s )ro1ect !e !ill *se t'e file s"ste
fo*nd on t'e %oo&-s C,. For t'is c'a)ter+ o*r c'aracters !ill %e stored in t'e director"
Pro1ect Files6G?. To &ee) t'in$s tid"+ I 'a#e added a folder called Scans. Place t'e ia$e
)ieces in 'ere+ alon$ !it' t'e initial ia$e scan =MainScan.tif>. Let-s call t'e cro))ed
ia$es KilaFront.1)$ and KilaSide.1)$t'ere-s no need to cro) t'e rear ia$e as !e !on-t
%e i)ortin$ it into Ma"a.
T!P
Ma&in$ s*re t'e ia$es are t'e sae 'ei$'t+ as !ell as &ee)in$ t'e 'ead and
ot'er %od" )arts in line+ !ill 'el) !'en !or&in$ !it' t'e in Ma"a.
Sa:ing !%age
Planes
For de#elo)ers e2)erienced !it' P'otos'o)s tools+ 'ere is anot'er !a" of
creatin$ t'e ia$e )lanes( 5'en i)orted into Ma"a as ia$e )lanes+ t'ese
ia$es !ill s'o! *) as line art. T'ere !ill %e no !'ite rectan$le aro*nd t'e
to $et in "o*r !a".
5or&in$ fro a C? ))i scan+ *se t'e Rectan$*lar Select tool and select t'e
front dra!in$.
Co)" t'e front dra!in$ and create a ne! can#as !it' a %lac& %ac&$ro*nd.
Ma&e s*re t'e ia$e ode is RG: %" $oin$ to Ia$e L Mode L RG:.
O)en t'e C'annel Editor and create a ne! c'annel. t'is !ill %e an al)'a
c'annel %" defa*lt.
Paste t'e ia$e into t'e ne! al)'a c'annel and t'en select Ia$e L
Ad1*stent L In#ert.
Sa#e t'e ia$e as a 3?/%it Tar$a file.
T'e KilaFront and KilaSide ia$es sa#ed as Tar$a files are also incl*ded on
t'e C, =KilaFront.t$a and KilaSide.t$a>.
5it' t'e ia$es cro))ed+ stored+ and read"+ !e 'a#e done all o*r e2ternal
)re)aration. Ne2t+ !e !ill o#e into t'e Ma"a )ro$ra+ so let-s ta&e a loo& at t'e
%asic tools it 'as to offer.
$etting Started in
Maa
5e are no! read" to load Ma"a and )re)are it so !e can %e$in odelin$. :*t first
let-s 'a#e a loo& at Ma"a itself. In case "o* don-t 'a#e Ma"a+ "o*-ll find Ma"a-s
Personal Learnin$ Edition on t'e C,.
Maa>s ,earning Mo:ies and
Tutorials
5'en "o* start Ma"a for t'e first tie+ "o* !ill %e )resented !it' t'e Learnin$
Mo#ies !indo! seen in Figure 2.5. T'ese one/in*te o#ies co#er soe of t'e
#er" %asic eleents in Ma"a+ fro o#in$ and ani)*latin$ o%1ects+ to si)le
&e"frae aniation.
Figure 2.5. Maa>s helpful ,earning Mo:ies take onl a %inute
each.
I recoend t'at "o* !atc' t'ese o#ies %efore "o* )roceed in t'is c'a)ter. If "o*
'a#e alread" s&i))ed )ast t'e Learnin$ Mo#ies !indo!+ "o* can reo)en it %" $oin$ to
9el) L Learnin$ Mo#ies.
If "o* 'a#e tie+ I also recoend loo&in$ at Ma"a-s %*ilt/in t*torials =9el) L
T*torials>. T'ese co#er e#er" as)ect of Ma"a and $o %e"ond t'e f*ndaentals in t'e
Learnin$ Mo#ies to s'o! ore ad#anced areas s*c' as e2)ressions and MEL =Ma"a
E%edded Lan$*a$e>.
(a:igating ;ith Menu Sets1 Marking Menus1 and The
'ot=o-
T'ere are #ario*s !a"s to na#i$ate t'e en*s in Ma"a. Eac' )erson 'as t'eir o!n
)reference+ %*t "o* !ill no do*%t *se e#er" et'od at soe )oint in "o*r !or& !it'
Ma"a.
Across t'e to) of Ma"a-s *ser interface is t'e main menu bar. T'is en* can %e
c'an$ed+ de)endin$ on !'at area of Ma"a "o* are !or&in$ in+ %" *sin$ t'e menu sets.
T'e en* sets are located at t'e left of t'e stat*s %ar =Figure 2.6>. Yo* can c'an$e
aon$ t'e Aniation =F?>+ Modelin$ =F3>+ ,"naics =FI>+ and Renderin$ =F@> en*
sets. Eac' $ro*) o)ens *) ne! tools s)ecific to t'at 1o%.
Figure 2.6. Menu sets
Ri$'t/clic&in$ an o%1ect !ill o)en *) a marking menu, Ma"a-s ter for a conte2t*al
en* =Figure 2.7>. T'ese en*s $i#e 7*ic&er access to soe of t'e tools "o* !ill
coonl" *se !it' t'at o%1ectfor e2a)le+ co)onent selection.
Figure 2.7. &ight@click an o=Aect to see its %arking %enu.
T'e t'ird et'od is t'e hotbo9, !'ic' contains e#er" en* and en* ite a#aila%le in
Ma"a and is f*ll" c*stoi8a%le to s*it "o*r needs. 5'en "o* !ant 7*ic& access to an"
en* !it'o*t 'a#in$ to c'an$e en* sets+ or if t'e en* "o* re7*ire is 'idden+ si)l"
'old do!n t'e s)ace%ar to o)en *) t'e 'ot%o2 =Figure 2.8>. To t'e ri$'t of t'e 'ot%o2
are t'e 9ot%o2 Controls+ !'ere "o* can c*stoi8e t'e a))earance and contents of t'e
'ot%o2.
Figure 2.8. The hot=o-
No! t'at "o* 'a#e soe %asic &no!led$e of Ma"a and its *ser interface+ !e !ill see 'o!
to a&e s*re Ma"a is confi$*red correctl"+ %efore !e %e$in to odel.
Setting up Maa
Preferences
Alt'o*$' t'e a1orit" of Ma"a-s defa*lt )references are fine for ost of !'at !e-re
doin$ !e !ill alter a fe! no! to 'el) *s later. It-s i)ortant to follo! t'ese ste)s so
!e-re all !or&in$ t'e sae !a".
1. Go to 5indo! L Settin$s6Preferences L Preferences to o)en t'e Preferences !indo!
=Figure 2.9>. T'is screen contains all t'e $lo%al )reference settin$s in Ma"a.
Figure 2.9. Setting Maa preferences
[View full size image]
T'e first i)ortant settin$ to esta%lis' is t'e c'oice of *nits "o* are *sin$ =t'e scale
"o* !ill %e odelin$ to>. It-s i)ortant to a&e s*re t'at e#er"one on t'e )ro1ect is
*sin$ t'e sae *nits. differin$ scales can ca*se a1or )ro%les do!n t'e line+
es)eciall" !'en ri$$in$ and aniation are in#ol#ed.
2. In t'e Cate$ories )anel on t'e left+ select Settin$s and see !'at t'e !or&in$ *nits
are c*rrentl" set to. In Figure 2.9+ "o* can see t'at !e !ill %e !or&in$ in eters and
aniatin$ at 3G fraes )er second. Of co*rse+ t'ese settin$s a" #ar" de)endin$ on
t'e )ro1ect "o* are !or&in$ on.
()T*
For t'is %oo& !e !ill %e *sin$ eters+ %*t feel free to !or& in !'ate#er
*nits "o* are coforta%le !it'. <*st ree%er to a&e t'e a))ro)riate
corres)ondin$ ad1*stents to an" of t'e eas*reents or #al*es "o* *se
fro t'e %oo&.
1 5'ile in t'e Preferences !indo!+ select t'e Interface cate$or". Ma&e s*re O)en
Attri%*te Editor on t'e ri$'t is set to In Se)arate 5indo!. T'is settin$ !ill ens*re t'at !e are
!or&in$ in t'e sae en#ironent for t'e disc*ssions in t'is %oo&. ot'er!ise+ soe sections
a" %e conf*sin$.
2 Once "o* 'a#e finis'ed settin$ *) all "o*r $lo%al Ma"a confi$*rations+ clic& Sa#e.
3 T'en $o to ,is)la" L Grid in t'e ain en* and clic& t'e o)tions %o2 to o)en t'e Grid
O)tions =Figure 2.1<>. In t'e Si8e section+ settin$ t'e Grid Lines E#er"
and S*%di#isions to B !ill set eac' s7*are on t'e $rid to re)resent B eter =or
!'ic'e#er *nit "o* are !or&in$ in>. Len$t' and 5idt' dictate 'o! far "o*r $rid
e2)ands across "o*r #irt*al !orld.
Figure 2.1<. $rid )ptions setup
T'e Ma"a en#ironent is no! confi$*red for o*r )ro1ect. Ree%er t'at "o*r
settin$s s'o*ld %e t'e sae as e#er"one else-s on t'e )ro1ect.
Ne2t+ "o* *st tell Ma"a !'ere "o* !is' to !or&. Yo* can do t'is %" *sin$ Ma"a-s
pro-ects. In Ma"a+ "o* can !or& in a #ariet" of file t")es and forats. :" creatin$ a
)ro1ect+ "o* create s*%directories *nder a )arent director" in !'ic' to store e#er"t'in$.
T'is is Ma"a-s !a" of co%inin$ in one )lace all t'e files rele#ant to t'e c*rrent scene.
6. Yo* can+ if "o* li&e+ as& Ma"a to create a director" str*ct*re and a ne! )ro1ect for
"o* %" $oin$ to File L Pro1ect L Ne! =Figure 2.11>.
Figure 2.11. Creating a ne; proAect.
9ere "o* can s)ecif" a nae and a location for t'e )ro1ect. Clic&in$ Use
,efa*lts at t'e %otto !ill a*toaticall" fill in t'e rest of t'e Ne! Pro1ect !indo!
!it' naes for t'e corres)ondin$ directories. If "o* do not !ant all t'e directories
created+ "o* can si)l" lea#e t'e %lan& and Ma"a !ill i$nore t'e. Once "o* are
'a))" !it' t'e )ro1ect str*ct*re+ clic& Acce)t. Ma"a !ill %*ild t'e s)ecified
directories for "o* and set t'e ne! )ro1ect to %e t'e c*rrent one.
If "o*r director" str*ct*re is alread" in )lace+ as it s'o*ld %e+ anot'er !a" to set
t'e c*rrent )ro1ect is %" $oin$ to File L Pro1ect L Set =Figure 2.12>. 9ere "o*
si)l" )oint to t'e director" "o* !is' to !or& in+ and it-s set.
Figure 2.12. Point to a proAect to %ake it the current one.
7. T'e final !or& en#ironent o)tion to set is fo*nd in t'e Pol"$ons L Tool O)tions
en*. In t'at en*+ a&e s*re Kee) Faces To$et'er is acti#ated.
As !e )ro$ress t'ro*$' t'e %oo&+ !e !ill )erfor o)erations t'at !o*ld
ot'er!ise in#ol#e o*r 'a#in$ to set t'is an*all" after!ard. Settin$ it 'ere
eans it is no! set $lo%all"+ sa#in$ *s !or& later.
!%porting to
Maa
T'e final )art of o*r )re)aration for odelin$ is to i)ort t'e ia$es !e scanned and
cro))ed earlier+ %rin$in$ t'e into Ma"a-s )anels so !e can *se t'e as $*ides.
1
.
To i)ort an ia$e into t'e front #ie!+ at t'e to) of t'e )anel+ select ;ie! L Ia$e
Plane+ and clic& I)ort Ia$e to o)en *) t'e %ro!ser. Yo* 'a#e alread" set "o*r
)ro1ect+ so t'e %ro!ser !ill a*toaticall" o)en in t'e correct %ase director"+ ena%lin$
"o* to select t'e ia$es !e created earlier. For t'is #ie! !e !ill *se t'e file
KilaFront.1)$ =or "o* can *se KilaFront.t$a>+ !'ic' is in t'e Scans director".
()T*
To s!itc' #ie!s si)l" $o to t'e Panels en* ite in t'e c*rrent #ie!
)anel and select t'e a))ro)riate caera.
As "o* can see fro Figure 2.13 t'e ia$e )lane is 7*ite lar$e. 5e &no! t'at
eac' $rid s7*are is e7*al to one eter+ so at t'is settin$ Kila !o*ld %e 3G eters
tall. 5e &no! fro t'e c'aracter details !e $at'ered earlier t'at s'e is
B.C eters tall+ so let-s c'an$e 'er si8e.
[View full size image]
Figure 2.13. The i%age i%ported into our front :ie;1 3< %eters
tall
2. If "o* 'a#e not selected an"t'in$ else at t'is sta$e+ t'e ia$e-s attri%*tes !ill %e
a#aila%le in t'e C'annel :o2 *nder a 'eadin$ of ia$ePlaneB. Ot'er!ise+ if "o* need
to a&e t'e attri%*tes a#aila%le+ select ;ie! L Ia$e Plane a$ain. Notice t'at a ne!
o)tion is a#aila%le+ Ia$e Plane Attri%*tes. Mo#e "o*r o*se o#er t'is to re#eal t'e
c*rrent )anel-s ia$e )lanes. At t'e oent+ "o* s'o*ld 'a#e onl" one+ called
ia$ePlaneB. select t'is. A ne! !indo! o)ens+ 'oldin$ t'e o)tions a#aila%le for t'is
ia$e )lane. "o* s'o*ld also see it a#aila%le in
"o*r C'annel :o2.
3. Set t'e 5idt' and 9ei$'t attri%*tes to B.C+ and s'e !ill scale do!n to t'e si8e !e
need.
4. No! do t'e sae for t'e side #ie!. I)ort t'e ia$e called KilaSide.1)$ =or *se
KilaSide.t$a> and resi8e it to B.C. 5'en "o*-re done+ s!itc' to t'e )ers)ecti#e #ie!
=Figure 2.14> to see 'o! t'in$s loo& so far.
Figure 2.14. The front and side i%age planes1 seen fro% the
perspecti:e :ie;
[View full size image]
5. Loo&in$ t'ro*$' t'e )ers)ecti#e #ie! no!+ t'in$s i$'t see a little conf*sin$+ %*t
t'is can %e fi2ed. 5e si)l" need to o#e t'e t!o ia$es so t'at t'e" do not intersect.
Select t'e side ia$e %" dra$$in$ t'e o*se o#er a corner of t'e ia$e )lane.
Loo& in t'e C'annel :o2+ !'ic' no! s'o!s t'e attri%*tes a#aila%le for t'e side #ie!
=Figure 2.15>. At t'e %otto+ *nder t'e 'eadin$ In)*ts+ "o* can see t'e ia$e
)lane+ naed ia$ePlane?.
Figure 2.15. Side :ie; attri=utes
6. Clic& ia$ePlane? to re#eal t'e ia$e )lane-s o)tions. Select Center F and set it to
G.3@+ !'ic' !ill o#e t'e ia$e sli$'tl" to t'e left. T")e /G.? into t'e Center M in)*t
%o2+ !'ic' !ill o#e t'e ia$e for!ard.
Pla" aro*nd !it' t'ese settin$s for %ot' ia$es *ntil "o* are 'a))" !it' t'eir
)ositions. Yo* s'o*ld end *) !it' soet'in$ rese%lin$ Figure 2.16+ !it' t'e
ia$es no lon$er intersectin$.
Figure 2.16. AdAust the i%age plane positions so the i%ages don>t
intersect.
Working ;ith the ,aer
*ditor
:efore !e finis' t'is section+ !e !ill )lace t'e ia$e )lanes into a la"er. T'is !ill
&ee) t'e scene tid"+ as !ell as )re#ent t'e ia$e )lanes fro accidentall" %ein$
selected and o#ed. Yo*-ll find t'e La"er Editor in t'e %otto/ri$'t corner of t'e
Ma"a interface+ *nder t'e C'annel :o2 =Figure 2.17>.
First create a ne! la"er %" $oin$ to La"ers L Create La"er+ or clic& t'e Create
La"er %*tton on t'e La"er Editor-s tool%ar =to t'e ri$'t and 1*st *nder t'e en*>.
A ne! la"er is created+ called la"erB. ,o*%le/clic& t'is to %rin$ *) t'e Edit La"er
o)tions.
In t'e Edit La"er !indo!+ renae t'e la"er to Ia$ePlanes. Set ,is)la" T")e to
Reference. T'is eans !'ate#er is in t'is la"er !ill %e #isi%le %*t not selecta%le. Also+
)ic& a color to re)resent t'e la"er.
Yo* can 7*ic&l" 'ide e#er"t'in$ in t'e la"er %" clic&in$ on t'e ; to t'e left of t'e
la"er nae in t'e La"er Editor. T'is controls t'e #isi%ilit". T'e ne2t indicator to t'e
ri$'t+ t'e R+ re)resents t'e dis)la" t")e. "o* can clic& on t'is to c"cle
%et!een Reference+ Te)late+ and Noral.
1 Select %ot' t'e ia$e )lanes+ t'en 'i$'li$'t t'e Ia$ePlanes la"er. 5it' t'e la"er
'i$'li$'ted+ $o to La"ers L Add Selected O%1ects to C*rrent La"er. T'e ia$e )lanes !ill
no! %e in t'e la"er.
2 Sa#e t'e file+ callin$ it KilaKStart.%.
Figure 2.17. The ,aer *ditor
O*r )re)aration is no! co)lete. !e are read" to start %*ildin$ t'e Kila c'aracter.
#uilding a Placeholder
Character
Usin$ )riiti#es =si)le s'a)es s*c' as c*%es or c"linders> to create a %asic
4)lace'older4 #ersion of t'e odel $i#es t'e aniators soet'in$ to !or& !it' !'ile
t'e odel is %ein$ co)leted. ,e)endin$ on t'e )ro1ect "o* are !or&in$ on+ $ettin$
a c'aracter a))ro#ed can ta&e tie and co*ld lea#e t'e aniators !aitin$ aro*nd for
"o*+ !'ic' in t'e lon$ r*n !ill )*t t'e %e'ind sc'ed*le. Generatin$ t'is 7*ic& odel
!ill ean t'e aniators can $et to !or& earl"+ transferrin$ t'e aniation to t'e final
odel at a later sta$e. Not onl" does t'is facilitate t'e !or&flo!+ it can also )in)oint
an" )otential )ro%le areas !it' t'e c'aracter-s )ro)ortions
#asic ,i%=
Creation
Usin$ t'e file KilaKStart.% t'at !e 'a#e esta%lis'ed+ !e can create soe %asic
s'a)es and scale t'e to fit o*r c'aracter.
1 Load t'e file naed KilaKStart.%. Start %" s!itc'in$ to t'e front #ie! )anel+
and create a c*%e. To do t'is+ $o to Create L Pol"$on Priiti#es L C*%e and o)en *) t'e
Pol"$on C*%e O)tions dialo$ %o2 =Figure 2.18>. Ma&e s*re 5idt'+ 9ei$'t+ and ,e)t'
are all set to B. t'en clic& t'e Create %*tton.
2 Select t'e ne!l" created c*%e. t'is 'i$'li$'ts it in $reen+ and a ne! ani)*lator
s'o*ld a))ear. =If t'is doesn-t 'a))en+ )ress 5 to $et into o#e
Figure 2.18. Polgon Cu=e )ptions settings
ode+ or clic& t'e Mo#e tool in t'e tool%o2 to t'e left.>
Ta&e a loo& at Figure 2.19+ !'ic' s'o!s t'e fo*r ain ani)*lators. fro t'e left+ t'e"
are Mo#e+ Rotate+ Scale+ and t'e )i#ot )oint ani)*lator.
Figure 2.19. Mo:e1 &otate1 Scale1 and pi:ot point %anipulators
Eac' ani)*lator 'as fo*r directions of o#eent or rotation+ dis)la"ed in a
)artic*lar color(
Red o#es or rotates aro*nd t'e F a2is =left and ri$'t>.
Green o#es or rotates aro*nd t'e Y a2is =*) and do!n>.
:l*e o#es or rotates aro*nd t'e M a2is =for!ard and %ac&!ard>.
T'e "ello! %o26c*%e6circle o#es or rotates t'e o%1ect relati#e to t'e
caera-s #ie!.
T'e *se of eac' ani)*lator is )rett" self/e2)lanator" e2ce)t for t'e )i#ot ani)*lator.
T'is !ill allo! "o* to o#e t'e )i#ot )oint on t'e selected o%1ect. Yo* can access t'is
%" )ressin$ t'e Insert &e".
T!P
Yo* can alter t'e si8e of a ani)*lator %" *sin$ t'e N and &e"s.
T!P
Usin$ &e"%oard s'ortc*ts is a $ood !a" to !or& ore 7*ic&l". For t'e
ani)*lators+ *se 5 to s!itc' to o#e ode+ E to rotate+ and R to scale.
3. Usin$ t'e a))ro)riate ani)*lator+ o#e+ rotate+ and scale t'e c*%e *ntil it
ro*$'l" fits Kila-s left t'i$' =Figure 2.2<>.
Figure 2.2<. Thigh creation1 front :ie;
Note t'at it is i)ortant t'at "o* not free8e t'e o%1ect-s transforations at t'is
sta$e. t'is !o*ld reset t'e o%1ect-s a2is+ a&in$ it ore diffic*lt to scale. Figure
2.21 =left> s'o!s t'e a2is as it s'o*ld no! %e at t'is )oint in t'e )roced*re. 5e can
7*ite 'a))il" scale t'is o%1ect. it !ill scale aro*nd t'e correct a2is. On t'e ot'er
'and+ Figure 2.21 =ri$'t> deonstrates t'e a2is if it !ere reset. Scalin$ t'is o%1ect
no! !o*ld defor it incorrectl"+ a&in$ it diffic*lt to ac'ie#e t'e desired s'a)e.
Figure 2.21. Do not reset the a-isB it should =e as sho;n on the left.
Cie;ing the
$eo%etr
O)en *) a #ie! )anel-s S'adin$ en* !ill re#eal all t'e !a"s "o* can
#ie! "o*r $eoetr" as "o* !or& =Figure 2.22>.
Wireframe (key 4) Displays the edges of all the geometry in the view
panel.
mooth hade !ll (key ") Displays all the surfa#es as smooth$
shaded.
mooth hade ele#ted %tems Displays the sele#ted o&'e#ts( surfa#e
as smooth$shaded (not shown in Figure 2.22).
)lat hade !ll Displays all surfa#es and meshes as flatshaded*
fa#eted o&'e#ts.
)lat hade ele#ted %tems Displays the sele#ted o&'e#ts( surfa#es as
flat$shaded+fa#eted (not shown in Figure 2.22).
Figure 2.22. Carious ;as to :ie; our geo%etr in Maa
Cie;ing the $eo%etr1
continued
,ounding ,o- hows the o&'e#ts in the s#ene as &o-es. .his is
mainly used to speed up /aya when you(re navigating #omple- s#enes.
0oints Displays only the points (verti#es) of o&'e#ts in the s#ene
(not shown in Figure 2.22).
T'ese last t!o are in t'e S'ade O)tions s*%en*(
Wireframe on haded 1om&ines the smooth$shaded and
wireframe views.
2$3ay hows all o&'e#ts as semitransparent.
T'ere are ot'er o)tions to %e fo*nd in t'e ot'er en*s t'at allo! "o* to
alter t'e li$'tin$ and so on+ %*t !e !ill disc*ss t'ose as and !'en !e
coe to *se t'e later in t'e %oo&.
T!P
At t'is sta$e+ "o* a" find it easier to !or& in F/ra" ode
%eca*se it allo!s "o* to see t'ro*$' t'e $eoetr" in t'e
scene.
4. 5'en "o*-re 'a))" !it' t'e front #ie!+ s!itc' to t'e side #ie! and a$ain
ani)*late t'e c*%e *ntil it fits inside t'e t'i$' on t'e ia$e )lane =Figure 2.23>.
Figure 2.23. Thigh creation1 side :ie;
At t'is )oint+ "o* a" !is' to ta)er t'e lo!er )art of t'e c*%e so it fits Kila-s t'i$'
%etter+ coin$ in sli$'tl" at 'er &nee. T'e easiest !a" to ac'ie#e t'is is to !or& directl"
on t'e #ertices. At t'e oent+ "o* are !or&in$ in O%1ect ode+ eanin$ "o* are
selectin$+ editin$+ and ani)*latin$ co)lete o%1ects. ;ertices+ li&e )ol"$ons+ ed$es+
and U;s+ are all co)onents of o%1ects+ so to edit co)onents !e need to s!itc' to
Co)onent ode. T'ere are a n*%er of !a"s to do t'is(
Ri$'t/clic& t'e c*%e itself. T'is !ill dis)la" a ar&in$ en* !it' o)tions for
o)enin$ *) #ario*s co)onents of t'e o%1ect for selection.
Loo& at Figure 2.24 =to)>. I 'a#e 'i$'li$'ted t'e Select :" Co)onent T")e
%*tton in t'e stat*s line. Clic&in$ t'is %*tton !ill s!itc' to Co)onent ode+ and t'e
%*ttons to t'e ri$'t !ill c'an$e to re)resent t'e #ario*s co)onents "o* can select.
Figure 2.24. S;itch to co%ponent %ode DtopE and the
selection tpe =uttons change D=otto%E.
Pressin$ FD !ill to$$le %et!een O%1ect ode and Co)onent ode. Yo* can t'en
select t'e co)onent "o* !is' to edit #ia t'e ar&in$ en* or t'e %*ttons in t'e
stat*s line.
5. S!itc' to Co)onent ode and o)en *) t'e #ertices for editin$. Yo* !ill notice t'at
t'e %o2-s o*tline t*rns %l*e and t'e #ertices are no! colored )*r)le. Yo* can select t'e
#ertices at t'e %otto of t'e t'i$' and scale t'e in!ard+ so t'at t'e" fit nicel" aro*nd
'er &nee. ,o t'is in %ot' t'e front and side #ie!s.
To $o %ac& into O%1ect ode+ )ress FD+ or "o* can ri$'t/clic& to %rin$ *) t'e
ar&in$ en* and select O%1ect Mode.
Sortcut +es for
*diting
FDTo$$le Co)onent6O%1ect ode FBBFaces
FE;ertices FB?U;s FBGEd$es
Contin*e *sin$ t'is et'od+ creatin$ %asic c*%es and ani)*latin$ t'e *ntil "o*
'a#e Kila-s left side co)leted. 1*st concentrate on 'er li%s for no!. Yo* s'o*ld end
*) !it' soet'in$ li&e Figure 2.25.
Figure 2.25. #asic left ar% and leg created ;ith cu=es
Create the &ight
Side
Kila-s ri$'t side !ill re7*ire *c' less effort t'an 'er left. 5it' t'is odel+ !e can
si)l" mirror 'er left li%s to create 'er ri$'t side.
To do t'is !e !ill group t'e c*rrent $eoetr". Gro*)in$ o%1ects ser#es t!o )*r)oses.
First+ it &ee)s t'e scene nice and tid"+ a&in$ it easier to !or& !it' and na#i$ate
aon$ t'e o%1ects. Second+ it allo!s *s to ani)*late a series of o%1ects at t'e sae
tie and !it' t'e sae )i#ot.
5'en $ro*)ed+ all t'e selected o%1ects !ill %e )laced *nder a group node. T'is is t'e
)arent+ and t'e o%1ects are c'ildren. 5'ate#er "o* do to t'e )arent !ill %e reflected
in t'e c'ildren.
T!P
5'en o%1ects are arran$ed in a $ro*) 'ierarc'"+ "o* can o#e *) and
do!n t'e c'ain *sin$ t'e arro! &e"s. T'e *) and do!n arro!s !ill 4)ic&
!al&4 *) and do!n t'e c'ain. T'e left and ri$'t arro!s !ill c"cle t'ro*$'
t'e o%1ects on a )artic*lar 'ierarc'ical le#el.
1. Select the geometry you have created for *ila's left arm and leg, and go to 4dit 5
2roup ,or press -trl627-md620. #his groups the ob%ects, placing the pivot
for t'e $ro*) in t'e !orld-s center.
T!P
5'en selectin$ o%1ects in "o*r scene+ ree%er t'ese &e"/clic&
co%inations( 9oldin$ do!n Ctrl !ill reo#e ites fro t'e c*rrent
selection. 9oldin$ t'e S'ift &e" !ill to$$le t'e ites %et!een selected and
*nselected. 9oldin$ do!n %ot' CtrlNS'ift !ill add ites to "o*r selection.
2. Create a d*)licate. 5it' t'e ne! $ro*) still selected+ $o to Edit L ,*)licate and o)en
*) t'e o)tions. Set t'e first in)*t %o2 ne2t to Scale to B =t'is !ill irror t'e d*)licated
$eoetr" across t'e F a2is>. Also+ a&e s*re Geoetr" T")e is set to Co)" and Gro*)
Under is set to 5orld. 5'en "o*-re done+ clic& t'e ,*)licate %*tton.
Yo* no! 'a#e t!o ars and t!o le$s in t'e scene =Figure 2.26>.
Figure 2.26. The character ;ith =oth sets of li%=s
Finishing the 'ead1 (eck1 and
Torso
To finis' Kila+ !e need to create a 'ead+ nec&+ and torso. As %efore+ !e !ill *se si)le
c*%es for t'ese. Create fo*r c*%es and ani)*late t'e *ntil t'e" re)resent t'e nec&+
'ead+ *))er torso+ and lo!er torso =
Figure 2.27
>.
Figure 2.27. Cu=e place%ent for upper =odfront and side :ie;s
,i#ide t'e torso *nder t'e ri% ca$e to $i#e it a little ore fle2i%ilit" !'en it is
aniated.
Cleaning
0p
S'e-s not *c' to loo& at+ reall"+ %*t t'is =r. 1ho re1ect !ill %e 7*ite i)ortant in $ettin$
"o*r c'aracters aniations started. All t'at is left at t'is sta$e is to clean *) "o*r scene
and t'e 9istor" list.
Select all t'e $eoetr" t'at a&es *) "o*r c'aracter and+ as %efore+ )ress
CtrlNG6CdNG to $ro*) e#er"t'in$ into a nice tid" $ro*). T'is s'o*ld %e naed $ro*)3.
O)en *) t'e O*tliner =5indo!s L O*tliner>+ !'ic' dis)la"s t'e contents of t'e
c*rrent scene. As s'o!n in Figure 2.28+ "o* s'o*ld no! 'a#e t'ree $ro*)s naed $ro*)B+
$ro*)?+ and $ro*)3.
Figure 2.28. Scene contents in the )utliner
Yo* can also *se Ma"a-s 9")er$ra)' =5indo!s L 9")er$ra)'> to or$ani8e t'e
scene-s contents.
3
.
,elete $ro*)B and $ro*)?+ as t'ese are no lon$er of *se.
T!P
It-s i)ortant to sta" on to) of o%1ect nain$. Ree%er t'at ot'er
)eo)le a" *se "o*r !or&+ so tr" and a&e it as eas" for t'e as
)ossi%le.
4. Ne2t "o* !ill need to co%ine t'e o%1ects into a sin$le es'. To do t'is+ si)l" select
all t'e c*%es and $o to Pol"$ons L Co%ine. =For t'e first tie+ "o* !ill need to s!itc'
fro t'e defa*lt Aniation en* set to t'e Modelin$ en* set+ or "o* !on-t see t'e
Pol"$ons en*.>
As "o* 'a#e %*ilt t'is c'aracter+ eac' action "o* 'a#e ta&en 'as created an e2tra node in
t'e constr*ction 'istor". Loo& in t'e C'annel :o2 !'en "o* 'a#e an o%1ect selected+ and
in t'e In)*ts section "o* can see t'is 'istor" in t'e for of a lon$ list. T'is is 'el)f*l for
$oin$ %ac& and editin$ t'in$s+ %*t it also increases t'e file si8e and eats *) "o*r s"ste-s
eor". 9a#in$ a lon$ 'istor" co*ld also t'ro! Ma"a into terinal loc&/*) if o)erations
s*c' as Pol"$ons L Co%ine+ Edit Pol"$ons L E2tract+ or Pol"$ons L Soot' are
e2ec*ted on a co)le2 odel.
5'at !e can do no! to clean *) t'e 'istor" is to %a&e it onto t'e odel %" first
selectin$ t'e c'aracter and $oin$ to Edit L ,elete :" T")e L 9istor".
Alternati#el" if "o* !is' to delete t'e 'istor" on e#er" o%1ect in t'e scene si)l" $o to
Edit L ,elete All %" T")e L 9istor". T'is does not re7*ire an"t'in$ to %e selected
%efore'and.
5it' t'is #ersion of t'e Kila odel+ t'e ao*nt of detail is reall" *) to "o*. Yo* co*ld
*se c"linders+ as I !ill in t'e *)coin$ :asic S'a)e t*torial+ to $et in a %it ore of t'e
c'aracter-s s'a)e. Or "o* co*ld 1*st stic& to %asic %o2es. 5'ate#er "o* c'oose+ a&e
s*re "o* don-t s)end too lon$ on t'is #ersion. it is onl" a )lace'older c'aracter+ after all.
Yo* !ill find " #ersion of Priiti#e Kila on t'e C, in Pro1ect Files6G?+ naed
KilaKPriiti#e.%.
The #asic Shape for
+ila
No! !e-ll %e$in %*ildin$ o*r final odel. As !it' Priiti#e Kila+ !e first 'a#e to %loc&
o*t t'e %asic s'a)e to $et a $ood idea of t'e !'ole c'aracter-s s'a)e and
)ro)ortions. ,on-t %e too concerned !it' details at t'is sta$e. !e !ill co#er t'at
sta$e of t'e odelin$ in C'a)ter 3.
,i%=s and
Torso
T'is tie !e !ill %e$in !it' c"linders rat'er t'an c*%es. If "o* loo& at t'e '*an
%od" fro a $eoetric stand)oint+ it is ade *) of c"lindrical s'a)es =e2ce)t t'e
'ead+ !'ic' is s)'erical>.
5e &no! o*r )ol"$on liit( I@GG. 5it' t'is in ind+ !e can estiate t'e
confi$*ration of t'e c"linders t'at !ill a&e *) t'e left ar+ left le$+ and torso.
:eca*se t'e o#erall s'a)e of t'e c'aracter is ro*$'l" s"etrical+ !e onl" need to
odel 'er left side. T'en !e can d*)licate it and irror it across at a later sta$e+
sa#in$ 'alf t'e !or&.
For a c'aracter t'at coes o*t at %et!een ?GGG and 3GGG )ol"$ons+ "o*-ll $et a
ana$ea%le n*%er of )ol"$ons to %e$in !it' %" startin$ !it' c"linders t'at 'a#e
ei$'t s*%di#isions aro*nd t'e a2is and ei$'t 'ei$'t s*%di#isions. T'is also lea#es "o*
!it' a soot' c"linder t'at !on-t loo& %loc&" or faceted !'en #ie!ed in t'e $ae. I
'a#e t'e l*2*r" of ore )ol"$ons for t'is c'aracter+ so I a $oin$ to %e$in !it' a
BG/s*%di#ision set*).
T'e %ea*t" of t'is et'od of creatin$ c'aracters is t'at it is f*ll" scala%le. "o* can
%e$in !it' 1*st a fe! s*%di#isions to create a lo!er/resol*tion c'aracter+ or ore
s*%di#isions for a soot'er c'aracter !it' $reater detail+ to *se for renderin$ or FM;
=F*ll Motion ;ideo>.
Mirrored
!nstances
Modelin$ 1*st 'alf of t'e odel can )rod*ce c'allen$es !'en "o*-re
!or&in$ o*t )ro)ortions and $ettin$ a $eneral feel for t'e o#erall s'a)e. To
'el) !it' t'is+ "o* can create a mirrored instance. Alt'o*$' "o* *se t'e
,*)licate coand to create t'e irrored instance+ Ma"a does not create
an" e2tra $eoetr". Rat'er+ "o* are as&in$ it to redis)la" t'e sae
$eoetr" in a different )lace+ or in t'is case a irrored #ersion. So in
effect+ an"t'in$ "o* do to t'e ori$inal !ill also %e a))lied to t'e clone and
#ice #ersa.
To create a irrored instance+ si)l" select t'e es' and $o to Edit L
,*)licate+ o)enin$ *) t'e o)tions. Set t'e first in)*t %o2 ne2t to Scale to B+
and for Geoetr" T")e select t'e Instance o)tion =Figure 2.29>. Clic&
Su=di:ision
Surfaces
Man" de#elo)ers *se a tec'ni7*e of creatin$ lo!/resol*tion es'es !it' a
#ie! to creatin$ a 'i$'er/resol*tion #ersion *sin$ subdivision surfaces.
Yo* first create a lo!er/resol*tion )ro2" odel+ and t'en $o to Modif" L
Con#ert L Pol"$ons To S*%di# to con#ert it to a s*%di#ision s*rface. T'e res*lt
is a nice+ soot'+ 'i$'/resol*tion es' !it' t'e added %on*s t'at "o* control
it #ia t'e lo!er )ro2" odel. T'e #ertices act as control )oints for t'e 'i$'er/
resol*tion #ersion.
Figure 2.3< s'o!s a lo!er )ro2" odel on t'e left and its 'i$'er
s*%di#ision s*rface on t'e ri$'t.
Figure 2.3<. An e-a%ple of using su=di:ision surfaces
,eft Ar% Creation
Lets %e$in %*ildin$ t'e left ar.
1 Load "o*r initial file+ KilaKStart.%.
2 Create a c"linder =t'e first of t'ree. "o*-ll need t!o ot'ers for t'e left le$ and t'e
torso>. Go to Create L Pol"$on Priiti#es L C"linder and o)en *) t'e o)tions.
3 Set t'e Radi*s to G.B and t'e 9ei$'t to B. Set %ot' S*%di#isions Aro*nd A2is and
S*%di#isions Alon$ 9ei$'t to BG =Figure 2.31>. Clic& t'e Create %*tton.
Figure 2.31. Polgon Clinder creation options
4. In t'e C'annel :o2+ renae t'e c"linder to LeftAr. T'en s!itc' to t'e front
#ie! and o#e t'e c"linder *) so t'at it lies o#er t'e c'aracter-s left ar. Kee)
t'e center of t'e c"linder =t'e center ro! of ed$es> near t'e el%o! area of t'e
ar. Rotate t'e c"linder so t'at it atc'es t'e orientation+ and t'en scale t'e
c"linder *ntil it is a%o*t t'e sae scale as t'e ar in t'e ia$e )lane =Figure
2.32>.
5
.
No! t'at t'e $eoetr" is in )lace+ "o* can edit it f*rt'er to ac'ie#e t'e s'a)e "o*
need to !or& !it'. Ri$'t/clic& t'e c"linder itself+ %rin$in$ *) t'e ar&in$ en*. Select
;erte2 to s!itc' to #erte2 editin$ ode.
6. T'e c"linder is no! %l*e+ !it' all its #ertices a#aila%le to ani)*late. Select
eac' 'ori8ontal ro! in t*rn and scale it in!ard+ *sin$ t'e red F a2is ani)*lator+
so t'at t'e o*ter #ertices follo! t'e lines of Kila-s ar. Ma&e s*re "o* onl" scale
alon$ one a2is at a tie. As "o* scale t'e #ertices+ feel free to o#e t'e to t'e
correct )osition%*t ani)*late a sin$le stri) at a tie. tr" not to edit eac' #erte2
indi#id*all". See Figure 2.33 for a co)arison of t'e ori$inal ar !it' t'e scaled
one.
Figure 2.32. Clinderfront :ie;
Figure 2.33. ,eft ar% sculptingfront :ie;
T!P
Yo* a" find it *sef*l to *se t'e Lasso tool to select t'e #ertices. T'is
allo!s "o* to dra! a line aro*nd t'e area "o* !is' to select.
7. Ne2t+ s!itc' to t'e side #ie! and follo! t'e sae )roced*re. Mani)*late t'e
c"linder *ntil it-s in t'e sae )osition and orientation as t'e ar in t'e ia$e. Ri$'t/
clic& t'e c"linder and select ;erte2 fro t'e ar&in$ en* to edit t'e #ertices.
Ar% )rientation
In addition to o#in$ and scalin$ t'e #ertices to atc' t'e ia$e+ "o* !ill !ant to
rotate t'e to atc' t'e orientation of t'e li%. As t'e ar %ends+ it-s a $ood idea
for t'e #ertices to follo! t'e conto*rs of t'e li%. ,on-t tr" and do t'e entire ar in one
$ota&e "o*r tie and do eac' 'ori8ontal ro!+ o#in$ to t'e ne2t one onl" !'en "o* are
'a))" !it' "o*r !or& =
Figure 2.34
0.
Figure 2.34. ,eft ar% sculptingside :ie;
,eft ,eg Creation
T'e left ar is done for no!. Ne2t+ !e !ill create t'e left le$.
1. Create a ne! c"linder *sin$ t'e sae confi$*ration as for t'e left ar. Nae t'is
second c"linder LeftLe$. t'en ani)*late and scale it *ntil it ro*$'l" atc'es Kila-s
le$ in t'e ia$e )lane =Figure 2.35>.
Figure 2.35. Positioning the left leg
A$ain+ ree%er to tr" and &ee) t'e central )i#ot of t'e c"linder aro*nd t'e
)i#ot of t'e le$ =t'e &nee>.
2. Ri$'t/clic& t'e c"linder and select ;erte2 fro t'e ar&in$ en*. As %efore+ scale
eac' 'ori8ontal stri) of #ertices *ntil t'e o*ter ones atc' t'e o*tline of Kila-s le$+
a&in$ s*re "o* onl" scale alon$ one a2is at a tie =Figure 2.36>.
Figure 2.36. ,eft leg sculptingfront :ie;
3. Once "o* are 'a))" !it' t'e $eneral s'a)e of t'e front+ $o to t'e side #ie!. A$ain+
rotate and scale t'e stri)s of #ertices so t'e" follo! t'e conto*rs of t'e le$ =Figure
2.37>.
Figure 2.37. ,eft leg sculptingside :ie;
Creating and Positioning the Torso
T'e %asic li%s are co)lete. no! let-s tac&le t'e torso. 5e !ill concentrate on t'e
ain %od" for no!+ and lea#e constr*ctin$ t'e %reasts for later.
5e !ill follo! t'e sae )roced*re as %efore+ so create a t'ird c"linder+ %*t t'is tie
set %ot' t'e S*%di#ision A2is and S*%di#ision 9ei$'t to D. Yo* need t'is confi$*ration so t'at
"o* !ill 'a#e a line do!n t'e center of 'er torso. Create t'is one and call it Torso.
Mo#e t'e c"linder *) alon$ t'e Y a2is and ro*$'l" scale it to fit t'e torso. At t'is )oint+
tr" not to o#e it in an" ot'er direction.
<*st as "o* did !it' t'e ar and t'e le$+ select eac' 'ori8ontal stri) of #ertices and
scale it to atc' t'e torso in t'e ia$e. Mo#e t'e #ertices *) or do!n to atc' &e" areas in
t'e s&etc'+ s*c' as aro*nd t'e 'i)s =Figure 2.38>.
S!itc' to t'e side #ie! and )osition t'e c"linder so t'at it lies o#er t'e ia$e. <*st
o#e it alon$ its M a2is+ %eca*se o#in$ it *) or do!n !ill ean it !on-t %e ali$ned !it' t'e
front ia$e.
Mani)*late t'e #ertices so t'at t'e c"linder fits inside Kila-s torso =Figure 2.39>.
Figure 2.38. Torso sculptingfront :ie;
Figure 2.39. Torso sculptingside :ie;
Deleting 'alf of the Torso
5e are not "et finis'ed !it' t'e torso. :eca*se !e are onl" !or&in$ on t'e left side of
Kila+ !e need to delete 'alf of 'er torso. =T'is is !'" it !as i)ortant to 'a#e an ed$e
do!n 'er center.>
Ri$'t/clic& on t'e es' a$ain+ %*t t'is tie select Face fro t'e ar&in$ en*. Yo* !ill
no! %e in face editin$ ode. "o* can tell %eca*se t'e es' 'as t*rned %l*e and selection
'andles 'a#e a))eared in t'e center of eac' face. Select Kila-s ri$'t side ="o*r left>+ and
)ress ,elete. T'e faces disa))ear+ lea#in$ onl" t'e left side of 'er torso =Figure 2.4<>.
Figure 2.4<. Deleting half of +ila>s torso
:" no! "o* can see t'e c'aracter startin$ to ta&e s'a)e. Yo* s'o*ld 'a#e a clean+ $rid/
st"le es' t'at fits t'e left side of "o*r c'aracter =Figure 2.41>. Ideall"+ 'o!e#er+
!'at "o* !ant is for t'is to %e one es'+ a sin$le )iece of $eoetr". 5e *st co%ine
t'ese initial )ieces and !eld t'e to$et'er.
Figure 2.41. The %odel so far
Mo:ing the Pi:ot
E#ent*all"+ "o* need Kila to %e in a s)ecific )ose %efore "o* can attac' a s&eleton to 'er
=ore detail on t'is in C'a)ter BG>. For no!+ !e !ant to raise *) 'er ars so t'e"-re
easier to !or& on. T'e )ro%le is t'at t'e )i#ot for t'e ar is c*rrentl" in t'e center of
t'e c"linder. To raise t'e ar con#incin$l"+ !e *st o#e t'e )i#ot to !'ere t'e s'o*lder
is and rotate it fro t'ere.
Select t'e left ar. Ma&e s*re "o* are in rotate ode %" )ressin$ E. T'e Rotate
ani)*lator !ill a))ear in t'e center of t'e ar+ !'ere t'e c*rrent )i#ot is.
To o#e t'e )i#ot+ first )ress Insert. t'is c'an$es t'e ani)*lator to re)resent t'e
)i#ot )osition.
Mo#e t'is )i#ot ani)*lator *) to !'ere t'e s'o*lder !o*ld %e+ and )ress Insert a$ain
to $o %ac& to t'e Rotate ani)*lator. See Figure 2.42 for an ill*stration of t'is ani)*lation.
Figure 2.42. Pi:ot point %anipulation
T!P
To si)lif" t'e o#eent of t'e )i#ot ani)*lator+ "o* can *se t'e
sna) tools to )osition it e2actl" on a #erte2. 5'ile o#in$ t'e )i#ot
)oint+ )ress and 'old t'e ; &e"+ !'ic' !ill sna) t'e )i#ot to t'e nearest
#ertices.
4. Rotate t'e ar *ntil it is raised sli$'tl" =Figure 2.43>.
Figure 2.43. The rotated ar%1 raised slightl
5. :efore !e can %e$in !eldin$ and stitc'in$ t'ese eleents to$et'er+ !e *st
co%ine t'e into one o%1ect. 5'ile "o* still 'a#e t'e ar selected+ 'old do!n
S'ift and select t'e torso and le$.
6
.
Go to Pol"$ons L Co%ine+ !'ic' !ill co%ine t'e selected o%1ects.
7. 5e need to clean t'e odel *) a little+ so reo#e t'e 'istor" %" $oin$ to Edit L
,elete :" T")e L 9istor". Kee) in ind t'at it-s a $ood idea to contin*e deletin$ t'e
'istor" and sa#in$ "o*r odel after "o* 'a#e reac'ed a sta$e !'ere "o* are 'a))"
!it' it.
()T*
,on-t de#elo) t'e %ad 'a%it of sa#in$ o#er t'e sae file eac' tie "o*
!or& on t'e c'aracter. Nae sa#ed files increentall"+ for e2a)le
KilaKGB.%+ KilaKG?.%+ and so on. T'is a&es it eas" to $o %ac& to a
)re#io*s #ersion s'o*ld t'e !orst 'a))en.
T!P
Ma"a does 'a#e a %*ilt/in increental file sa#er. Go to File L Sa#e Scene and
o)en t'e o)tions+ and "o*-ll %e a%le to acti#ate t'e increental sa#e. A
director" called increentalSa#e !ill %e created+ and all s*%se7*ent sa#es !ill
%e stored t'ere.
Stitching
Together
No! coes t'e f*n )art. 5e 'a#e to stitc' t'ese )arts to$et'er %" addin$+ s)littin$+ and
reo#in$ )ol"$ons as !ell as !eldin$ #ertices.
Let-s start !it' t'e le$. First !e 'a#e to reo#e t'e ca)s fro t'e le$. t'e ends *st
%e o)ened *) so !e can attac' t'e. Pl*s !e don-t !ant to end *) !it' stra" )ol"$ons
e2istin$ inside Kila.
Select t'e faces at eit'er end of t'e le$. ,o t'is 1*st as "o* 'a#e done earlier+ %"
ri$'t/clic&in$ t'e act*al es'+ t'en selectin$ Face fro t'e ar&in$ en* so "o* can
select t'e faces s'o!n in Figure 2.44. T'en )ress ,elete to reo#e t'e.
Figure 2.44. Delete the caps on the leg.
Yo* can also do t'is on t'e ar no!+ so t'at "o* don-t 'a#e to do it later.
Ree%er to do %ot' ends+ t'e s'o*lder and t'e !rist =Figure 2.45>.
Figure 2.45. Delete the caps on the ar%.
Ret*rnin$ to t'e t'i$' area+ loo& for areas !'ere #ertices co*ld line *) and )otentiall" %e
!elded to$et'er. 5e &no! t'e le$ 'as ore )ol"$ons t'an t'e lo!er torso+ %*t !e can
s)lit )ol"$ons in order to connect t'e *). First+ t'o*$'+ !e *st connect an" t'at
alread" line *). T'e first t!o lie do!n on t'e side of t'e 'i). T'e" %ot' e2ist in ro*$'l"
t'e sae )lane+ so !e can 1oin t'e.
1. Select %ot' #ertices =Figure 2.46>. T'en $o to Edit Pol"$ons L Mer$e ;ertices and
o)en t'e o)tions.
Figure 2.46. Certe- align%ent
2. Set ,istance to G.B and clic& A))l".
If not'in$ 'a))ens+ it a" %e t'at t'e distance is too sall+ eanin$ t'e
#ertices are too far a)art. Tr" a$ain !it' a lar$er ,istance settin$. Close t'e
o)tions %o2 after "o*-#e fo*nd a s*ccessf*l n*%er+ since !e can *se t'is
distance for t'e rest of t'e !elds.
Alternati#el" "o* can edit t'e node-s ,istance directl" in t'e C'annel :o2. Select
t'e )ol"Mer$e;ertB nae+ and t'e node-s attri%*tes !ill o)en %elo! it+ s'o!in$
one naed ,istance. Yo* can edit t'is+ a&in$ it lar$er *ntil t'e #ertices sna)
to$et'er. T'e" are no! !elded into a sin$le #erte2+ as deonstrated in Figure
2.47.
Figure 2.47. The :ertices ;elded on the hip.
doesn-t a))ear to %e a near%" #erte2 to !eld it to. Notice t'at t'e one after t'at is in
7*ite a $ood )osition to %e !elded to a close #erte2 on t'e torso =
Figure 2.48
>.
Figure 2.48. Certe- ;elding at the front of her pel:is.
Mo#in$ aro*nd to t'e %ac& no!+ in a siilar )osition to t'e front+ "o*-ll see anot'er t!o
#ertices t'at can %e !elded as s'o!n in Figure 2.49.
Figure 2.49. Certe- ;elding on the =ack.
T!P
If t'e ia$e )lanes start to $et in "o*r !a"+ "o* can 7*ic&l" 'ide t'e %" $oin$
to t'e #ie!-s S'o! en* and *nc'ec&in$ Caeras. Alternati#el"+ "o* can t*rn
off t'e #isi%ilit" on "o*r Ia$ePlane la"er.
Loo&in$ %et!een t'e #ertices "o* 'a#e !elded+ "o* s'o*ld see t!o t'at a))ear to
'a#e no!'ere to $o. Yo* co*ld !eld t'e to t'e #ertices 1*st a%o#e t'e 'i)s+ %*t t'e"
are too far a!a".
5'at "o* need to do no! is create soe ne! #ertices in t'e $eoetr" so t'at "o* can
!eld to t'ese. Loo&in$ fro t'e side+ select t'e t!o faces on t'e lo!er torso and delete
t'e =Figure 2.5<>+ !'ic' !ill o)en *) t'e 'i) area.
Figure 2.5<. &e%o:ing faces
No! create soe ne! faces to re)lace t'e ones "o* deleted+ t'e difference %ein$ t'at
t'ese ne! ones !ill connect to t'e *))er le$.
Go to Pol"$ons L A))end To Pol"$on Tool. T'is o)ens a tool t'at !ill allo! "o* to
create ne! )ol"$ons %" stitc'in$ t'e onto t'e ed$es of e2istin$ ones. Yo* s'o*ld notice t'e
ed$es of t'e es' $et sli$'tl" t'ic&er !'en "o* acti#ate t'is tool+ to 'i$'li$'t t'e ones
eli$i%le to %e a))ended.
Select one of t'e ed$es aro*nd a 'ole "o* 1*st created. P*r)le arro!s a))ear+
'i$'li$'tin$ ot'er ed$es t'at "o* can no! select to create a ne! )ol"$on =Figure 2.51>.
T'e first tie "o* clic&ed+ "o* dictated t'e )ol"$on-s startin$ )osition+ and no! "o* are
tellin$ Ma"a !'ere "o* ne2t !ant it to $o.
Figure 2.51. Adding faces to "ll in the gaps on the hip
3. Select anot'er ed$e aro*nd t'e sae 'ole. A )in& trian$le a))ears+ s'o!in$ t'e
)ol"$on "o* are a%o*t to create. No! )ress Enter on t'e &e"%oard to co)lete t'e
)ol"$on-s creation =Figure 2.52>.
Figure 2.52. The hip ;ith the ne; faces added
Follo! t'is sae )roced*re to create anot'er t'ree faces+ connectin$ t'e le$ to t'e 'i)
and fillin$ in t'e 'oles.
T!P
A 7*ic& !a" to re)eat t'e last coand is to )ress G or Y. T'is sa#es
'a#in$ to $o %ac& t'ro*$' t'e en*s.
As "o* rotate aro*nd t'e es'+ "o* !ill notice t'at !e 'a#e not reo#ed t'e ca)s fro
t'e torso+ so %efore "o* contin*e+ select t'ese to) and %otto faces and delete t'e.
T'is !ill also 'el) "o* as "o* contin*e to !eld t'e le$ to t'e 'i) area.
Follo!in$ t'e sae )attern descri%ed for t'e o*ter t'i$'+ o#e aro*nd t'e inner
t'i$'+ s&i))in$ a #erte2 t'en selectin$ one. Matc' t'is #erte2 to t'e closest one
%elon$in$ to t'e torso+ and !eld t'e as s'o!n in
Figure 2.53
.
Figure 2.53. Weld the :ertices nearer the inner thigh.
Mo#e aro*nd to t'e %ac&+ and select and !eld t!o #ertices fro t'ere. E#er" ot'er #erte2
$ets !elded+ first t'e ones at t'e front and t'en t'ose in t'e sae area %*t at t'e rear
=Figure 2.54>.
Figure 2.54. Weld the :ertices at the =ack of her leg.
Yo* s'o*ld end *) !it' one #erte2 in t'e iddle of t'e le$ and t!o reainin$ on t'e
torso. ,on-t !aste tie !eldin$ t'ese+ %eca*se t'e #ertices left on t'e torso %elon$
t'e.
Figure 2.55. Delete the inner faces.
Mo#e aro*nd to t'e front of t'e fi$*re and *sin$ t'e A))end To Pol"$on Tool create t!o
ne! faces+ fillin$ t'e $a) at t'e front.
No! o#e aro*nd to t'e %ac&+ loo&in$ at 'er %ac&side+ !'ere one )ol"$on still reains.
Instead of deletin$ t'is one+ s)lit it+ a&in$ a ne! #erte2 t'at "o* can !eld to. Go to Edit
Pol"$ons L S)lit Pol"$ons Tool. Yo*r o*se )ointer !ill c'an$e to a s'ar) )oint+
indicatin$ t'at t'e tool is acti#e.
5'en *sin$ t'e S)lit Pol"$on Tool+ "o* *st al!a"s start and end t'e c*t on an ed$e.
Select t'e ed$e at t'e *))er/ri$'t of t'e face. A sall s7*are a))ears. 'oldin$ t'e o*se
%*tton+ o#e t'e s7*are *) to !'ere t'e #erte2 is and release t'e %*tton.
5e no! !ant to )*t a )oint on t'e ed$e t'at is closest to t'e final #erte2 of t'e le$+ %*t
s'ares t'e )ol"$on of t'e ed$e !e started on. A$ain+ select t'e ed$e and 'old do!n t'e
o*se %*tton *ntil "o* are in t'e correct )osition+ and t'en let $o. T'e s)lit is a))arent
as s'o!n in Figure 2.56. Press Enter to co)lete t'e o)eration.
Figure 2.56. Splitting faces to create an e-tra :erte-.
()T*
T'e S)lit Pol"$on Tool !ill not sna) to t'e )osition of t'e second #erte2
=nor s'o*ld it>+ %eca*se it lies on an *nconnected ed$e.
Yo* no! 'a#e a ne! #erte2 t'at "o* can !eld to+ so select %ot' #ertices and !eld
t'e.
O*r le$ is no! connected to t'e torso+ %*t not #er" soot'l". 5e can fi2 t'is %" o#in$
aro*nd t'e es' and ani)*latin$ t'e #ertices *ntil !e $et a %etter s'a)e. Ta&e care to
&ee) c'ec&in$ "o*r ia$e )lane $*ides as "o* $o. it-s i)ortant "o* aintain t'e s'a)e
of t'e c'aracter. Kee) o#in$ aro*nd t'e es'+ c'ec&in$ t'e ed$es for stra" )ol"$ons
and an"t'in$ t'at-s not soot'. Ta&e "o*r tie+ a&in$ s*re t'e s'a)e is )erfect %efore
"o* )roceed. ,on-t %e afraid to s)lit an area to soot' it o*t+ as !e did a%o#e t'e 'i) in
Figure 2.57. At t'is earl" sta$e+ "o* don-t need an" details+ %*t "o* do !ant to end *)
!it' a soot' es'.
Figure 2.57. S%oothing out the area a=o:e the hip
A !ise o#e at t'is sta$e is to slo!l" rotate aro*nd t'e odel and !atc' 'o! t'e for
t*rns. T'is can re#eal *ndesired conca#it" in an ina))ro)riatel" t*rned ed$e. As "o*
rotate+ notice t'e t!o ed$es 1*st on 'er 'i) t'at are 'i$'li$'ted in Figure 2.58 =left>. T'e
c*rrent arran$eent of t'ese ed$es ca*ses t'e )ol"$ons on eit'er side to a))ear
conca#e. 5e !ant t'e to %e rotated+ or fli))ed.
Figure 2.58. Conca:e edges on her hip
Norall" !e co*ld *se t'e Edit Pol"$ons L Fli) Trian$le Ed$e Tool. 5e !o*ld select t'e
ed$es !e need to fli) or rotate and t'en c'oose Fli) Trian$le Ed$e fro t'e en*.
Unfort*natel"+ if "o* tr" and do t'is+ Ma"a coes *) !it' an error( 5arnin$(
)ol"Fli)Ed$e( Cannot fli) te2t*re %order ed$e ?BD. T'e error occ*rs %eca*se t!o
different t")es of te2t*re/a))in$ coordinates e2ist on eit'er side of t'e ed$es !e are
tr"in$ to fli). So !'at do !e do0 A 7*ic& sol*tion is to an*all" delete t'e ed$es.
1 Go into ed$e editin$ ode =FBG>+ select t'e t!o ed$es+ and )ress ,elete.
2 No! $o in !it' t'e S)lit Pol"$on Tool and s)lit t'e )ol"$ons correctl". Yo* can see
t'e res*lts in Figure 2.58 =ri$'t>.
Kila-s t'i$' is at a satisfactor" sta$e no!+ so let-s o#e on and attac' 'er ar. :efore
"o* do+ ta&e a oent to clean t'e 'istor"+ since t'is can slo! t'in$s do!n if it-s not &e)t
*nder control.
Loo&in$ fro t'e front+ !e s'o*ld )ro%a%l" start %" scalin$ 'er ar *) sli$'tl" aro*nd
'er s'o*lder. 5'en a )erson-s ars are raised+ t'e s'o*lders %ecoe ore )rono*nced+
so let-s do t'e scalin$ 'ere+ %efore !e contin*e. Si)l" select t'e #ertices aro*nd t'e
to) of t'e ar and scale t'e *) $lo%all"+ e#er so sli$'tl" =Figure 2.59 iddle>.
Figure 2.59. Ar% e-tension
Select t'e ed$es at t'e sae end of t'e ar. To do t'is 7*ic&l"+ con#ert t'e selection %"
$oin$ to Edit Pol"$ons L Selection L Con#ert Selection to Ed$es. No! "o* 'a#e ed$es
selected for "o*+ %*t "o* onl" need t'e #er" end ones+ so "o* need to deselect t'e ot'ers.
Yo* are still in #erte2 editin$ ode+ so ri$'t/clic& on t'e es' and select Ed$e fro t'e
ar&in$ en*. 9oldin$ do!n Ctrl+ dra$ o#er t'e *nneeded ed$es.
Kila-s ar is a little too far a!a"+ so "o* need to e2tend it so it eets t'e %od". 5it' t'e
ed$es still selected+ $o to Edit Pol"$ons L E2tr*de Ed$e. ,ra$ t'e $reen arro! =Y a2is>
*ntil t'e )ol"$ons 'a#e c*t into t'e s'o*lder =Figure 2.59 ri$'t>.
()T*
:eca*se !e set Kee) Faces To$et'er earlier+ t'e faces t'at 'a#e %een
e2tr*ded !ill a*toaticall" %e !elded to$et'er. 5it'o*t t'is o)tion set+ t'e
)ol"$ons !o*ld %e di#ided and fanned o*t.
5e can no! start t'e !or& of stitc'in$ t'is area to$et'er. Clean it *) a little first+ %"
o#in$ soe of t'e #ertices to a ore s*ita%le )lace+ %rin$in$ t'e o*t of t'e torso
es' and into da"li$'t as s'o!n in Figure 2.6<.
Figure 2.6<. Mo:e the :ertices for the shoulder out of the
geo%etr.
5e co*ld no! start atc'in$ t'ese #ertices *) !it' #ertices on t'e torso+ %*t a
%etter idea is to o#e t'e ones on t'e torso to atc' t'e s'o*lder. First do t'e
#ertices in t'e ar)it area. 5eld t'ese to$et'er as s'o!n in Figure 2.61.
Figure 2.61. Ar%pit ;elding
Mo#in$ to t'e front of t'e ar+ select t'e t'ree #ertices ri$'t at t'e front+ as seen in
Figure 2.62
+ and !eld t'ese.
Figure 2.62. Weld the three :ertices at the front of the
shoulder.
Yo* !ill notice t'at !e 'a#e a inor )ro%le !it' a )ol"$on c*ttin$ t'ro*$' anot'er+
%*t t'is can %e rectified easil". To fi2 t'is "o* need to reo#e soe faces no! %efore
)roceedin$. Select t'e t'ree at t'e *))er/rear of t'e torso+ alon$ !it' t'e center one
fro t'e ro! %elo! it =Figure 2.63>+ and delete t'e all.
Figure 2.63. &e%o:ing so%e e-tra polgons
As s'o!n in
Figure 2.64
+ "o* s'o*ld %e left !it' t!o #ertices stic&in$ o*t. select t'e %ot'. 9oldin$ do!n ;+
sna) t'e selected #ertices to t'e ones %elo! t'e+ and t'en !eld t'e.
Figure 2.64. Polgon cropping
T'e area is cleaned *) nicel" no!+ and "o* can see t'in$s a %it ore clearl". Yo*
need to $o aro*nd t'e to) no!+ and fill in t'e rest of t'e s'o*lder.
Select t'e to) t!o and t'e rear t!o ed$es on t'e s'o*lder. Go to Edit Pol"$ons L
E2tr*de Ed$e+ and dra$ t'e $reen arro! =Y a2is> *ntil t'e ed$es are nearl" in line !it'
!'at-s left of t'e torso+ as s'o!n in Figure 2.65.
Figure 2.65. *-tending the shoulder.
tid"in$. :efore "o* do t'is+ acti#ate t'e A))end to Pol"$on tool *sed earlier and fill in t'e
'oles. t'en s)end soe tie cleanin$ *) t'e area %" o#in$ #ertices *ntil t'e s'a)e is
correct. It-s a $ood idea to refer to a $ood anato" %oo& !'en "o*-re doin$ t'is+ to a&e
s*re t'e s'a)e atc'es act*al '*an anato".
Ri$'t/clic& t'e es' and select Ed$e fro t'e ar&in$ en* to s!itc' to ed$e
editin$ ode.
Select all t'e ed$es on t'e es' and $o to Edit Pol"$ons L Norals L Soften69arden
and o)en *) t'e o)tions.
Clic& All Soft+ t'en A))l"+ and close t'e !indo!.
()T*
A normal is a line re)resentin$ t'e direction )er)endic*lar to a )ol"$on-s
s*rface. 5'en "o* render )ol"$ons+ t'e norals deterine 'o! li$'t reflects
off t'e s*rface.
,eselect t'e es' and notice t'at it 'as %een soot'ed o*tno ore 'ars' lines
=Figure 2.66>. T'is $i#es *s a clearer #ie! of !'at t'e act*al in/$ae es' !ill loo&
li&e.
Figure 2.66. Cleaned@up1 stitched@together %odel
,elete t'e 'istor"+ and sa#e "o*r !or& as KilaKCo%ined.%.
'ead and
(eck
At t'is earl" sta$e of de#elo)ent+ !e onl" need )lace'older $eoetr"soet'in$ !e can
%*ild *)on laterfor t'e 'ead and nec&. T'e nec& can %e created *sin$ a si)le c"linder.
as !it' t'e torso+ !e onl" need 'alf+ %*t it-s easier to create t'e !'ole t'in$ and delete
'alf later.
Create anot'er c"linder+ !it' S*%di#ision A2is set to D and S*%di#ision 9ei$'t set to onl"
?. Position t'e c"linder so t'at it lies !'ere t'e nec& s'o*ld %e. Yo* s'o*ldn-t need to
edit an" of t'e stri)s of #ertices for t'is section %eca*se it is s*c' a sall area and is
)rett" *c' c"lindrical in s'a)e to start !it' =Figure 2.67>.
Figure 2.67. The =asic neck in position
Yo* need to reo#e 'alf of t'e nec& c"linder+ alon$ !it' t'e end ca)s. Ri$'t/clic& t'e
nec&-s $eoetr" and select Face fro t'e ar&in$ en*. ,ra$ o#er t'e 'alf "o* don-t
!ant. 9old do!n S'ift+ select t'e to) and %otto ca)s+ and )ress ,elete to reo#e t'e
=Figure 2.68>.
Figure 2.68. The cropped neck
For t'e 'ead+ %e$in !it' a c*%e+ %*t not a si)le one li&e !'at !e created for t'e
)riiti#e #ersion of Kila. T'is tie+ set S*%di#isions 5idt' to I+ S*%di#ision 9ei$'t to I+
and S*%di#ision ,e)t' to I.
Mo#e+ scale+ and rotate t'e c*%e so it a))ro2iatel" fits t'e si8e and orientation of t'e
'ead in t'e ia$e )lane =Figure 2.69>.
Figure 2.69. 'ead position
T'is tie+ delete 'alf of t'e 'ead first. :eca*se "o*-re $oin$ to %e editin$ t'e
#ertices+ it-s easier to !or& on onl" one side.
In t'e side #ie!+ scale t'e #ertices in so t'at t'e c*%e %e$ins to rese%le t'e ia$e in
t'e ia$e )lane =Figure 2.7<>.
Figure 2.7<. &e%o:e half of the head and %anipulate it in the side
:ie;.
In t'e front #ie!+ select all t'e #ertices on t'e ri$'t side of t'e c*%e. S!itc' to t'e side
#ie!+ !'ere "o* no! need to scale t'e #ertices in%eca*se t'e 'ead is ro*nder t'an it is
s7*are. First "o* need to soot' it o*t a little. !'en t'at-s done+ o#e to t'e ne2t ro!+
scalin$ t'ese #ertices in sli$'tl" =Figure 2.71>.
Figure 2.71. Manipulate the front of the head.
No! !or& on t'e #ertices indi#id*all"+ ani)*latin$ t'e *ntil t'e 'alf/c*%e ro*$'l"
rese%les t'e s'a)e of 'alf a '*an 'ead. Start in t'e side #ie!+ and t'en o#e aro*nd
to t'e front+ %efore finall" !or&in$ in )ers)ecti#e #ie!. Ree%er to *se "o*r $*ides+
and refer to soe $ood anatoical reference aterial.
Yo* a" find it *sef*l to soot' t'e 'ead o*t a little %" softenin$ t'e norals+ as !e did
%efore. Ri$'t/clic& t'e es'+ and select Ed$e fro t'e ar&in$ en* to $et into ed$e
editin$ ode. Select all t'e ed$es on t'e es'+ and $o to Edit Pol"$ons L Norals L
Soften69arden and o)en *) t'e o)tions. Clic& All Soft+ t'en A))l"+ and close t'e !indo!.
Figure 2.72 s'o!s !'at "o* s'o*ld 'a#e no!.
Figure 2.72. Sculpt the head to achie:e a =etter shape.
T'e final sta$e in creatin$ t'e %asic nec& and 'ead is to attac' t'e to t'e %od".
First let-s attac' t'e nec&. start %" 'idin$ t'e 'ead. Select it and )ress
CtrlN96CdN9.
To co%ine t'e nec& and %od"+ *se Pol"$ons L Co%ine and )roceed to !eld t'e
closest #ertices. Yo* a" need to !eld t'ree to$et'er at once+ as seen in Figure 2.73.
Figure 2.73. Welding three :ertices
Once f*ll" !elded "o*r $eoetr" s'o*ld rese%le t'at in Figure 2.74.
Figure 2.74. Welding the neck1 =efore and after
Press CtrlNS'iftN96CdNS'iftN9 to %rin$ %ac& t'e 'ead. t'en co%ine t'is to t'e
rest of t'e %od". A$ain+ tr" to !eld t'e #ertices t'at are t'e closest or t'at a&e t'e ost
sense to !eld =Figure 2.75>.
Yo* !ill no do*%t %e left !it' soe internal faces. It-s %est to reo#e t'ese %efore "o*
)roceed+ and )atc' *) an" 'oles t'at are left *nder t'e c'in =Figure 2.76>.
Figure 2.75. Welding the head
Figure 2.76. &e%o:e internal faces.
5. Finall"+ clean *) t'e area+ first %" selectin$ t'e ed$es and soot'in$ t'e
norals. T'en s)end tie !or&in$ t'e #ertices *ntil "o* are 'a))" !it' t'e final
s'a)e. "o*r $oal is s'o!n in Figure 2.77.
Figure 2.77. #asic head and neck attached to the =od
Finis' off %" deletin$ t'e 'istor" on t'e es' and sa#in$ "o*r !or&.
If "o* 'a#en-t alread" done so+ no! !o*ld %e a $ood tie to i)leent one of t'e
irrored instances I entioned earlier in t'e c'a)ter.
1. Select t'e es' and $o to Edit L ,*)licate+ o)enin$ *) t'e o)tions.
2.
Set t'e first in)*t %o2 ne2t to Scale to B+ and c'ec& Instance.
3. Clic& ,*)licate to finis' =Figure 2.78>.
Figure 2.78. Character ;ith %irrored instance
No! rotate aro*nd Kila and see if "o* can fi2 a fe! areas+ fillin$ 'er o*t and ro*ndin$
'er off =%*t don-t !orr" too *c' a%o*t it at t'is sta$e %eca*se !e still 'a#e a fe!
t'in$s to add>.
Feet and
'ands
It-s not necessar" to %ot'er !it' )lace'older 'ands and feet. 9o!e#er+ if $eoetr"
alread" e2ists for t'e 'ands and feet+ "o* can add t'e 1*st to $et a sense of !'at t'e
final c'aracter !ill loo& li&e =Figure 2.79>.
Figure 2.79. The character ;ith te%porar feet and hands
Alternati#el"+ "o* can incl*de soe )riiti#e o%1ects in order to ac'ie#e t'e correct
)ro)ortions+ $i#in$ a feel for t'e final c'aracter.
)ther #od
Parts
Kila-s %asic s'a)e is co)lete. no! "o* can add an" additional $eoetr". S&i) 'er 'air
and clot'in$ for no!. "o* need to concentrate on $ettin$ t'e f*ndaental es'
co)leted and to a sta$e !'ere "o* are 'a))" !it' it. T'e one f*ndaental )art
reainin$ is t'e c'est+ so let-s add t'is no!.
To si)lif" t'in$s+ reo#e t'e irrored instance "o* created earlier. 1*st select it and
delete it.
1. Create a s)'ere+ o)enin$ *) t'e o)tions for Create L Pol"$on Priiti#es L
S)'ere =Figure 2.8<>. Set S*%di#isions Aro*nd A2is to D and S*%di#isions Alon$
9ei$'t to A.
Figure 2.8<. Polgon sphere options
2. In t'e front #ie!+ )osition and scale t'e s)'ere *ntil it co#ers 'er left %reast. ,o t'e
sae in t'e side #ie!. In addition+ rotate t'e s)'ere aro*nd its F a2is %" EG de$rees+
and ?G de$rees aro*nd its Y a2is. "o* !ant t'e ti) of t'e s)'ere )ointin$ for!ard and
sli$'tl" to t'e ri$'t =Figure 2.81>. 5e do t'is so t'e s)'ere is )ointin$ as a real %reast
!o*ld+ !it' t'e ni))le )ointin$ o*t!ard sli$'tl" and not strai$'t a'ead.
Figure 2.81. #reast sphere position and rotation
3. Co%ine t'e ain es' and t'e s)'ere. T'en ad1*st t'e #ertices on t'e to) of
t'e s)'ere to atc' t'e $*ide ia$es =
Figure 2.82
>.
Figure 2.82. Sphere editing
4. Reo#e t'e %ac& of t'e s)'ere =t'e faces t'at no! e2ist inside t'e torso es'>+ as
seen in Figure 2.83.
Figure 2.83. &e%o:e the =ack of the sphere.
5. Yo*r ne2t ste) is to !eld t'e s)'ere to t'e front of t'e torso. First+ s)lit t'e
)ol"$on across !'ere 'er collar%one !o*ld %e+ and !eld it to t'e to) )oint of t'e
s)'ere =Figure 2.84>.
Figure 2.84. Split the collar=one so ou can ;eld to the top of the
sphere.
Reo#e t'e )ol"$ons fro t'e front of 'er torso %" selectin$ t'e and deletin$ t'e+
lea#in$ a lar$e 'ole in t'eir )lace.
Usin$ t'e Pol"$ons L A))end To Pol"$on Tool+ !or& "o*r !a" aro*nd t'e s)'ere+
fillin$ in t'e 'oles and stitc'in$ t'e s)'ere to t'e front of 'er torso. As "o* !or& "o*r !a"
aro*nd "o* can !eld t'e #ertices at t'e #er" %otto of t'e s)'ere+ t'is !ill allo! "o* to
create anot'er )ol"$on 'ere. T'e res*lt can %e seen Figure 2.85.
Figure 2.85. &e%o:e the torso polgons so ;e can stitch the
sphere to her front.
O*r c'aracter is !earin$ a s'ort to)+ so "o* !ill not %e a%le to see t'e %reasts as
se)arate entities. T'is %ein$ t'e case+ !e can edit t'e inside of t'e s)'ere to %rin$ t'e
#ertices o*t+ creatin$ t'e iddle of t'e to)t'e )art t'at %rid$es t'e front of 'er c'est =
Figure 2.86
>.
Figure 2.86. #ridging the =reasts
Create a irrored instance at t'is )oint to 'el) #is*ali8e 'o! t'in$s are loo&in$. Yo* can
see t'at !e 'a#e a )ro%le =!ell+ not a )ro%le to soe>'er c'est is '*$eJ Yo* need to
red*ce it to &ee) it in )ro)ortion to t'e o#erall desi$n.
1 First+ select all t'e #ertices at t'e front of t'e s)'ere.
2 ,o*%le/clic& t'e Mo#e tool to o)en *) its o)tions. Under Mo#e Settin$s+ select Mo#e
Noral =Figure 2.87>.
Figure 2.87. Mo:e (or%al tool options
3. Mo#e t'e 'andle #ia t'e ani)*lator la%eled N. Notice t'at t'e #ertices scale in and
o*t !'ile eac' one sta"s a relati#e distance fro t'e ot'er. Mo#e t'e *ntil "o* are
'a))" !it' t'e si8e of 'er c'est =Figure 2.88>.
Figure 2.88. #reast reduction
4. 5'en "o*-re finis'ed+ o)en t'e Mo#e tool-s o)tions a$ain and select Mo#e
O%1ect in t'e Mo#e Settin$s to reset t'e tool.
Alt'o*$' t'is is a $ood !a" to 7*ic&l" red*ce t'e si8e of Kila-s c'est+ "o* !ill need to
s)end soe tie after!ard t!ea&in$ it %ac& into an acce)ta%le s'a)e. Ta&e as *c' tie
as "o* need to re!or& an" ot'er areas "o* are not 'a))" !it'. Use t'e S)lit Pol"$on Tool
if "o* need to add e2tra )ol"$ons to soot' 'er o*t =Figure 2.89>.
Figure 2.89. #reast re"ne%ent
Once "o*-re co)letel" 'a))" !it' t'e entire s'a)e+ delete t'e 'istor" and sa#e t'e file
as KilaK:asic.%.
Yo* no! 'a#e an e2cellent %asic odel !it' correct )ro)ortions =
Figure 2.9<
>. Yo* co*ld *se t'is es'+ alon$ !it' )lace'older 'ands and feet+ as "o*r )riiti#e
odel+ )assin$ it on to %e ri$$ed and aniated. It 'as a lot ore detail t'an t'e %o2
#ersion and is closer to t'e final odel.
Figure 2.9<. The co%pleted =asic %odel
The
Morgue
:*ildin$ *) a collection of %od" )arts is an efficient !a" of s)eedin$ *) t'e odelin$
)rocess as "o* create ore and ore c'aracters. After "o* 'a#e co)leted a
c'aracter+ a&e s*re t'e $eoetr" is clean+ o)tii8ed =ore on t'is in C'a)ter @>+
and read" to )ass into a $ae en$ine. Once it reac'es t'is sta$e+ "o* can di#ide it
*) into s)ecific %od" )arts'ands+ ars+ feet+ le$s+ torso+ and 'ead. T'en store t'e
)arts in a s)ecial folder on "o*r 'ard dri#e!'at I li&e to call T'e Mor$*eread" to %e
*sed on ot'er c'aracters.
T'is stora$e et'od isn-t 1*st for t'e 'i$'/end #ersions of "o*r c'aracters. it is 1*st
as 'el)f*l for 'oldin$ ot'er le#els of detail. In t'e end+ "o* !ill 'a#e+ for e2a)le+ a
co)lete set of 'ands at #ario*s resol*tions. Yo* can t'en i)ort t'ese into "o*r
scenes+ ad1*st t'e as needed+ and attac' t'e to "o*r c'aracters+ )otentiall"
sa#in$ da"s+ if not !ee&s of !or&.
Figure 2.91 dis)la"s an" different resol*tions I 'a#e $enerated for t'e sae
'and. T'is file lies in " Mor$*e+ read" for e to *se on a ne! c'aracter. T'e
odels ran$e fro a f*ll" defora%le 'and !it' !or&in$ fin$ers+ to a standard
itten/t")e 'and t")icall" *sed for lo!er/resol*tion odels. 9ands can ta&e a lot of
tie to createnot onl" in t'eir constr*ction %*t in t'e !a" t'e" defor. So once "o*
'a#e a $ood 'and odel+ &ee) it safe. E#en if "o* don-t *se it as/is on anot'er
c'aracter+ "o* can refer %ac& to its to)olo$".
Figure 2.91. An e-a%ple of :arious hand resolutions
On t'e C, "o*-ll find a director" called Mor$*e. In it I-#e )laced a n*%er of files fro
" o!n li%rar". Feel free to *se t'e eit'er as "o* )ro$ress t'ro*$' t'e %oo& or on
"o*r o!n )ersonal )ro1ects.
Su%%ar

5e 'a#e s*ccessf*ll" )re)ared o*r art!or& and i)orted it into Ma"a+ !'ile e2ainin$ a
fe! of t'e en#ironent settin$s. As !e-#e %e$*n t'e creation of t'e Kila odel+ !e 'a#e
e2)erienced soe of Ma"a-s %asic odelin$ tools+ ost of !'ic' !e !ill %e *sin$ a$ain in
C'a)ter 3 as !e add f*rt'er details to t'e $eoetr".
Chapter 3. Finishing and
&e"ning
CD Files
:endin$Test.a
KilaK:asic.%
KilaK,etails.%
KilaKFace.%
KilaK5it'Feet.%
KilaKFin$er.%
KilaKFoot.%
KilaK9and.%
KilaK5it'9ands.%
KilaKM*scles.%
M*scleLines.1)$
U))erM*scles.1)$
FaceM*scles.1)$
In Scans directory8
9andKTo).1)$ KilaFaceFront.1)$ KilaFaceSide.1)$ KilaFront.1)$ KilaSide.1)$ YOU 9A;E
SPENT #al*a%le tie de#elo)in$ "o*r %asic odel and $ettin$ t'e si8e+
s'a)e+ and )ro)ortions correct. Alt'o*$' it a" loo& $ood and clean at t'is )oint+
an" areas still need !or& in order for t'is to %e a s*ccessf*l $ae odel. T'is
c'a)ter !ill 'el) "o* ta&e t'e %ase es' "o* 'a#e created and %*ild *)on it %"
addin$ details to t'e $eoetr". In addition+ "o* !ill a&e it defor con#incin$l" %"
i)leentin$ real/life *scle str*ct*res into t'e to)olo$".
+no; Your
Anato%
St*d"in$ anato" !ill 'el) "o* %e ore a!are of c'aracter for and
o#eent. Yo*-ll %ecoe %etter at draftin$ and aniation+ and "o*-ll
%*ild ore efficient odels.
:efore "o* e%ar& on t'is c'a)ter+ it-s i)ortant to $at'er a fe! $ood
anatoical references+ %e t'e" %oo&s or 5e% sites. T'ere are '*ndreds of
online reso*rces "o* can *se. Eac' of t'ese sites offers literall" '*ndreds of
ia$es a#aila%le to do!nload. See A))endi2 :+ 4Reference and F*rt'er
Readin$+4 for a list of s*$$ested %oo&s and 5e% sites.
Of co*rse+ t'e %est and ost con#enient reference is you. Get "o*rself a
irror and st*d" "o*r o!n %od".
Muscle ,ine
Mapping
Let-s start !or&in$. Load t'e last file "o* sa#ed in C'a)ter ?+ called KilaK:asic.%.
Loo& at "o*r c'aracter odel =Figure 3.1>. So far+ it-s 7*ite !ell defined and t'e
)ro)ortions are correct. It is a $ood %ase odel. In fact+ !it' a %it of o)tii8ation+ "o*
co*ld *se 'er as a lo!/resol*tion c'aracter 1*st as s'e is. S'e !o*ld not+ 'o!e#er+ %e
$ood as o*r ain odel. 5e still 'a#e a fe! )ro%les to address(
Ta&en staticall"+ s'e loo&s fine+ %*t once "o* start to aniate 'er+ t'e fla!s !ill
s'o!. T'ere !ill %e %rea&s or %*l$es in t'e areas t'at %end+ eit'er %eca*se t'e" don-t
'a#e eno*$' )ol"$ons or %eca*se t'e to)olo$" needs soe !or&.
T'e es' as it stands 'as too an" )ol"$ons t'at si)l" are not needed.
S'e lac&s )'"sical detail in %ot' 'er %od" and face.
T'is odel still 'as no 'ands or feet.
Figure 3.1. )ur =ase %odel
odel+ t'e )ol"$ons !ill defor+ $i#in$ t'e ill*sion of *scles deforin$ *nder t'e
s&in. 5'ile !e are addin$ t'ese lines to t'e es'+ !e can also add detail+ $i#in$
additional s'a)e to t'e $eoetr" !'ile !e c'ec& its defora%ilit".
T!P
A lot of detail can %e $ained t'ro*$' t'e te2t*re a) =ore on t'is in C'a)ter
E+ 4Te2t*re Paintin$4>. Tr" not to $et too ca*$'t *) in %*ildin$ sall details into
t'e $eoetr""o*-ll 1*st *se *) )rocessor )o!er+ eanin$ fe!er )ol"$ons can
%e *sed else!'ere in t'e $ae.
Use Figure 3.2 to $*ide "o* in )lacin$ t'e *scle lines on t'e es'. T'is ill*stration
s'o!s a si)lified #ersion of t'e *scles. All !e need is a %asic idea to !or& !it'. at
t'is )oint+ !e-re 1*st i)leentin$ t'e ain *scles.
[View full size image]
Figure 3.2. #asic %uscle lines of the hu%an =od
5e !ill start at t'e to) and !or& o*r !a" do!n+ %*t !e !ill s&i) t'e 'ead for no! and
concentrate on t'at area later in t'e c'a)ter. So select t'e left side of t'e es'+ and let-s
$et started.
The
(eck
Refer to t'e nec& in Figure 3.2. &ou can see two large muscles coming from the
ears and endin$ !'ere t'e collar%ones eet in t'e center of t'e c'est. T'ese are t'e
sternocleidoastoid *scles. Let-s add t'ese to o*r odel.
1 5e are $oin$ to s)lit t'e )ol"$ons aro*nd t'e nec&+ car#in$ t'ese *scles into t'e
es'. Start %" $oin$ to Edit Pol"$ons L S)lit Pol"$on Tool.
2 As "o* did in t'e )recedin$ c'a)ter+ clic& and 'old on t'e startin$ ed$e aro*nd !'ere
t'e ear s'o*ld %e. A sall icon a))ears+ re)resentin$ t'e startin$ )oint of t'e c*t. Mo#e t'e
)oint *) *ntil "o* are at t'e corner !'ere t!o ed$es eet+ and release t'e %*tton.
3 Select t'e )oint on t'e ne2t ed$e !'ere "o* !is' to c*t+ and )ress Enter to finis' t'at
c*t.
4 Yo* need to !or& "o*r !a" aro*nd *ntil "o* $et to t'e collar%one+ as s'o!n in Figure
3.3. Yo* !ill 'a#e to do it a )ol"$on at a tie+ selectin$ eac' ed$e t'at "o* enco*nter on t'e
!a".
Figure 3.3. Adding the sternocleido%astoid %uscles
()T*
Yo* don-t 'a#e to al!a"s end *) in t'e corner of t!o ed$es. "o* can c*t
an"!'ere alon$ an ed$e. 9o!e#er+ it-s !ise to %e$in !'ere a #erte2 alread"
e2ists and tr" to end on one+ too.
T!P
As "o* are c*ttin$+ "o* !ill find t'at occasionall" "o* can-t $o an" fart'er !it'
t'e c*rrent c*t. T'is co*ld %e ca*sed %" an *ns'ared ed$e+ or faces t'at are
fli))ed t'e !ron$ !a". It isn-t a )ro%le1*st )ress G to finali8e t'e c*rrent c*t.
t'is !ill also restart t'e S)lit Pol"$on tool. T'en start a ne! c*t fro !'ere t'e
)re#io*s one ended.
If "o* are *sin$ a irrored instance+ "o* !ill notice t'at t'e c*ts "o* a&e on one side
!ill %e irrored across to t'e ot'er. Also+ !'en "o* create a c*t+ it a*toaticall" t*rns
t'e ne! ed$e into a crease+ a&in$ t'e norals 'ard. It-s )ro%a%l" a $ood idea to
soot' t'e as "o* $o alon$. To do t'is+ select t'e ed$es "o* !is' to soot'. T'en $o
to Edit Pol"$ons L Norals L Soften69arden and set t'e o)tions to All Soft. Clic& t'e
A))l" %*tton and close t'e o)tions.
I t'in& t'at-s a%o*t all for t'e nec&. As entioned earlier+ !e onl" need a %asic la"o*t of
t'e *scles. Addin$ too *c' detail no! !o*ld %e )ointless %eca*se ost of it !ill %e
reo#ed later+ !'en !e o)tii8e t'e $eoetr".
Collar=one
s
Mo#in$ do!n+ !e coe to t'e *))er %od"+ so let-s i)leent t'e collar%ones ne2t
=Figure 3.4+ left>.
Figure 3.4. Adding the collar=ones to the %esh
Use t'e S)lit Pol"$on tool to car#e o*t t'e details+ as s'o!n in Figure 3.4 on t'e ri$'t.
,on-t %e afraid to o#e soe of t'e #ertices to f*rt'er sc*l)t t'e area *ntil it rese%les
its anatoical reference.
If at an" )oint "o* end *) !it' tin" trian$les startin$ to a))ear+ as in Figure 3.5
=left>+ feel free to reo#e t'e. Yo* can do t'is in one of t!o !a"s(
Ri$'t/clic& t'e es' and select ;erte2 fro t'e ar&in$ en*+ o#in$ "o* into
#erte2 editin$ ode. Select t'e t!o #ertices on eit'er side of t'e ed$e "o* !ant to reo#e+
and !eld t'e.
Ri$'t/clic& t'e es' and select Ed$e fro t'e ar&in$ en*+ o#in$ "o* into ed$e
editin$ ode. Select t'e ed$e "o* !ant to reo#e =t'e iddle #ie! in Figure 3.5>+ and
t'en $o to Edit Pol"$ons L Colla)se. T'is reo#es t'e ed$e+ %rin$in$ in t'e #ertices on
eit'er side and !eldin$ t'e =Figure 3.5+ ri$'t>.
Figure 3.5. &e%o:e an tin triangles = using the Collapse tool.
The Chest and
Shoulders
Mo#in$ on+ !e can start !or&in$ on t'e c'est and s'o*lder area. Refer to t'e *scle
reference in Figure 3.6+ !'ic' foc*ses on t'e s'o*lder area. Yo* can see t'at t'e '*$e
*scle on t'e c'est+ t'e )ectoralis a1or+ stretc'es across and *nder t'e s'o*lder
*scle+ t'e deltoid. It !o*ld )ro%a%l" a&e sense to tr" and sc*l)t t'ese at t'e sae
tie+ and t'en !or& on t'e ar)it area %efore )ro$ressin$ to t'e rear of t'e *))er %od"
section.
Figure 3.6. 0pper =od %uscle lines1 ;ith the ar% raised
Figure 3.7. Add detail to the chest1 shoulder1 and ar%pit areas.
Usin$ t'e
S)lit Pol"$on tool+ create a ne! line follo!in$ t'e o*tline of t'e t!o *scles l"in$ across t'e c'est
and o#er t'e ar =Figure 3.7+ iddle>.
T!P
5'en "o*-re done !it' an area+ feel free to !or& on it f*rt'er+ addin$ ore
ed$es and ani)*latin$ t'e #ertices *ntil "o* are 'a))" !it' t'e s'a)e.
Loo&in$ at Figure 3.8 =left>+ t'e s'o*lder sees a little an$*lar. t'is is %eca*se t'ere
are too fe! )ol"$ons 'ere at t'e oent. 5'en t'is area %ends in aniation+ !e !ill
$et 7*ite a ro*$'/loo&in$ deforation. Yo* can )re#ent t'is %" addin$ e2tra stri)s across
t'e to) as "o* contin*e addin$ t'e *scle lines.
Figure 3.8. !nsert %ore polgons into the shoulder.
S)lit t'e )ol"$ons as I 'a#e in Figure 3.8 =iddle>+ follo!in$ t'e aro*nd to t'e
%ac& of t'e s'o*lder =Figure 3.8+ ri$'t> !'ile contin*in$ t'e line for t'e deltoid
*scle.
Mo#e t'e ne!l" created s'o*lder #ertices o*t sli$'tl" to ro*nd off t'e area.
The
#ack
T'is %rin$s *s nicel" aro*nd to t'e rear of t'e *))er %od". 5e don-t need iense
detail 'ere+ eit'er+ %*t it-s i)ortant to $et t'e %asic *scles in.
Startin$ at t'e to) of t'e %ac& and o#in$ do!n!ard+ !or& in t'e tra)e8i*s+ latti*s
dorsi+ and t'oracol*%ar fascia *scles =refer a$ain to t'e anatoical reference as "o*
$o>. See t'e left and iddle #ie!s of Figure 3.9.
Figure 3.9. Add %uscle lines to +ila>s =ack.
9alf!a" do!n t'e %ac&+ 1*st a%o#e t'e 'i)s+ t'ere is 7*ite a lar$e s)ace. It !ill a&e life
easier if !e s*%di#ide t'is area+ allo!in$ *s to contin*e addin$ t'e %ac& *scles =Figure
3.9+ ri$'t>. Follo! t'e c*t all t'e !a" aro*nd to t'e front of t'e es'.
Still on 'er %ac&+ !e co*ld i)leent t'e s)ine at t'is )oint. T'is !ill %e a si)le recess
do!n t'e center of 'er %ac&. First+ t'o*$'+ as "o* can see in Figure 3.1< =left>+ t'ere is
anot'er lar$e area in %et!een 'er s'o*lder %lades. Ta&e a oent to s)lit t'is area+
ta&in$ t'e c*t across t'e center as in Figure 3.1< =ri$'t>.
Figure 3.1<. Su=di:ide the large polgon at the top of the =ack.
No!+ to create t'e recess for t'e s)ine =Figure 3.11>+ s)lit t'e )ol"$ons 1*st on
eit'er side of t'e center+ ree%erin$ to reo#e an" sall trian$les t'at are
created. Finall"+ o#e t'e #ertices t'at r*n do!n t'e center sli$'tl" in!ard.
Figure 3.11. !nsert the recess for the spine.
No! is )ro%a%l" a $ood tie to delete t'at 'istor" t'at 'as steadil" %een %*ildin$ *).
The
Sto%ach
Mo#in$ aro*nd to Kila-s front in Figure 3.12 =left>+ !e can %e$in to !or& in 'er stoac'
*scles. S)lit )ol"$ons and o#e #ertices to $et t'e $eneral s'a)e seen in Figure 3.12
=ri$'t>.
Figure 3.12. Add %uscle detail to the sto%ach.
()T*
It-s i)ortant to ree%er t'at !'en "o* s)lit )ol"$ons+ Ma"a )laces t'e c*t
on to) of t'e c*rrent )ol"$ons. T'is eans t'at alt'o*$' "o* 'a#e di#ided t'e
)ol"$on+ it !ill still a))ear flat !'en #ie!ed fro an an$le. In ost cases+ as
occ*rred !it' t'e stoac' *scles+ "o* !ill need to )*ll t'ese ne! #ertices
o*t sli$'tl" to ro*nd t'e area off.
The
Pel:is
Mo#in$ fart'er do!n t'e front of t'e odel-s %od" %rin$s *s to t'e ne2t )art to !or& on(
t'e )el#ic area. :eca*se Kila is !earin$ 1eans+ t'ere is not *c' )oint in a))in$ t'e
*scles 'ere+ %*t !e do need to a&e s*re t'e area 'as clarit" and defors correctl".
S!itc' to t'e front #ie! and a&e s*re "o*r ia$e )lane is #isi%le. 5'at "o* need to do
first is ar& o*t t'e to) of 'er 1eans. <*d$in$ %" Figure 3.13 =left>+ !e are in a $ood
)osition. T'e ed$es at eit'er side alread" lie in t'e correct )osition for t'e 'i)/'*$$in$
1eans. e#en t'e ed$es at t'e rear follo! !'ere 'er 1eans s'o*ld $o+ so "o* onl" need to
fi2 t'e front. Go a'ead and s)lit t'e )ol"$ons at t'e front of t'e es'+ follo!in$ t'e to)
of 'er 1eans =Figure 3.13+ ri$'t>.
Figure 3.13. Create the area at the top of the Aeans.
No! "o* need to address t'e $roin area. T'e )ol"ons see to 'a#e o#ed do!n sli$'tl"
so t'e" no lon$er line *) !it' t'e reference ia$e. Also+ t'e creases !'ere t'e *))er
le$s eet t'e 'i)s need to %e reali$ned. 5e !ant to end *) !it' t'e es' closel"
rese%lin$ t'e ia$e )lane+ as in Figure 3.14. ,on-t !orr" if %ot' sides don-t atc'
e2actl". as lon$ as one side atc'es t'e $*ide ia$es+ !e are fine.
Figure 3.14. Fi- the crotch areaB position the :ertices to %atch the
guide i%age.
First o#e t'e #ertices a)art+ creatin$ a $a) =Figure 3.15+ left>+ and t'en *se t'e Edit
Pol"$on L E2tr*de Ed$e and Pol"$on L A))end To Pol"$on tools to fill t'e 'ole.
After!ard+ !or& t'e #ertices to ro*nd off t'e area+ !'ic' s'o*ld $i#e "o* a nice+ clean
res*lt li&e t'at s'o!n on t'e ri$'t in Figure 3.15.
Figure 3.15. Fill in the gap1 creating the crotch area.
5'at "o* can start to do at t'is sta$e is incl*de creases in "o*r $eoetr". Loo& at
Figure 3.16 =left>. t'is is 'o! t'e es' loo&s no!+ !it' all t'e norals soot'+
$i#in$ *s a nice soot' s*rface.
Figure 3.16. Add creases to our geo%etr = creating hard edges.
Figure 3.16 =ri$'t> is t'e sae es'%*t 'ere t'ere are creases added aro*nd t'e
crotc'+ t'e *))er )art of t'e 1eans+ and *nder 'er c'est. T'ese creases are si)le to do.
it-s 1*st a atter of a&in$ t'e ed$es 'ard. 9ere are t'e ste)s(
Ri$'t/clic& t'e es' and select Ed$e fro t'e ar&in$ en*.
Select t'e ed$es "o* !is' to crease+ in t'is case *nder 'er c'est and aro*nd t'e
folds in 'er 1eans.
Go to Edit Pol"$ons L Norals L Soften69arden and o)en *) t'e o)tions.
Earlier+ !e clic&ed All Soft to soot' o*t t'e $eoetr". T'is tie+ select All 9ard.
T'en clic& A))l" and close t'e o)tions.
T'is isn-t a #ital )art of t'e )roced*re. it 1*st a&es t'e $eoetr" loo& %etter as "o* are
!or&in$ on it. To add %alance to t'e odel+ as "o* !o*ld !it' a )aintin$+ "o* s'o*ld
'a#e %ot' 'ard and soft lines =ed$es>.
The
#uttocks
Tie to !or& on Kila-s rear. At t'e oent it-s not *c' to loo& at =Figure 3.17+
left>+ %*t !e !ill soon fi2 t'at. As "o* did for t'e front+ o#e t'e #ertices to lie ro*$'l"
!'ere t'e creases s'o*ld %e+ as s'o!n in Figure 3.17 =iddle>.
Figure 3.17. Mo:e the :ertices to tid up her =u%.
Yo* are no! left !it' a '*$e flat area. s*%di#ide t'at %" s)littin$ t'e )ol"$ons+ as
s'o!n in Figure 3.17 =ri$'t>. T'is still lea#es t'e area flat+ so s!itc' to t'e side #ie!
and *se "o*r $*ide to ro*nd it off =Figure 3.18>.
Figure 3.18. &ound oF the Gat surfaces.
Rotate t'e odel+ t!ea&in$ t'e #ertices *ntil "o* are 'a))" !it' t'e s'a)e of t'e
%*ttoc&s. S!itc' to t'e )ers)ecti#e #ie! and loo& do!n on it fro a%o#e to a&e s*re
s'e is nicel" ro*ndedree%er to al!a"s refer %ac& to "o*r anatoical reference
aterial.
Yo* !ill )ro%a%l" notice t'at fro certain an$les s'e still sees 7*ite flat. Yo* can fi2
t'is %" s*%di#idin$ t'e lon$ faces at t'e rear %" creatin$ #ertical c*ts =Figure 3.19+
ri$'t>. :efore "o* do t'is+ 'o!e#er+ delete t'e ed$es desi$nated in t'e left )ane of
Figure 3.19. T'en add a c*t at eit'er side of t'e crease *nder t'e %*ttoc&s =Figure
3.19+ iddle>.
Figure 3.19. Su=di:ide the long faces to s%ooth out the
=uttocks.
Contin*e t!ea&in$+ a&in$ s*re "o* *se "o*r $*ide ia$es. Figure 3.2< ill*strates
anot'er area t'at co*ld %enefit fro a little s*%di#ision+ soot'in$ it o*t and ro*ndin$ it
off. 9ere a$ain+ "o*-ll s)lit t'e )ol"$ons 'ori8ontall" to s*%di#ide t'e area. in fact+ "o*
can s)lit t'ese all t'e !a" aro*nd+ endin$ at t'e crotc' =Figure 3.2<+ iddle>. 5'en
"o*-re done+ t!ea& t'e #ertices *ntil t'e s'a)e is 1*st ri$'t =Figure 3.2<+ ri$'t>.
Figure 3.2<. Further su=di:ision is needed.
Figure 3.21 s'o!s t'e entire torso !it' all its refineents. 5e 'a#e added
$eoetr" not onl" to 'el) t'e s'a)e+ %*t also to aid deforation.
Figure 3.21. The re"ned torso
The
Ar%s
T'e torso is ore or less co)lete no!. It 'as ore detail+ and t'e s'a)e is coin$
alon$ nicel". T'e ne2t sta$e is to refine t'e li%s+ startin$ !it' t'e ars.
To %e$in+ !e !ill %*ild in a si)le el%o!. I 'a#e 'i$'li$'ted an ed$e in Figure 3.22
=left>. t'is is !'ere o*r el%o! !ill %e. All !e need to do is )*ll t'at ed$e o*t sli$'tl"+
%*t first !e need to create fo*r c*ts =Figure 3.22+ iddle>. As s'o!n in Figure
3.22 =ri$'t>+ t'is !ill allo! *s to )*ll o*t t'e center ed$e+ creatin$ t'e %asic el%o!.
Figure 3.22. #uild in the =asic el=o;.
9a#in$ t'e el%o! in )lace 'el)s *s to co)lete t'e rest of t'e ar. Let-s !or& on t'e
*))er ar first+ sc*l)tin$ in t'e %ice)s and trice)s. Most of t'e ar detail can %e
ac'ie#ed %" si)l" o#in$ t'e #ertices. And ree%er!e still need to refer to o*r
*scle reference to $et it ri$'t.
:e$in to ar& in t'e %ice)s %" c*ttin$ t'e )ol"$ons to create t'e o*tline.
Figure
3.23 =iddle> s'o!s t'ese c*ts.
Figure 3.23. Car:e the =iceps into the %esh.
No! !or& on oldin$ t'e %ice)s into its correct s'a)e. If "o* are at all *ns*re a%o*t 'o!
it s'o*ld loo&+ *se a $ood ar reference to $et it loo&in$ ri$'t. Figure 3.24 s'o!s t'e
finis'ed %ice)s on o*r odel.
Figure 3.24. Manipulate the :ertices to get the =iceps correctl shaped.
Mo#in$ aro*nd to t'e %ac& of t'e ar =Figure 3.25+ left>+ !e can !or& in t'e
trice)s. First c*t in t'e o*tline s'o!n in Figure 3.25 =ri$'t>+ and t'en o#e t'e
#ertices to ac'ie#e t'e desired s'a)e.
Figure 3.25. Create the triceps.
Yo* a" not need to c*t an" )ol"$ons for t'e forear. 1*st a&e s*re t'e s'a)e is
correct. T'e *scles r*n do!n to!ard t'e !rist+ as o*r ed$es do an"!a"+ so it !o*ld %e
a !aste of tie to !or& in e#er" *scle. f*rt'er detail in t'is area can %e $ained %" 'er
te2t*re.
5e no! 'a#e eno*$' definition in t'e *))er %od". Yo* can+ if "o* li&e+ s)end a %it ore
tie a))in$ in t'e rest of t'e *scles+ as I 'a#e in Figure 3.26. Ro*nd off t'is section
%" doin$ !'at a&es *) EG )ercent of ost odelin$( rotatin$ and t!ea&in$. Mo#e
aro*nd t'e odel and a&e s*re it is soot'+ anatoicall" correct+ and clean.
Figure 3.26. 0pper =od %uscle %aps
5'en "o*-re done+ delete t'e 'istor" and sa#e "o*r !or& as KilaKM*scles.%.
,egs
,e)endin$ on t'e c'aracter "o* are creatin$+ "o* a" need to add *scle lines to t'e
le$s. Figure 3.27 s'o!s a different c'aracter I created a !'ile a$o. s'e 'as *scles
a))ed on 'er entire %od". T'is !as done %" follo!in$ an a))ro)riate *scle
reference and s)littin$ t'e )ol"$ons to o*tline t'e *scles.
Figure 3.27. The %uscles %apped to the entire =od of another %odel
Face and 0pper #od
Detail
Kila-s torso and li%s are sc*l)ted no! to a )oint !'ere !e can o#e on to anot'er
area. 5e !ill %e$in %" addin$ ore details to t'e $eoetr"+ startin$ as %efore fro t'e
to) and !or&in$ o*r !a" do!n.
The
Face
It-s a%o*t tie !e $a#e Kila a face. 5e !ill %e$in !or&in$ on 'er fro t'e side+ so
s!itc' to t'e side )anel no! and foc*s in on 'er face.
T'e ia$e in Figure 3.28 =left> !ill do for t'e 'ead+ %*t it is of #er" lo! 7*alit". T'is is
!'ere o*r 'ead odel s'eet fro C'a)ter B coes in 'and". Scan in t'e s'eet and di#ide
it *) into t!o sections+ as "o* !e did !it' t'e %od" odel s'eet.
Figure 3.28. !%port the head %odel sheet
I)ort t'e side ia$e into t'e side )anel =or load in t'e file
G?6Scans6KilaFaceSide.t$a fro t'e C,>+ and )osition and resi8e it *ntil it is t'e
sae scale as t'e c*rrent 'ead =as seen in Figure 3.28+ iddle>.
Yo* no! 'a#e a %etter ia$e to !or& !it'. Ta&e a loo&( T'e first t'in$ t'at stands o*t is
t'at t'e 'ead is tilted sli$'tl". So !e *st select t'e #ertices of t'e 'ead and rotate it+
so t'at it fits t'e 'ead in t'e ia$e )lane =Figure 3.28+ ri$'t>.
In order to add ore detail to t'e 'ead+ !e *st add soe ore #ertices and )ol"$ons
to t'e face. 5e co*ld s)lit t'e )ol"$ons !'ere !e need t'e+ %*t since !e need to di#ide
a lar$e area+ !e can do soet'in$ 7*ic&er.
1.
Referrin$ to
Figure 3.29
=left>+ select t'e faces at t'e front of t'e 'ead.
Figure 3.29. Su=di:ide the face so ;e can add detail.
Go to Edit Pol"$ons L S*%di#ide and o)en t'e o)tions.
Set S*%di#ision Le#els to B and Mode to 7*ads.
Clic& t'e A))l" %*tton to finis'+ and close t'e o)tions.
As ill*strated in Figure 3.29 =ri$'t>+ Kila-s face is no! di#ided *) into saller
sections+ allo!in$ *s to %e$in refinin$ t'e area.
S!itc' to t'e side #ie! =Figure 3.3<+ left>+ and %e$in to ani)*late t'e #ertices to %etter
fit t'e ia$e in t'e ia$e )lane =Figure 3.3<+ ri$'t>. 5'en "o*-re 'a))" !it' t'e side
#ie!+ s!itc' to )ers)ecti#e #ie! and %e$in to !or& on t'e rest of t'e #ertices. At t'is
sta$e+ "o*-re not aiin$ for an" details s*c' as e"es+ nose+ or o*t'. For no!+ !or& on
ac'ie#in$ a soot' area and $ettin$ t'e o#erall s'a)e of t'e 'ead. See t'e )ro$ression in
Figure 3.31.
Figure 3.3<. Mo:e the :ertices to "t the side outline.
Figure 3.31. Progression of the face shape
T!P
,e)endin$ on t'e acc*rac" of t'e 'ead ia$es+ "o* a" find it diffic*lt to $et
t'e es' loo&in$ e2actl" li&e t'e front and side ia$es at once. ,on-t !orr".
tr" to find a 'a))" edi*. 5'at-s i)ortant is t'at it loo&s li&e t'e c'aracter
!'en it-s finis'ed. T'e to)olo$" is "o*r concern at t'is sta$e+ es)eciall" if t'e
c'aracter !ill 'a#e an" li)/s"nc ca)a%ilities+ as ost c'aracters do.
Nose
T'e %asic 'ead s'a)e is in )lace. Its tie to !or& in soe feat*res. let-s %e$in !it' t'e
nose. As s'o!n in Figure 3.32+ s!itc' to t'e front #ie! and s)lit t'e )ol"$ons as
deonstrated. T'ese s'o*ld follo! t'e line of t'e nose+ t'en t'e e"e%ro!.
Figure 3.32. Split the polgons around the nose.
S!itc' to t'e side #ie! and o#e t'e #ertices to atc' t'e nose =Figure 3.33>.
S!itc' to t'e )ers)ecti#e )anel to see 'o! t'in$s are loo&in$+ a&in$ an" needed
ad1*stents to retain t'e s'a)e.
Figure 3.33. Add detail to the nose.
Still in t'e )ers)ecti#e #ie!+ c*t t'e )ol"$ons as s'o!n in Figure 3.34 =iddle>+
a&in$ an F. Mo#e t'e ne! #erte2 t'at-s in t'e center of t'e F+ )*llin$ it do!n
sli$'tl" to $i#e 'er nostril ore definition =Figure 3.34+ ri$'t>.
Figure 3.34. De"ne the nostril.
,ips and Mouth
Let-s contin*e and create a ro*$' #ersion of 'er li)s. Mo#e to t'e front #ie! and s)lit t'e
)ol"$ons aro*nd t'e o*tline of t'e o*t' =Figure 3.35>. Yo* !ill see t'at t'e nose needs
to %e t'inned o*t sli$'tl" to atc' t'e ia$e+ so !e a" as !ell i)leent t'is !'ile !e
are 'ere.
Figure 3.35. Create the =asic %outh.
S!itc' to t'e side #ie! and o#e t'e #ertices to atc' t'e li)s in t'e ia$e =Figure
3.36+ iddle>. 5e co*ld lea#e t'e li)s as t'e" are+ %*t t'e" loo& a little flat and !e need
to $i#e t'e soe #ol*e. To do t'is+ si)l" di#ide t'e do!n t'e center. T'en+ as
s'o!n in Figure 3.36 =ri$'t>+ )*ll t'e ne! #ertices o*t!ard to ro*nd off t'e li)s.
Figure 3.36. &ound oF the lips in the side :ie;.
At t'is sta$e+ !e can %e$in to i)leent t'e *scles lines of t'e face =as seen in
Figure 3.37>. 5e are c*rrentl" !or&in$ on t'e o*t' area+ so let-s s)lit ore )ol"$ons
aro*nd t'e o*t' to a) o*t t'e *scles. T'is !ill also 'el) *s add ore definition to
t'e c'in and t'e rest of t'is facial area.
Figure 3.37. Facial %uscle %ap
Follo!in$ t'e reference in Figure 3.37+ create a rin$ aro*nd t'e o*t' =Figure
3.38>. As in Figure 3.39+ s!itc' to t'e side )anel and fill o*t t'e c'in.
Figure 3.38. Create a ring around the %outh.
Figure 3.39. Fill out the chin fro% the side :ie;.
No! o)en *) t'e )ers)ecti#e #ie! and !or& on t'e area *ntil t'e s'a)e loo&s correct.
Figure 3.4< s'o!s t'e o*t' area co)leted !it' t'e first set of *scle a)s.
Figure 3.4<. +ila>s head ;ith the %outh %uscles co%pleted
*e Area
Let-s no! !or& on t'e e"es. Go to t'e front #ie! and+ as ill*strated in Figure 3.41
=ri$'t>+ s)lit t'e )ol"$ons+ creatin$ t'e o*tline for 'er e"e. T'e )ol"$ons in t'e center
of t'e e"e !on-t %e needed+ so select t'e faces inside t'e e"e-s o*tline and delete
t'e.
Figure 3.41. #uild in the outline for the ee.
5it' t'e o*tline for t'e e"e in )lace+ o#e t'e #ertices of t'is o*tline to fit t'e s'a)e of
t'e e"e%all. Yo*-ll need an e"e%all first in order to do t'is+ so create a %asic s)'ere and
)osition it !'ere t'e e"e%all !o*ld %e =Figure 3.42>.
Figure 3.42. Create a sphere for a placeholder ee=all.
Usin$ t'is )lace'older e"e%all as a $*ide+ o#e t'e #ertices of t'e e"e so t'at t'e"
follo! t'e c*r#e of t'e e"e%all =Figure 3.43>. Ma&e s*re to lea#e a sall $a) %et!een
eac' #erte2 and t'e e"e%all.
Figure 3.43. AdAust the outline of the ee to %ake it cur:e around
the ee=all.
5it' o*r %asic facial feat*res in )lace+ !e can start to refine t'e %" addin$ ore detail.
Sta"in$ !it' t'e e"e+ car#e in a rin$ aro*nd it =Figure 3.44+ left>. T'is s*%di#ides t'e
)ol"$ons+ allo!in$ "o* to soot' o*t t'e area. it also act as a *scle line. S'a)e t'ese
ne! #ertices to fill o*t t'e area aro*nd t'e e"e. T'en "o* can %*ild in t'e e"elids =Figure
3.44+ iddle>. T'ese !ill %e 7*ite i)ortant to t'e face-s aniation. t'e e"es *st %e
a%le to o)en and close.
Figure 3.44. &e"ne the =asic ee area1 adding the eelids.
To fill in t'e $a) %et!een t'e e"elids and t'e e"e%all+ si)l" select t'e ed$es s'o!n in
Figure 3.45a and e2tr*de t'e in!ard =Figure 3.45=>.
Figure 3.45. *-trude the edges to create the inner ee and the
eelashes.
Kila 'as #er" lon$ e"elas'es. To ac'ie#e t'is loo&+ all "o* need to do is re)eat t'e
e2tr*sion tas& "o* 1*st did for t'e e"elids. Select t'e ed$es on t'e ri of t'e e"e+ %*t
t'is tie e2tr*de t'e o*t!ard+ as seen in
Figure 3.45c
. Mani)*late t'e #ertices to atc' t'e s'a)e in t'e front $*ide ia$e+ s)littin$ t'e o*ter
ed$es 'i$'li$'ted in
Figure 3.45d
+ to se)arate t'e *))er and lo!er las'es.
Figure 3.45e
s'o!s t'at Kila-s e"es are essentiall" co)lete.
5it' t'e %asic feat*res in )lace+ let-s contin*e to refine t'e face. :efore "o*
contin*e+ delete t'e 'istor" on t'e $eoetr" and sa#e t'e file.
Face &e"ne%ent
5e !ill %e$in %" !or&in$ on t'e nose. Loo&in$ in fro t'e side+ as in Figure 3.46
=left>+ "o* can see t'at t'e nose is 7*ite s'ar) and an$*lar. S)lit soe of t'e )ol"$ons+
and o#e t'e #ertices to soot' o*t t'e nose =Figure 3.46+ ri$'t>.
Figure 3.46. Start in the side :ie; to s%ooth out the nose.
Mo#in$ to t'e front #ie!+ edit t'e #ertices to soot' o*t t'e nose e#en ore+ addin$ c*ts
to t'e *nderside of t'e nose =Figure 3.47+ ri$'t>.
Figure 3.47. Continue to s%ooth out the nose using the front :ie;.
No! s!itc' to )ers)ecti#e #ie! to see 'o! "o*-re doin$. It-s coin$ alon$ !ell%*t if "o*
loo& *)!ard fro t'e %otto+ 'er nose is still 7*ite s'ar) and )ointed. In Figure 3.48+ I
'a#e s)lit t'e )ol"$ons #erticall" across t'e nostril+ allo!in$ t'e nose to %e ro*nded off.
Figure 3.48. Su=di:ide the nostril to round oF the nose.
To co)lete t'e nose+ insert a 'ole *nderneat' to create t'e nostril. S)lit t'e )ol"$ons
*nderneat'+ creatin$ an F =Figure 3.49+ iddle>. Mo#e t'e ne! #erte2 *) into t'e nose
to create t'e nostril ca#it".
Figure 3.49. Create the nasal ca:it to "nish the nose.
As "o*-#e done !it' e#er"t'in$ else *) to no!+ 'a#e a final loo& aro*nd t'e nose+
ani)*latin$ t'e #ertices to fill o*t t'e s'a)e. Yo* s'o*ld end *) !it' t'e nostril as
ill*strated in Figure 3.49 =ri$'t>.
Nose and e"es are done. o#in$ on %rin$s *s to t'e o*t'. S!itc' to t'e side #ie! and
start !or&in$ t'e #ertices to refine t'e s'a)e of t'e li)s. S)lit t'e )ol"$ons to ro*nd off
t'e lo!er li). Loo& at t'e odel in t'e )ers)ecti#e #ie! no!+ and di#ide t'e li)s as
ill*strated in Figure 3.5< =iddle>. Ne2t+ it is erel" a case of sc*l)tin$ t'e area *ntil
t'e li)s %etter fit "o*r reference ia$er" =Figure 3.5<+ ri$'t>.
Figure 3.5<. &e"ne the lips.
:efore !e can lea#e t'e 'ead and o#e on+ !e *st fill o*t t'e c'in. In Figure
3.51 =left>+ t'e area *nder t'e c'in is #er" flat and t'e c'in itself is 7*ite an$*lar. To
rectif" t'is+ start %" s)littin$ ore )ol"$ons+ follo!in$ t'e ones on t'e side of t'e 'ead
do!n to t'e %otto =Figure 3.51+ iddle>. T'en ad1*st t'e #ertices to fit t'e o*tline in
t'e ia$e )lane =Figure 3.51+ ri$'t>.
Figure 3.51. Fill out the chin.
T'e final sta$e for t'e 'ead is to s)end tie a&in$ s*re t'e s'a)e is )erfect. 5e
'a#e all t'e feat*res in+ and no! !e *st a&e s*re t'e" rese%le t'e c'aracter !e
are %*ildin$.
Gettin$ t'e face ri$'t is cr*cial+ so load in t'e ori$inal color ia$e t'at !as created in
C'a)ter B =Figure 3.52>. T'is is 'o! t'e c'aracter s'o*ld loo& and !ill %e o*r
reference for t'is )art of t'e odel.
Figure 3.52. The %ain head reference
P*t as *c' tie as )ossi%le into refinin$ t'e face and 'ead. Get it 1*st ri$'t =Figure
3.53> %efore "o* $o for!ard. T'en delete t'e 'istor" and sa#e "o*r !or& as
KilaKFace.%.
Figure 3.53. Finished face and head geo%etr
The
(eck
Pro$ressin$ do!n fro t'e face+ !e coe to t'e nec&. T'ere-s not *c' "o* can
reall" do 'ere e2ce)t )er'a)s to a&e t'e *scle "o* defined earlier+ t'e
sternocleidoastoid+ a little ore )rono*nced =Figure 3.54>.
Figure 3.54. De"ning the neck
Yo* can ac'ie#e t'is si)l" %" creatin$ a s)lit all t'e !a" do!n t'e center of t'e
*scle =Figure 3.54+ iddle>. T'en ani)*late t'e #ertices *ntil "o* 'a#e t'e
re7*ired s'a)e =Figure 3.54+ ri$'t>+ $i#in$ t'e *scle sli$'tl" ore definition.
Contin*in$ on+ t'e s'o*lder area sees fine for no!. 5e a" need to add soe
ore s*%di#isions to $et a nice ro*nd s'o*lder !'en s'e lo!ers 'er ar+ %*t !e can
test t'is o*t !'en !e coe to t'e deforation tests =C'a)ter A+ 4,eforation
Testin$4>.
The
Ar%pit
Ne2t coes t'e ar)it. It is i)ortant for t'is )art of t'e anato" to %e correct in
order to ac'ie#e $ood deforation. It-s !ise to refer to a real ar)it+ so loo& aro*nd
for a $ood )'oto to *se as a $*ide =or *se a irror>. ;isit one of t'e lin&s s*$$ested
in A))endi2 :. t'e" !ill 'a#e an" reference ia$es.
To start+ s)lit *) soe of t'e lar$er areas as seen in Figure 3.55 =iddle>+ $i#in$
"o* ore )ieces to !or& !it'. Usin$ "o*r reference as an e2a)le+ o#e t'e
#ertices aro*nd *ntil "o* 'a#e a %etter s'a)e =Figure 3.55+ ri$'t>.
Figure 3.55. Work to re"ne the ar%pit area.
I li&e to &ee) " odels clean and tid"+ so I )refer to !or& in quads. =A 7*ad is
si)l" t!o trian$*lar )ol"$ons co%ined to a&e a s7*are.> T'is et'od 'as a
second ad#anta$e( If "o* are creatin$ a s*%di#ision s*rface odel+ *sin$ ostl"
7*ads !ill res*lt in a soot'er odel !'en it-s con#erted =see 4S*%di#ision
S*rfaces4 in C'a)ter ?>.
To create a 7*ad+ select t!o ad1oinin$ trian$*lar faces =Figure 3.56> and $o to
Pol"$ons L O*adran$*late to con#ert t'e to a sin$le 7*ad. T'is tec'ni7*e is
)artic*larl" *sef*l if a))lied to a n*%er of faces at once. Anot'er !a" to create a
sin$le 7*ad is to select t'e di#idin$ ed$e and delete it.
Figure 3.56. Con:ert unneeded triangles to Huads.
c'est =
Figure 3.57
+ left>+ !'ic' is at a s'ar) an$le to t'e )ol"$on %elo!+ a&in$ t'is area loo& an$*lar
!'en "o* rotate aro*nd t'e odel. It is %est t'at !e reo#e t'is )ol"$on+ re%*ildin$
t'e area to soot' it o*t.
Figure 3.57. &e=uild an areas that don>t look s%ooth or
natural.
T'e 7*ic&est !a" to acco)lis' t'is is to s)lit t'e faces as s'o!n in Figure 3.57+
iddle. Select t'e ne! #ertices and sna) eac' one to t'e to)ost #erte2 of t'e c*t.
Finall"+ !eld t'e to$et'er+ res*ltin$ in t'e si)lified %*t soot'er area seen in Figure
3.57+ ri$'t.
The
(a:el
5e-#e acco)lis'ed a lote2ce)t for t'e 'ands and feet+ t'ere reall" aren-t an" ore
details !e can add to Kila-s ain %od". =In C'a)ter I+ 4Modelin$ ,etails+4 !e-ll $et to add
clot'in$ and ot'er areas li&e ears and 'air.> So let-s 1*st finis' t'is section %" $i#in$ 'er a
na#el.
For a $eneral $ae odel+ t'e na#el co*ld %e ac'ie#ed !it' t'e te2t*re+ ca*sin$ no
a1or )ro%les. :*t for deonstration )*r)oses+ I !ill $o a'ead and create it *sin$ t'e
c*ttin$ and s'a)in$ et'od *sed t'ro*$'o*t t'is c'a)ter.
1. S!itc' to t'e front #ie!+ a&in$ s*re t'e ia$e )lanes are #isi%le. Moo in+ as in
Figure 3.58 =left>+ to !'ere t'e na#el !o*ld %e.
Figure 3.58. Finish the =asic details = =uilding a na:el.
1 Ma&e t!o sall c*ts+ res*ltin$ in a diaond s'a)e =Figure 3.58+ ri$'t>. T'e c*ts
need not follo! t'e ia$e )erfectl". t'e" 1*st need to %e in t'e correct )lace.
2 Select t'e faces 1*st created =Figure 3.59+ left>. T'en select Edit Pol"$ons L E2tr*de
Face+ and o#e t'e in!ard sli$'tl".
3 As "o* can see in Figure 3.59 =iddle>+ soe faces 'a#e %een created do!n t'e
center of t'e na#el. ,elete t'ese %efore o#in$ on to ani)*late t'e inside of t'e na#el+
s'a)in$ it correctl" =Figure 3.59+ ri$'t>.
Figure 3.59. *-trude the faces in;ard1 %aking the
depression of the na:el.
Kila-s na#el is fairl" %asic for no!. t'is is %eca*se !e are not s*re 'o! it !ill loo& in t'e
$ae+ or e#en if it !ill e#er %e seen *) close. After t'e odel is co)lete+ !e can coe
%ac& to t'e na#el and add details or reo#e it if necessar".
Figure 3 6<. +ila so far
At t'is )oint+ Kila-s essentials 'a#e %een odeled. S'e no! 'as a face+ and t'e )riar"
areas of 'er %od" 'a#e %een s'a)ed and ad1*sted to $i#e 'er an e2)licit for. If !e
re7*ire it+ ore/)recise *scle definition can %e ac'ie#ed !it' t'e te2t*re+ as can
an" of t'e saller details. For no!+ 'er s'a)e loo&s $ood and !ill defor !ell.
,elete t'e 'istor" on "o*r $eoetr" and sa#e "o*r !or& as KilaK,etails.%.
'and
s
9ands in a $ae en#ironent can coe in an" s'a)es and si8es. ,*rin$ o*r
researc' in C'a)ter B+ !e disco#ered t'at Kila is to 'a#e a f*ll" !or&in$ 'and+
eanin$ all t'e fin$ers can %e aniated se)aratel". If "o* are at all *ns*re a%o*t
t'e n*%er of fin$ers "o*r c'aracter s'o*ld 'a#e+ tal& it t'ro*$' !it' "o*r lead
artist.
Alt'o*$' !e alread" 'a#e deterined t'e 'ands !e need for Kila+ I !ill ill*strate in
t'is section 'o! to de#elo) #ario*s resol*tions for a 'and+ co#erin$ an" e#ent*alit".
T'e %est startin$ )oint for t'is tas& is to %*ild t'e 'i$'er/resol*tion #ersion and t'en
!or& do!n.
If "o* alread" 'a#e a selection of 'ands at "o*r dis)osal+ as I do in " Mor$*e+ "o*
can si)l" i)ort one t'at-s a))ro)riate+ attac' it+ and &ee) !or&in$. :*t let-s sa"
"o*-re startin$ fro scratc'. Yo*-ll need soe sa)le 'and ia$es t'at "o* can
i)ort into Ma"a and *se as a $*ide. T'e ia$e in Figure 3.61 is t'e one !e !ill
*se as a %ase in t'is disc*ssion.
Figure 3.61. 'and reference i%age
#uilding a
Finger
:efore !e contin*e+ let-s loo& %riefl" at 'o! t'e fin$er is $oin$ to %end+ and t'e %est !a"
to %*ild t'is. Load t'e file called :endin$Test.a =located on t'e C, in t'e G3
director">. It co)rises fi#e )riiti#e fin$ers+ as seen in
Figure 3.62
=to)>. If "o* o#e alon$ t'e tieline+ t'e fin$ers !ill %end =
Figure 3.62
+ %otto>.
Figure 3.62. Finger =ending test
Notice t'at t'e fin$er on t'e far left is )inc'in$ %adl" as it %ends+ !'ile t'e one on t'e far
ri$'t &ee)s its s'a)e. T'is is an e2a)le of 'o! addin$ a fe! )ol"$ons in t'e correct
)lace can 'el). It a" #er" !ell %e+ 'o!e#er+ t'at in "o*r $ae t'e c'aracter-s fin$ers
are ne#er seen *) close+ so t'e far/left fin$er !ill do 1*st fine. So let-s %e$in !it' %*ildin$
a si)le fin$er. Once !e 'a#e one fin$er co)lete+ !e can d*)licate it and *se it for t'e
rest of t'e 'and(
1. Start !it' a ne! scene and $o to Create L Pol"$on Priiti#es L C*%e. Create a c*%e
!it' a 5idt' of A+ S*%di#isions Alon$ 5idt' of 3+ S*%di#isions Alon$ 9ei$'t of ?+ and
S*%di#isions Alon$ ,e)t' of ? =Figure 3.63>.
Figure 3.63. Cu=e con"guration to start the "nger
2. Use t'e S)lit Pol"$on tool to follo! t'e c*ts s'o!n in Figure 3.64 in t'e
iddle. T'is defines t'e &n*c&le areas.
Figure 3.64. Add the knuckle de"nition1 and then =egin to %old
the shape.
3. 5it' t'e &n*c&les in )lace+ start to s'a)e t'e rest of t'e fin$er. Mo#e t'e &n*c&les
do!n t'e fin$er *ntil t'e" are correctl" )ositioned. T'en+ as in Figure
3.64
at t'e %otto+ ta)er t'e !'ole fin$er do!n to!ard t'e ti).
4. Loo&in$ fro t'e side #ie! =Figure 3.65>+ o*r fin$er is a little flat. 5e need to $i#e
it ore s'a)e. S*%di#ide t'e fin$er f*rt'er+ %*t t'is tie don-t *se t'e S)lit Pol"$on
tool. Instead+ $o to Edit Pol"$ons L C*t Faces Tool.
Figure 3.65. Di:ide the "nger so that ;e can add %ore shape.
Li&e t'e S)lit Pol"$on tool+ C*t Faces c*ts t'e faces for "o*+ %*t in t'is case "o*
define a sin$le strai$'t line t'at deterines t'e a2is of t'e slice. Ma"a t'en slices
t'ro*$' t'e entire es'+ follo!in$ t'is line. A !ord of !arnin$( :e caref*l !'en
a))l"in$ t'is tool. it !ill c*t t'ro*$' %ot' sides of t'e es'.
Tr" it 'ere( Select an area %et!een t'e to) of t'e fin$er and t'e ne2t &n*c&le+
'oldin$ do!n t'e o*se %*tton. A line a))ears+ s)annin$ t'e entire #ie! )anel.
Mo#e t'e o*se+ and t'e orientation of t'e line alters+ to deterine t'e line t'at !ill
%e sliced across t'e fin$er.
Ma&e s*re t'e line is co)letel" #ertical+ and t'en let $o of t'e o*se %*tton. A line
'as %een c*t all t'e !a" t'ro*$' t'e es'+ sa#in$ "o* t'e effort of 'a#in$ to create
eac' c*t indi#id*all".
1 Contin*e to !or&+ a&in$ a total of t'ree slices+ *ntil t'e fin$er loo&s li&e t'at in
Figure 3.65 =iddle>.
2 No! t'at "o* 'a#e t'ese e2tra di#isions+ "o* can add definition to t'e fin$er. Loo& at
"o*r o!n fin$er fro t'e side and tr" to atc' it =Figure 3.65+ %otto>.
3 S!itc' to t'e to) #ie! and contin*e s'a)in$+ as ill*strated in Figure 3.66.
Figure 3.66. Shape the "nger additionall fro% the top
:ie;.
1 Mo#in$ on+ create t'e fin$ernail. Usin$ t'e S)lit Pol"$on tool+ create a c*t at t'e end of
t'e fin$er to o*tline t'e act*al fin$ernail =8igure /.9:+ iddle>. Mani)*late t'e #ertices *ntil
"o* ac'ie#e t'e re7*ired s'a)e =Figure 3.67+ ri$'t>.
2 5'ile "o*-re at t'e fin$ernail end+ "o* can reo#e a co*)le of *nneeded #ertices. Yo*
s'o*ld !ind *) !it' t!o #ertices on eit'er side of t'e nail+ as s'o!n in Figure 3.68 =left>.
Select t'ese and !eld t'e to t'e #ertices a%o#e t'e =Figure 3.68+ ri$'t>.
Figure 3.67. Create the "ngernail.
Figure 3.68. Tid up the "ngernail = re%o:ing these
:ertices.
1<. Finall"+ *sin$ reference or "o*r o!n fin$er+ contin*e !or&in$ on t'e o#erall
s'a)e *ntil "o* are 'a))" !it' t'e res*lts =Figure 3.69>.
Figure 3.69. 0sing our reference1 keep shaping the
:ertices.
11. Referrin$ %ac& to o*r %endin$ test in Figure 3.62+ !e can see t'at t'e fin$er
!e-#e 1*st desi$ned !ill ore t'an li&el" )inc' *nderneat' as it-s deforin$. Let-s tr"
to fi2 t'at. As ill*strated in Figure 3.7<+ s)lit t'e )ol"$ons *ntil "o* $et t!o *)side/
do!n ; s'a)es+ alost irrorin$ t'e &n*c&les a%o#e.
Figure 3.7<. Create e-tra polgons underneath the knuckle to help
the "nger defor% =etter.
12. For t'e last tie =on t'is fin$er+ an"!a">+ !or& on t'e $eneral s'a)e *ntil "o* are
satisfied.
5'at !e 'a#e no! is a decent fin$er odelalt'o*$' it a" 'a#e a %it too *c' detail
or too an" )ol"$ons for t'e act*al c'aracter "o* are %*ildin$. Figure 3.71 s'o!s 'o!
t'e fin$er !e 'a#e 1*st %*ilt can %e red*ced to a lo!er iteration in a atter of in*tes.
All I did to ac'ie#e t'is !as to sna) t'e #ertices I didn-t !ant to t'e ones I !anted to
&ee)+ and t'en !eld t'e !'ole fin$er *sin$ a lo! distance of
G.B or G.GB.
Figure 3.71. The high@and lo;@resolution :ersions of the "nger
:efore contin*in$+ delete t'e 'istor" on "o*r fin$er and sa#e as KilaKFin$er.%.
Creating All the
Fingers
As !e )ro$ress !it' %*ildin$ t'e 'and+ I !ill deonstrate t'e lo!er/resol*tion #ersion
ne2t+ for co)arison. T'e tec'ni7*e is t'e sae+ no atter !'ic' fin$er "o* *se.
No! it is tie to *se o*r $*ide ia$e+ t'e one in Figure 3.61. S!itc' to t'e to) #ie!
and i)ort t'e ia$e as an ia$e )lane. Go to ;ie! L Ia$e Plane L I)ort Ia$e and
select t'e ia$e called 9andKTo).1)$ =on t'e C, in t'e director" G36Scans>.
Si8e at t'e oent is not reall" an iss*e+ as lon$ as t'e )ro)ortions are correct. So
instead of alterin$ t'e ia$e )lane+ si)l" rotate and scale t'e fin$er *ntil it atc'es t'e
iddle fin$er in t'e ia$e+ linin$ it *) !it' t'e &n*c&le as in Figure 3.73. Kee) t'e rotations
to EG de$rees for no!.
Figure 3.73. Position the "nger so it %atches the i%age plane.
Figure 3.72. !%port the guide i%age as an i%age plane.
3. :efore creatin$ t'e ot'er fin$ers+ c'ec& t'at t'e )ro)ortions are correct. As in Figure
3.74 =left>+ o#e t'e fin$er to t'e ri$'t of t'e ia$e-s iddle fin$er and co)are t'e
)ro)ortions. T'e si8e loo&s fine+ so $o a'ead and co)are t'e &n*c&les- )ositions. Ma&e
an" necessar" ad1*stents =Figure 3.74+ ri$'t> %efore )roceedin$.
Figure 3.74. Dou=le@check the proportions.
()T*
It-s i)ortant to $et t'e fin$er ri$'t+ %eca*se an" c'an$es "o* a&e
later !ill in#ol#e alterin$ fi#e fin$ers instead of one.
4. Once "o* are 'a))" !it' t'e fin$er-s )ro)ortions+ d*)licate it fo*r ties. T'en
)osition and scale eac' co)" to fit its corres)ondin$ fin$er in t'e ia$e =Figure 3.75>.
,on-t do t'e t'*% "et+ 'o!e#er ="o* !ill need to edit t'e t'*% a %it ore %efore
)ositionin$ it>.
Figure 3.75. Create the other "ngers for the hand.
5. No! !e-ll loo& at t'e t'*%. It-s s'a)ed differentl" fro t'e fin$ers+ and it-s set on an
an$le. So %efore )ositionin$ it+ !e !ant to res'a)e it. 5aitin$ to do t'is later !o*ld
a&e t'e tas& ore diffic*lt. Yo* can ac'ie#e t'e desired s'a)e %" si)l" selectin$
areas of #ertices and scalin$ t'e *) *ntil t'e di$it loo&s t'ic&er+ rese%lin$ a t'*%
=Figures 3.76 and 3.77>.
Figure 3.76. AdAust the "fth digit until it rese%=les a
thu%=.
Figure 3.77. The "nger no; looks %ore like a thu%=.
6. To finis' t'e t'*%+ re)osition it so it lies o#er t'e t'*% in t'e $*ide ia$e
=Figure 3.78+ left>. T'en rotate it aro*nd its F a2is %" I@ de$rees =Figure 3.78+
ri$'t>.
Figure 3.78. Position the thu%= so it %atches the i%age.
7. T'e fin$ers are read". "o* a" !ant to o#e t'e fin$ers *) sli$'tl" as I 'a#e done
in Figure 3.79+ so t'e" lie a%o#e t'e t'*%.
Figure 3.79. Mo:e the "ngers up slightl so the lie a=o:e the
thu%=.
8. Mo#in$ on+ co%ine all t'e di$its so t'e" are a sin$le es'. As "o* can see in Figure
3.8< =to)>+ !e still 'a#e t'e ends of t'e fin$ers ca))ed. :efore !e start !or& on t'e
)al+ reo#e t'ese ca)s =Figure 3.8<+ %otto>.
Figure 3.8<. Co%=ine the digits and re%o:e the inner faces.
The
'and
No! !e can start on t'e ain )art of t'e 'and. Use t'e A))end To Pol"$on tool to
%rid$e t'e $a)s %et!een t'e fin$ers and %et!een t'e forefin$er and t'*% =Figure
3.81>+ fillin$ in t'e o*ter areas.
Figure 3.81. 0se the Append To Polgon tool to =ridge the gaps
=et;een the "ngers and thu%=.
Ne2t+ %rin$ t'e fin$ers *) to eet t'e t'*% %" selectin$ t'e ed$es =
Figure 3.82
+ left> all aro*nd t'e o*ter rin$ of t'e fin$ers. Select t'e all t'e !a" *nderneat'+ too.
Use t'e E2tr*de Ed$e tool to )*ll t'e ed$es o*t to eet t'e t'*% =
Figure 3.82
+ ri$'t>. Finis' %" flattenin$ t'e ne! ed$es. Yo* can *se t'e Scale ani)*lator+ or t'e
sall s7*are on t'e E2tr*de Ed$e ani)*lator to do t'is.
Figure 3.82. *-trude the edges at the end of the "ngers to create
the hand.
Tip
If "o* are e2)eriencin$ )ro%les ali$nin$ t'e ed$es of t'e fin$ers "o* can
ali$n t'e ed$es an*all" %" *sin$ t'e standard Mo#e ani)*lator and
sna))in$ t'e ed$es to t'e $rid. First+ o)en *) t'e Mo#e tool o)tions and
deselect Retain Co)onent S)acin$. 5it' t'is settin$ t*rned off+ !'en !e *se
t'e $rid sna) tool to ali$n t'e ed$es t'e" !ill all &ee) t'eir ori$inal s)acin$
relati#e to one anot'er. Select t'e ed$es and+ 'oldin$ F+ o#e t'e alon$ t'e
M a2is. All t'e ed$es !ill ali$n t'esel#es alon$ a strai$'t line )er)endic*lar to
t'at a2is. Release F+ and )osition t'e ed$es correctl".
No! it-s tie to !or& t'ose #ertices. S'a)e t'e e2istin$ )al and *))er 'and areas
*sin$ t'e $*ide ia$e and an" reference aterial "o* 'a#e =Figure 3.83>.
Figure 3.83. Work on the :ertices to shape the ne; polgons for the
pal% and upper hand.
Yo* no! need to do anot'er e2tr*de. Yo* s'o*ld 'a#e a co)lete loo) at t'e inner side
of t'e 'and =Figure 3.84+ left>. Select t'e ed$es aro*nd t'is loo) and e2tr*de t'e
=Figure 3.84+ iddle>. For t'is e2tr*sion+ )*ll it ri$'t do!n to t'e !rist and scale it
in!ard+ across t'e F a2is =Figure 3.84+ ri$'t>. Loo& in t'e C'annel :o2. "o* !ill 'a#e all
t'e attri%*tes for t'e e2tr*sion a#aila%le. Set ,i#isions to ?.
Figure 3.84. *-trude the edges around the upper hand again.
More !or& on t'e #ertices is needed no!+ s'a)in$ t'e )al+ *))er 'and+ and *))er !rist
areas *ntil t'e entire 'and is correct. Start %" ro*ndin$ off t'e !rist area and !or&in$
"o*r !a" *). 5e a))ear to 'a#e 7*ite a fe! )ol"$ons in t'e )al area+ and it !o*ld %e
easier to edit if !e reo#ed soe of t'e *nnecessar" ones. Select t'e ed$es s'o!n in
Figure 3.85 =left>. t'e" s'o*ld lie %et!een t'e tendons on t'e %ac& of t'e 'and. Select
t'e sae ed$es on t'e *nderside+ too+ and t'en $o to Edit Pol"$ons L Colla)se to
reo#e t'e =Figure 3.85+ ri$'t>.
Figure 3.85. Collapse so%e of the edges %aking up the hand1
cleaning up the area and %aking it easier to edit.
Kila-s ars !ere ade *) of BG s*%di#isions aro*nd t'e a2is+ so t'e !rist area of t'e
'and s'o*ld atc' t'is. As s'o!n in Figure 3.86 on t'e left+ select e#er" ot'er ed$e and
colla)se t'e. T'is lea#es B? reainin$ =Figure 3.86+ ri$'t>+ %*t !e can reo#e t!o
ore later after !e 'a#e !or&ed soe ore on t'e area.
Figure 3.86. &educe the polgons in the ;rist so it ;ill %atch up %ore
closel ;ith the ar%.
No! !e 'a#e a si)ler es' to !or& !it' ore easil". Contin*e s'a)in$ t'e )al and
*))er 'and. *se t'e tendons on t'e %ac& of t'e 'and as a $*ide+ linin$ *) t'e ed$es to
follo! t'e.
Loo&in$ at t'e 'and on t'e left in Figure 3.87+ !e co*ld *se soe ore #ertices across
t'e iddle to fill it o*t. As "o* did earlier+ *se t'e C*t Faces tool to c*t a line all t'e !a"
t'ro*$' t'e 'and =Figure 3.87+ ri$'t>. T'en s'a)e t'e *))er )art of t'e 'and *ntil "o*
are 'a))" !it' it =Figure 3.88>.
Figure 3.87. Split the hand using the Cut Faces tool.
Figure 3.88. Shape the upper part of the hand.
Ne2t+ rotate t'e 'and so "o* are loo&in$ at t'e )al =Figure 3.89+ left>. O*r ne2t 1o% is
to create t'e *scle t'at lies at t'e %ase of t'e t'*%. Follo!in$ Figure 3.89 =ri$'t>+
s)lit t'e )ol"$ons o*tlinin$ t'e *scle+ addin$ a second line across t'e center t'at !ill let
"o* define t'e *scle.
Figure 3.89. Add the large %uscle at the =ase of the thu%=.
T'e final addition to o*r 'and !ill %e t'e &n*c&les. To add t'ese+ "o*-ll add an F a%o#e
eac' fin$er =Figure 3.9<+ ri$'t>. ,o t'is as "o*-#e done %efore+ %" s)littin$ t'e
)ol"$ons. T'en )*ll *)!ard t'e #ertices t'at are no! in t'e center. T'is !ill a&e t'e
&n*c&les ore )rono*nced.
Figure 3.9<. Split the polgons a=o:e each "nger to %ake
knuckles.
And t'ere "o* 'a#e ita 'and for Kila. Adittedl"+ it )ro%a%l" 'as ore )ol"$ons t'an it
needs+ %*t !e can reo#e t'ese !'en !e coe to t'e o)tii8ation )rocess in C'a)ter @+
4Model O)tii8ation.4
'and
&esolutions
As entioned earlier+ I follo!ed t'e sae )roced*re for t'e ot'er 'and+ %*t *sin$ t'e
lo!er/resol*tion fin$er. Figure 3.91 s'o!s %ot' 'ands.
Figure 3.91. )ur high@and lo;@resolution hands1 =oth produced using the
sa%e procedure.
T'e 'ands a" loo& 7*ite different *) close+ es)eciall" !it' t'e !irefrae #isi%le. :*t
loo& at t'e in Figure 3.92+ at a distance siilar to 'o! t'e" !ill %e #ie!ed in a $ae.
Fro afar+ "o* can 'ardl" tell t'e difference. T'is is t'e &e" to creatin$ an"t'in$ for
$aes( If "o* can-t see it in t'e $ae+ don-t !aste tie creatin$ it.
Figure 3.92. Although there is a diFerence of 6<4 polgons =et;een
these t;o hands1 ou can>t tell ;hen the>re :ie;ed in the ga%e.
One 'and 'as BGBG )ol"$ons+ %*t t'e ot'er 'as onl" IGA. Usin$ t'e second+ lo!er/
resol*tion #ersion co*ld sa#e "o* AGI )ol"$ons+ freein$ *) )recio*s )rocessor )o!er.
And t'is isn-t t'e lo!est !e can $o. !e can red*ce t'e n*%er of )ol"$ons e#en
f*rt'er.
Loo& at Figure 3.93 these are some of the hands in my ;orgue. &ou can see how they
di1er. &ou could remove some of the +ngers if they will not be needed, merging
t'e so t'e" are no lon$er indi#id*al. or "o* co*ld er$e t'e all+ lea#in$ a
itten/t")e 'and.
Figure 3.93. A collection of hands at :arious resolutions
Man" $aes *se fin$er er$in$ not onl" to c*t do!n on t'e )ol"$on co*nt+ %*t also t'e
1oint co*nt. Yo* see t'e itten 'and on all t'e ain c'aracters of t'e e#er)o)*lar Grand
T'eft A*to series on PS?. In t'at t")e of $ae+ "o* need all t'e )rocessin$ )o!er "o*
can s7*ee8e o*t of t'e s"ste in order to r*n e#er"t'in$ t'at is 'a))enin$ in t'e
%ac&$ro*nd. Usin$ t'e itten/t")e 'and can also ean "o* *se I 1oints to aniate it+
rat'er t'an t'e B@ needed to o#e a f*ll" ri$$ed 'and+ a$ain sa#in$ )rocessin$ )o!er.
Ot'er $aes o#e t'e detail *) a notc' and 1*st co%ine t'e )in&ie+ rin$+ and iddle
fin$ers+ lea#in$ t'e inde2 fin$er and t'*% free. T'is t")e of 'and is *sef*l for
c'aracters t'at need to 'old !ea)ons+ or t'at a" %riefl" %e seen *) close. T'e
se)arate inde2 fin$er $i#es t'e ill*sion of a f*ll" !or&in$ 'and.
If "o*-re on a ti$'t %*d$et and t'e 'and does not need to %e aniated+ "o* can al!a"s
create a 'and in a d"naic )ose. T'is eans "o* onl" need t'e !rist 1oint to aniate it
and+ de)endin$ on t'e $ae en$ine "o*-re *sin$+ "o* can s!a) t'e 'and odels !'en
"o* need a different )ose.
T!P
It is i)ortant t'e lo!est #ersion )ossi%le for a 'and. T'is is an area t'at can
eat *) lots of )o!er+ so if "o* don-t need a f*ll" !or&in$ 'and+ don-t *se one.
Yo* can easil" create a lo!/resol*tion #ersion fro t'e 'i$' #ersion t'at !e
%*ilt in t'is c'a)ter. Si)l" select #ertices "o* !ant to reo#e and+ 'oldin$
do!n t'e ; &e"+ sna) t'e to t'e #erte2 t'at "o* !ant to &ee). <*st
ree%er "o* !ill need to !eld t'e+ or t'e )ol"$ons !ill still e2ist.
Attaching the 'and to the
Model
All t'at is left to do no! for Kila-s 'ands is to attac' t'e to t'e odel. 5e !ill *se t'e
'i$'er #ersion for t'is disc*ssion. If !e 'a#e eno*$' )ol"$ons in o*r %*d$et+ it !ill %e
nice to &ee) soe of t'e detail+ since s'e is t'e ain c'aracter and !e a" !ind *)
seein$ 'er 'ands *) close.
,elete t'e 'istor"+ and sa#e "o*r c*rrent file as KilaK9and.%. T'en load t'e last
acti#e file containin$ t'e %od"+ !'ic' !as KilaK,etails.%.
I)ort t'e 'and into KilaK,etails.%+ %" $oin$ to File L I)ort and o)enin$
KilaK9and.%.
No do*%t t'e 'and in "o*r file is a%sol*tel" assi#e+ so scale it do!n. As a $*ide+
t'e 'and s'o*ld %e a%o*t t'e sae si8e as t'e s)an fro c'in to fore'ead on t'e face
=Figure 3.94>.
Figure 3.94. Scale the hand to %atch +ila>s face.
4. Position t'e 'and at t'e end of t'e !rist+ o#erla))in$ t'e first stri) of )ol"$ons !it'
t'e )al do!n+ as s'o!n in Figure 3.95.
Figure 3.95. Position the i%ported hand at the end of the ;rist.
,elete t'e first stri) of )ol"$ons fro t'e 'and =Figure 3.96+ left>+ and t'en co%ine
%ot' es'es so t'at "o* can stitc' t'e to$et'er. If "o* 'ad a irrored instance for t'e ar
$eoetr"+ it !ill 'a#e %een reo#ed and "o* !ill need to re/create it.
Matc' *) #ertices t'at lie closest to one anot'er and !eld t'e =Figure 3.97>+ as
"o* did !'en "o* stitc'ed t'e li%s to t'e torso. :eca*se "o* 'a#e BG s*%di#isions on t'e
ar and B? on t'e 'and+ t'ere !ill %e an area !'ere "o* 'a#e to !eld t'ree #ertices
to$et'er. Start at t'e to) and t'en o#e to t'e %otto+ !or&in$ on t'e sides last.
Figure 3.96. Tri% =ack the hand =efore co%=ining =oth
%eshes.
Figure 3.97. Stitch the hand to the ar% = ;elding :ertices that
are close.
7. :eca*se "o* %e$an !it' differin$ n*%ers of #ertices+ "o* !ill end *) !it' an area
t'at loo&s 4!ron$4a"%e it-s 1*st not as soot' as it s'o*ld %e. Since "o* !elded t'e
side #ertices last+ t'is is !'ere t'e )ro%le area lies. T'ere are 7*ite a fe! )ol"$ons on
t'e 'and+ so "o* can afford to lose a fe! fro 'ere. Select t'e ed$es 'i$'li$'ted in
Figure 3.98+ and colla)se t'e.
Figure 3.98. Collapse these edges to s%ooth out the ;rist area.
5or& soe ore on t'e )ro%le area *ntil "o* are satisfied !it' t'e s'a)e =Figure
3.99>.
Figure 3.99. The attached1 "nished hand
5'en "o*-re done+ delete t'e 'istor" and sa#e "o*r !or& as KilaK5it'9ands.%.
Fee
t
Kila is !earin$ s'oes+ and ost of t'e tie 'er s'oes !ill %e si)le s'a)es. For t'e
)*r)oses of t'is disc*ssion+ 'o!e#er+ !e !ill e2)lore t'e )ossi%ilities of %are feet.
I 'a#e in " Mor$*e #ario*s #ersions of feet+ 1*st as I do 'ands. Figure 3.1<<
s'o!s soe of t'ese c'oices+ !'ic' are 7*ite %asic. As "o* loo& fro t'e left to t'e
ri$'t+ "o* can see 'o! I 'a#e d*)licated and red*ced t'e 'i$'er/resol*tion foot to
create t'e ne2t in t'e line. So t'e" start at BIG )ol"$ons and end !it' 1*st ?@.
Figure 3.1<<. #are feet1 at :arious resolutions
In t'is section+ !e !ill see 'o! to create t'e 'i$'er/resol*tion foot. T'en+ if !e need
to+ !e can red*ce it. Once !e 'a#e o*r %are foot created+ a fe! si)le ste)s !ill
transfor it into Kila-s at'letic s'oe. Let-s start !it' a ne! scene.
1 T'ere are BG s*%di#isions aro*nd t'e a2is of o*r le$+ so let-s &ee) t'at ao*nt
for t'e foot. Create a ne! c"linder !it' S*%di#isions Aro*nd A2is set to BG and
S*%di#isions Alon$ 9ei$'t at 3.
2 S!itc' to t'e side #ie!. As deonstrated in Figure 3.1<1+ select t'e faces at
t'e front and e2tr*de t'e+ settin$ t'e n*%er of ,i#isions to I.
Figure 3.1<1. *-trude the faces out of the front of the
clinder.
1 Scale t'e e2tr*sion do!n t'e Y a2is and o#e it do!n to line *) !it' t'e %ase of t'e
c"linder. T'e %asic foot s'a)e a" %e a little 'i$'+ as it is on t'e far ri$'t in Figure 3.1<1+ so
scale t'e entire es' do!n sli$'tl".
2 Still in t'e side #ie!+ start to ad1*st t'e #ertices as s'o!n in Figure 3.1<2+ to $et a
%etterdefined foot s'a)e.
Figure 3.1<2. AdAust the shape of the foot in the side :ie;.
5. S!itc' to t'e )ers)ecti#e #ie! and a&e t'e sae ad1*stents. Tr" to sc*l)t t'e
es'+ transforin$ t'e s'a)e *ntil it rese%les a foot =Figure 3.1<3>.
Figure 3.1<3. Work on the foot in the perspecti:e :ie;.
T'e $eneral s'a)e of t'e es' no! re)resents a foot+ tie for a 7*ic& tid"/*)(
First reo#e t'e faces fro t'e to) of t'e foot+ t'e to) ca) of t'e ori$inal c"linder.
Ne2t+ loo& at t'e %otto of t'e foot =Figure 3.1<4>. It-s a %it of a ess+ so s)end
soe tie cleanin$ it *) a little. Sna) t'e #ertices on t'e inner sole to t'e o*ter rin$ and !eld
t'e+ *ntil t'e sole rese%les t'e one on t'e ri$'t in Figure 3.1<4.
A &e" )art of t'e foot is t'e an&le+ and !e !ill add t'is ne2t. Follo!in$ Figure 3.1<5+
s)lit t'e faces+ car#in$ in a $eneral o*tline for t'e an&le. ,o t'is on %ot' sides of t'e foot.
Figure 3.1<4. Tid up the =otto% of the foot.
Figure 3.1<5. Cut the outline for the ankle into the %esh.
4. Finall"+ )*ll t'e an&les o*t sli$'tl" so t'e" are ore )rono*nced =Figure
3.1<6>. Ree%er t'at t'e o*ter an&le 1oint is lo!er t'an t'e inner one.
Figure 3.1<6. The i%pro:ed foot %odel
9o)ef*ll"+ t'e aterial in t'is section !ill 'a#e $i#en "o* a %ase to %*ild *)on. For o*r
)*r)oses+ !e 1*st need to alter t'is #ersion of t'e foot sli$'tl" *ntil it loo&s ore li&e
Kila-s s'oe. "o* can see t'e res*lt in Figure 3.1<7.
Figure 3.1<7. Alter the shape of the foot to suggest an athletic shoe1
so ;e can use it on +ila.
,elete t'e 'istor" on t'e foot and sa#e it as KilaKFoot.%.
()T*
Yo* can $o on fro 'ere+ as "o* !is'+ to add ore details to t'e footindi#id*al
toes+ for instance. Si)l" di#ide t'e front of t'e foot into fi#e se$ents+
se)aratin$ t'e to create t'e toes.
Attaching the Foot to the
Model
Load t'e file created earlier+ KilaK5it'9ands.%. 5e !ill no! i)ort t'e foot into t'is
scene. As "o* did !it' t'e 'and+ scale and ani)*late t'e foot *ntil it is in t'e correct
)osition =Figure 3.1<8+ left>.
Figure 3.1<8. Position the foot and adAust her trousers to "t it.
:efore sa#in$ t'is file and endin$ t'is c'a)ter+ alter t'e %otto of Kila-s tro*sers to fit
t'e ne! foot =Figure 3.1<8+ ri$'t>. T'en+ as al!a"s+ delete t'e 'istor"+ and sa#e t'e
scenet'is tie as KilaK5it'Feet.%.
No! !'en "o* irror t'e $eoetr" Kila !ill 'a#e %ot' feet.
Su%%ar

Kila no! 'as t'e ain details s'e needs =Figure 3.1<9>. T'is c'a)ter s'o!ed "o* 'o!
to add detail to 'er face+ ars+ ain %od"+ and le$s. 5e also $enerated a f*ll 'and and
e2)eriented !it' a&in$ a foot.
Figure 3.1<9. +ila>s progress
Ne2t+ !e !ill add details to 'er in t'e for of 'air+ clot'in$+ and ore.
Chapter 4. Modeling
Details
CD Files
KilaKFeet.% KilaK9air.% KilaKEarKGB.% KilaKEarKG?.% KilaKInnerMo*t'.%
KilaK9ead.% KilaKCo)lete.% KilaFront.1)$ KilaSide.1)$ KilaFaceFront.1)$
KilaFaceSide.1)$ 5E ARE REALLY o#in$ alon$ !it' Kilat'e end is in si$'t. In t'is c'a)ter
!e !ill $i#e
o*r c'aracter-s 'ead soe i)ortant details( 'air+ e"es+ ears+ and t'e inner o*t'.
T'en !e !ill !or& on 'er clot'in$+ addin$ 'er cro)/to) T/s'irt+ and co)leentin$
t'e 1eans !it' a sas' and %elt.
Creating
'air
Yo* are )ro%a%l" loo&in$ at "o*r c'aracter and t'in&in$+ 4S'e doesn-t loo& *c' li&e
!'at s'e-s s*))osed toP.4 9er lac& of 'air is t'e ain reason for Kila-s *ne2citin$
a))earance ri$'t no!. "o* !ill %e s*r)rised at 'o! *c' interest a 'airdo adds to a
c'aracter-s o#erall loo&.
Let-s start !or& on $i#in$ Kila soe 'air+ %" first loadin$ t'e file "o* last !or&ed on+
KilaKFeet.%. Loo& at t'e ori$inal conce)t art!or&+ or t'e ia$e )lanes+ and "o*-ll see
t'at 'er 'air is not f*ll" s"etrical+ so !e !ill+ to an e2tent+ need to odel t'e !'ole
coiff*re. 9er 'air is )arted do!n t'e center+ so !'at !e can do is odel one'alf of t'e
'airdo+ t'en d*)licate and irror it+ and edit t'e co)" to 'a#e t'e sli$'tl" different loo&
of t'e ot'er 'alf.
To %e$in+ let-s reo#e soe of t'e )ol"$ons fro aro*nd t'e %ac& of t'e 'ead+ t'e ones
t'at !ill not %e seen. Usin$ Figure 4.1 as a $*ide+ ar& in t'e 'airline *sin$ t'e S)lit
Pol"$on tool+ and t'en delete t'e *n!anted )ol"$ons.
Figure 4.1. Mark the hairline and then re%o:e the polgons fro%
the =ack of the head.
()T*
Yo* !ill onl" need to !or& on one side of t'e odel as t'e ot'er is erel" a
irrored instance.
5e are finis'ed editin$ t'e ain odel no!. Car#in$ in t'e 'airline $i#es *s a
startin$ )oint for creatin$ t'e 'air. 5e-ll %e$in !it' t'e inner la"ert'e 'air l"in$
closest to 'er face and 'ead.
!nner
,aer
5e !ant t'e 'air to loo& la"ered+ $i#in$ it soe de)t'. To create t'is effect+ !e !ill *se
stri)s of )ol"$ons startin$ at t'e 'airline and %*ildin$ o*r !a" o*t.
1 Create a ne! )ol"$onal )lane li&e t'e one seen in Figure 4.2+ %" $oin$ to Create L
Pol"$on Priiti#es L Plane and o)enin$ *) t'e o)tions !indo!. Set t'e confi$*ration to 5idt'
G.G?+ 9ei$'t G.B@+ S*%di#isions Alon$ 5idt' B+ and S*%di#isions Alon$ 9ei$'t @.
2 Mo#e t'e ne! )lane+ atc'in$ it *) to t'e )ol"$ons on t'e side of t'e 'ead as s'o!n
in Figure 4.3. ,*)licate t'e )lane and )osition t'e ne! co)" ne2t to t'e ori$inal !'ile tr"in$
to sta" %et!een t'e t!o #ertices on t'e 'ead+ so t'e !idt' of t'e stri) atc'es t'e !idt' of
t'e )ol"$on *nderneat' it.
Figure 4.2. Create a ne; polgonal plane.
Figure 4.3. Position the planes to create the =otto% laer of her
hair.
3. Contin*e d*)licatin$ and )ositionin$ stri)s *ntil "o* 'a#e fi#e of t'e )laced aro*nd
t'e 'ead. Ree%er+ !e are onl" !or&in$ on 'alf of t'e 'ead for no!+ so don-t )lace
t'e stri)s all t'e !a" aro*nd.
5e no! 'a#e o*r innerost stri)s for t'e 'air. ne2t !e !ill create t'e o*ter la"er t'at
starts at t'e to) of 'er 'ead and dra)es o#er t'e inner la"er of 'air. 5it' t'ese t!o
areas in )lace+ !e can create ot'er stri)s to )lace in %et!een+ a)lif"in$ t'e la"ered
effect !e are after.
)uter
,aer
Start !or& on t'e o*terost la"er of 'air.
1. ,*)licate one of t'e c*rrent stri)s+ )osition it at t'e to) of t'e 'ead+ and rotate it %"
EG de$rees =Figure 4.4>. Ma&e s*re t'e to) of t'e stri) lies at t'e sae )osition as t'e
center of t'e odel. t'is )oint !ill act as t'e )art in 'er 'air.
Figure 4.4. Add a ne; plane a=o:e the head and cur:e it to follo;
the shape of the head.
Edit t'is stri)+ %endin$ it to follo! t'e s'a)e of 'er 'ead. Yo* !ill notice in Figure 4.4
t'at t'e stri) is too s'ort. It does need to %e lon$er+ so select t'e ed$e nearest t'e %otto
and *se t'e E2tr*de Ed$e tool to add t'ree ore di#isions.
As deonstrated in Figure 4.5+ d*)licate t'e ne! stri) se#eral ties+ *ntil "o* 'a#e
filled o*t t'e to)+ side+ and %ac& of t'e left side of 'er 'ead.
Figure 4.5. Duplicate the top strip to create the top of her hair.
4. Loo&in$ fro t'e side+ t'e 'air sees #er" flat. Mani)*late eac' stri) indi#id*all"+
alterin$ t'e )osition and scale to a&e t'e 'air 'i$'er at t'e cro!n t'an in t'e front
=Figure 4.6>.
Figure 4.6. Mo:e and scale the strips to lift her hair at the cro;n.
Tie to do a %it of tid"in$ *). In t'e )ers)ecti#e #ie!+ loo& do!n onto "o*r 'air
$eoetr". it s'o*ld loo& li&e ine in t'e left )anel of Figure 4.7a %it of a ess. :efore
o#in$ on+ co%ine t'e *))er )arts of t'e stri)s and !eld soe of t'e #ertices aro*nd
t'e to)+ tr"in$ for t'e res*lt s'o!n on t'e ri$'t in Figure 4.7. ,on-t !or& all t'e !a"
do!n t'e stri)s. 1*st concentrate on t'e to) fi#e ro!s of #ertices for no!.
Figure 4.7. Tid up at the cro;n of her head = ;elding so%e of the
:ertices.
5e no! 'a#e t'e %ase $eoetr" in )lace for t'e to) of 'er 'air. Create a irrored
instance to *se as reference+ and "o*-ll see soet'in$ li&e Figure 4.8 =left>. Ta&e soe
tie no! to !or& on t'e s'a)e a little ore. It a" 'el) to sna) t'e #ertices to$et'er
%et!een t'e stri)s+ %*t do not !eld t'e "et. Ai for soet'in$ li&e Figure 4.8
=ri$'t>.
Figure 4.8. Spend so%e ti%e shaping the upper portion of her
hair.
The Front
'airline
Let-s no! create t'e front 'airline+ fillin$ in t'e $a) %et!een 'er fore'ead and 'air.
Reo#e t'e irrored instance of t'e 'air for no! so !e can concentrate on 1*st one
side.
1 First+ 'ide t'e to) la"er of 'air %" selectin$ it and )ressin$ CtrlN96CdN9. Lea#e t'e
*nderneat' #isi%le %eca*se "o* !ill need it for t'is )art of t'e odelin$.
2 ,*)licate one of t'e side stri)s and )osition it a%o#e 'er fore'ead+ follo!in$ t'e
e2a)le in t'e iddle )anel of Figure 4.9.
Figure 4.9. Add a ne; strip a=o:e the forehead.
Ad1*st t'e #ertices *ntil "o* 'a#e t'e arran$eent s'o!n in t'e ri$'t )anel of Figure
4.9+ sna))in$ t'e lo!er #ertices to t'e ones on t'e to) of 'er fore'ead.
:rin$ %ac& t'e $eoetr" t'at a&es *) t'e to) of 'er 'air %" )ressin$
CtrlNS'iftN96CdNS'iftN9. No! sna) t'e *))er #ertices of t'is ne!l" added fore'ead stri)
to t'e front section of 'er 'air =Figure 4.1<>.
Figure 4.1<. Snap the upper :ertices of the forehead strip to the
front part of the outer hair laer.
1 No! co%ine %ot' )ieces of $eoetr"t'e 'airline stri) and t'e front )arts of 'er
'airand !eld t'e #ertices at t'e front+ a&in$ a sin$le+ solid o%1ect.
2 To co)lete t'e front 'airline area+ "o* need to 'ide t'e rest of t'e odel+ a&in$
1*st t'e 'air #isi%le. T'is tie+ instead of selectin$ all t'e $eoetr" and )ressin$
CtrlN96CdN9 to 'ide it+ !e can si)l" isolate t'e 'air.
To do t'is+ select t'e *))er )iece of 'air and $o to t'e S'o! en* of t'e acti#e
#ie!. Mo#e do!n to Isolate Selected+ and c'oose ;ie! Selected. Yo* s'o*ld
no! %e )resented !it' 1*st t'e to) la"er of 'air+ as s'o!n in t'e left )anel of
Figure 4.11
.
Figure 4.11. !solate the top laer of hair and e-tend the front.
T!P
T'e Isolate Select coand is #er" *sef*l. For e2a)le+ "o* can
isolate co)onents s*c' as a selection of faces rat'er t'an !'ole
o%1ects.
1 Contin*in$ on+ "o* need to e2tr*de t'e lo!er ed$e at t'e te)le =Figure 4.11+
iddle>. T'is ed$e *st %e %ro*$'t do!n to eet t'e %otto of 'er 'air =Figure 4.11+
ri$'t>.
2 5eld t'e side #ertices of t'e e2tr*sion to t'e first ro! of #ertices closest to t'e on
t'e e2istin$ 'air+ and t'en ad1*st t'e #ertices to create a %etter s'a)e =Figure 4.12>.
Figure 4.12. Weld the =otto% :ertices and then adAust the shape.
Adding Colu%e to the
'air
Un/isolate t'e $eoetr" so "o* can see t'e face and 'ead a$ain. Yo* do t'is e2actl" t'e
sae !a" as "o* did earlier to isolate it( C'oose S'o! L Isolate Select L ;ie! Selected+
so t'at it is *nc'ec&ed.
No! !e !ill $i#e t'e o*ter la"er of 'air soe ore s'a)e+ $ettin$ rid of t'e doe it
c*rrentl" rese%les. After t'at+ !e-ll !or& on t'e rest of t'e 'air+ fillin$ it o*t and
t'ic&enin$ it to $i#e it ore #ol*e.
1. As s'o!n in Figure 4.13 on t'e left+ select t'e %otto ro! of ed$es and
colla)se t'e.
Figure 4.13. Collapse the =otto% ro; of edges.
:eca*se "o* did not !eld t'e #ertices on t'e lo!er areas of t'e stri)s+ !'en
"o* colla)se t'e ed$es t'e" !ill for s)i&es as ill*strated on t'e ri$'t in
Figure
4.13.
2. Mo#e *) to t'e ne2t ro! of ed$es and+ editin$ eac' one in t*rn+ scale t'e in sli$'tl".
,o t'is for t'e ne2t ro!+ too+ *ntil "o* 'a#e lon$ s)i&es r*nnin$ aro*nd 'er 'air+ as
s'o!n in Figure 4.14.
Figure 4.14. Scale the edges in1 to create long spikes.
A)art fro soe final t!ea&in$+ o*r o*ter la"er is co)lete. It needs additional !or&+
o#in$ t'e #ertices to randoi8e t'e s'a)e+ %*t !e !on-t do t'at *ntil all t'e %asic
$eoetr" is in )lace. No! !e *st fill o*t t'e 'air+ a&in$ it a))ear t'ic&er+ $i#in$ it
ore #ol*e.
Usin$ t'e stri)s on t'e inside la"er+ do as "o* did !it' t'e o*ter ones. Select t'e
%otto ed$es and colla)se t'e+ t'en ad1*st t'e *))er ed$es *ntil "o* 'a#e lon$+ s'ar)
)ol"$ons.
,*)licate t'ese edited inner stri)s+ creatin$ a total of BC+ and )osition t'e
%et!een t'e o*ter la"er and t'e 'ead.
5'en "o*-re finis'ed !or&in$ on t'is side of t'e 'ead+ "o* can create a irrored #ersion
to see 'o! t'e 'air is loo&in$ o#erall. :e$in %" selectin$ all t'e )ieces of $eoetr" t'at
a&e *) t'e 'air on Kila-s left side. Press CtrlNG6CdNG to $ro*) t'e. O)en *) t'e
,*)licate o)tions+ a&e s*re t'at Instance is not selected+ and clic& ,*)licate or A))l" to
create a irrored d*)licate of t'e $ro*) =settin$ t'e Scale #al*e for t'e F/a2is to B>.
Kila-s coiff*re s'o*ld no! rese%le Figure 4.15. 8or now, the hair shape is acceptable. 't
still needs more work, but let's leave it for now and go on to create the
left side of t'e 'airdo =Kila-s ri$'t>. It !ill %e different fro t'e ri$'t side.
Figure 4.15. Fill out the hair ;ith additional point strips.
De:eloping the ,eft
Side
T'e 'air on Kila-s ri$'t side 'an$s do!n+ %*t on t'e ot'er side t'e 'air is t*c&ed
%e'ind t'e left ear. To start de#elo)in$ t'is side of t'e 'airdo+ first 'ide t'e inner
stri)s so "o* can concentrate on t'e o*ter la"er of 'air =Figure 4.16>.
1. Select t'e #ertices s'o!n in Figure 4.17=+ and !eld t'e all to$et'er *ntil "o*
are left !it' a sin$le #erte2 =Figure 4.17c>.
2. Mo#e t'is reainin$ #erte2 *) to ro*$'l" t'e s)ot !'ere t'e to) of t'e ear
s'o*ld %e. T'en )roceed to !or& on refinin$ t'is area of t'e 'airdo *ntil t'e
t*c&ed/in loo& is correct =Figure 4.17d>.
3. Co%ine %ot' t'e left and ri$'t sides t'at a&e *) t'e to)+ o*ter la"er of 'er
'airdo.
4. :rin$ %ac& t'e inner/la"er stri)s "o* 'id earlier+ ad1*stin$ t'e to fit t'e ne! t*c&ed/
in arran$eent. Yo* !ill 'a#e to delete soe of t'e stri)s t'at no lon$er fit t'e s'a)e.
Figure 4.17. The steps for tucking the hair =ehind the ear
Figure 4.16. Prepare the hair for %ore ;ork = hiding the inner laer on
+ila>s left.
At t'is )oint+ "o* 'a#e %asic $eoetr" in )lace to *se for Kila-s 'air. Kee) !or&in$ on it
*ntil "o* are 'a))" !it' t'e o#erall s'a)e.
)rgani?ing the
Strips
To &ee) t'in$s in order+ !e !ill no! or$ani8e t'e stri)s *sed to fill in t'e 'air+
co%inin$ t'e into indi#id*al 'orses'oe/s'a)ed la"ers. In t'is arran$eent+ not onl"
!ill t'e" %e easier to !or& on+ %*t a))l"in$ a te2t*re to t'e !ill %e less diffic*lt.
1. 9ide e#er"t'in$ e2ce)t t'e stri)s of 'air =Figure 4.18>.
Figure 4.18. 'ide e:erthing e-cept the strips of hair.
2. S!itc' to t'e to) #ie! so "o* are loo&in$ do!n on t'e stri)s =Figure 4.19+ left>. It
loo&s li&e I $ot a %it carried a!a"+ rotatin$ t'e stri)s to fit. First+ *sin$ t'e Rotate
ani)*lator+ alter t'e rotations so t'e stri)s a))ear as flat lines in t'e to) #ie!. Yo*
!ill find t'at t'e sae a2is needs alterin$ for eac' stri).
Figure 4.19. We ;ant to %o:e the strips so the follo; a %ore
organi?ed structure.
1 Position all t'e stri)s so t'e" follo! a c*r#e+ a&in$ t'ree concentric c*r#es in total.
Add ore stri)s if "o* need t'e to co)lete t'e c*r#es.
2 Co%ine t'e stri)s t'at a&e *) eac' c*r#e so t'at "o* end *) !it' t'ree se)arate
'orses'oe/s'a)ed o%1ects =Figure 4.19+ ri$'t>.
3 S!itc' to t'e )ers)ecti#e #ie! and isolate t'e o*terost section of 'air. All "o* s'o*ld
%e a%le to see is t'at )artic*lar )iece of t'e $eoetr" =Figure 4.2<+
left>.
Figure 4.2<. ,e:el oF the top and adAust the :ertices to tid up the
geo%etr.
6. Scale t'e to) ro! of #ertices do!n t'e Y a2is so t'at t'e" all lie on t'e sae le#el.
<*st *sin$ t'e %asic Scale ani)*lator is s*fficient 'ere %eca*se "o* do not need to
'a#e an e2act scale. T'en !eld t'e all to$et'er+ a&in$ a co)lete stri) r*nnin$
aro*nd t'e to). ,o t'is a$ain for t'e ne2t ro! do!n. As needed+ ad1*st t'e reainin$
stri)s to tid" *) t'e rest of t'e $eoetr". Figure
4.2< =ri$'t> s'o!s !'at "o*-re aiin$ for.
7. Re)eat t'ese !eldin$ ste)s for t'e ot'er t!o+ inner la"ers *ntil "o* 'a#e
soet'in$ close to !'at-s s'o!n in Figure 4.21.
Figure 4.21. Weld all the laers> strips.
4.22
+ I-#e started to s'a)e t'e o*ter 'air soe!'at+ %" c*rlin$ t'e ends *) #er" sli$'tl"
and refinin$ t'e o#erall s'a)e. Notice t'at I 'a#e added anot'er stri) for a loose strand
at t'e ri$'t te)le.
Figure 4.22. Current :ie; of +ila ;ith hair
&e"ning the
'air
To co)lete Kila-s 'air !e !ill no! s)end soe tie !or&in$ on t'e inner/la"er stri)s+
%endin$ t'e %ottos o*t to follo! t'e strands in t'e o*ter la"er. 5e-ll also add soe
ore #ol*e %" t!istin$ t'e stri)s at t'e %otto.
:eca*se !e 'a#e %een !or&in$ in la"ers+ t'e first ste) is eas". On t'e first inner la"er+
select t'e lo!er ro! of #ertices and $lo%all" scale t'e o*t!ard. Mo#e *) to t'e ne2t ro!
and do t'e sae. Contin*e t'is )rocess on t'e ot'er inner ro!s+ c*rlin$ t'e 'air sli$'tl"
o*t!ard at t'e %otto.
To fill t'e 'air o*t a little and t'ic&en it *)+ !e no! need to t!ist eac' stri) sli$'tl"+ li&e
t*rnin$ t'e slats of a #enetian %lind.
1. Select e#er" ot'er ed$e on eac' stri) =Figure 4.23+ left and iddle>. T'en scale
t'e across t'e F and Y a2es+ %rin$in$ t'e in to!ard t'e iddle as s'o!n in Figure
4.23 =ri$'t>. Select onl" t'e %otto t!o ed$es of eac' stri). do not scale t'e to).
Figure 4.23. T;ist each strip to "ll out the hair.
1 Re)eat t'is )rocess on t'e ne2t la"er+ t'is tie selectin$ t'e o))osite ed$es so t'at
t'e effect !ill %e re#ersed.
2 Finall"+ scale t'e t'ird la"er in t'e sae !a" as t'e first.
All t'e refineent !or& left to do no! is to !or& on t'e o#erall s'a)e+ tr"in$ to fill in an"
lar$e $a)s %et!een t'e strands of 'er 'air. Ta&e a loo& at Figure 4.24 to see an e2a)le
of t'e end res*lt.
Figure 4.24. Work on the o:erall shape of +ila>s hair.
For no!+ do not co%ine all t'e eleents t'at a&e *) t'e 'air. <*st clean *) t'e
scene and sa#e "o*r !or& as KilaK9air.%.
Iuick Cleanup ;ith the
)utliner
If "o* o)en *) "o*r O*tliner+ "o* a" notice t'at a lot of $ro*)s and e)t" nodes are
startin$ to a))ear. "o* can also see t'ese in Figure 4.25a. Most of t'ese
eleents are *nnecessar" and onl" %*) *) t'e file si8e. Let-s clean t'e *).
1. Start %" selectin$ in t'e Pers)ecti#e #ie! all t'e )ieces of $eoetr" "o* !ant to &ee)+
and )ress CtrlNG6CdNG to )*t t'e into a $ro*). Figure 4.25= s'o!s t'e ne! $ro*)
naed $ro*)3.
T!P
T'e easiest !a" to select !'at "o* !ant to &ee) is to dra$ a selection
lasso o#er all of t'e $eoetr" in t'e #ie!.
2. In t'e O*tliner+ clic& and 'old t'e iddle o*se %*tton on t'e ne! $ro*)+ and o#e
it *) *ntil it e2ists in t'e !orld root =t'at is+ o*tside of an" ot'er $ro*)s>+ as seen in
Figure 4.25c. As "o* o#e t'e $ro*) o#er anot'er o%1ect+ t!o lines !ill a))ear a%o#e
and %elo! t'e o%1ect. t'ese indicate t'at if "o* let $o of t'e o*se no!+ t'e $ro*) !ill
%e )laced !it'in t'is o%1ect. If a sin$le line a))ears+ it indicates t'at lettin$ $o of t'e
o*se %*tton 'ere !ill lea#e t'e $ro*) in t'e !orld root.
3. Yo* &no! t'at "o*-#e incl*ded e#er"t'in$ "o* need in $ro*)3+ so "o* can no! select
t'e ot'er %its and )ieces as s'o!n in Figure 4.25d and delete t'e.
O%#io*sl"+ it-s #er" *nli&el" t'at t'e ites in "o*r O*tliner !ill e2actl" atc' t'e
ones in Figure 4.25+ %*t t'is does not atter. In decidin$ !'at can %e deleted+
1*st loo& for ites siilar to t'e ones 'i$'li$'ted t'at are o*tside t'e $ro*)3
$ro*).
4. Yo* a" also notice t'at a fe! ne! caeras 'a#e )o))ed *) =)ers)B and )ers)?+ for
e2a)le>t'e res*lt of o*r 'a#in$ i)orted ites earlier. Select and delete t'ese. ,o not
delete t'e fo*r ain caeras =)ers)+ to)+ front+ and side>+ %*t feel free to reo#e an"
ot'ers.
5. Finall"+ renae $ro*)3 to Kila and sa#e.
Figure 4.25. 0se the )utliner to clean up our scene.
[View full size image]
Modeling the
*ar
So no! !e-#e finis'ed off t'e 'air. O*r ne2t ste) is to create an ear to )lace on t'e
left side of Kila-s 'ead.
T!P
:efore "o* start to odel t'e ear+ find a decent )ict*re of an ear on t'e
Internet or in an anato" %oo&. T'is !ill 'el) "o* create an acc*rate
odel =or te2t*re+ de)endin$ on 'o! t'e ear !ill %e re)resented>.
1. Start !it' a ne! scene+ and create t'e c*%e in Figure 4.26 *sin$ t'e follo!in$
confi$*ration( 5idt' G.@+ 9ei$'t B.@+ ,e)t' B+ S*%di#isions Alon$ 5idt' B+
S*%di#isions Alon$ 9ei$'t @+ and S*%di#isions Alon$ ,e)t' ?.
Figure 4.26. Create a =asic cu=e1 ":e di:isions high.
2. Usin$ "o*r reference+ s'a)e t'e c*%e to ac'ie#e t'e %asic s'a)e of an ear. 5or& on
it fro t'e side and t'en t'e front+ and finall" in t'e )ers)ecti#e #ie! *ntil "o* are
'a))" !it' it =Figure 4.27>.
Figure 4.27. Manipulate the cu=e until it rese%=les an ear.
3. :efore sa#in$ t'is #ersion+ reo#e soe of t'e )ol"$ons fro %e'ind t'e ear+ as
seen in Figure 4.28.
Figure 4.28. &e%o:e the polgons fro% the =ack of the ear.
4. ,elete t'e 'istor" and sa#e t'is as KilaKEarKGB.%+ so "o* can *se t'is #ersion later
if "o* c'oose.
5e co*ld 7*ite 'a))il" *se t'e ear in its )resent state+ allo!in$ t'e te2t*re to s'o! t'e
detailes)eciall" if !e need to &ee) !it'in o*r )ol"$on %*d$et. For t'e )*r)oses of t'is
t*torial+ 'o!e#er+ !e !ill !or& on it a little ore to s'o! 'o! to de#elo) a ore detailed
ear in case !e need one. En'ancin$ t'e ear is a si)le case of c*ttin$ t'e details into t'e
es' *sin$ t'e S)lit Pol"$on tool+ and t'en !or&in$ on t'e $eoetr" to ac'ie#e a
satisfactor" s'a)e.
5. ,i#ide t'e front of t'e ear+ follo!in$ t'e lines in Figure 4.29+ left. 5or& on t'e entire
front area *ntil t'e ear is satisfactor" =Figure 4.29+ ri$'t>. T'ere is no
need to )*t in e#er" detail+ since ost of t'is can %e ac'ie#ed in t'e te2t*re.
Figure 4.29. Add detail to the ear = "rst splitting the
polgons.
6. ,elete t'e 'istor" and sa#e t'is ear as KilaKEarKG?.%.
Attaching the
*ar
No! !e 'a#e t!o ear odels =one sli$'tl" ore detailed t'an t'e ot'er>. For no!+ !e
are $oin$ to attac' t'e 'i$'er/resol*tion #ersion. 5'en !e coe to o)tii8e t'e es'+
!e can red*ce it if !e need t'e )ol"$ons. Ma&e s*re "o* 'a#e %ot' ears sa#ed+ and t'en
load KilaK9air.% a$ain.
:efore "o* %e$in to attac' t'e ear+ "o* need to a&e t'e 'ead !'ole. At t'e
oent "o* onl" 'a#e one/'alf. t'e second+ ri$'t side is si)l" an instance. ,elete t'e
instanced es' and foc*s in on t'e 'ead. It-s )ro%a%l" %est to isolate t'e es'+ too+ so
"o*-re onl" !or&in$ on t'e ain %od".
Select t'e faces s'o!n in Figure 4.3< =t'e ones t'at a&e *) t'e 'ead and *))er
nec&>.
Figure 4.3<. Select the head and upper neck1 and detach the faces
using the *-tract tool.
3. To se)arate t'ese )ieces fro t'e ain es'+ $o to Edit Pol"$ons L E2tract and
o)en *) t'e o)tions. Ma&e s*re Se)arate E2tracted Faces is on+ t'en clic& E2tract. T'e
'ead !ill no! %e se)arated fro t'e rest of t'e %od".
5'at !e need to do no! is d*)licate t'is 'alf+ irror it+ and er$e all t'e #ertices
do!n t'e center. T'ere is a si)le !a" to do t'is*se t'e Pol"$ons L Mirror Geoetr"
tool.
4. O)en *) t'e o)tions for t'e Pol"$ons L Mirror Geoetr" tool and+ as seen in
Figure 4.31+ a&e s*re F is selected+ as !ell as Mer$e 5it' T'e Ori$inal and
Mer$e ;ertices. Clic& Mirror to a))l" t'e tool.
Yo* s'o*ld no! 'a#e a f*ll 'ead !it' all t'e #ertices !elded nicel" do!n t'e
center. t'e last t'in$ to do is soot' o*t t'e crease t'at r*ns do!n t'e iddle of
'er 'ead.
5. I)ort t'e ear !e !ere !or&in$ on earlier =KilaKEarKG?.%> and )osition it as
s'o!n in Figure 4.32.
Figure 4.31. The Mirror $eo%etr tool options
Figure 4.32. Position the ear ;ithout the hair :isi=leB then adAust
the hair to "t the ear.
Loo&in$ at Figure 4.32+ !e see to 'a#e iscalc*lated !'ere t'e 'air s'o*ld %e. 5e
can ad1*st t'is no! so t'at t'e 'air lies o#er and %e'ind t'e ear =Figure 4.32+ ri$'t>.
No! t'at !e &no! 'o! t'e 'air and ear s'o*ld loo&+ !e can ore ca)a%l" !or& on t'is
area. 9ide t'e 'ead at t'is sta$e so !e can concentrate on t'e 'air and ear.
6. As "o* can see in Figure 4.33 =left>+ one of t'e inner stri)s of 'air is )o))in$
t'ro*$' t'e ear. Since t'is is 7*ite close to t'e face+ !e can si)l" delete t'e entire
stri) %" selectin$ its )ol"$ons and deletin$ t'e =Figure 4.33+ ri$'t>.
Figure 4.33. &e%o:e the strip that is popping through the ear.
7. As ill*strated in Figure 4.34 =left>+ rotate aro*nd so "o* are loo&in$ at t'e %ac&
of t'e ear fro inside t'e 'ead.
Figure 4.34. Fill in the gaps around the ear = snapping the
:ertices together.
T!P
Press F to foc*s t'e caera on t'e selected o%1ect or co)onents.
8. Sna) t'e t!o #ertices %elon$in$ to t'e 'air to t'e t!o nearest ones on t'e to) of
t'e ear. T'en !or& "o*r !a" aro*nd+ s)littin$ t'e 'air as s'o!n in Figure
4.34 =ri$'t> and lea#in$ no $a)s aro*nd t'e to) and side of t'e ear.
9. <ring back the geometry for the head, and hide the hair. <efore using the same
#erte2/sna))in$ tec'ni7*e to fill in t'e $a)s %et!een t'e 'ead and ear+ "o* *st
first co%ine t'e. As deonstrated in
Figure 4.35
,left0, look from inside the head at the ear. =se the Append #o >olygons tool to +ll
in the gap, making a seamless %oin between the head and the ear ,
Figure 4.35
, right0.
Figure 4.35. Attach the ear to the head = creating
polgons to "ll in the gap.
1<. 5or& on t'e ear *ntil t'e s'a)e is satisfactor" on all sides. For a start+ "o* can
colla)se t'e ed$es at t'e front of t'e ear. T'ese are 'i$'li$'ted in Figure 4.36 =left>.
Kee) !or&in$ *ntil "o* ac'ie#e t'e odel ill*strated in Figure 4.36 =ri$'t>.
Figure 4.36. Work on the ear until ou are happ ;ith the entire
shape.
As "o* can see in Figure 4.37+ t'e o*ter 'ead is no! co)lete. All !e need to do to
finis' it is test to see 'o! it defors+ and o)tii8e it%ot' of !'ic' !e !ill co#er in later
c'a)ters.
Figure 4.37. The outer head is co%plete.
Modeling the
*es
If "o*r $ae *ses an" real/tie c*t/scenes+ c'ances are "o*r c'aracter !ill need
facial aniation. T'e e"es )la" a '*$e )art in actin$. !e are all dra!n to t'e e"es
!'en !e interact !it' )eo)le.
E"es are relati#el" eas" to constr*ct. all "o* need to do is create a s)'ere and
o)tii8e it sli$'tl". Yo* a" 'a#e noticed t'at o*r odel alread" 'as soe s)'eres
!'ere t'e e"es s'o*ld %e. T'ese !ere *sed earlier to create t'e e"elids+ and !e did
not delete t'e. To deonstrate 'o! to create t'e e"es+ !e !ill reo#e t'ese
s)'eres and start fro scratc'.
1 Create a ne! )ol"$onal s)'ere !it' its S*%di#isions Aro*nd A2is and S*%di#isions
Alon$ 9ei$'t %ot' set to D =Figure 4.38a>.
2 As deonstrated in Figure 4.38=+ reo#e t'e %ac& 'alf of t'e s)'ere.
3 Select t'e ed$es t'at lie do!n t'e center of t'e s)'ere+ s'o!n in Figure 4.38c+
and t'en colla)se t'e to $et t'e e"e s'a)e =Figure 4.38d>.
4 Position t'is s)'ere so it lies !'ere t'e left e"e s'o*ld %e.
5 To create t'e ri$'t e"e+ d*)licate t'e left e"e es' and alter t'e Translate F
attri%*te in t'e C'annel :o2 to %e a ne$ati#e #al*e. For e2a)le+ if it reads G.3D+ a&e it
G.3D.
Figure 4.38. )pti%i?e a sphere to achie:e an ee shape.
T'ere !e 'a#e it. t'e e"es are done =Figure 4.39>. Feel free to sa#e at t'is )oint.
Figure 4.39. +ila no; has ees.
De:eloping the !nner
Mouth
C*t/scenes can also in#ol#e con#ersation+ so t'e inside of t'e o*t' !ill need to %e
de#elo)ed to incl*de t'e teet' and a ton$*e. Let-s %e$in !it' 'er teet'.
The
Teeth
Most $aes 1*st ado)t a si)le set of teet' consistin$ of a flat c*r#e of )ol"$ons !it' a
teet' te2t*re on t'e. T'is is !'at !e !ill *se for Kilait-s *nli&el" t'at s'e !o*ld %enefit
fro a set of f*ll" odeled teet' %eca*se !e !ill ne#er $et close eno*$' to see t'e in
detail. :esides+ a f*ll set of teet' !o*ld increase t'e )ol"$on co*nt draaticall".
1. In a ne! scene+ create a ne! c"linder !it' t'e follo!in$ confi$*ration( Radi*s B+
9ei$'t G.I+ S*%di#isions Aro*nd A2is BI+ S*%di#isions Alon$ 9ei$'t B+ and S*%di#isions
On Ca)s B. Yo*r c"linder s'o*ld loo& li&e t'e one in t'e to) )anel of Figure 4.4<.
Figure 4.4<. Create and edit a =asic clinder.
Reo#e t'e to) and %otto fro t'e c"linder+ as !ell as fi#e 7*ads fro t'e %ac&+
$i#in$ "o* t'e s'a)e in Figure 4.4< =%otto>.
Teet' are ne#er )erfectl" ro*nd+ %*t at t'e oent o*r es' is =Figure 4.41+ left>.
S!itc' to t'e to) #ie! and scale t'e $eoetr" to atc' t'e s'a)e ill*strated on t'e ri$'t in
Figure 4.41.
Figure 4.41. Scale the teeth geo%etr to achie:e this shape.
4. 5e 'a#e o*r to) teet' co)lete no!. To create t'e %otto set+ d*)licate t'e *))er
set and )osition it %elo!. Ma&e s*re "o* scale it in sli$'tl" alon$ t'e F and M a2es+
%eca*se a '*an-s %otto teet' are )ositioned %ac& a little fro t'e to) teet'
=Figure 4.42>.
Figure 4.42. Duplicate the top@teeth %esh and position it
underneath and slightl =ack fro% the original set.
The
Tongue
No! t'at t'e teet' are done+ let-s create t'e ton$*e.
1. First 'ide t'e teet'. !e don-t need t'e "et.
2. Create a c*%e !it' t'e follo!in$ confi$*ration( 5idt' G.@+ 9ei$'t G.?+ ,e)t' B+
S*%di#isions Alon$ 5idt' ?+ S*%di#isions Alon$ 9ei$'t ?+ and S*%di#isions Alon$
,e)t' 3.
3. Follo!in$ t'e )ro$ression in Figure 4.43+ ad1*st t'e s'a)e so it ta&es on t'e
loo& of a ton$*e. Scale t'e *))er and lo!er #ertices in sli$'tl" in )re)aration for
t'e ne2t ste)+ in !'ic' "o* !ill o#e t'e front/center ones o*t a little.
4
.
Select t'e #ertices t'at lie do!n t'e center of t'e o%1ect and o#e t'e do!n a fraction+
creatin$ t'e crease in t'e ton$*e.
5. Rotate t'e front and t'e %ac& to c*r#e t'e ton$*e.
6. Ma&e t'e teet' #isi%le a$ain and )osition t'e ton$*e inside t'e =Figure 4.44>.
Yo* a" need to scale t'e ton$*e f*rt'er to a&e it fit )ro)erl". In addition+ a&e
s*re "o* delete t'e faces at t'e rear of t'e ton$*e+ as s'o!n in Figure
Figure 4.43. *dit the :ertices to sculpt the shape of a
tongue.
4.44 on t'e ri$'t.
Figure 4.44. Position the tongue =et;een the teeth.
T'e teet' and ton$*e eleents are co)lete+ so delete t'e 'istor" and sa#e as
KilaKInnerMo*t'.%.
Adding the !nner Mouth
*le%ents
5e !ill ne2t er$e t'e inner o*t' eleents !e created =teet' and ton$*e> into o*r
c'aracter.
1. Load in t'e last file "o* !ere !or&in$ on =KilaK9air.%>+ and i)ort t'e inner
o*t' eleents into t'e scene.
2. Scale t'e $eoetr" do!n and )osition it inside 'er 'ead as s'o!n in Figure
4.45. T'e *))er teet' s'o*ld 1*st di) do!n %elo! t'e %otto li).
3. ,o*%le/c'ec& t'e s'a)e of t'e o*t'. If "o* can see teet' )o))in$ t'ro*$'+ t'en
t'e o*t' is not t'e correct s'a)e. Kila-s li)s s'o*ld lie on to) of 'er teet'.
Figure 4.45. !%port the teeth and tongue into our latest scene
and position the% =ehind the lips.
The !nner
Cheeks
:efore !e finis' t'e o*t' area+ !e need to do one last t'in$. If Kila !ere to o)en 'er
o*t' in its c*rrent state+ !e !o*ld see not onl" 'er teet' and ton$*e %*t also t'e
%ac& of 'er 'ead. On soe )latfors+ !e !o*ld not e#en see t'at!e !o*ld see strai$'t
t'ro*$' t'e %ac& of 'er 'ead. 5'at-s needed no! is to create t'e inside of t'e o*t'+
consistin$ of t'e to) of t'e t'roat =*))er )alette> and inner c'ee&s.
1. At )resent+ Kila-s li)s are sealed s'*t+ so to start "o* need to c*t t'e o)en. As
s'o!n in Figure 4.46 =to)>+ foc*s in on 'er li)s and select t'e #ertices t'at r*n alon$
t'e o)enin$ %et!een t'e li)s.
Figure 4.46. Split the :ertices to create an opening =et;een the
lips.
T!P
5'en "o*-re 8ooin$ into "o*r $eoetr"+ it a" 'a))en t'at t'e
caera c*ts into t'e es' %efore "o* $et close eno*$'. To fi2 t'is+
o)en *) t'e attri%*tes for t'e caera %" $oin$ to ;ie! L Caera
Attri%*te Editor+ and red*ce t'e #al*e for Near Cli) Plane.
5it' t'e #ertices selected+ $o to Edit Pol"$ons L S)lit ;erte2. T'is !ill s)lit *) t'e
#ertices+ 4*n/!eldin$4 t'e+ so to s)ea&. No! t'e s#ertices are all se)arate. Select eac'
one in t*rn and o#e it *) or do!n+ creatin$ a sli$'t o)enin$ in t'e o*t' as s'o!n in
Figure 4.46 =%otto>. <*st ree%er to !eld t'e a$ain !'en "o* are done.
9ide t'e teet' and ton$*e for no!. As ill*strated in Figure 4.47+ select t'e ed$es
aro*nd t'e o)enin$ of t'e o*t'.
Figure 4.47. Select the edges around the opening of the %outh.
1 E2tr*de t'e ed$es in!ard+ addin$ t!o di#isions to t'e e2tr*sion =Figure 4.48a>. ,o
t'is %" settin$ ,i#isions to 3 for )ol"E2tr*deEd$eB in t'e C'annel :o2.
2 5eld to$et'er all t'e #ertices at t'e #er" end to create a )oint =Figure 4.48=>.
3 Select t'e ed$es on %ot' t'e to) and t'e %otto of t'e e2tr*sion+ as 'i$'li$'ted in
Figure 4.48c.
Figure 4.48. Create the ca:it of the %outh.
Figure 4.49. *nlarge the ca:it to en:elop the teeth and
tongue.
11. Un'ide t'e teet' and c'ec& to see t'at t'e" fit inside t'e ca#it".
5e are no! finis'ed !it' t'e 'ead area and can o#e on and add soe clot'in$. :*t
first+ clean *) "o*r scene and sa#e "o*r !or& as KilaK9ead.%.
Dressing
+ila
All $ae c'aracters !ear soe sort of o*tfitore often t'an not t'ese !ill %e !eird
and !onderf*l and !ill re7*ire e2tra )ol"$ons. In Kila-s case+ !e 'a#e soe
relati#el" si)le additions to a&e. T'ese incl*de addin$ details to 'er cro) to) and
1eans+ as !ell as $i#in$ 'er a %elt and a sas' t'at dra)e 'er !aist.
Crop Top
Details
5e-ll en'ance Kila-s cro) to) and c'est area %" addin$ soe clea#a$e+ as !ell as a
s*$$estion of a loose o#er'an$ at t'e !aistline.
Start !it' t'e clea#a$e area. In t'e conce)t dra!in$+ t'e lo!/nec& to) s'o!s a %it of
clea#a$e. 5'at !e need to do is define t'e nec& of 'er cro) to) to i)leent t'is
clea#a$e.
Usin$ t'e S)lit Pol"$on tool+ car#e in t'e c*ts s'o!n in Figure 4.5< =ri$'t>.
T'ese !ill allo! *s to edit t'e central area at t'e to) of t'e clot' t'at %rid$es 'er
%reasts.
Soot' o*t t'e e2tra ed$es "o* 'a#e createdall e2ce)t t'e ones t'at !ill ar&
t'e to) of t'e fa%ric. T'ese are 'i$'li$'ted in Figure 4.51 on t'e left.
Figure 4.5<. Cut the polgons.
Figure 4.51. The clea:age1 =efore and after
Start !or&in$ on t'e area+ sc*l)tin$ it to ac'ie#e t'e correct s'a)e. Yo*-re aiin$
for t'e res*lt ill*strated in Figure 4.51 on t'e ri$'t.
Mo#e t'e #ertices do!n t'e center first+ )*llin$ t'e in!ard+ *sin$ t'e side #ie!
to line t'e *) !it' t'e c*r#e of 'er torso =Figure 4.52>.
Figure 4.52. Mo:e the central :ertices in;ard so the are in line
;ith the torso.
5. Contin*e !or&in$ "o*r !a" o*t+ soot'in$ t'e area+ o#in$ do!n!ard t'e #erte2
1*st a%o#e t'e line of t'e fa%ric. t'is creates t'e cre#ice. Ree%er to con#ert 1oinin$
trian$les %ac& to 7*ads.
loose at t'e %otto. 5e !ant to create t'is )ointed 4o#er'an$.4 As s'o!n in
Figure 4.53
+ !e-ll foc*s in on t'e iddle of 'er %od".
1. Follo!in$ t'e lines 'i$'li$'ted in Figure 4.54+ c*t aro*nd t'e center of t'e %od".
Mar& o*t t'e %ase of Kila-s cro) to)+ a&in$ s*re t'at t'ere are t!o )arallel c*ts
encirclin$ t'e entire %od" es'.
Figure 4.54. Create t;o lines across her sto%ach1 outlining the
=otto% of her crop top.
2. Scale t'e to) line o*t and o#e it do!n+ creatin$ t'e o#er'an$ seen in Figure
4.55.
Figure 4.55. Create the o:erhang = %o:ing the top line out and
do;n.
3. When ou created the initial cuts1 so%e s%all edges ;ill ha:e =een
createdB these in turn %ake up s%all polgons1 like the ones in Figure 4.56
,top0. 't is
%est to $et rid of t'ese no!+ cleanin$ *) t'e area.
Figure 4.56. &e%o:e these s%all edges that ;ere created = the
cut.
4. Finall"+ s)end soe tie soot'in$ o*t t'e $eneral s'a)e of t'e cro) to)
=Figure 4.57>.
Figure 4.57. S%ooth out the rest of the crop top.
Figure 4.53. To create a loose o:erhang1 ;ork on the area at the
%iddle of the =od.
%elt t'at dra)e 'er !aist.
Separating the /eans fro% the
#od
O*r ne2t clot'in$ tas& is to odel t'e c'aracter-s 1eans. 5e co*ld odel t'e left side and
irror it to create t'e ri$'t+ as !e did !it' 'er *))er %od". Alt'o*$' t'is !o*ld sa#e
tie+ it !o*ld )resent a fe! )ro%les. First+ t'e sas' aro*nd 'er !aist cannot %e
irrored. it s'o*ld %e %*ilt into t'e !aist %eca*se it fits sn*$l" at e#er" )oint fro t'e
!aist to t'e o))osite 'i). Also+ !e !ill %e %*ildin$ creases into t'e le$s of 'er 1eans+ so it
!o*ld %e #er" o%#io*s if !e si)l" irrored one side to create t'e ot'er.
:efore !e %e$in+ !e 'a#e to se)arate t'e 1eans fro t'e rest of Kila-s %od"+ t'en create
a d*)licate to %ecoe t'e ri$'t side+ and co%ine t'e sides as !e did for 'er 'ead.
1. ,elete t'e irrored instance if "o* 'a#e one+ and select t'e )ol"$ons t'at !ill a&e
*) t'e 1eans =Figure 4.58>. T'is s'o*ld %e eas" %eca*se "o* ar&ed o*t t'e to) of
t'e earlier.
Figure 4.58. Select the polgons that ;ill %ake up her Aeans.
Go to Edit Pol"$ons L E2tract. t'is !ill se)arate t'e le$ fro t'e %od". Yo* s'o*ld not
'a#e to o)en *) t'e o)tions and reconfi$*re t'e %eca*se t'e" !ere sa#ed t'e last tie "o*
*sed t'is tool.
Ne2t+ "o* need a irrored d*)licate+ so $o to Pol"$ons L Mirror Geoetr". A$ain+ "o*
set t'e o)tions last tie "o* *sed t'is tool+ so t'e" s'o*ld %e at t'e sae settin$s no!. Yo*
don-t 'a#e to o)en t'e o)tions.
Since "o* onl" need to !or& on 'er le$s at t'is )oint+ it a&es t'in$s easier if "o*
'ide t'e rest of t'e $eoetr". So select e#er"t'in$ %*t t'e le$s and )ress CtrlN96CdN9.
,o*%le/c'ec& t'at t'e #ertices do!n t'e center of t'e le$s 'a#e er$ed correctl". If
soe 'a#e not+ !eld t'e no!. soot' o*t t'e crease+ too.
No! !e 'a#e a co)lete )air of le$s and !e can %e$in !or&in$ in t'e clot'in$
details.
Creating the
Sash
:eca*se t'e sas' fits sn*$l" all t'e !a" aro*nd+ !e can si)l" ar& in t'e o*tline so
!e-ll &no! !'ere it !ill %e on 'er for. It is ade of t'in aterial+ so !e don-t need to
create an o#er'an$ as !e did !it' t'e T/s'irt. O*r tas& !it' t'e sas' is to !or& on t'e
$eneral area+ soot'in$ it o*t and tid"in$ it *).
Use t'e S)lit Pol"$on tool to ar& in t'e o*tline for t'e sas'. Follo! t'e lines in Figure
4.59. I a s*re "o*r odelin$ s&ills are coin$ alon$ !onderf*ll" no!+ so I !ill lea#e
t'is )art *) to "o*. Ree%er to reo#e an" tin" )ol"$ons t'at 'a#e cro))ed *)+ and
a&e t'e area as clean as )ossi%le. Yo*r res*ltin$ es' s'o*ld rese%le Figure 4.6<.
Figure 4.59. Mark in the outlines for the sash.
Figure 4.6<. Tid up the sash1 re%o:ing un;anted polgons and
creating s%ooth lines.
To finis' t'e sas'+ !e !ill create a co*)le of folds in t'e fa%ric on t'e o*tside of t'e le$.
5e can rel" on t'e te2t*re to create ost of t'e folds+ %*t t'ese at t'e t'i$' are 7*ite
distinct+ so !e !ill %*ild t'e into t'e $eoetr".
1. Follo!in$ Figure 4.61 as a $*ide+ c*t t'e )ol"$ons aro*nd t'e o*tside of 'er left
t'i$'. Yo*-ll need t!o c*ts for eac' fold. Follo! t'ese c*ts aro*nd t'e le$+ s)annin$
t!o )ol"$ons+ atc'in$ t'e c*ts on t'e front.
Figure 4.61. Create %ore cuts in the outer thigh and =uild in
t;o folds.
1 Select t'e #ertices on t'e to) of eac' c*t and o#e t'e o*t+ creatin$ t'e *))er
)art of t'e fold.
2 Finall" o#e t'e lo!er #ertices *) sli$'tl" to close t'e $a) =Figure 4.61+
%otto>.
Creating the
/eans
Contin*in$ on to t'e 1eans no!+ !e first need to $et soe idea of t'e creases in t'e
1eans at t'e %ac& of 'er &nees+ and also on t'e lo!er le$s. Yo* s'o*ld 'a#e soe
references for t'is alread" on "o*r st"le s'eet. :etter still+ *se t'e ori$inal color conce)t
ia$e =Figure 4.62>. Yo* can find t'is on t'e C,( Pro1ect Files6GB6KilaColorRender.tif.
Figure 4.62. 0se the color concept i%age as reference for the creases
in the Aeans.
Kila-s *))er t'i$' area is relati#el" flat+ so !e don-t need to add an" detail 'ere. Li&e t'e
folds on t'e sas'+ t'e creases in t'e 1eans can %e added !'en !e a))l" te2t*re. 5e can+
'o!e#er+ %*ild in soe folds aro*nd t'e %ac& of 'er &nees. Mo#e do!n to !'ere 'er
&nees are. *se t'e $*ide ia$es to $et t'e correct location.
1. As "o* did for t'e folds on t'e sas'+ c*t t'e )ol"$ons 'ere at t'e &nees to
create t!o se$ents =Figure 4.63+ left>.
Figure 4.63. Creating folds in the deni% around the =ack of the
knees
2. Mo#e t'e to) of eac' se$ent o*t and t'e lo!er )ortion *)+ )rod*cin$ t'e t!o folds
"o* can see in Figure 4.63+ %otto. :eca*se !e co%ined t'e le$s earlier+ "o* !ill
need to do t'is on eac' &nee.
Mo#in$ aro*nd to t'e front of 'er le$s+ !e !ill no! %*ild in soe %asic &nees.
T'ese !ill f*nction ore to!ard deforation t'an for t'e o#erall loo& of t'e
es'.
3. C*t t'e )ol"$ons as s'o!n in Figure 4.64. T'en )*ll o*t t'e *))er section in t'e
iddle of t'e &nee+ creatin$ a rid$e.
Figure 4.64. Create a ridge at the front to act as her knee.
4. Ad1*st t'e o#erall &nee areas+ scalin$ t'e in sli$'tl" to $et t'e correct s'a)e
=Figure 4.65>.
Figure 4.65. The knee area is co%plete.
No! !e $et to t'e lo!er le$s. T'is area needs 7*ite a %it of en'anceent to ac'ie#e
realistic creases and folds.
5. Follo!in$ t'e )ro$ression in Figure 4.66+ %e$in %" creatin$ a c*t t'at !ill %e t'e first
fold in t'e 1eans le$. Ad1*st t'e #ertices aro*nd t'is first c*t to fold t'e )ol"$ons at t'e
front o#er t'e ones at t'e %ac&. Mo#e do!n!ard+ addin$ in one fold at a tie *ntil "o*
reac' t'e %otto.
Figure 4.66. The steps for adding the folds into the =otto% of the
Aeans leg
6
.
Rotatin$ aro*nd to t'e %ac& of t'e le$ =
Figure 4.67
+ left>+ "o* can see t'at not *c' needs to %e added 'ere1*st a fe! creases at t'e
%otto !ill do =
Figure 4.67
+ ri$'t>.
Figure 4.67. Add creases at the =ack of the leg.
7. Follo! t'ese sae )roced*res for t'e ri$'t 1eans le$+ addin$ t'e e2tra detail to t'e
lo!er le$. Yo* can see t'is )ro$ression in Figure 4.68.
Figure 4.68. Add creases to the right leg of the Aeans.
5'en t'e"-re finis'ed+ t'e le$s of t'e 1eans s'o*ld loo& li&e Figure 4.69.
Figure 4.69. The "nished Aeans
After all t'is !or&+ *n'ide e#er"t'in$ and see 'o! s'e loo&s. C'ec& o*t Figure
4.7<+ left. 9er feet see !ron$. T'e" are s'a)ed oddl". )l*s t'e" are )ointin$
for!ard. 5e !ant t'e to %e )ointin$ o*t sli$'tl"+ as real feet do nat*rall".
Figure 4.7<. Make a s%all adAust%ent to the shoes and the
position of the feet.
5or& a little on t'e s'oes *ntil t'e" loo& ore realistic =Figure 4.7<+ ri$'t> and
t'en rotate eac' foot so t'e toes are )ointin$ o*t sli$'tl". Yo* !ill also need to rotate
t'e %otto of t'e 1eans to atc' t'e feet.
The
#elt
T'e %elt is relati#el" si)le. It-s essentiall" 1*st a c"linder t'at !ra)s dia$onall"
aro*nd Kila-s 'i)s.
1 Still in t'e sae scene+ create a c"linder !it' t'e follo!in$ confi$*ration( Radi*s G.?+
9ei$'t G.G@+ S*%di#isions Aro*nd A2is BI+ S*%di#isions Alon$ 9ei$'t B+ and S*%di#isions On
Ca)s ?.
2 As s'o!n in Figure 4.71+ delete t'e central )ol"$ons. t'en scale t'e reainin$
#ertices o*t to create a sall ri.
Figure 4.71. &e%o:e the center1 and scale the re%aining
:ertices out.
Figure 4.72. Position the clinder at +ila>s hip1 draping
diagonall.
3. Position t'e c"linder as s'o!n in Figure 4.72. Scale and rotate it *ntil it 1*st
fits aro*nd 'er 'i)+ dra)in$ dia$onall".
4
.
5or&in$ on t'e #ertices+ ad1*st t'e %elt so it lies %etter =
Figure 4.73
>.
Figure 4.73. AdAust the =elt to "t tighter around her hips.
At t'e )oint !'ere t'e %elt slin$s do!n!ard+ !e can act*all" see t'e inside. T'e
)ro%le 'ere is t'at once t'is $oes into a $ae en$ine+ "o* a" %e a%le to see ri$'t
t'ro*$' t'e %elt. :eca*se t'e )ol"$ons on t'e %elt are %ein$ dis)la"ed as do*%le/
sided+ !e are fooled into t'in&in$ it is solid. Let-s a&e it sin$le/sided and see if !e
$et an i)ro#eent.
5. Select t'e %elt and )ress CtrlNA to o)en *) t'e o%1ect-s attri%*tes =Figure
4.74>.
Figure 4.74. )pen up the =elt>s Attri=ute *ditor.
6. In t'e Render Stats )ane+ *nc'ec& t'e ,o*%le Sided o)tion. t'is !ill s'o! "o* 'o!
t'e %elt !ill loo& !'en it is dis)la"ed sin$le/sided+ as !ill 'a))en in soe )latfors
=Figure 4.75+ left>.
Figure 4.75. Creating the inside of the lo;er =elt
7. Usin$ t'e A))end to Pol"$on tool+ fill in t'e $a)s on t'e inside of t'e %elt =Figure
4.74+ ri$'t>%*t onl" do t'is at t'e %ase. T'e rest of t'e %elt s'o*ld lie 7*ite close to
t'e c'aracter-s %od"+ so !e don-t need to do t'e rest.
And t'ere !e 'a#e it. o*r odel of Kila is co)leteJ Yo* can see t'e finis'ed odel in
Figure 4.76.
Figure 4.76. The +ila %odel is co%plete.
Yo* can clean 'er *) as !e did %efore+ %" deletin$ t'e 'istor". In addition+ at t'is
)oint "o* can also free8e t'e transfors. T'is !ill reset all translate and rotate #al*es
to G and all scale #al*es to B+ !it'o*t losin$ an" of t'e )osition+ rotation+ scale+ or
)i#ot alterations done to t'e es' so far.
Sa#e t'e file as KilaKCo)lete.%.
Alt'o*$' !e-re done !or&in$ on t'is latest #ersion of Kila+ !e 'a#e t!o ore sta$es to
$o t'ro*$' %efore s'e can %e si$ned off. In C'a)ter @+ !e !ill e2aine o)tii8ation
tas&s+ and in C'a)ter A+ !e !ill loo& at deforation.
Su%%ar

5e no! 'a#e a co)lete odel of Kila+ o*r ain c'aracter. S'e 'as all t'e detail !e
need at t'e oent%*t t'is also eans !e a" 'a#e $one o#er o*r )ol"$on %*d$et.
In t'e ne2t c'a)ter+ !e !ill e2aine areas !'ere !e can o)tii8e+ reo#in$ an"
$eoetr" t'at is not needed.
Chapter 5. Model
)pti%i?ation
CD Files
KilaKCo)lete.%
KilaKO)tii8ed.%
UNTIL NO5+ !e 'a#e s)ent o*r tie de#elo)in$ a $ood+ clean odel !it'o*t !orr"in$
too *c' a%o*t t'e )ol"$on co*nt. T'at-s a%o*t to c'an$ein t'is c'a)ter+ !e !ill %e
reo#in$ a lot of t'e details "o* 'a#e sc*l)ted into Kila so far. Tr" not to t'in& of t'is
ste) as destro"in$ all "o*r 'ard !or&+ 'o!e#er. 5'at "o*-#e acco)lis'ed so far is to
create a c'aracter t'at is co)lete and 'as all t'e e%ellis'ent it needs to 'a#e. 5it'
all t'ese details in )lace+ !e can no! a&e infored decisions a%o*t t'e )laces fro
!'ic' !e can reo#e t'ose details. T'at-s !'at o)tii8ation is all a%o*t.
Yo* !ill find as "o* $ain ore e2)erience in odelin$ $ae c'aracters t'at t'e
o)tii8ation sta$e !ill $rad*all" %ecoe less i)ortant+ %eca*se "o* !ill learn to
anal"8e t'e to)olo$" a*toaticall"+ fro t'e oent "o* %e$in %*ildin$. For t'e
no#ice artist+ t'is c'a)ter tells "o* e2actl" !'at "o* need to %e loo&in$ for as "o*
o)tii8e "o*r c'aracter.
5it' e#er" odel+ "o* !ill find areas !'ere )ol"$ons 'a#e %een )laced %*t are not
needed. Essentiall"+ !e !ant t'e odel to 'a#e as fe! )ol"$ons as )ossi%le. O*r )ol"$on
liit for t'is )ro1ect+ esta%lis'ed in C'a)ter B+ is I@GG+ and !e don-t !ant to *se ore
t'an t'at n*%er. Indeed+ after o)tii8ation !e a" #er" !ell end *) !ell *nder o*r
%*d$et+ !'ic' is $ood. If not+ !e !ill start to loo& at areas t'at !e can sacrifice in order
to %rin$ t'e )ol"$on co*nt do!n.
Deciding What to
&e%o:e
It-s i)ortant to decide caref*ll" a%o*t !'ere to reo#e )ol"$ons fro t'e
$eoetr". Reo#e t'e !ron$ ones+ and t'e s'a)e of o*r c'aracter !ill c'an$e
draaticall". It co*ld also res*lt in %ad deforation in t'e $ae.
T'e first t!o sorts of )ol"$ons "o* s'o*ld consider for reo#al are *nnecessar"
)ol"$ons and )ol"$ons t'at for s'allo! an$les.
Yo*r odel is c*rrentl" ade *) of '*ndreds of )ol"$ons+ and alost all of t'e are
needed. Yo* a" t'in& t'at a )ol"$on-s act*al )resence eans it is necessar" to a odel+
%*t t'is is not t'e case.
So 'o! do "o* deterine !'ic' )ol"$ons !ill %e *n*sed0 An unnecessary polygon is one
t'at does not add to t'e s'a)e of t'e es'+ nor does it aid in its deforation.
Loo& at t'e t!o c*%es in Figure 5.1. T'e" loo& e2actl" t'e sae. t'e onl" !a" t'e"
differ is in constr*ction.
Figure 5.1. Although these cu=es look the sa%e1 the are
constructed diFerentl.
No! loo& at t'eir !irefraes in Figure 5.2. Yo* can see t'at t'e one on t'e ri$'t
contains ore )ol"$ons t'an t'e one on t'e left. Since t'e ed$es are strai$'t+ t'e c*%e
does not need t'e e2tra )ol"$ons to create t'at strai$'t ed$e. If !e reo#ed t'ese
)ol"$ons+ t'e c*%e !o*ld loo& e2actl" t'e sae.
Figure 5.2. !n the ;irefra%e1 ou can see that the cu=e on the right
unnecessaril uses far %ore polgons than the one on the left.
Reo#in$ areas t'at contain s'allo! an$les is also a $ood !a" to red*ce t'e )ol"$on
co*nt+ alt'o*$' t'is !ill sli$'tl" affect t'e !a" t'e $eoetr" loo&s.
Ta&e a loo& at t'e c"linders in Figure 5.3. ,o "o* see a difference0 T'e one on t'e ri$'t
'as a #er" sli$'t %*) in it. T'is is a shallow angle+ and it adds so insi$nificantl" to t'e
s'a)e of t'e $eoetr" t'at no one !o*ld iss it if it !ere $one.
Figure 5.3. T;o clinders
5e no! &no! !'at to loo& for*nnecessar" )ol"$ons and s'allo! an$lesso let-s o#e on
and %e$in o)tii8in$ o*r c'aracter odel.
Final
Check
So t'e odel o)tii8ation is doneJ 5e 'a#e %een t'ro*$' eac' section of Kila-s %od"
and o)tii8ed t'e all in an atte)t to $et t'e )ol"$on co*nt *nder I@GG. :efore !e
loo& at t'e final total+ s)end soe tie loo&in$ at t'e odel to tr" and red*ce it
f*rt'er. See if "o* can s)ot an" areas !e issed.
Figure 5.64 s'o!s t'e final odel+ to) to %otto+ after all t'e o)tii8ations
descri%ed in t'is c'a)ter. So !'at-s t'e )ol"$on co*nt0 Trian$*latin$ t'e odel $i#es
it to *s( 3EED. 5e are !ell *nder o*r %*d$et!'ic' is $reat. :*t !e can-t afford to )*t
an" detail %ac& in 1*st "et+ as !e a" need t'e )ol"$ons d*rin$ t'e ne2t c'a)ter+
4,eforation Testin$.4 Once t'e odel is finali8ed !e can t'en $o %ac& t'ro*$' it+ if
!e feel !e need to+ and add detail %ac& in.
Figure 5.64. kila1 full opti%i?ed
:efore !e $o to t'e deforation sta$e+ I recoend sa#in$ t'e odel and lea#in$ it
alone for a da". Clean *) t'e odel and t'e scene t'en sa#e "o*r file as
KilaKO)tii8ed.%. If "o* can+ do soet'in$ else %efore "o* coe %ac& to it for a final
loo&. Ta&in$ a %rea& fro it !ill ena%le "o* to see it fro a fres' )ers)ecti#e !'en "o*
ret*rn. Yo* a" %e a%le to s)ot soe additional e2tra )ol"$ons t'at can %e reo#ed+ or
an area t'at needs res'a)in$. Indeed+ o)tii8in$ t'e $eoetr" !ill ean t'at soe
areas do in fact need res'a)in$. Us*all"+ t'e" !ill %e t'inner t'an %efore and so !ill
need fillin$ o*t.
Ta&e soe tie to loo& aro*nd t'e entire odel. ,o*%le/c'ec& t'e )ro)ortions and
a&e s*re t'e s'a)e is )erfect. C'ec& it a$ainst "o*r conce)t ia$es. "o* *st %e
)ositi#e it is correct %efore "o* )roceed to t'e ne2t sta$e.
T!P
9ere-s a $ood !a" to deterine 'o! soot' "o*r odel is( Go to t'e
Li$'tin$ en* in "o*r c*rrent )anel and select Use No Li$'ts. <*st t'e
sil'o*ette of t'e c'aracter !ill reain. No! "o* can rotate aro*nd t'e
odel and assess 'er.
Follo!in$ are soe of t'e alterations I ade to Kila d*rin$ " final+ )osto)tii8ation
e2aination(
Ad1*sted t'e %otto of 'er cro) to) so t'e )oint !as soot'er
Generall" re!or&ed t'e s'a)e of 'er 'i)s+ !idenin$ t'e sli$'tl"
Mo#ed *) 'er na#el
:ro*$'t t'e *))er %od" do!n+ s'ortenin$ 'er sli$'tl" =t'e distance %et!een 'er
c'est and t'e %otto of 'er t/s'irt !as too $reat>
Added ore of a c*r#e to t'e sall of 'er %ac&+ a&in$ 'er c'est and %ac&side a
%it ore )rono*nced
S'ortened t'e le$s and !idened t'e %otto of 'er 1eans
Red*ced t'e len$t' of 'er nec&
Added an e2tra di#ision across 'er !aist to soot' it o*t
Yo* can see t'e final odel in Figure 5.65.
Figure 5.65. The t;eaked +ila %odel
5'en "o*-re s*re Kila is read"+ clean *) t'e odel and t'e scene+ and sa#e "o*r file
a$ain as KilaKO)tii8ed.%.
Su%%ar

5e no! 'a#e a odel t'at is not onl" clean and $ood loo&in$+ %*t efficient as !ell. T'e
#ario*s tec'ni7*es e2)lored in t'is c'a)ter !ill ser#e "o* !ell !'en "o* need to o)tii8e
"o*r $eoetr". Yo*-ll &no! !'at to loo& o*t for on f*t*re )ro1ects.
5it' Kila no! t'e %est s'e can %e+ !e can )roceed to see 'o! s'e defors.
Finding the Polgon
Count
:efore !e %e$in o)tii8in$+ let-s first loo& at 'o! an" )ol"$ons o*r odel
c*rrentl" 'as.
Load in t'e last file "o* sa#ed+ KilaKCo)lete.%. Yo* first need to con#ert t'e
$eoetr" to trian$les in order to $et an acc*rate readin$.
1 Select e#er"t'in$ %" dra$$in$ o#er t'e entire c'aracter in t'e #ie! )anel. t'en $o to
Pol"$ons L Trian$*late. T'e odel !ill no! %e %*ilt fro trian$*lar )ol"$ons onl".
2 To s'o! t'e )ol"$on co*nt+ $o to ,is)la" L 9eads U) ,is)la" L Pol" Co*nt. T'e
)ol"$on statistics =Figure 5.4> !ill %e dis)la"ed in t'e *))er/left corner of "o*r #ie!+
alt'o*$' de)endin$ on "o*r resol*tion settin$ t'ese co*ld e#en ta&e *) ore s)ace.
Figure 5.4. The polgon count displa
In t'e Faces line+ t'e far/left n*%er is t'e c*rrent scene-s )ol"$on co*nt. T'is
incl*des onl" t'e )ol"$ons of o%1ects onscreen+ so a&e s*re "o*r entire es' is
#isi%le. O*r c*rrent )ol"$on co*nt is @D@A. T'is is B3@A o#er o*r %*d$et+ !'ic' is
!'at !e e2)ected.
Ree%er t'at !e added t'e 'i$'er/resol*tion 'ands and ear in C'a)ter I+ to see if !e
co*ld *se t'e. Eac' 'and alone is aro*nd BGBG )ol"$ons. If !e re)laced t'ose !it' t'e
lo!er #ersion+ !'ic' !as IGA )ol"$ons eac'+ !e !o*ld sa#e B?GD. :*t !e don-t !ant to
do t'at 1*st "et as !e first need to reo#e t'e *nnecessar" )ol"$ons. 5e !ill %e$in %"
loo&in$ at Kila-s *))er %od"+ concentratin$ first on 'er ars %efore o#in$ on to 'er
torso+ considerin$ #ario*s )laces !'ere !e can c*t %ac&. Ne2t !e !ill loo& at t'e lo!er
%od"+ incl*din$ !aist+ le$s+ and feet+ %efore !or&in$ on 'er 'air+ nec&+ and face.
After !e-#e ade soe c'an$es+ !e can rec'ec& t'e )ol"$on co*nt and decide
!'et'er !e need to a&e an" additional sacrifices+ s*c' as s!a))in$ t'e 'ands for
lo!er #ersions.
)pti%i?ation
Methods
In t'is c'a)ter I don-t e2)lain in detail 'o! I a reo#in$ )ol"$ons. Feel free
to *se one of t'e follo!in$ et'ods+ !'ic' "o* 'a#e alread" seen *sed in t'e
%oo& so far(
Si)l" select t'e ed$e and $o to Edit Pol"$ons L Colla)se. T'is !ill
colla)se t'e ed$e+ %rin$in$ to$et'er t'e t!o #ertices it s'ared in.
Yo* can !eld #ertices %" $oin$ to Edit Pol"$ons L Mer$e ;ertices. T'is
et'od $i#es res*lts siilar to colla)sin$ t'e ed$es+ %rin$in$ to$et'er t'e
selected #ertices. In soe cases "o* !ill !ant to retain one of t'e #ertices-
)ositions. to do t'is+ sna) t'e ot'ers to it %" 'oldin$ do!n ; !'ile o#in$ t'e
#erte2+ ree%erin$ to !eld t'e after!ards.
In soe instances "o* can si)l" select t'e ed$es and )ress ,elete. t'is
!ill reo#e t'e ed$es %*t t'e #ertices !ill reain in t'e $eoetr". Yo* !ill t'en
'a#e to select and delete t'ose+ too.
Ar%
)pti%i?ation
Let-s %e$in %" loo&in$ at Kila-s ars. =5e-ll lea#e t'e 'ands for no!+ 1*st
concentratin$ on t'e ar itself.>
:efore "o* start+ a&e s*re to )ress M6CdNM to *ndo t'e trian$*lation "o* *sed to
$et a )ol"$on co*nt. Or "o* can reload t'e file called KilaKCo)lete.%.
5it' t'e odel no! %ac& in 7*ads+ t'e )ol"$on co*nt !ill %e lo!er+ aro*nd 33I?.
,on-t let t'is fool "o*Ma"a-s 7*ads can %e ade fro a n*%er of trian$les+ not 1*st
t!o+ so t'is n*%er is not an acc*rate reflection of t'e n*%er of trian$les in t'e
scene. 5e !ant t'is ao*nt to %e aro*nd ?AGG. 5'en in do*%t+ it-s al!a"s %est to
do a 7*ic& trian$*lation to c'ec& t'e act*al co*nt.
1. Loo&in$ fro t'e front+ "o* can see t'ree sections of )ol"$ons t'at can %e
reo#ed %eca*se t'e" affect t'e s'a)e of t'e ar onl" sli$'tl". T'ese areas are
'i$'li$'ted in Figure 5.5. T'e %est !a" to reo#e t'ese )ol"$ons is to colla)se t'e
ed$es+ so $o a'ead and do t'at no!.
Figure 5.5. &e%o:e the shallo; angles fro% the ar%.
Mo#e t'e ro! t'at is closest to t'e !rist do!n t'e ar =Figure 5.5+ %otto>. T'is
!ill 'el) !'en t'e !rist defors.
On t'e to) of t'e ar+ "o* can reo#e soe of t'e sall )ol"$ons t'at e2ist
'ere. Colla)se t'e ed$es 'i$'li$'ted in
Figure 5.6
+ left.
Figure 5.6. Collapse the edges that for% s%all polgons on the top
of the ar%.
4. Yo* !ill 'a#e to do a %it of re)air !or& to t'e areas fro !'ic' "o* 'a#e
reo#ed t'e )ol"$ons and ed$es. T'e s'a)e of t'e %ice)s and t'e s'o*lder area !ill
need soe e2tra !or& =Figure 5.7>.
Figure 5.7. Tid up the ar% area after opti%i?ing.
T!P
If "o* end *) !it' t!o ad1oinin$ trian$les+ tr" con#ertin$ t'e into 7*ads.
Select t'e and $o to Pol"$ons L O*adran$*late. T'is 'el)s to
&ee) t'e es' clean and tid".
()T*
5'en con#ertin$ to 7*ads+ Ma"a !ill $*ess at t'e !a" t'e trian$les
s'o*ld lie. T'is co*ld res*lt in conca#e areas li&e !e sa! on 'er 'i)s in
C'a)ter ?. In s*c' instances+ it !ill %e necessar" to &ee) t'e area
trian$*lated.
5. O)tii8e t'e %ac& of t'e ar %" !eldin$ t'e #erte2 in t'e center of t'e F
=Figure 5.8+ to)> to a #erte2 a%o#e it.
Figure 5.8. &e%o:e the :erte- in the center of this J =
;elding it to a :erte- a=o:e it.
T'at-s a%o*t all !e s'o*ld do on t'e ar for no!. if !e need to+ !e can red*ce it
f*rt'er later.
Torso
)pti%i?ation
Ne2t+ let-s loo& at t'e torso area. At t'e #er" front+ t'ere are soe ed$es !e created
!'en doin$ o*r *scle a))in$+ as "o* can see on t'e left of Figure 5.9. Since t'is
area is clot' and not s&in+ !e can reo#e t'ese ed$es+ $i#in$ *s a nice+ flat front
=Figure 5.9+ ri$'t>.
Figure 5.9. Take out the edges at the front of her crop top.
Fli))in$ aro*nd to 'er %ac&+ "o* can see t'e sae sit*ation as in t'e front( a fe!
*nnecessar" ed$es %eca*se t'e area is clot'. In addition+ t'ere are a fe! *n*sed
)ol"$ons.
First reo#e t'e ed$es 'i$'li$'ted in Figure 5.1<+ left. T'en reo#e an" stra"
#ertices t'at reain+ $i#in$ *s a cleaner %ac& =Figure 5.1<+ ri$'t>.
Figure 5.1<. &e%o:e these highlighted polgons on the =ack.
Finall"+ on Kila-s side t'ere are a fe! *n*sed )ol"$ons 1*st *nder 'er ar+ as !ell as t!o
ed$es !e can colla)se at t'e front of 'er s'o*lder. T'ese are all ill*strated in Figure
5.11.
Figure 5.11. &e%o:e these polgons fro% under her ar%pit.
Loo&in$ fart'er do!n t'e odel+ "o* !ill notice a fe! areas t'at are c*rrentl"
trian$*lated. Con#ert t'ese to 7*ads to clean *) t'e area.
T'e to)olo$" in t'e %reasts is so*nd. red*cin$ t'is area !o*ld ean !e-d lose t'e
c*r#e+ a&in$ t'e ore an$*lar. So+ !it' t'e torso o)tii8ed+ let-s o#e on.
Waist and ,eg
)pti%i?ation
5e ne2t coe to Kila-s !aist area. 5e !ill not o)tii8e t'e %elt at t'is tie. it is
c*rrentl" 7*ite lo! in resol*tion an"!a"+ so red*cin$ it ore !o*ld a&e t'e o#erall
s'a)e s*ffer.
1. 9ide 'er %elt so !e can concentrate on 'er !aist.
Alt'o*$' !e odeled all of t'e sas' in C'a)ter I+ !e onl" need certain )arts of it
%*ilt into t'e $eoetr". T'e rest !ill %e #isi%le #ia t'e te2t*re. Ta&e a loo& at
Figure 5.12. t'ere are a fe! areas 'ere !e can o)tii8e. For e2a)le+ 'i$'li$'ted
on t'e left+ alon$ t'e 'i)+ is a s'allo! an$le co)risin$ n*ero*s di#isions. t'is
!as created !'en !e s)lit t'e )ol"$ons for t'e sas'.
2. Follo! t'e line 'i$'li$'ted in Figure 5.13 =left> aro*nd t'e es'+ reo#in$
ost of t'e sas'-s )ol"$ons =Figure 5.13+ iddle>.
3
.
5'en "o*-re done+ co%ine soe of t'e trian$*lar faces into 7*ads to clean *) t'e area
=
Figure 5.13
+ ri$'t>.
4. Rotatin$ aro*nd to 'er %ac&side+ contin*e reo#in$ t'e e2tra )ol"$ons of t'e
sas'. T'ere are a co*)le at t'e to) of 'er 1eans t'at can $o+ too. T'ese are all
'i$'li$'ted in Figure 5.14+ left.
Figure 5.12. The front of the ;aist.
Figure 5.13. &e%o:e %ost of the sash fro% the front.
Figure 5.14. Continue re%o:ing the sash fro% the =ack.
5e are finis'ed !it' 'er !aist for no!+ so let-s concentrate on 'er t'i$'s %efore o#in$
do!n t'e le$s. T'ere are a fe! s'allo! an$les 'ere %*t !e !ill not reo#e all of t'e.
1. Select 1*st t'e ed$es across t'e center of t'e t'i$' =Figure 5.15+ left> and
colla)se t'e+ $i#in$ *s t'e res*lts seen in Figure 5.15+ ri$'t.
Figure 5.15. Collapse the central ro; of edges across the thighs.
2
.
At t'e #er" front of %ot' &nee areas+ *nder t'e rid$es of 'er &nees+ t'ere is a sall
7*ad =
Figure 5.16
+ to)>. It does not 'el) eit'er t'e s'a)e or t'e deforation+ so !e can reo#e it+
lea#in$ t'e &nees as s'o!n in
Figure 5.16
+ %otto.
Figure 5.16. Collapse the edges Aust under the ridge of her knees.
3. 5or&in$ on t'e %ac& of t'e &nees+ t'ere are ore ed$es !e can colla)se+ s'o!n in
Figure 5.17+ left. A$ain+ t'e" create %ot' s'allo! ed$es and saller )ol"$ons+ so
t'ese ed$es !on-t %e issed.
Figure 5.17. Collapse the central ro; of edges across her knees.
4. Mo#in$ on to t'e cal#es+ start %" colla)sin$ t'e central section of ed$es+ s'o!n in
Figure 5.18+ left. T'is e2tra di#ision of )ol"$ons is not essential. Notice on "o*r odel
and in Figure 5.18 =iddle> t'at colla)sin$ t'ese ed$es lea#es soe of t'e creases in
front a %it ess". Ta&e fi#e in*tes to fi2 t'e =Figure 5.18+ ri$'t>.
Figure 5.18. &e%o:e the central di:ision of faces fro% the calf
area1 and then clean up the creases.
5. Concentratin$ on 1*st t'e left le$ no!+ o)tii8e t'e folds in t'e clot' at t'e %otto of
'er 1eans. Tr" to aintain t'eir s'a)efollo!in$ t'e e2a)le in Figure 5.19+ colla)se t'e
iddle of eac' fold+ lea#in$ t'e )ea&s intact. Mo#e o#er to t'e ri$'t le$ and do t'e sae
=Figure 5.2<>.
Figure 5.19. )pti%i?e the folds on the left leg.
Figure 5.2<. )pti%i?e the folds on the right leg.
6. At t'e %ac& of 'er lo!er le$s+ !e can reo#e a section of )ol"$ons co)letel" and
not 'ar t'e o#erall s'a)e. Select t'e ed$es s'o!n in Figure 5.21 =left> and colla)se
t'e. Ne2t+ o)tii8e t'e area a little ore %" reo#in$ an" sall )ol"$ons or ed$es
t'at are left.
Figure 5.21. &e%o:e the unnecessar section at the =ack of her leg.
For no!+ Kila-s 1eans are o)tii8ed+ so let-s see !'at !e can do !it' 'er feet.
Foot
)pti%i?ation
T'e o)tii8ation "o* can do on Kila-s feet is fairl" strai$'tfor!ard.
To start+ delete an" )ol"$ons t'at are 'idden %" 'er 1eans =Figure 5.22>+ t'ese !ill
ne#er %e seen in t'e $ae so t'e" don-t need to e2ist.
:eca*se t'e to)s of 'er s'oes are relati#el" flat+ !e can reo#e t'e iddle section of
)ol"$ons. As ill*strated in Figure 5.23+ select t'e ed$es t'at s)an t'e iddle and colla)se
t'e. Ma&e s*re "o* colla)se t'e all t'e !a" aro*nd t'e foot.
Figure 5.22. Delete an faces fro% the shoes that are hidden
= her Aeans.
Figure 5.23. The tops of her shoes are Gat1 so re%o:e the central
section of polgons.
3. :efore !e finis' !it' t'e feet+ notice t'at t'ree 7*ads at 'er 'eel+ also 'idden %"
t'e 1eans+ co*ld %e reo#ed. see t'e to) of Figure 5.24. After reo#in$ t'ese t'ree
7*ads+ !eld do!n t'e )oint on t'e reainin$ 7*ad to create a trian$le+ and soot'
t'e area.
Figure 5.24. $et rid of the three Huads at the =ack of her feet.
T!P
If "o* !ant to %e a%le to see t'ro*$' t'e 1eans %*t &ee) t'e s'oes solid+ as I
'a#e in Fi$*re @.?I+ ri$'t/clic& t'e $eoetr" "o* !ant to see t'ro*$' and select
Actions L Te)late. To ret*rn it to noral+ ri$'t/clic& a$ain and select Actions L
Unte)late.
:efore !e contin*e to 'er 'air and face+ ta&e one final loo& aro*nd Kila-s ain %od". Yo*
s'o*ld no! 'a#e a $ood idea of !'at to loo& for+ so c'ances are "o* can find a fe! ore
)ol"$ons to reo#e. A fe! areas I fo*nd !ere in 'er collar%one and t'e %ac&s of 'er
s'o*lders. Yo* can see t'ese areas 'i$'li$'ted in Figures 5.25 and
5.26.
Figure 5.25. Check her collar=one area for opportunities for
reduction.
Figure 5.26. #ehind the shoulder1 ou can re%o:e a polgon or t;o.
()T*
It is #er" i)ortant to 'a#e t'e ri$'t ao*nt and )laceent of $eoetr"
aro*nd t'e s'o*lder for $ood deforation. 5e !ill e2aine t'is in C'a)ter
A.
5e are not at t'e sta$e !'ere !e need to sacrifice an" a1or details "et. O*r c*rrent
)ol"$on co*nt is ?EE? =ree%er+ t'is is in 7*ads>!e are onl" 3E? a!a" fro
reac'in$ t'e tar$et of a%o*t ?AGG.
5e can lea#e t'e ain %od" %e'ind no!+ and $et %*s" !it' t'e 'ead area.
'air1 Face1 and (eck
)pti%i?ation
T'e $eoetr" t'at a&es *) Kila-s 'ead and 'air is a $oldine of o))ort*nities
!'ere !e can reo#e lots of )ol"$ons. Let-s %e$in !it' t'e 'air.
The
'air
9ide e#er"t'in$ a)art fro 'er 'air and face. Te)late t'e face =*sin$ t'e et'od
e2)lained earlier for !or&in$ !it' t'e 1eans>+ so !e can !or& on 1*st t'e to) )art of
'er 'air.
To start+ t'ere are 7*ite a fe! areas !'ere !e can colla)se ed$es %eca*se t'ere are
so an" s'allo! an$les.
1. Select t'e ed$es s'o!n in Figure 5.27+ selectin$ t'e all aro*nd 'er 'air+ and
colla)se t'e.
Figure 5.27. Select and collapse e:er other edge1 to reduce the
hair.
Lea#e t'e #er" %otto of t'e 'air intact+ 'o!e#er. T'is area is di#ided into
se)arate stri)s+ so colla)sin$ t'e ed$es constr*ctin$ t'e stri)s !ill reo#e
t'e. Kila-s 'air s'o*ld no! loo& li&e t'at in Figure 5.28.
Figure 5.28. The hair after the edges are collapsed.
Ta&e anot'er loo&. t'ere are still a co*)le of s'allo! an$les t'at can %e
reo#ed !it'o*t affectin$ t'e o#erall s'a)e of 'er 'air.
2. As s'o!n in Figure 5.29+ select t'e iddle ro! of ed$es and colla)se t'e+
lea#in$ t'e 'air as seen in Figure 5.3<.
Figure 5.29. &educe the hair further = re%o:ing this ro; of
edges.
Figure 5.3<. The hair after re%o:ing the %iddle ro; of edges.
3. Mo#in$ aro*nd no! to t'e front of 'er 'air+ !e can 'a#e a loo& and see if !e can
$et a!a" !it' reo#in$ a )ol"$on or t!o fro 'ere. Tr" selectin$ and colla)sin$ t'e
ed$es s'o!n in Figure 5.31 =left>. does it still loo& o&a"0
Figure 5.31. Tr re%o:ing a fe; edges fro% the front.
Alt'o*$' it does loo&s fine =Figure 5.31+ ri$'t>+ alterin$ t'e 'airline li&e t'is !ill red*ce
t'e n*%er of #ertices alon$ t'at ed$e+ t'ere%" c'an$in$ 'o! t'e face es' lines *)
!it' t'e 'air. T'is !ill %ecoe o%#io*s !'en t'e face is *nte)lated in s*%se7*ent
ste)s.
4. Contin*e loo&in$ aro*nd t'e $eoetr" for )ol"$ons to %e reo#ed. Anot'er one lies
ri$'t on t'e to). "o* can see it in Figure 5.32 =left>. It-s a sall )ol"$on and so s'o*ld
not ca*se an" a1or )ro%les !'en it-s reo#ed.
Figure 5.32. &e%o:e this tin polgon fro% the top of her hair.
5e are finis'ed no! !it' t'e to) )ortion of t'e 'air. let-s o)tii8e t'e inner la"ers
ne2t.
1. Isolate t'e first la"er so !e can !or& on it alone =Figure 5.33+ to)>.
Figure 5.33. Collapse the top strip of edges on the "rst laer
of hair.
1 As s'o!n in t'e iddle ia$e of Figure 5.33+ select e#er" ot'er ed$e aro*nd t'e
#er" to) and colla)se t'e. 5e can do t'is %eca*se t'e to) la"er of 'air !ill 'ide ost of
t'ese )ol"$ons. 5e still need t'e to e2ist+ t'o*$'+ so t'at "o* don-t see t'ro*$' 'er 'ead.
2 Since t'is is an inner la"er+ t'e c*r#es in t'e $eoetr" need not %e )erfectl" soot'.
T'at eans !e can red*ce t'is la"er soe ore %" reo#in$ an entire ro! of )ol"$ons. T'is
is s'o!n in Figure 5.34.
Figure 5.34. Further reduce the inner laer = re%o:ing a ro; of
polgons fro% the strips.
No! follo! t'e sae )roced*re for t'e ot'er inner la"ers of 'air. 5'en "o*-re done+ t'e
$eoetr" !ill loo& li&e t'at in Figure 5.35.
Figure 5.35. More reductions on the other inner laers
The Face and
(eck
T'e 'air-s done. no! let-s !or& on 'er face. One 7*ic& loo& !ill s'o! an" areas
!'ere "o* can red*ce t'e es'.
Start !it' t'e fore'ead. I c'ose to %e$in 'ere %eca*se !e-#e alread" red*ced 'er
'airline+ and t'e #ertices in 'er 'air no lon$er line *) !it' 'er 'ead.
1. Follo! t'e ed$es do!n t'e %ro!+ startin$ !it' t'e sae ed$es !e reo#ed
fro 'er 'air+ *ntil "o* $et to t'e e"e area. If "o*-re not s*re !'ic' ed$es to
c'oose+ t'e"-re s'o!n in Figure 5.36 =left>. <*d$in$ %" t'e res*lts in Figure
5.36 =ri$'t>+ reo#in$ t'ese ed$es doesn-t ca*se a )ro%le.
Figure 5.36. )pti%i?ing the forehead
Tie to a&e o*r first sacrifice. !e need to red*ce 'er ear. T'is is not a a1or
loss+ 'o!e#er+ %eca*se t'e te2t*re !ill 'old all t'e detail !e need.
2. Flatten t'e o*ter face of t'e ear+ %*t tr" to retain t'e ear-s $eneral s'a)e
=Figure 5.37>.
Figure 5.37. Flatten out the face of the ear1 keeping the o:erall
shape.
1 It loo&s li&e !e can red*ce t'e ear a little ore %" colla)sin$ t'e ed$es 'i$'li$'ted
in Figure 5.38 =left>. T'is !ill *ltiatel" affect t'e ear-s o#erall s'a)e+ %*t not too *c'.
2 Loo&in$ aro*nd+ "o*-ll s)ot a sall )ol"$on nearl" o*t of si$'t on t'e inside =Figure
5.39+ left>. reo#e t'is. T'en $o a'ead and !or& a little ore on t'e ear-s $eneral s'a)e+
and see if "o* can reo#e an" ore )ol"$ons.
Figure 5.38. Collapse these three edges.
Figure 5.39. Collapse this s%all polgon hiding on the inside of the
ear.
After t'e ear is done+ t'e ne2t a1or area to e2aine is *nder 'er c'in. Yo* can see in
Figure 5.4< =left> t'at t'ere are lots of *n*sed )ol"$ons 'ere.
1. 5e can )ro%a%l" $et a!a" !it' flattenin$ t'e area as deonstrated in Figure
5.4< =ri$'t>+ alt'o*$' I adit I- not entirel" coforta%le !it' reo#in$ t'is an"
)ol"$ons in one $o %eca*se it does affect t'e s'a)e. After !e-re finis'ed+ if !e-re
*nder o*r %*d$et+ !e can al!a"s add a %it %ac& into t'is area to fill o*t t'e s'a)e.
2. Reo#in$ so *c' fro t'e c'in !ill a&e ot'er )otential tri areas stand o*t. T'e
ed$es in Figure 5.41 =left>+ for e2a)le+ lead *) fro a no!/*n*sed ed$e aro*nd 'er
1a!.
Figure 5.41. Working up fro% the Aa; line1 re%o:e polgons fro%
her cheek.
3. A$ain+ o)tii8in$ t'e *nderside of 'er c'in 'as ade ot'er red*ction
)ossi%ilities lea) ri$'t o*t at *s. Loo& at t'e c'in itself( 5e definitel" don-t need all
si2 of t'ose s*%di#isions. Reo#in$ t'e %otto ed$e alone+ 'o!e#er+ a" ca*se
soe odd/loo&in$ res*lts. So !or& "o*r !a" *) as I 'a#e done in
Figure
5.42 =left>+ o)tii8in$ t'e li)s+ too.
Figure 5.42. &educe the su=di:isions in her chin and lips.
4. Reo#in$ t'e ed$es fro t'e li)s 'as left *s !it' t!o stra" #ertices+ s'o!n in
Figure 5.43 at t'e to). 5eld t'ese #ertices to t'e ones closest to t'e+ soot'in$
o*t t'e *))er li) =Figure 5.43+ %otto>.
Figure 5.43. S%oothing out the upper lip
Figure 5.4<. Flatten the area under her chin.
Ne2t+ !e !ill e2aine Kila-s e"es %efore o#in$ on to t'e rest of 'er 'ead. T'e" are
7*ite ro*nd+ %*t !e don-t act*all" need t'is ao*nt of detail.
1. 5e can $et a!a" !it' colla)sin$ t'e ed$es 'i$'li$'ted in Figure 5.44 =left>+
%efore o#in$ t'e reainin$ #ertices to res'a)e t'e e"e as s'o!n in Figure
5.44 =ri$'t>. :" doin$ t'is+ !e-ll re$ain BD 7*ads+ or 3A )ol"$ons.
Figure 5.44. &educing and reshaping the ees
No! loo& at t'e %rid$e of t'e nose fro t'e side. Yo*-ll s)ot an area t'at is 7*ite flat.
T'ere are t'ree #ertical s*%di#isions a&in$ *) t'is area+ %*t !e can li#e !it' 1*st t!o.
2
.
Select t'e ed$es t'at a&e *) t'e central di#ision of t'e nose. O)tii8in$ t'e %rid$e
of t'e nose eans !e can also red*ce 'er c'ee&s+ so !or& "o*r !a" aro*nd t'e and
see !'at "o* can do =
Figure 5.45
>.
Figure 5.45. )pti%i?ing the =ridge of her nose and the cheeks
3. 9ere-s soet'in$ less o%#io*s( Notice t'e sall )ol"$on ne2t to t'e corner of 'er
e"e+ s'o!n in Figure 5.46. Select and colla)se t'is+ as it is not needed.
Figure 5.46. 'ere>s an edge ou can collapse ;ithout taking a;a
fro% the shape of the ee.
()T*
It-s i)ortant to &ee) "o*r e"es )eeled+ loo&in$ for )otential areas of
o)tii8ation t'at are less easil" seen+ li&e t'is one.
T!P
5'en "o* are *ns*re a%o*t reo#in$ a )artic*lar )ol"$on+ $o a'ead and
tr" itif t'e $eoetr" loo&s !ron$+ "o* can al!a"s )ress M6CdNM to *ndo
t'e o)eration. And S'iftNM6S'iftNCdNM !ill redo t'e last *ndo.
T'e %ac& of Kila-s 'ead !o*ld %e anot'er $ood )lace to loo& for o)tii8ation
o))ort*nities+ %eca*se 'er 'air !ill co#er it. In Figure 5.47 =left>+ "o* can see an ed$e t'at
i$'t )otentiall" %e colla)sed.
No! o#e aro*nd t'e 'ead+ scannin$ t'e s*rface for an"t'in$ "o* i$'t reo#e.
A%o#e t'e nostril !e %*ilt in t'e crease+ %*t t'is is s*c' a sall )ol"$on !e 1*st can-t 1*stif"
&ee)in$ it+ so colla)se t'is ed$e =Figure 5.48>.
Figure 5.47. This area at the =ack of the head can =e
reduced.
Figure 5.48. The s%all polgon a=o:e her nostril can =e
re%o:ed.
Ret*rnin$ to t'e %ac& of 'er nec&+ it loo&s li&e !e can do soe additional red*ction.
S'o!n in t'e to) ia$e of Figure 5.49+ t'ere are t!o 7*ads on t'e sides of t'e nec&
t'at do not offer *c' in t'e !a" of s'a)e or deforation. T'ese ed$es can %e reo#ed+
%*t a&e s*re to fine/t*ne t'e ne! $eoetr" so t'at t'e for correctl" rese%les t'e
%ac& of a nec&.
Figure 5.49. You can reduce these edges1 =ut ou>ll need to
reshape the area after;ard.
Ta&in$ one last loo& aro*nd t'e 'ead+ !e notice an ed$e *nder t'e 1a! t'at !e can
reo#e =Figure 5.5<>. T'is cleans *) t'e area nicel".
Figure 5.5<. )n "nal inspection. an e-tra edge under the Aa; and a
%uscle in the neck.
Anot'er s)ot !e can reo#e in t'is area is t'e *scle definition in t'e side of t'e
nec&+ also s'o!n in Figure 5.5<. Ultiatel" t'is does not add to t'e c'aracter.
%esides+ t'e *scle tone 'ere can %e dra!n into t'e te2t*re if !e need it.
T'e face is no! co)lete and can %e seen in Figure 5.51. As entioned earlier+ !e a"
'a#e reo#ed too *c' fro a fe! areas+ %*t !e !ill !ait and see 'o! t'in$s s'a)e *).
If !e coe in !ell %elo! o*r liit+ !e can $o %ac& in and re!or& soe areas.
Figure 5.51. The full opti%i?ed face
No! %rin$ %ac& t'e rest of t'e $eoetr" so it is #isi%le. :eca*se !e reo#ed t'e
detail fro t'e *))er )art of t'e nec&+ !e *st no! reo#e it fro t'e lo!er )ortion
as !ell+ so t'e" atc' *) =Figure 5.52>.
Figure 5.52. )pti%i?e the lo;er neck so that it %atches the upper
portion that ;e tri%%ed.
Current
Count
T'e ain o)tii8ation is no! co)lete. :efore !e find o*t 'o! !e are doin$ as far
as t'e )ol"$on co*nt is concerned+ let-s loo& at t'e a))earance of o*r c'aracter.
Figure 5.53 s'o!s o*r odel of Kila %efore and after o)tii8ationcan "o* tell !'ic'
is !'ic'0
Figure 5.53. Character %odel co%parison. Which is the
opti%i?ed :ersion?
If "o* loo& closel"+ t'ere are s*%tle differences no!. T'e ain difference+ 'o!e#er+ is
t'at one #ersion 'as BG@I ore )ol"$ons. Yo* can see fro t'is e2a)le t'at
reo#in$ )ol"$ons does not ean "o* 'a#e to sacrifice t'e detail or e#en t'e s'a)e
of a c'aracter. 5'at it does ean is t'at "o* 'a#e a !ell/constr*cted and efficient
odel t'at doesn-t eat *) lots of )rocessin$ )o!er %eca*se it 'as BGGG )ol"$ons in
an ear t'at t'e )la"er ne#er sees. It )a"s to %e r*t'lessJ
So !'ere are !e no! !it' Kila0 Ree%erin$ t'at o*r liit is I@GG+ let-s see 'o! an"
)ol"$ons s'e c*rrentl" 'olds. Select all t'e $eoetr"+ and $o to Pol"$ons L Trian$*late
and read t'e onscreen dis)la". O*r c*rrent )ol"$on co*nt is IDG?. 9+ not %ad%*t
!e-re still 3G? o#er o*r liit. T'ere-s one reainin$ area !'ere !e can red*ce to )are
do!n t'ese faces a little ore( t'e 'ands.
()T*
Ree%er to *ndo =M6CdNM> t'e trian$*lation %efore "o* )roceed.
'and
)pti%i?ation
Kila-s 'ands at t'is )oint do 'o*se a lot of detail+ so red*cin$ t'e %" B@B )ol"$ons
eac' s'o*ld not si$nificantl" red*ce t'eir 7*alit". 5e s'o*ld %e a%le to 'a#e all fi#e
fin$ers artic*lated+ !it'o*t 'a#in$ to resort to a itten 'and or one !it' fro8en
fin$ers.
So !'at-s a#aila%le for o)tii8ation0 5e can start %" reo#in$ t'e fin$ernails. 9ere
!e 'a#e to ree%er t'at !'en !or&in$ on t'e fin$ers+ if !e alter one !e *st do
t'e sae on t'e ot'er fo*r. T'e" all 'a#e to atc' or t'e" !ill loo& odd.
1. On all t'e fin$ernails and t'e t'*%nail+ sna) t'e inner #ertices of t'e nails to t'e
o*ter ones and !eld t'e+ as deonstrated in t'e %efore/and/after s'ots in Figure
5.54.
Figure 5.54. Start = re%o:ing the "ngernails.
C*rrentl" !e 'a#e fe!er di#isions of faces on t'e !rist t'an !e 'a#e across t'e
%ac& and )al of t'e 'and. So !e s'o*ld ne2t o)tii8e t'e %ac& of t'e 'and.
Figure 5.55 =left> s'o!s t'e %ac& of t'e 'and c*rrentl".
Figure 5.55. )pti%i?e the =ack of the hand so it %atches the
di:isions on the ;rist.
Follo!in$ t'e center of t'e F created for t'e &n*c&les+ trace %ac& to t'e t!o #ertices
%e'ind it and !eld t'e to t'e ones on t'eir left =Figure 5.55+ ri$'t>.
Ne2t+ fli) t'e 'and o#er and do t'e sae for t'e )al+ red*cin$ it to atc' t'e
di#isions on t'e !rist. Figure 5.56 s'o!s t'e )al %efore and after t'e o)tii8ation.
Yo* i$'t %e left !it' t'e t!o ed$es I 'a#e 'i$'li$'ted in Figure 5.57 =left>. If so+
"o* can si)l" colla)se t'ese %eca*se t'e" don-t add an"t'in$ to t'e odel.
Figure 5.56. &educe the pal% as ou did the =ack of the hand.
Figure 5.57. Collapse these t;o edges if the e-ist on our %odel.
T'e ain 'and area is no! done+ %*t !e can red*ce it e#en f*rt'er %" o)tii8in$ t'e
fin$ers.
1 Flatten t'e to) of eac' fin$er as s'o!n in Figure 5.58. ,o t'is %" sna))in$ eac' of
t'e #ertices t'at r*n do!n t'e center to t'e ones directl" to t'eir ri$'t. Ree%er to !eld
t'e after!ard+ or t'e )ol"$ons !ill still e2ist.
2 Ri$'t at t'e ti) of eac' fin$er t'ere is a sin$le #erte2 t'at !e no lon$er need. It
doesn-t add *c' to t'e s'a)e+ so sna) it to t'e #erte2 at t'e ti) of t'e nail+ and !eld
=Figure 5.59>.
Figure 5.58. Flatten the top of each "nger.
Figure 5.59. &e%o:e the :erte- in the center of each
"ngertip.
3. Still loo&in$ at t'e fin$erti)+ t'ere are t!o ed$es at eit'er side of t'e nail. "o* can
see t'ese in Figure 5.6<+ left. Colla)sin$ t'ese on eac' fin$er !ill reco*) anot'er ?G
)ol"$ons.
Figure 5.6<. Collapse the t;o edges on each side of the
"ngernail.
T'at co)letes t'e first sta$e of red*cin$ t'e 'and. "o* can see t'e res*lts in
Figure 5.61. 5e co*ld lea#e it as/is+ %*t t'ere-s ore !e can do. I don-t t'in& !e
!ill see a a1or difference in 7*alit" if !e o#e for!ard one ore ste)+ !'ic' !ill
red*ce t'e )ol"$on co*nt %" anot'er BAG.
Figure 5.61. The hand %odel so far
4. As !e did on t'e to) of t'e 'and+ !e can o)tii8e t'e sides of t'e fin$ers and t'*%.
Select t'e #ertices t'at r*n do!n %ot' sides of eac' di$it+ and sna) and t'en !eld t'e
to t'e #ertices %elo!. Figure 5.62 s'o!s "o* 'o! t'is loo&s on 1*st t'e inde2 fin$er.
Figure 5.62. Flatten the sides of each "nger and thu%=.
()T*
T'is o)eration not onl" reo#es t'e side/fin$er di#isions %*t also red*ces t'e
n*%er of es' di#isions on t'e *nderside of eac' &n*c&le fro 3 to B.
5e !ill lea#e t'e %otto c*r#e of t'e fin$ers intact. T'is !ill )ro#ide a little ore
s'a)e t'an t'e" !o*ld 'a#e if !e red*ced t'e to c*%es.
Once all t'e di$its 'a#e %een done+ t'e 'and is finis'ed =Figure 5.63>.
Figure 5.63. Final opti%i?ed hand %odel
Chapter 6. Defor%ation
Testing
CD Files
KilaK,eforTest.%
KilaKO)tii8ed.%
5E ARE NO5 CLOSE to finis'in$ sc*l)tin$ t'e Kila odel. onl" t'is c'a)ter reains
%efore t'e %ase odel is co)ete. If "o* are li&e e+ "o* co*ld easil" s)end anot'er
!ee& refinin$ and fine/t*nin$ t'e es' to )erfection+ %*t tie is not a l*2*r" "o* can
afford in t'e $aes ind*str"+ so !e !ill )*s' on.
In t'is c'a)ter !e !ill %riefl" introd*ce t'e *se of 1oints and %indin$ !'ile !e test t'at o*r
odel !ill defor correctl". For a $ae c'aracter to )erfor con#incin$l"+ it *st defor
con#incin$l". Usin$ t'e correct to)olo$" aro*nd areas t'at %end+ s*c' as el%o!s and
&nees+ !ill res*lt in a %elie#a%le c'aracter t'at t'e )la"er can relate to. Testin$ Kila-s
deforation at t'is sta$e!it' t'e es' co)letel" sc*l)ted!ill sa#e 'eadac'es later on.
S*))ose t'e c'aracter 'asn-t %een tested+ and !e $o on to te2t*re and ri$ 'er. If !e t'en
reali8e t'at s'e needs e2tra )ol"$ons in a certain )lace or 'as an area t'at needs alterin$+
t'at !ill ean rete2t*rin$ and )ossi%l" reri$$in$ 'er. It-s i)ortant to test t'e
deforation no!.
In Kila-s c*rrent condition+ 'er torso !ill initiall" defor 7*ite !ell %eca*se it is essentiall"
c"lindrical in s'a)e and does not need to %end draaticall". T'e ars and le$s+ 'o!e#er+
!ill %end 7*ite considera%l" at t'e el%o!s and &nees and so *st %e c'ec&ed.
The Ar%s and
,egs
T!o of t'e ain areas on a odel t'at need to %e tested are t'e ars and le$s+ in
)artic*lar t'e el%o!s+ s'o*lders+ and &nees. T'ese areas are i)ortant %eca*se t'e"
%end t'e ost as t'e c'aracter o#es aro*nd t'e $ae !orld and interacts !it' t'e
en#ironent and !it' ot'er c'aracters.
Setting 0p the Ar%
Skeleton
Let-s start %" loadin$ t'e file called KilaKO)tii8ed.% and foc*sin$ in on 'er left
el%o!. Yo* can see t'e el%o! in Figure 6.1+ and *) to no! t'ere are no a1or
)ro%les !it' it. Let-s )*t a %asic s&eleton in and see 'o! it %ends.
1. S!itc' to t'e to) #ie! so t'at "o* are loo&in$ do!n on t'e ar. S!itc' to
!irefrae ode =)ress I> so t'at "o* can see t'e 1oints as !e )lace t'e.
S;itching
Cie;s.
Use t'e n*%er &e"s to c"cle t'ro*$' t'e #ie!in$ odes in Ma"a.
I s!itc'es to !irefrae ode
@ s!itc'es to s'aded ode
A s!itc'es to te2t*red ode
C s!itc'es to li$'ted ode
To %e$in )lacin$ t'e 1oints+ s!itc' to t'e Aniation en* set =F?>. Go to t'e
S&eleton en* and select t'e <oint tool. Lea#e t'e o)tions alone for no!. !e are
$oin$ to *se t'e defa*lt settin$s. 5e !ill e2)lore 1oints in ore detail in C'a)ter BB+
4S&eleton Set*).4
Follo!in$ Figure 6.2+ )lace t'e first 1oint 1*st %efore t'e s'o*lder+ t'en one at t'e
s'o*lder itself+ t'en at t'e el%o!+ and finall" at t'e !rista&in$ fo*r 1oints in all.
Press Enter to confir t'e )laceent. ,on-t !orr" a%o*t renain$ t'e 1oints. t'e"
are onl" te)orar".
Figure 6.2. Place four Aoints. =efore the shoulder1 at the
shoulder1 at the el=o;1 and at the ;rist.
T'e 1oints are no! correctl" )laced in t'e F and M a2es+ so ne2t let-s c'ec& t'e Y
a2is.
Tip
Yo* can ad1*st t'e si8e at !'ic' 1oints are dis)la"ed %" $oin$ to
,is)la" L <oint Si8e.
4. S!itc' to t'e front #ie! =Figure 6.3+ left>+ and "o*-ll see t'at t'e 1oints at t'is sta$e
all lie in t'e !ron$ )lace in t'e Y a2is. Yo* need to o#e t'e *) so t'e" are )ositioned
do!n t'e center of 'er ar. If "o* select and o#e t'e first 1oint "o* )laced+ it !ill also
o#e t'e rest+ %eca*se t'e ot'er 1oints are )arented to t'is one and t'*s in'erit its
o#eent. T'is !ill )*t t'e ar into t'e %asic )osition for *s.
Figure 6.3. Mo:e the Aoints up so the lie do;n the center of the
ar%.
5. To fine/t*ne t'e )ositionin$ of t'e reainin$ 1oints %" o#in$ eac' in t*rn *ntil t'e"
are all correctl" )ositioned do!n t'e center of t'e ar =Figure 6.3+ ri$'t>.
Once "o* 'a#e t'e ain s'o*lder 1oint in )lace+ "o* can *se t'e Rotate tool to
)osition t'e rest if "o* )refer+ alt'o*$' it-s not essential.
Tip
If a series of o%1ects are )laced in a 'ierarc'"+ "o* can select t'e c'ildren
or )arent %" *sin$ t'e arro! &e"s. Pressin$ t'e *) arro! !ill o#e *)
t'e c'ain. )ressin$ t'e do!n arro! !ill o#e do!n t'e c'ain. T'is
)rocess is called 4)ic& !al&in$.4
Figure 6.1. For our "rst skeleton area1 focus in on +ila>s left el=o;.
T'is is all !e need to do at t'is sta$e to %*ild a %asic s&eleton+ so let-s contin*e !it' o*r
ar set*).
Skeleton
#inding
No! !e need to attac' t'e es' to t'e 1oints. T'e s&eleton essentiall" dri#es t'e
odel and defors it for *s.
1 Select t'e first 1oint of "o*r s&eleton. T'en 'old S'ift and select t'e $eoetr" so
t'at "o* 'a#e %ot' t'e s&eleton and t'e es' selected.
2 O)en *) t'e o)tions for a soot' %ind =S&in L :ind S&in L Soot' :ind>.
3 Ma&e s*re "o*r Soot' :ind o)tions are confi$*red in Figure 6.4. T'e i)ortant
sections are Ma2 Infl*ences and ,ro)off Rate.
Figure 6.4. Setting S%ooth #ind options
S%ooth #ind
Settings
Ma- !nGuences s)ecifies t'e n*%er of 1oints t'at can infl*ence eac'
#erte2. For e2a)le+ settin$ t'is to B !o*ld ean t'at t'e forear 1oint
onl" infl*enced t'e #ertices near it+ !'ic' co*ld a&e t'e c'aracter
defor %adl" and loo& 7*ite ri$id. T'is n*%er a" de)end on t'e $ae
en$ine "o* are *sin$+ so disc*ss t'e settin$ !it' "o*r lead artist first.
Us*all"+ ? or 3 is a $ood n*%er for Ma2 Infl*ences.
DropoF &ate dictates 'o! ra)idl" a 1oint-s infl*ence decreases as it
o#es a!a" fro t'e 1oint. T'e defa*lt is I+ !'ic' !or&s !ell for
ost c'aracters.
5'en "o*-re read"+ clic& :ind S&in to contin*e. T'e !irefrae on "o*r es'
s'o*ld t*rn )in&+ indicatin$ t'at t'e 1oints are connected to t'e es'.
S!itc' to t'e to) #ie! and t*rn on Soot' S'ade All in t'e S'adin$ en*.
In Figure 6.5 "o* can-t see t'e 1oints+ %*t it doesn-t atterMa"a 'as a )riorit" list
t'at dictates !'ic' t'in$s $et selected %efore ot'ers. <oints are 'i$'er on t'is list
t'an )ol"$ons+ so if "o* dra$ a selection o#er t'e forear "o* !ill select t'e el%o!
1oint.
Figure 6.5. Select the el=o; Aoint and rotate it to =end the ar%.
6. ,o t'is no!dra$ a selection aro*nd t'e forear and rotate t'e el%o! aro*nd t'e M
a2is. T'is is s'o!n in Figure 6.5+ ri$'t.
(ote
:eca*se t'is is a defa*lt %ind+ t'e el%o! 1oint a" infl*ence t'e torso.
,on-t !orr" a%o*t t'is no!. !e !ill address t'is iss*e in t'e ne2t section.
Alt'o*$' t'e $eoetr" does %end+ it-s not a #er" nat*ral loo&in$ el%o!. 5'at !e can do
no! is t!ea& t'e !a" t'e 1oints infl*ence t'e el%o! %" )aintin$ t'e !ei$'ts aro*nd it.
Painting
Weights
,ifferent 3, a))lications *se #ario*s tec'ni7*es for ad1*stin$ t'e !a" 1oints dri#e
$eoetr". Ma"a-s is one of t'e %est and friendliest I 'a#e *sed. 5'en "o* paint
weights, "o* )aint a 1oint-s infl*ence onto t'e es'+ tellin$ Ma"a !'at areas are
infl*enced and %" 'o! *c'.
Let-s $et read" to ad1*st t'e !ei$'ts on Kila-s el%o!.
1
.
Select t'e es' and $o to S&in L Edit Soot' S&in L Paint S&in 5ei$'ts Tool+ and
o)en *) t'e o)tions !indo!.
Figure 6.6
s'o!s t'e o)tions no! a#aila%le to "o*.
Figure 6.6. The Paint Skin Weights options
Also notice t'at in t'e )ers)ecti#e #ie!+ "o*r $eoetr" no! 'as $ra"scale s'adin$
all o#er it. "o* can see t'is in Figure 6.7. T'is is an interacti#e dis)la" of t'e area
t'at t'e c*rrent 1oint is infl*encin$. 5'ite is a2i* and !ill in'erit BGGH of t'e
1oint-s o#eent. %lac& re)resents no infl*ence.
Figure 6.7. The inGuence is displaed for the currentl
selected Aoint.
Tip
In t'e Paint S&in 5ei$'ts o)tions "o* can select !'ic' 1oint to !or& on in
t'e Infl*ence )anel. Yo* can also ri$'t/clic& a 1oint t'at is %o*nd to t'e
es' and select Paint 5ei$'ts fro t'e ar&in$ en*.
2. Lea#e t'e Paint S&in 5ei$'ts !indo! o)en+ as "o*-ll need to refer %ac& to it as "o*
)aint. Mo#e "o*r o*se c*rser o#er t'e $eoetr" and "o*-ll notice t'at t'e )ointer
c'an$es to a )aint%r*s' icon !it' a red circle aro*nd it =Figure 6.8>. T'is s'o!s "o*
!'ere "o* are )aintin$ as !ell as 'o! lar$e "o*r %r*s' is.
Figure 6.8. The %ouse pointer changes to indicate ;here ou are
painting and the si?e of our current =rush.
(ote
To c'an$e t'e %r*s' si8e+ 1*st 'old do!n :+ t'en clic& and 'old t'e iddle
o*se %*tton. T'e c*rsor !ill c'an$e to t!o 'ori8ontal arro!s. no! 1*st scr*%
t'e o*se side!a"s to alter t'e si8e.
)ptions for Painting Skin
Weights
T'ere are lots of o)tions to )la" !it' in t'is tool+ as "o* can see in t'e
Paint S&in 5ei$'ts o)tions !indo!. T")icall"+ I onl" *se t'e fe! I 'a#e
'i$'li$'ted in Figure 6.9+ %*t feel free to e2)erient !it' t'e ot'er
%r*s'es and o)tions *ntil "o* find a !a" of !or&in$ t'at "o*-re coforta%le
!it'.
Figure 6.9. The ;eight@painting options ! freHuentl use
are highlighted here.
)pacit =in t'e :r*s' )anel> and Calue =in t'e Paint 5ei$'ts )anel> !or&
to$et'er(
;al*e sets t'e ao*nt %" !'ic' t'e 1oint infl*ences t'e s&in. A settin$
of B.GGGG !ill f*ll" infl*ence t'e #ertices. T'is #al*e is t'e a2i* a #erte2
!ill %e infl*enced. If "o* set it to G.@+ a #erte2 !ill onl" %e infl*enced %" G.@+
no atter 'o! *c' "o* )aint on =*nless "o*r )aint o)eration is set to Add>.
T'e O)acit" settin$ dictates 'o! *c' of t'e ;al*e !ill %e )ainted %"
eac' stro&e. So if "o*r ;al*e is B %*t "o*r O)acit" is G.?@+ "o*
!ill onl" )aint one/7*arter of t'e f*ll #al*e eac' tie.
T'e Paint )perations =in Paint 5ei$'ts> "o* can )erfor are as follo!s(
Re)lace is t'e )aint o)eration I tend to *se ost often. T'is o)eration
si)l" re)laces t'e c*rrent infl*ence !it' !'ate#er "o* are )aintin$. I find it
7*ic& and eas" to $et $ood res*lts %" onl" *sin$ Re)lace.
Add !ill add on to) of t'e c*rrent infl*ence.
Soot' a#era$es t'e infl*ence #al*es of ad1acent #ertices+ *c' li&e a
%l*r o)eration !o*ld soften t'e ed$e %et!een a %lac& area and a !'ite area in
an ia$e. Soot' is 7*ite 'and" !'en+ for e2a)le+ "o* 'a#e a lar$e area
t'at needs a $rad*al+ soot' deforation.
Scale red*ces t'e infl*ence on 1oints t'at are fart'er a!a".
T'e #ario*s %r*s' t")es are re)resented ne2t to Profile in t'e :r*s' )anel.
T'ese infl*ence t'e !a" "o* )aint. c'oose aon$ a fine %r*s' stro&e+ a solid
%r*s' !it' soot' ed$es+ a solid %r*s'+ and a s7*are %r*s'.
*l=o; Weight Painting and Testing
No! t'at "o*-#e seen t'e !ei$'t/)aintin$ o)tions+ let-s )aint t'e el%o! and see if !e can
$et a $ood s'a)e !'en it is %ent.
Set ;al*e and O)acit" to B =t'eir 'i$'est settin$s>. Select t'e solid %r*s'+ !'ic' is
t'ird fro t'e left+ and c'oose 1oint+ !'ic' is t'e el%o! 1oint.
To %e$in+ a&e s*re t'e #ertices a!a" fro t'e el%o! are f*ll" infl*enced %" t'eir
res)ecti#e 1oints. 5'ile !e 'a#e t'e settin$s on a2i*+ )aint aro*nd t'e section of
#ertices 'i$'li$'ted in Figure 6.1<+ a&in$ t'e )*re !'ite. =Most of t'ese are alread" f*ll"
infl*enced %" t'e el%o!+ %*t it doesn-t '*rt to c'ec&.>
Figure 6.1<. Set the :ertices Aust out fro% the el=o;1 to =e full
inGuenced = the el=o;.
1 Reset ;al*e to G and )aint o#er t'e *))er ar =Figure 6.11>+ reo#in$ an" infl*ence
t'e el%o! 'as o#er t'is area.
2 Set ;al*e to G.@ and )aint o#er t'e iddle section of t'e ar+ 'i$'li$'ted in Figure
6.12+ so t'at t'e el%o! and *))er ar %ot' infl*ence t'is area. Yo* !ill )ro%a%l" 'a#e to
select 1oint? and )aint t'e area a$ain+ since %ot' 1oints !ill %e infl*encin$ t'is %end.
Figure 6.11. &e%o:e the inGuence fro% the upper ar%.
Figure 6.12. Paint the %iddle of the ar% so that =oth the
shoulder Aoint and the el=o; Aoint inGuence it.
5. 5e no! 'a#e eac' ro! of #ertices !ei$'ted neatl". P*t ;al*e %ac& to B+ select t'e
softer %r*s' =second fro t'e left> and o#e O)acit" do!n to a%o*t G.?.
Go a'ead and !or& soe ore on t'e el%o! area and see if "o* can ac'ie#e an
acce)ta%le res*lt. Yo* !ill end *) !it' t'e el%o! loo&in$ *c' li&e t'at in Figure
6.13 =left>. Not loo&in$ #er" $ood+ is it0 5e co*ld s)end ore tie )aintin$ t'e area+ %*t
!e !on-t $et a satisfactor" res*lt. No atter 'o! *c' !e tr"+ !e !ill still end *) !it'
t'e s'ar) an$le on t'e o*ter ed$e and t'e )inc'in$ on t'e inside.
Figure 6.13. The el=o; so far
Fi2in$ t'is !ill in#ol#es addin$ ore )ol"$ons to t'e area+ as ill*strated in Figure
6.13 =ri$'t>. 5e-ll disc*ss t'at ne2t.
Adding Polgons to the
*l=o;
5e need to add soe )ol"$ons to &ee) t'e el%o! fro )inc'in$ as it %ends. T'ese
!ill lie close to t'e act*al el%o!. T'e" !ill onl" %e added at t'e front and t'e rear
%eca*se t'e el%o! onl" rotates aro*nd one a2is. !e don-t need to !orr" a%o*t t'e to)
and %otto.
1 To 7*ic&l" $et t'e 1oints %ac& to t'eir ori$inal )osition+ ri$'t/clic& t'e first 1oint and
select Ass*e Preferred An$le fro t'e ar&in$ en*.
2 Select t'e es' and o)en *) t'e o)tions for S&in L ,etac' S&in. Ma&e s*re t'e
,elete 9istor" o)tion is selected+ t'en clic& ,etac'.
(ote
In t'e ,etac' S&in o)tions+ ,elete 9istor" resets t'e es' %ac& to its
ori$inal s'a)e+ reo#in$ all t'e !ei$'tin$ inforation attac'ed. :a&e
9istor" 4%a&es4 t'e %end onto t'e $eoetr"+ &ee)in$ t'e es' in t'e
sae )ose. Kee) 9istor" detac'es t'e s&eleton %*t &ee)s t'e !ei$'tin$
inforation. T'is last o)tion is 'and" to retain t'e !ei$'ts fro t'e
ori$inal in case "o* !ant to add an e2tra 1oint to t'e s&eleton after "o*
re%ind.
3. 5e are %ac& to s7*are one+ %*t !it' a %etter idea of 'o! t'e el%o! s'o*ld %e. Let-s
add soe )ol"$ons no!. Usin$ t'e S)lit Pol"$on tool+ c*t t'e front as s'o!n in Figure
6.14. Yo*-re c*ttin$ fro t'e )i#ot )oint of t'e el%o! on t'e to)+ to t'e one at t'e
%otto.
Figure 6.14. Add a s%all section of polgons at the front of the
el=o;.
4. Fart'er do!n t'e ar+ add a ne! s*%di#ision as s'o!n in Figure 6.15.
Figure 6.15. !nsert a ne; section across the lo;er ar%.
5. T'e final addition !ill %e a section aro*nd t'e %ac& of t'e el%o! siilar to t'e one
!e added to t'e front =Figure 6.16>.
Figure 6.16. Add a section at the =ack of the el=o; like the one in
the front.
6. No! t'at !e 'a#e t'ese e2tra )ol"$ons+ !e a" as !ell *se t'e to add a little s'a)e
to t'e el%o! area =Figure 6.17>. Yo* can also add a sli$'t de)ression on t'e inside of
t'e el%o!+ too+ if "o* 'a#en-t alread". ,elete t'e 'istor" !'en "o*-re done.
Figure 6.17. With ne; polgons added1 reshape the ar%.
1 To re%ind t'e es' to t'e s&eleton select t'e first 1oint of t'e s&eleton and t'en t'e
es'. Go to S&in L :ind S&in L Soot' :ind+ a&in$ s*re its o)tions are still set at Ma2
Infl*ence 3 and ,ro)off Rate I.
2 :end t'e el%o! and %e$in to )aint t'e !ei$'ts. Start %" a&in$ s*re t'e #ertices on
eit'er side of t'e el%o! are onl" infl*enced %" t'e s'o*lder =1oint?> or t'e el%o! =1oint3>.
3 Set t'e iddle ro! of #ertices to %e 'alf infl*enced %" t'e s'o*lder and 'alf %" t'e
el%o!.
4 Finall"+ as s'o!n in Figure 6.18+ fine/t*ne t'e area !it' t'e softer %r*s' and saller
o)acit" settin$ to $et t'e s'a)e 1*st ri$'t.
Figure 6.18. Paint the el=o; to achie:e a satisfactor =end.
T'is is a $ae odel+ so !e-re not $oin$ to $et t'e el%o! )erfect+ %*t !e 'a#e a
decent el%o! deforation as it no! stands. So !'ile !e 'a#e t'e s&eleton in t'e
ar+ let-s contin*e on and c'ec& t'e s'o*lder.
Shoulder Weight Painting and
Testing
T'e s'o*lder area can %e 7*ite tric&" %eca*se it 'as t'ree a2es of rotation rat'er
t'an one. Let-s see 'o! it loo&s !'en it is rotated.
1. To %e$in+ a&e s*re Kila-s co)lete torso is f*ll" !ei$'ted to t'e first 1oint+
1ointB. It s'o*ld %e co)letel" !'ite+ as seen in Figure 6.19.
Figure 6.19. Full ;eight the torso to the "rst Aoint in the
skeleton.
1 Select t'e s'o*lder 1oint and rotate it do!n+ so 'er ar is %" 'er side+ to see 'o! it
defors. As "o* can see in Figure 6.2<+ it-s not #er" $ood at t'e oent+ %*t a little
)aintin$ !ill sort t'is o*t.
2 :e$in %" reo#in$ soe of t'e s'o*lder-s infl*ence fro t'e to) of t'e s'o*lder and
t'e area *nder 'er ar. ,o t'is %" selectin$ t'e first 1oint of t'e ar and *sin$ Add in t'e
Paint 5ei$'ts o)tions to a&e t'ese areas infl*enced ore %" t'is 1oint. T'is !ill red*ce t'e
ao*nt t'e" are affected %" t'e s'o*lder 1oint.
3 5'en "o*-re done+ t!ea& t'e s'o*lder *ntil it is soot'+ !it' a $rad*al
Figure 6.2<. The shoulder =efore painting.
$radient =
Figure 6.21
>.
Figure 6.21. AdAust the ;eighting around the shoulder.
5e are alost t'ere+ %*t t'e ar)it area sees too 'i$' *)+ a&in$ t'e s'o*lder loo&
too t'in.
5. 5'ile still %o*nd to t'e s&eleton+ !e can ad1*st t'e #ertices aro*nd t'e s'o*lder+
%rin$in$ t'e ar)it do!n sli$'tl"+ as "o* can see in Figure 6.22. Mes' t!ea&s after
%indin$ are $enerall" not a $ood idea+ %*t in t'is case it doesn-t ca*se a )ro%le since
!e-ll %e detac'in$ t'e s&eleton to!ard t'e end of t'e c'a)ter.
Figure 6.22. AdAust the :ertices to =ring the ar%pit area do;n
slightl.
As "o* can see in
Figure 6.23
+ t'e s'o*lder no! loo&s o&a" !'en defored.
Figure 6.23. The shoulder area no; looks =etter ;hen
defor%ed.
(ote
Since !e are still *sin$ a irrored instance+ t'e left side !ill defor 1*st as
t'e ri$'t does.
5e-re not "et finis'ed !it' t'e s'o*lder. It %ends in ore t'an one direction+ and !e need
to see 'o! it loo&s !'en rotated aro*nd t'e ot'er t!o a2es. 5e-#e alread" !or&ed on t'e
Y a2is+ so let-s reset t'e ar %ac& to its defa*lt )osition and see 'o! it loo&s !'en
rotated aro*nd t'e F a2is.
Yo* !ill )ro%a%l" notice+ as s'o!n in Figure 6.24+ t'at soe inor )inc'in$ occ*rs. As
!it' t'e el%o!+ !e !on-t $et t'e s'o*lder to loo& )erfect at all an$les+ %*t t'e $ood ne!s
is t'at !it' a %it of creati#e !ei$'tin$ t'ese )ro%les can %e inii8ed. T'ere is little
)oint in s)endin$ tie to a&e t'ese c'an$es no!+ 'o!e#er. 5e are 'a))" !it' t'e
$eneral to)olo$" of t'e s'o*lder at t'is )oint+ so !e !ill s)end tie ad1*stin$ t'e !ei$'ts
!'en !e coe to %*ild t'e final ri$.
Figure 6.24. So%e areas still pinch1 =ut ;e can "- these in the
"nal rig.
The ,o;er
#od
Ne2t !e !ill loo& at 'o! Kila-s lo!er %od" reacts !'en !e o#e 'er le$s into
e2tree )ositions. T'e ain area !e !ill %e loo&in$ at is !'ere 'er le$s 1oin to 'er
torso.
Setting 0p the ,o;er #od
Skeleton
For o*r !or& on t'e lo!er %od"+ !e start %" creatin$ t'e s&eleton t'at !ill dri#e t'e
le$s.
Yo* onl" need to loo& at one of 'er le$s+ since t'e" are ore or less identical in
constr*ction. <*st ree%er t'at if "o* a&e an" c'an$es to t'e left le$+ "o* !ill
'a#e to co)" t'ese c'an$es across to t'e ri$'t.
In t'e side #ie!+ s!itc' "o*r dis)la" to !irefrae.
Create si2 1oints at &e" )oints in t'e le$ and foot. As ill*strated in Figure 6.25+
t'e first 1oint s'o*ld %e 1*st %elo! t'e !aistline+ at t'e to) of t'e 'i). T'is !ill %e
follo!ed %" 1oints )laced at t'e 'i)+ &nee+ an&le+ t'e %all of t'e foot+ and finall" at t'e ti)
of t'e toes.
Figure 6.25. Create the Aoints for the leg.
Figure 6.26. Position the Aoints do;n the center of her leg.
3. S!itc' to t'e
front #ie!+ and ad1*st t'e s&eleton so it lies do!n t'e center of t'e left le$ and foot =Figure
6.26>.
5it' t'e s&eleton in )lace+ !e can no! %ind it to 'er tro*sers *sin$ t'e sae
)roced*re as %efore.
,o;er Torso Weight Painting and
Testing
Let-s see 'o! t'e 'i) area of t'e torso loo&s !'en it is infl*enced %" t'e s&eleton.
1. :efore "o* %e$in )ro)erl" testin$ t'e left le$+ a&e s*re t'e entire ri$'t le$ and t'e
to) of t'e tro*sers are f*ll" infl*enced %" t'e first 1oint =Figure 6.27>. T'is s'o*ld %e
called 1oint@. Yo* do t'is to )in do!n t'e le$ "o* are not !or&in$ on. If "o* don-t+ it !ill
o#e !'en "o* rotate t'e 1oints and co*ld %ecoe distractin$.
Figure 6.27. Full ;eight the leg ou are not ;orking on to the "rst
Aoint.
Figure 6.28. The initial defor%ation looks fair1 =ut it needs so%e
;ork.
So let-s see 'o! t'in$s loo& !'en !e %end t'e le$. First rotate t'e le$ for!ard at t'e
'i) 1oint =Figure 6.28>+ and ta&e a loo& at 'o! it defors.
Initiall" it-s not loo&in$ too %ad. no! let-s )aint soe of t'e !ei$'ts to tr" and
soot' o*t t'e area. :e$in %" f*ll" !ei$'tin$ t'e %*l& of 'er t'i$' to t'e 'i) 1oint.
T'en $o in !it' t'e soot'er %r*s' and+ *sin$ Re)lace+ soot' o*t 'er
%ac&side and t'e crease at t'e front.
Figure 6.29
shows that we have a good deformation, so there doesn't seem to be any need to
add any polygons here.
Figure 6.29. T;eak the ;eighting around her hip to s%ooth out the
area.
4. Ta&e a loo& at 'o! t'e 'i) defors if t'e le$ is rotated %ac& =Figure 6.3<>. it
re#eals a fe! inor )ro%les %*t not'in$ t'e !ei$'tin$ can-t fi2. T'e sae is tr*e
!'en t'e le$ is rotated o*t to t'e side =Figure 6.31>. it !ill loo& %etter !it' soe
t!ea&in$ of t'e !ei$'ts.
Figure 6.3<. &otating the leg =ack
Figure 6.31. Mo:ing the leg out to the side
T'ere are a fe! areas in t'e lo!er torso area t'at )inc' and defor incorrectl"+ %*t t'ese
can %e fi2ed %" s)endin$ soe tie on t'e !ei$'tin$+ soet'in$ !e !ill co#er in C'a)ter
BI+ 4Final C'aracter ,eforation.4
T'e t'i$' doesn-t need an" additional $eoetr"+ so let-s o#e on.
+nee Weight Painting and
Testing
O*r ne2t )aintin$ and testin$ site is t'e &nee. As "o* 'a#e done !it' t'e ot'er
1oints+ rotate it to see 'o! it loo&s initiall" =Figure 6.32+ to)>.
Figure 6.32. #end the knee and paint the area to "ll out the shape.
:" no!+ !e &no! t'at !e !ill need to ad1*st t'e !ei$'tin$ to $et a )ro)er s'a)e. Ma&e
s*re t'e lo!er le$ is f*ll" !ei$'ted to t'e &nee+ and t'en fine/t*ne t'e !ei$'ts aro*nd
t'e &nee to retain t'e s'a)e of t'e le$. T'e res*ltin$ s'a)e s'o*ld rese%le
Figure 6.32
=%otto>.
T'e &nee area loo&s fine. li&e t'e 'i) area+ t'ere-s no additional $eoetr" needed.
U) to no! !e 'a#en-t 'ad to a&e an" alterations to t'e ain le$!'ic' is $ood
%eca*se it eans !e don-t 'a#e to do an"t'in$ to 'er ri$'t le$. As "o* can see in
Figure 6.33 "o* can no! defor alost all of t'e li%s.
Figure 6.33. Al%ost all of the li%=s can no; for% correctl.
Foot Weight Painting and
Testing
T'e final area to test in t'e le$ is 'er an&le. <*d$in$ %" t'e to)olo$"+ t'is+ too+ !ill
%e fine. %*t "o* 'a#e to %e certain %efore o#in$ on to t'e ne2t c'a)ter. So let-s ta&e
a loo&.
1 First+ reset t'e 1oints in 'er le$ %" ri$'t/clic&in$ t'e 1oints and selectin$ Ass*e
Preferred An$le fro t'e ar&in$ en*.
2 Go into !irefrae ode+ and t'is tie select %ot' t'e an&le 1oint and %all 1oint. 5e
don-t need t'e *))er le$ 1oints to infl*ence 'er foot+ so t'ere-s no need to select t'e or t'e
ti) of 'er toe.
3 9old S'ift and select t'e es' t'at a&es *) 'er foot+ t'en %ind t'e =Figure 6.34>.
In t'e Soot' :ind o)tions+ a&e s*re :ind To is set to Selected <oints+ or t'e foot !ill %e
%o*nd to t'e entire s&eleton.
Figure 6.34. Select the ankle and =all Aoints =efore selecting the
foot for =inding.
4. As s'o!n in Figure 6.35 =left>+ rotate t'e an&le do!n and t'e %all of t'e foot *)+
so t'at Kila is standin$ on 'er toes. T'en $o a'ead and edit t'e !ei$'tin$ inforation
on t'e foot. 5e need t'e %ac& of t'e foot !ei$'ted to t'e an&le 1oint+ and t'e front of
t'e foot to t'e %all 1oint =Figure 6.35+ iddle>.
Figure 6.35. Work on ;eighting the foot.
5. Ne2t+ !or& on t'e %ase of 'er 1eans le$+ a&in$ t'e #er" %otto f*ll" !ei$'ted to
t'e an&le 1oint %efore $rad*all" soot'in$ it o*t *) to 'er s'in area =Figure 6.35+
ri$'t>.
T'e onl" area t'at is a concern no! is t'e *nderneat' )art of 'er s'oe+ ainl" t'e
front sole. T'e )ol"$ons are laid o*t no! so t'at t'e %ase a))ears conca#e !'en t'e
foot %ends. Ad1*stin$ t'e to)olo$" as s'o!n in Figure 6.36 !ill easil" sol#e t'is+ %*t
!e !ill need to do it !'en !e detac' t'e $eoetr" fro t'e s&eleton. In addition+
notice t'at !e can red*ce t'e sole+ reo#in$ t'e #ertices t'at r*n do!n t'e iddle.
6. 5e are no! 'a))" !it' t'e !a" t'e lo!er %od" defors+ so let-s detac' t'e
$eoetr" fro t'e s&eleton. First reset t'e 1oints in t'e ar and le$ so t'at t'e" are
%ac& in t'eir ori$inal )ositions. T'en select t'e $eoetr" and $o to S&in L ,etac'
S&in.
7. No! !e can 7*ic&l" fi2 t'e sole of t'e foot. First 'ide t'e 1oints %" $oin$ to t'e #ie!
)anel-s S'o! en* and deselectin$ <oints. T'en !or& on t'e foot *ntil "o* 'a#e t'e sole
loo&in$ siilar to Figure 6.37 =ri$'t>.
Figure 6.36. AdAust the topolog of the sole as sho;n1 to re%o:e
the conca:e look.
Figure 6.37. )pti%i?e the =ase of the foot.
After finis'in$ "o*r !or& on t'e lo!er %od"+ a&e s*re "o* delete t'e 'istor" fro eac'
)iece of $eoetr".
Face
Defor%ation
Aniatin$ facial e2)ressions+ )artic*larl" *sin$ %lend s'a)es+ can %e diffic*lt and
tie cons*in$. Earl" testin$ at t'is sta$e is i)erati#e+ to $*arantee t'at "o*
!on-t 'a#e to redo !or& at a later sta$e.
T'e %est a))roac' for testin$ t'e face is to tr" and create soe of t'e ore e2tree
facial e2)ressions "o*r lead artist 'as indicated !ill %e needed for t'e c'aracter+ and
see 'o! it 'olds *). T'ese co*ld incl*de a s'o*tin$ face !it' t'e o*t' !ide o)en+
and a"%e a face !it' t'e li)s )*c&ered *) and e"es closed.
1. :e$in %" 'idin$ e#er"t'in$ t'at is not related to t'e face. Figure 6.38 s'o!s
!'at "o* s'o*ld %e left !it'( 1*st t'e 'ead and e"es.
Figure 6.38. Create a duplicate of the current head and ees to
;ork on.
2. Create a co)" of t'ese eleents to !or& on+ and 'ide t'e ori$inals.
(ote
5e !or& on co)ies so t'at !e don-t inad#ertentl" edit t'e ain 'ead.
5e-d 'a#e )ro%les if !e co*ldn-t *ndo an o)eration or $et %ac& to
t'e %ase $eoetr".
3. >lace the duplicate head and eyes into a group, calling it Angry, and begin
!or&in$ on t'is )iece to create an an$r"+ s'o*tin$ loo& li&e t'e one in
Figure
6.39. Yo* can ac'ie#e t'is %" si)l" o#in$ #ertices+ %*t a&e s*re "o* edit
%ot' sides of t'e face.
Figure 6.39. Create an angr1 shouting face.
4. 5'ile editin$ t'e face+ loo& o*t for an" areas t'at don-t defor correctl". In
)artic*lar+ loo& for )ol"$ons t'at a))ear conca#e !'en ad1*sted.
T'e ain face loo&s o&a"+ %*t t'e li)s a" ca*se a )ro%le !'en aniated. At t'e
oent t'e *))er and lo!er li)s eet in t'e corners. t'e res*ltin$ )inc' is *nnat*ral
and a" ca*se soe renderin$ artifacts =Figure 6.4<+ left>. To )re#ent t'is+ !e !ant
t'e li)s to for a co)lete loo)+ as s'o!n in Figure 6.4< on t'e ri$'t.
1. Foc*s in on t'e li)s of t'e ori$inal 'ead odel =Figure 6.41a>.
Figure 6.41. Alter the lips1 re%o:ing the pinch that occurs in the
corners ;hen the ani%ate.
2. As s'o!n in Figure 6.41=+ create a c*t aro*nd t'e o*tside of t'e corners of t'e li)s.
3. 5eld all t'e ne! #ertices to$et'er+ creatin$ t'e ne! o*tside ed$e of t'e li)s
=Figure 6.41c>.
4. Select t'e ed$es leadin$ into t'e old corner of t'e li)s and *se t'e Fli) Trian$le
Ed$e tool =Edit Pol"$ons L Fli) Trian$le Ed$e> to rotate t'e =Figures 6.41d
and
6.41e
>.
5. Con#ert t'e )ol"$ons 'i$'li$'ted in Figure 6.41f into 7*ads.
6. Ad1*st t'e li)s+ fi2in$ t'e o#erall s'a)e.
Figure 6.4<. As is1 the lips ;ill not ani%ate ;ell.
In t'is state+ t'e li)s don-t loo& *c' different+ %*t !'en !e o)en 'er o*t' a$ain
=Figure 6.42> "o* !ill see t'e difference.
Figure 6.42. The ne; %outh
Let-s test anot'er facial e2)ression.
9ide t'e An$r" face $ro*)+ and create anot'er d*)licate of t'e ori$inal. Call it
P*c&er and $ro*) it.
Test t'e e"es and li)s %" closin$ t'e e"es and )*c&erin$ *) t'e li)s =Figure 6.43>.
Figure 6.43. Sculpt the face to close the ees and pucker the
lips.
3. 5'en I $enerated t'is face+ I noticed a fe! inor areas t'at co*ld *se
i)ro#eent(
T'e e"e%alls !ere too far for!ard+ so I 'ad to o#e t'e %ac&. T'is eant I
'ad to edit t'e s'a)e of t'e e"es sli$'tl".
Loo&in$ fro t'e side+ t'e e"elids !ere alost flat. A real e"elid follo!s t'e
c*r#e of t'e e"e%all+ so I ad1*sted t'e #ertices to correct t'e o#erall s'a)e.
4. No! !e i)leent all t'e alterations !e did for o*r d*)licates in o*r ain
odel and !e are done.
T'e face !ill no! 'old *) to t'e o*t' %ein$ o)ened !ide and also ti$'tl" closed. T'e
e"es !ill s*ccessf*ll" o)en and close+ too. ,eforation testin$ is no! co)lete.
Sa#e "o*r !or& as KilaK,eforTest.%.
Su%%ar

In t'is c'a)ter+ !e 'a#e seen 'o! to *se Ma"a-s %indin$ tools. After se#eral c'a)ters
of 'ard !or&+ a $reat deal 'as %een acco)lis'ed. T'e Kila odel is no! read" to %e
te2t*red. 5e 'a#e odeled 'er+ o)tii8ed 'er+ and c'ec&ed 'er to a&e s*re s'e !ill
defor correctl". It-s tie to set Kila aside no!+ and )*t !'at !e-#e learned to *se in
creatin$ o*r second c'aracter odelGrae.
Chapter 7. Modeling
$rae
CD Files
GraeFront.1)$ GraeSide.1)$ GraeK:asic.% GraeKCo%ined.% GraeK,eforTest.%
GraeK,etails.% GraeK5it'Feet.% GraeK9and.% GraeK5it'9ands.%
GraeKM*scles.% GraeKO)tii8ed.% GraeKStart.% GraeKToe.% GraeK5in$.%
KilaKO)9and.% 5E 9A;E ONE of o*r c'aracter odels co)lete no!+ %*t %efore !e
$o on to a))l"
a))in$ and te2t*re to Kila+ let-s see !'at "o* 'a#e learned so far. Modelin$ Grae is
o*r ne2t tas&+ and instead of co#erin$ eac' ste) in detail+ I !ill %riefl" s&i t'ro*$'
eac' section of Grae-s creation+ 'i$'li$'tin$ an" &e" areas t'at differ fro Kila-s
creation. Yo*-ll %e a%le to test "o*r &no!led$e+ and "o* can refer %ac& to t'e
)re#io*s c'a)ters for 'el) if "o* need it.
The Torso and
,i%=s
5e 'a#e t'e odel s'eet and+ in Figure 7.1+ t'e color render of t'e c'aracter Grae+
!'ic' "o* s'o*ld scan into t'e co)*ter. To start off+ !e *st %rin$ t'ese into Ma"a as
ia$e )lanes %efore o#in$ on to create t'e %ase s'a)es t'at !ill for 'is torso and
li%s.
1. S)lit t'e odel s'eet *) and $et t'e ia$es i)orted into Ma"a as ia$e )lanes+
t'en )ositioned and scaled correctl" as in Figure 7.2. Sa#e t'e file as GraeKStart.%.
Figure 7.2. #ring the front and side :ie;s into Maa.
2. Create t'e t'ree %ase c"linders t'at !ill %e 'is left ar+ le$+ and 'is torso.
Set t'e first t!o c"linders to 'a#e a Radi*s of G.I+ 9ei$'t of I+ and enter BG
for %ot' S*%di#isions Aro*nd A2is and S*%di#isions Alon$ 9ei$'t. Lea#e all t'e ot'er
settin$s for no!.
Set t'e t'ird c"linder to 'a#e t'e sae diensions+ e2ce)t S*%di#isions
Aro*nd A2is+ !'ic' "o*-ll set at D. T'is !ill %e 'is torso.
Position t'e t'ree c"linders so t'e" are in t'e correct )lace and orientation+
*sin$ t'e ia$e )lanes as reference.
3. Startin$ !it' t'e ar+ ad1*st t'e #ertices to ore closel" atc' t'e c*r#es of t'e
ar in t'e ia$e )lane. First !or& in t'e front #ie! =Figure 7.3>+ %efore o#in$ on
to t'e side #ie! =Figure 7.4>. Ree%er to rotate eac' ro! of #ertices to atc' t'e
orientation of t'e ar.
Figure 7.3. AdAust the :ertices on the ar% in the front and side
:ie;s.
Figure 7.4. Work on the shape of the torso.
Ne2t !or& on t'e torso+ first ad1*stin$ t'e #ertices in t'e front #ie!. 5'en "o*-re
'a))" !it' it+ delete t'e left side of t'e es'+ lea#in$ "o* !it' one/'alf as seen in Figure
7.4c.
Contin*e !or&in$ on t'e torso fro t'e side #ie! =Figure 7.4d>.
5e no! coe to t'e le$. :eca*se Grae-s le$ is s*c' a *ni7*e s'a)e+ "o*-ll find
it easier to %e$in !or&in$ on it in t'e side #ie! as seen in
Figure 7.5
.Tr" "o*r %est to atc' t'e !a" t'e le$ %ends+ %*t don-t !orr" if "o* $et an$*lar
areas or lon$ )ol"$ons. !e can fi2 t'ese later on. As "o* can see in
Figure 7.5
=iddle>+ !e 1*st !ant t'e $eneral s'a)e a))ed o*t. 5'en "o* are satisfied !it'
t'e side+ s!itc' to t'e front #ie! and contin*e s'a)in$ =
Figure 7.5
+ ri$'t>.
Figure 7.5. Map out the shape for the leg fro% the side and front
:ie;s.
Figure 7.1. $rae>s render
7.6
.
Figure 7.6. The %ain =od =locked out prior to stitching
:efore "o* contin*e to t'e ne2t section+ !'ere !e co%ine all t'ree )ieces =ar+ le$+
and torso>+ reo#e t'e ca)s fro eac' c"linder. T'is o)ens t'e *) so !e can stitc'
t'e to$et'er.
Stitching
Together
Tie no! to *se t'e odelin$ tools "o* !ere introd*ced to in t'e first fe! c'a)ters. 5e
!ill co%ine t'e se)arate )ieces of t'e odel+ a&in$ it a !'ole eleent.
Ar% and Torso
:e$in %" stitc'in$ t'e ar to t'e torso.
In order to stitc' t'e s'o*lder to t'e torso+ "o* first need to co%ine t'e+ a&in$
t'e a sin$le o%1ect.
E2tr*de t'e ed$es at t'e *))er ar *ntil t'e" intersect !it' t'e torso. Yo* can see
t'is in Figure 7.7 =iddle>.
Figure 7.7. *-trude the upper ar% so that ou can stitch it to the
torso.
Sna) and !eld t'e #ertices t'at lie closest to eac' ot'er. ,on-t !orr" if "o* 'a#e a
fe! s)are #ertices. "o* can s)lit t'e e2istin$ )ol"$ons on t'e torso to create ne! #ertices
for !eldin$+ as seen in Figure 7.7 =%otto>.
Ad1*st t'e #ertices to soot' o*t t'e area+ ree%erin$ to reo#e an" internal
faces.
No! let-s attac' t'e le$ to t'e lo!er torso.
,o;er Torso and ,eg
:efore attac'in$ t'e le$+ it !o*ld %e 'el)f*l to s*%di#ide t'e lar$e )ol"$ons at t'e
%otto of t'e torso. T'is s)lit is s'o!n in Figure 7.8.
Co%ine t'e le$ to t'e rest of t'e %od"+ and t'en sna) and !eld t'e #ertices t'at lie
closest to$et'er =or t'at a&e t'e ost sense to !eld>.
Yo* !ill *ndo*%tedl" 'a#e a fe! #ertices reainin$+ so s)lit t'e )ol"$ons on t'e torso
to accoodate t'ese =Figure 7.9>.
Figure 7.9. /oin the leg using the sa%e %ethod used to attach
the ar%.
3. 5or& on t'e area of t'e 1oin+ soot'in$ it o*t and reo#in$ an" internal
)ol"$ons.
Figure 7.8. Su=di:ide the large polgons at the =otto% of the torso.
T'e %asic s'a)e of 'alf t'e c'aracter is no! in )lace+ %*t %efore )roceedin$ !e !ill
alter Grae-s )ose.
Ar% Position
AdAust%ent
5'en !e %e$an odelin$ Kila+ !e raised 'er ar )rior to attac'in$ it+ a&in$ it easier to
!or& on later. 5e didn-t do t'is for Grae. instead+ !e-ll raise 'is ar no!. Recall t'at a
sin$le o%1ect 'as a )i#ot+ !'ic' !e can ani)*late. 5it' Kila-s ar+ !e o#ed it to t'e
s'o*lder so t'at !e co*ld rotate t'e ar correctl". 5e can-t do t'at 'ere %eca*se Grae-s
ar is alread" attac'ed to t'e torso. if !e !ere to rotate 'is ar+ t'e rest of t'e %od"
!o*ld follo!.
L*c&il"+ not onl" o%1ects 'a#e )i#ots. a selection of co)onents 'as one+ too.
1 Select t'e #ertices t'at a&e *) t'e ar+ a&in$ s*re t'e Rotate ani)*lator is
acti#e.
2 Press Insert to ena%le t'e selection-s )i#ot+ and o#e it *) to t'e s'o*lder =Figure
7.1<+ iddle>.
Figure 7.1<. *dit the selection>s pi:ot so ou can rotate the ar%.
3. Press Insert a$ain to ret*rn to t'e )re#io*s ani)*lator+ and rotate t'e ar
*)!ard alon$ t'e M a2is =Figure 7.1<+ ri$'t>.
Yo* no! 'a#e a sin$le es' t'at a&es *) t'e left side of Grae. all 'e needs is a
'ead. No! !o*ld %e a $ood tie to sa#e. call t'is file GraeKCo%ined.%.
Creating $rae>s
'ead
Loo&in$ at 'is desi$n+ !e can see t'at Grae doesn-t reall" 'a#e a nec&+ so !e !ill
o#e strai$'t on to 'is 'ead.
As !it' Kila+ "o* !ill %e$in !it' a c*%e. Create one and set S*%di#isions Alon$
5idt'+ S*%di#isions Alon$ 9ei$'t+ and S*%di#isions Alon$ ,e)t' all to I.
Mo#e+ scale+ and rotate t'e c*%e so it fits t'e si8e and orientation of Grae-s 'ead
in t'e ia$e )lane =Figure 7.11>.
Figure 7.11. Manipulate the cu=e so it lies o:er the head in the
i%age plane.
3. ,elete 'alf t'e c*%e+ and ad1*st t'e #ertices to ac'ie#e t'e $eneral s'a)e of t'e
'ead =Figure 7.12>. Use a irrored instance to 'el) "o* $et a feel for t'e !'ole
'ead.
Figure 7.12. AdAust the cu=e to get the =asic head shape.
5it' Grae-s 'ead in )lace+ let-s no! co%ine it !it' t'e rest of t'e $eoetr".
Attaching the
'ead
To co)lete t'e 'ead and finis' t'is section+ attac' t'e 'ead s'a)e to t'e rest of t'e
%od".
1 First !e need to reo#e soe )ol"$ons. Select t'e area of Grae-s c'est directl" %e'ind
t'e 'ead s'a)e and delete t'e. Also+ reo#e an" )ol"$ons t'at e2ist on t'e %ac& of t'e
'ead $eoetr".
2 Co%ine t'e 'ead and %od" $eoetr". t'en *se t'e A))end To Pol"$on tool to fill in
t'e $a)s+ %rid$in$ t'e 'ead and t'e torso.
3 Pla" aro*nd !it' t'e #ertices+ *sin$ a irrored instance to 'el) "o* !or& on t'e !'ole
fi$*re. ,o t'is *ntil "o* are 'a))" !it' t'e !a" Grae loo&s =Figure 7.13>.
Figure 7.13. The head is no; attached to the rest of the =od.
,elete t'e 'istor" on "o*r odel and sa#e it as GraeK:asic.%.
Muscle ,ine
Mapping
5e no! 'a#e a s'a)e t'at rese%les Grae+ alt'o*$' it still needs a lot of !or&. 9e is
7*ite a *sc*lar c'aracter+ so it-s i)ortant t'at !e a) t'e *scle lines at t'is
sta$e+ sc*l)tin$ in soe of t'e ore )roinent *scles on 'is torso and *))er ar.
Ma))in$ t'e *scle lines !ill i)ro#e t'e odel not 1*st #is*all"+ %*t tec'nicall" as
!ell. Creatin$ )ol"$ons t'at follo! t'e correct *scle str*ct*re !ill 'el) !'en it
defors latert'e )ol"$ons !ill defor correctl" and $i#e t'e i)ression of real
*scles o#in$ *nder t'e s&in.
The Chest1 Shoulder1 and
Ar%
Let-s %e$in !or& on t'e *))er %od" %" a))in$ 'is c'est. t'en !e-ll o#e across to
!or& on 'is ar)it+ s'o*lder+ and ar.
Follo!in$ Figure 7.14+ add ore detail to t'e c'est+ a&in$ it ore
)rono*nced. Car#e in t'e collar%one+ 1*st a%o#e it.
Add f*rt'er definition to t'e front of Grae-s s'o*lder %efore !or&in$ on t'e
ar)it. T'e s'o*lder needs to %e nicel" ro*nded !'en it defors+ so add an e2tra
di#ision to 'el) soot' o*t t'e area =Figure 7.15>.
Figure 7.14. Add a =it %ore detail to $rae>s chest.
Figure 7.15. De"ning the shoulder and ar%pit
3. No! start on t'e front of 'is ar. Use t'e S)lit Pol"$on tool to car#e in t'e
*scles+ as seen in Figure 7.16.
Figure 7.16. Car:e in the %uscle lines at the front of his ar%.
4. Follo!in$ Figure 7.17+ o#e aro*nd to t'e %ac& of t'e ar+ !or&in$ on t'e
s'o*lder. ,on-t %e afraid to alter t'e s'a)e of t'e ar sli$'tl" if t'e c'aracter needs it.
Figure 7.17. The =ack of the ar% and shoulder
5'en "o*-re satisfied !it' t'e c'est+ s'o*lder+ and ar+ !e !ill )roceed to a) t'e
*scles of 'is torso.
The Torso
Let-s !or& on 'is %ac& first.
1. ,elete t'e ed$es 'i$'li$'ted in Figure 7.18 =iddle>. T'is !ill clean t'e %ac& *) to
$et it read" for car#in$ in t'e *scle detail. T'is is ill*strated in Figure
7.18 =ri$'t>.
Figure 7.18. Map the %uscles to the =ack.
2
.
Rotate aro*nd to Grae-s front+ and incor)orate t'e stoac' *scles. As 'a))ened !it'
t'e %ac&+ "o*-ll need to do soe clean*). Follo!
Figure 7.19
and di#ide t'e )ol"$on t'at a&es *) 'is c'est so "o* can add ore s'a)e to it+
a&in$ it less flat and an$*lar.
Figure 7.19. Split polgons to add the sto%ach %uscles.
5e are finis'ed !it' t'e *))er %od"+ so let-s o#e on to 'is le$s.
The
,egs
At t'is )oint+ !e !ill add t'e *scles to t'e *))er le$s onl"+ as s'o!n in Figures
7.2< and 7.21 =to)>. 5e !on-t do t'e lo!er )art of t'e le$s %eca*se t'e" need 7*ite a %it
of !or& done to t'e+ coin$ *) in t'e section+ 4Addin$ ,etails.4 If !e added *scle
lines no!+ !e-d 1*st lose t'e.
Figure 7.2<. Cut the %uscles into the front of the upper legs.
Figure 7.21. Mo:e around to the =ack1 adding %uscles and
detail to the legs and =ackside.
5'ile !e are 'ere !or&in$ on t'e le$s+ !e can also i)ro#e Grae-s %ac&side
=+%otto>. Notice t'e t'ree lar$e )ol"$ons 1*st %elo! t'e %ase of 'is s)ine. ,i#ide
t'ese and !or& on t'e o#erall area to soot' it o*t.
T'e %asic *scles are a))ed onto Grae no!+ and !e 'a#e added definition to soe
areas+ soot'in$ t'e o*t to a&e t'e loo& ore co)lete =8igure :.??>.
Figure 7.22. $rae ;ith %uscles %apped
Sa#e Grae in 'is c*rrent state as GraeKM*scles.%. 9e-s coin$ alon$ nicel"+ so let-s
start addin$ soe details.
Adding
Details
5it' Grae-s *scles no! in )lace+ !e can %e$in to fles' t'e odel o*t. 5e-ll start at
t'e to) and !or& o*r !a" do!n+ addin$ details as !e $o+ lea#in$ t'e 'ead+ 'ands+
and feet *ntil last.
In t'e color render+ Grae 'as soe i)ressi#e definition+ %*t !e don-t need to odel
it all. Most of t'e detail !ill %e dra!n on !it' t'e te2t*re+ !e can t'en *se soe
te2t*re effects to %rin$ t'e detail o*t of t'e odel =ore on t'ese in C'a)ter E+
4Te2t*re Paintin$4>. After odelin$ Kila+ "o* s'o*ld 'a#e a $ood idea of !'at to loo&
for !'en addin$ )artic*lar feat*res to Grae. 9ere are soe reinders(
C'ec& for lar$e )ol"$ons t'at a&e areas loo& flat and an$*lar. T'ese can %e
s*%di#ided to soot' t'e area o*t !'ile also allo!in$ it to defor %etter.
Kee) an e"e o)en for sall )ol"$ons t'at add not'in$ to t'e o#erall loo& of t'e
es'. As t'e odel !ill %e #ie!ed fro a distance for t'e a1orit" of t'e tie+ t'ese
can %e deleted.
Finis' !it' a clean+ $rid/st"le es'+ 7*adran$*latin$ t'e es' !'ere#er
)ossi%le to a&e it easier to read.
Foc*s on t'e odel as a !'ole. rotate aro*nd it c'ec&in$ its sil'o*ette to a&e
s*re t'e ed$es flo! soot'l".
5it' t'ese $*idelines in ind+ let-s start !it' a loo& at t'e ain )art of Grae-s %od".
#od
Detail
T'e first area !e can en'ance is at t'e #er" to) of t'e odel+ at t'e %ac& of t'e
s'o*lders. "o* can see in Figure 7.23 t'at it is )resentl" 7*ite an$*lar for s*c' a
lar$e area.
1 Usin$ t'e S)lit Pol"$on tool+ di#ide *) t'e lar$er )ol"$ons and soot' t'e area
o*t =Figure 7.23+ ri$'t>.
2 Ne2t add soe detail to 'is stoac' *scles %" e2tr*din$ t'e faces =Figure
7.24>. Select all t'e faces t'at a&e *) t'e stoac' area and $o to Edit Pol"$ons L
E2tr*de Face. As "o* o#e t'e %l*e arro! o*t!ard+ eac' face !ill %e e2tr*ded alon$ its
noral+ t'e direction it is facin$.
Figure 7.24. *-trude the faces of the sto%ach for %ore
de"nition.
Earlier in t'e %oo& !e set Kee) Faces To$et'er to al!a"s %e on =Pol"$ons L Tool
O)tions L Kee) Faces To$et'er>. 5it' t'is acti#e+ all t'e e2tr*ded faces !ill %e
!elded+ a&in$ t'e stoac' area one sin$le ass. In t'is case+ t'o*$'+ !e need
eac' face to e2tr*de se)aratel".
3. Loo& in t'e C'annel :o2 for t'e attri%*te Kee) Faces To$et'er and set it to off. T'en
*se t'e $reen and red c*%es at t'e end of eac' arro! to scale eac' face in!ard =Figure
7.24+ iddle>. Finall"+ soot' t'e 'ard ed$es and "o* are done =Figure 7.24+ ri$'t>.
(ote
If "o*r %*d$et !on-t allo! t'e e2tra $eoetr"+ "o* co*ld rel" on t'e te2t*re to
add t'is detail to t'e stoac' instead. Addin$ a %*) a) =see C'a)ter E>+ or
e#en a noral a) =see A))endi2 A+ 4Noral Ma))in$ in Ma"a4>+ !ill $i#e t'e
ill*sion of detailed $eoetr"+ e#en !'ere t'ere is none. T'is %ein$ said+ t'ese
t!o tec'ni7*es do 'a#e t'eir restrictions and cannot al!a"s %e *sed
effecti#el".
Figure 7.23. S%ooth out the :er top of $rae1 %aking the =ack of his
shoulders less angular.
:efore contin*in$+ &ee) loo&in$ aro*nd t'e ain %od" for areas "o* can i)ro#e %"
soot'in$ and addin$ detail. Once "o* are co)letel" 'a))" !it' t'e s'a)e+ )roceed to
t'e ne2t area'is lo!er le$s and feet.
,eg
Detail
5e s&i))ed t'e lo!er le$s earlier %eca*se t'ere !as no )oint in !or&in$ on t'e *ntil
no!. At t'e oent+ t'e" are )rett" %asic and are in dire need of soe detail+ so let-s
add soe.
,o;er ,egs
As deonstrated in Figure 7.25+ !e !ill %e$in %" di#idin$ *) t'is )ortion of t'e le$ at
t'e first &nee/%end. T'ere are sections of lar$e )ol"$ons 'ere a&in$ t'e area loo& flat
and an$*lar+ so add t!o di#isions a%o#e t'e &nee and t'ree ore %elo! it. Usin$ t'e
$*ide ia$es in "o*r ia$e )lanes+ t!ea& t'ese ne! di#isions to $et t'e correct s'a)e.
Figure 7.25. Di:ide the Gat areas around the knee.
Sta"in$ !it' t'e &nee+ let-s add soe definition. T'e follo!in$ ste)s are ill*strated in
Figure 7.26
.
Select t'e t'ree faces at t'e front of t'e &nee =Figure 7.26a>.
Use t'e E2tr*de Face tool =lea#in$ ,i#isions set at B> to )*ll t'ese faces o*t
=Figure 7.26=>.
Select t'e to) of t'e e2tr*sion and *se t'e E2tr*de Face tool a$ain+ t'is tie
settin$ ,i#isions to ?. P*ll t'e e2tr*sion *)!ard in front of t'e le$ =Figure 7.26c>.
5or& on t'e ne! faces+ colla)sin$ t'e to) ed$es to create t'e )oint =Figure
7.26d>. ,on-t delete t'e inner+ %ac& faces created %" t'e e2tr*sion as t'ese co*ld %e seen
as t'e c'aracter o#es aro*nd.
Figure 7.26. Add detail to the front of the knee.
Let-s o#e on to t'e ne2t 1oint in 'is le$+ t'e one at t'e %ac&. A$ain+ t'is loo&s 7*ite
an$*lar+ so add soe ne! di#isions and ad1*st t'e to soot' o*t t'e 1oint. As "o* can
see in Figure 7.27+ t'ese di#isions don-t need to $o all t'e !a" aro*nd t'e le$.
Figure 7.27. Add ne; di:isions to the ne-t Aoint.
5it' t'e o#erall s'a)e of t'e le$ in )lace+ !e can ne2t !or& in soe ore detail+
addin$ t'e &n*c&le to t'e %ac& of t'e le$.
#ack ,eg +nuckle
Let-s %e$in %" addin$ t'e to) )art of t'e &n*c&le. ,o t'is %" e2tr*din$ t'e t'ree faces
s'o!n in Figure 7.28 and t'en ad1*stin$ t'e #ertices to $et t'e ri$'t s'a)e.
Figure 7.28. *-trude the faces at the =ack of the leg to create the
knuckle.
T'e final le$ area !e !ill %*ild+ %efore o#in$ on to t'e foot+ is 1*st %elo! t'e &n*c&le at
t'e %ac& of t'e le$. T'is is !'ere t'e first cla! !ill e2ist. Yo* can add t'is easil" *sin$ a
)roced*re =Figure 7.29> siilar to t'at 1*st *sed to create t'e &nee.
Figure 7.29. Add e-tra geo%etr so ou can create the root for the leg
cla;.
The Foot1 ;ith Three Toes and
Cla;s
No! !e-#e arri#ed at Grae-s foot. C*rrentl" no $eoetr" e2ists for t'is+ so+ follo!in$
Figure 7.3<+ e2tr*de t'e ed$es at t'e %otto of t'e lo!er le$ and scale t'e to fit
t'e $eneral s'a)e of t'e foot. T'en s!itc' to t'e front #ie! and scale t'e #ertices
a$ain+ so t'at t'e %otto/front of t'e le$ atc'es !'at "o* see in t'e ia$e )lane.
Figure 7.3<. Add ne; di:isions to the ne-t Aoint.
Ne2t+ !e are $oin$ to create t'e t'ree toes+ so sa#e "o*r c*rrent odel and start a
ne! scene. All t'ree toes are t'e sae+ so !e can sa#e tie %" creatin$ one toe and
t'en d*)licatin$ it for t'e ot'er t!o.
1. In t'e ne! scene+ create a c*%e !it' a 5idt' and 9ei$'t of B and a ,e)t'
of 3. Set S*%di#isions Alon$ 5idt' to ?+ S*%di#isions Alon$ 9ei$'t to 3+ and
S*%di#isions Alon$ ,e)t' to @ =Figure 7.31a>.
2.
Follo!in$
Figure 7.31=
+ select fo*r faces on t'e to) nearest t'e front.
3. E2tr*de t'ese faces *)+ a&in$ s*re t'at t'e e2tr*sion 'as fo*r
di#isions =Figure 7.31c>.
4. Sc*l)t t'e %loc&+ a&in$ t'e s'a)e of t'e toe.
To co)lete t'e toe+ !e !ill create a cla! t'at sits on t'e ti). T'e cla! is
constr*cted o*t of a si)le c"linder+ !'ic' is t'en ta)ered to create t'e )oint. Yo*
can see t'e finis'ed toe in Figure 7.31e.
5. Create a c"linder !it' S*%di#isions Aro*nd A2is set to I and S*%di#isions
Alon$ 9ei$'t set to 3.
6. Reo#e t'e %otto faces t'at create t'e ca).
7. 5eld all t'e to) #ertices to$et'er to create t'e )oint.
8. Ad1*st t'e ot'er #ertices to create t'e cla! s'a)e t'en )osition it
!'ere t'e cla! s'o*ld %e.
9. Finall" co%ine t'e toe and t'e cla!.
Figure 7.31. Sculpt the toe fro% a =asic cu=e and add a cla;.
Clean *) t'e scene and sa#e as GraeKToe.%
.
No! let-s %rin$ t'e toe into t'e sae scene as t'e ain odel and co%ine t'e
.
1 Load "o*r c*rrent Grae odel and i)ort t'e toe into t'e scene.
2 Position t'e central toe first. T'en d*)licate it t!ice for t'e ot'er t!o =Figure
7.32>+ a&in$ s*re "o* rotate t'e o*ter ones o*t sli$'tl" so all t'ree toes aren-t )arallel.
Figure 7.32. !%port the toe and duplicate it1 creating three.
1 Co%ine all t'e toes !it' t'e ain odel so !e can stitc' t'e to$et'er+ creatin$ a
sin$le )iece of $eoetr".
2 Reo#e all t'e rear faces fro t'e ain foot+ as seen in Figure 7.33 =left>.
3 Use t'e A))end to Pol"$on tool to fill in t'e $a)s %et!een t'e foot and t'e toes
=Figure 7.33+ ri$'t>.
4 To finis' Grae-s le$+ s)end soe tie addin$ detail to t'e ain foot. Fill in and ro*nd
t'e %otto+ addin$ 'oofli&e creases to t'e front+ as s'o!n in Figure
Figure 7.33. Stitch the toes to the foot.
7.34.
Figure 7.34. Add de"nition to the foot.
No! create a irrored instance of t'e foot and 'a#e a loo& at t'e odel as a !'ole.
necessar" ad1*stents
.
5'en done+ delete t'e 'istor" and sa#e as GraeK5it'Feet.%
.
Creating $rae>s
'ands
Eac' of Grae-s *))er ars is 7*ite different fro t'e ot'er+ so !e !ill tac&le t'e 'ands
ne2t %eca*se t'ese are t'e last )arts of t'e odel t'at are siilar. T'is !ill %rin$ t'e
ars to a sta$e !'ere !e can edit t'e se)aratel".
5e are not $oin$ to !aste tie creatin$ t'e 'ands fro scratc'+ since !e alread"
'a#e a 'and odel !e can *se( Kila-s. 5e-ll c'o) t'e 'and off Kila-s latest odel+
ad1*st it+ and *se it for Grae.
1 Load t'e last #ersion of Kila "o* !or&ed on+ KilaK,eforTest.%.
2 As ill*strated in Figure 7.35+ select t'e faces t'at a&e *) 'er left 'and.
Figure 7.35. Select the faces ou ;ant to e-tract.
Go to Edit Pol"$ons L E2tract and o)en *) t'e o)tions for t'is tool. Ma&e s*re t'at
Se)arate E2tracted Faces is c'ec&ed+ and t'en clic& E2tract.
T'e 'and is no! detac'ed. Select it and $o to File L E2)ort Selection+ and sa#e t'e
file as KilaO)9and.%.
It-s %est to edit t'is 'and !'ile it-s in its o!n scene+ so load t'e 'and file "o* 1*st
e2)orted.
To a&e t'e 'and easier to edit+ it s'o*ld first %e le#eled o*t. T'e %est !a" to do
t'is is to select all of its #ertices and correct t'e rotation+ first in t'e to) #ie! and
t'en t'e front. Note t'at t'is correction 'as alread" %een done to t'e file of
t'e sae nae on t'e C, =GC KilaKO)9and.%>.
5it' Kila-s 'and le#eled o*t and read" to edit+ !e can )roceed to ad1*st it to
%ecoe Grae-s. In t'e art!or&+ it loo&s li&e 'e onl" 'as t!o 1oints in eac' fin$er+
!'ereas Kila-s fin$ers =li&e o*rs> 'a#e t'ree.
T!P
If "o* are *ns*re a%o*t an" s)ecifications c'ec& !it' "o*r ana$er.
E#en soet'in$ as si)le as one fe!er 1oint co*ld create )ro%les if "o*
a&e an incorrect ass*)tion.
1 Reo#e t'e e2tra )ol"$ons *sed for t'e t'ird 1oints of eac' of Kila-s fin$ers =Figure
7.36+ iddle>.
2 5it' t'ese )ol"$ons reo#ed+ $o a'ead and alter t'e 'and *ntil it loo&s ore li&e
Grae-s =Figure 7.36+ ri$'t>.
Figure 7.36. *dit +ila>s hand to get $rae>s.
5'en "o*-re finis'ed+ sa#e t'e ne! 'and as GraeK9and.%.
As "o* can see+ "o* can easil" ac'ie#e ot'er+ different 'and st"les %" alterin$ one %ase
'and. T'ere is no need to reodel a ne! 'and co)letel" fro scratc'. Ne2t !e !ill
attac' t'is ne! 'and odel to Grae-s ar in t'e ain odel.
Load t'e file called GraeK5it'Feet.%.
I)ort t'e ne! 'and into t'e scene+ ani)*latin$ it *ntil it-s t'e correct si8e and
'as t'e )ro)er orientation and )osition.
Co%ine t'e 'and !it' t'e rest of t'e $eoetr" and !eld t'e !rist area+ a&in$ it
solid and reo#in$ an" $a)s =Figure 7.37>.
Figure 7.37. !%port and attach $rae>s ne; hand.
Sa#e t'e file as GraeK5it'9ands.% %efore "o* contin*e.
Ar%
Detail
5it' Grae-s 'ands in )lace+ !e can no! !or& on t'e rest of 'is ars. T'is tie+
since t'e ars are #er" different+ !e !ill first need to create t!o se)arate ars.
1. Reo#e t'e irrored instance+ if "o* 'a#e one+ and t'en select t'e faces t'at a&e
*) t'e left ar =Figure 7.38>. As it-s ainl" t'e lo!er ars t'at are different+ !e onl"
need to select t'e )ol"$ons fro t'e iddle of t'e *))er ar.
Figure 7.38. Detach the %ain part of the left ar%.
2. As "o* did !it' t'e 'and+ $o to Edit Pol"$ons L E2tract to se)arate t'e ar fro
t'e torso.
3. T'e )i#ot for t'e ar !ill a*toaticall" %e in t'e center of t'e !orld+ so "o* can
safel" d*)licate and irror it !it'o*t an" ad1*stents. Select t'e ar and $o to
Edit L ,*)licate+ a&in$ s*re "o* 'a#e set t'e Scale #al*e in t'e o)tions to B.
4. To finis'+ delete t'e 'istor" on all t'ree es'es and free8e t'e transforations+ !'ic'
!ill reset t'e B Scale #al*e %ac& to B.
5. To 'el) %alance t'in$s o*t+ create a irrored instance of t'e ain %od".
As "o* can see in Figure 7.39+ "o* no! 'a#e a f*ll c'aracter a$ain%*t "o* can no!
!or& on eac' ar inde)endentl". So let-s add t'e ar detail.
Figure 7.39. The full character ;ith separate ar%s
Figure 7.4< s'o!s t'e )ro$ression of t'e left ar. Car#e in t'e detail aro*nd t'e
*))er ar %efore *sin$ e2tr*sions to create t'e t!o s)i&es.
Figure 7.4<. Add detail to the left ar%.
Follo!in$ Figure 7.41+ !or& on t'e ri$'t ar. T'in do!n t'e *))er section %efore
*sin$ a c"linder to create t'e area *nderneat'.
Figure 7.41. Add detail to the right ar%.
Loo& aro*nd t'e !'ole es' no! for an" ot'er s)ots !'ere "o* can add definition or
i)ro#e t'e s'a)e =Figure 7.42>. 5'en "o* are co)letel" 'a))"+ sa#e "o*r !or&
and o#e on.
Figure 7.42. The $rae character so far
$i:ing $rae a
Face
5e 'a#e arri#ed at t'e final )art of t'e ain odel for Grae+ t'e face. To create Grae-s
face+ incl*din$ t'e o)en o*t' !it' all t'ose enacin$ teet'+ !e !ill follo! t'e sae
)roced*re !e *sed for Kila-s ore a$reea%le co*ntenance in C'a)ter 3.
)uter Face
Figure 7.43 ill*strates t'e follo!in$ instr*ctions for creatin$ t'e a1orit" of Grae-s
face.
:e$in %" selectin$ t'e )ol"$ons t'at a&e *) t'e face+ and s*%di#ide t'e %" $oin$
to Edit Pol"$ons L S*%di#ide =Figure 7.43=>.
5or& on t'e 'ead #ertices *ntil "o* $et t'e $eneral s'a)e =Figure 7.43c>.
5'en "o*-re 'a))" !it' t'e o#erall s'a)e+ o#e on to t'e o*t'. :*ild in t'e li)s+
and reo#e )ol"$ons to create t'e ca#it" of 'is o)en o*t' =Figure 7.43d>.
Car#e in t'e e"es %" c*ttin$ t'e o*tline into t'e es' and deletin$ t'e inner faces
=Figure 7.43e>. Create a s)'ere to act as a d*" e"e so "o* can ac'ie#e t'e correct
s'a)e for t'e e"elids.
Finall"+ !or& on t'e !'ole 'ead+ a&in$ ad1*stents *ntil it is correct.
Figure 7.43. #uilding $rae>s face
Teeth and !nner Mouth
5it' t'e o*ter face co)lete+ !e can %*ild Grae-s o*t'+ $*s+ and teet'. To %e$in+ !e
!ill create a toot' t'e sae !a" !e created t'e cla!s for 'is feet. T'en !e can )roceed
to create t'e rest of 'is o*t'+ incl*din$ 'is $*s and inner o*t'.
Create a %asic c"linder !it' S*%di#isions Aro*nd A2is set to I and S*%di#isions Alon$
9ei$'t set to 3.
Reo#e t'e to) faces t'at create t'e ca) of t'e c"linder.
5eld all t'e %ase #ertices to$et'er to create t'e )oint.
Ad1*st t'e ot'er #ertices to create t'e toot' s'a)e.
Position t'e first toot' as s'o!n in Figure 7.44 on t'e left. T'en d*)licate it for t'e
rest of t'e teet' on t'e left side of Grae-s o*t'+ scalin$ t'e ne! teet' to atc' t'e conce)t
s&etc'.
Figure 7.44. Create the teeth on the left "rst.
Grae-s *))er $*s are #isi%le in t'e conce)t art!or&+ so !e-ll follo! Figure 7.45 to
%*ild t'e $*s into t'e teet' area.
1. 9ide all t'e s*rro*ndin$ $eoetr"+ lea#in$ 1*st 'is teet' #isi%le.
2. Co%ine all t'e teet'+ a&in$ t'e a sin$le o%1ect =Figure 7.45a>.
3. Select t'e to)/front ro! of ed$es and e2tr*de t'e *)!ard !it' t'ree di#isions
=Figure 7.45=>.
4. 5eld t'e #ertices %et!een t'e *))er ed$es of t'e $*s and t'e to) of t'e
teet'.
5. Ad1*st t'e ne! faces+ creatin$ t'e a))earance of $*s =Figure 7.45c>.
6. Finall"+ d*)licate and irror t'e teet'+ $i#in$ "o* t'e ri$'t side. Co%ine t'e t!o
sides and !eld t'e #ertices do!n t'e center =Figure 7.45d>.
7. To create t'e inner o*t'+ *n'ide t'e 'ead $eoetr" and e2tr*de t'e ed$es
aro*nd t'e li)s in!ard to for t'e inside of t'e c'ee&s and t'roat. Ree%er to !eld
t'e %ac& #ertices so "o* can-t see t'ro*$' t'e odel.
Figure 7.45. Co%=ine the teeth and =uild in the gu%s.
Follo! t'e )roced*re in t'e section 4T'e Ton$*e4 in C'a)ter I to %*ild Grae a
ton$*e. Alternati#el"+ "o* co*ld i)ort Kila-s and scale it *).
To finis' off t'e 'ead !e need to $i#e 'i soe e"es. 5e can *se t'e sae et'od for
creatin$ t'e as !e did !it' Kila in t'e section 4Modelin$ t'e E"e4 in C'a)ter I. =Or !e
co*ld 1*st *se t'e e"e !e-#e alread" ade for 'er and i)ort it into Grae.>
Grae-s 'ead is no! co)lete =Figure 7.46>.
Figure 7.46. The co%pleted face of $rae
Modeling the
Wings
Grae 'as !in$s+ and t'e"-re soe!'at *ncon#entional. 9is are constr*cted fro
se)arate strands rat'er t'an %ein$ t!o solid entities.
To %*ild t'e !in$s+ !e 'a#e t!o o)tions a#aila%le to *s(
5e can %*ild t'e entire !in$+ odellin$ eac' strand se)aratel".
5e can constr*ct t'e !in$s o*t of se#eral lar$e+ flat )ol"$ons. t'en t'e
indi#id*al strands can %e added in t'e for of a sei/trans)arent te2t*re.
T'e first o)tion !o*ld )rod*ce a %etter/loo&in$ res*lt %*t !o*ld re7*ire )lent" of
)ol"$ons. In addition+ !e !o*ld need lots of 1oints in order to aniate t'e !in$s.
eac' strand !o*ld need at least BG 1oints to aniate s*ccessf*ll". Anot'er )l*s is
t'at !e !o*ld need #er" little te2t*re s)ace.
5'at a%o*t t'e second o)tion0 :ot' !in$s co*ld %e created !it' *nder AG )ol"$ons+
and aniation !o*ld re7*ire onl" a fe! 1oints. T'e do!nside( 5e !o*ld need ore
te2t*re s)ace for t'ese !in$s. Let-s $o !it' t'is safer second o)tion and see 'o! t'e
!in$s t*rn o*t.
Alt'o*$' t'e !in$s are not con#entional+ !e still !ant t'e to aniate li&e noral
!in$s. T'at is+ !e !ant t'e to fan in and o*t as !ell as fla) *) and do!n. 5it' t'is
in ind+ !e !ill tr" and create t'e %asic $eoetr" of t'e !in$ %" )lacin$ ed$es
!'ere t'e 1oints occ*r in a %at !in$.
1. Start in a ne! scene. Create a )ol"$onal )lane %" $oin$ to Create L Pol"$on
Priiti#es L Plane. Confi$*re t'e )lane so it 'as si2 S*%di#isions Alon$ 5idt' and
t!o S*%di#isions Alon$ 9ei$'t =Figure 7.47a>.
Figure 7.47. Create and adAust a =asic plane to get the ;ing shape.
Mani)*late t'e )lane-s #ertices *ntil "o* 'a#e a credi%le !in$ s'a)e+ as
ill*strated in Figure 7.47=.
So t'at !e can add a %it ore s'a)e to t'e !in$+ di#ide t'e lar$er s)ans
=
Figure 7.47c
>.
4. Edit t'e !'ole !in$ in t'e )ers)ecti#e #ie!+ a&in$ it less flat and ore t'ree/
diensional+ as s'o!n in Figure 7.48.
Figure 7.48. AdAust the ;ing in the perspecti:e :ie; until it looks
less Gat.
Sa#e t'e file as GraeK5in$.%. t'en load t'e f*ll Grae odel file.
I)ort t'e !in$ and )osition it+ d*)licatin$ it to a&e t'e !in$ on t'e ot'er side.
No!+ as "o* did !it' Kila+ rotate aro*nd t'e entire odel of Grae+ a&in$ s*re 'e is
)erfect %efore "o* )roceed to o)tii8ation.
As s'o!n in Figure 7.49 t'e Grae odel is no! co)lete. Clean *) t'e $eoetr" and
t'e scene+ and sa#e "o*r !or& as GraeK,etails.%.
Figure 7.49. The $rae %odel1 co%plete
)pti%i?atio
n
Yo*r ne2t tas& is to o)tii8e Grae+ lo!erin$ t'e )ol"$on co*nt in t'e )rocess. T'e liit
for Grae !as set at @@GG. let-s see 'o! close !e are to t'at.
1 Select all t'e $eoetr" and $o to Pol"$ons L Trian$*late.
2 Go to ,is)la" L 9eads U) ,is)la" and a&e s*re Pol" Co*nt is c'ec&ed.
T'e c*rrent Grae odel is @3EI )ol"$onsnot %ad. !e are alread" *nder o*r %*d$et. As
entioned in C'a)ter @+ t'e )*r)ose of o)tii8ation is not onl" to lo!er t'e )ol"$on
co*nt. it-s also a !a" to reo#e *n!anted and *nneeded )ol"$ons. Reo#in$ BGG
)ol"$ons fro Grae co*ld ean ore detail can %e added else!'ere in t'e $aee#er"
)ol"$on co*nts.
Lets reca) !'at !e-re loo&in$ for as !e o)tii8e(
Unnecessar" Pol"$onsAn *n*sed )ol"$on is one t'at neit'er adds to t'e s'a)e of
t'e es'+ nor aids in deforation.
S'allo! An$lesPol"$ons t'at a&e a s'allo! an$le do add to t'e s'a)e of t'e
$eoetr"+ %*t in s*c' a sall !a" t'at no one !o*ld iss t'e if t'e" !ere $one.
Most i)ortant d*rin$ o)tii8ation is to &ee) 8ooin$ o*t of "o*r es' to see 'o! it
!ill loo& fro t'e $ae )ers)ecti#e. C'ances are+ "o* !ill ne#er see Grae-s %od" *)
close+ so don-t lea#e too *c' fine detail in t'e odel t'at !o*ld ne#er %e seen.
5it' t'ese o%1ecti#es in ind+ let-s %e$in o)tii8ation. Follo!in$ is a %rief o#er#ie! of
areas t'at co*ld %e o)tii8ed+ startin$ fro t'e to) and !or&in$ do!n!ard. First+ t'e
!in$st'e" are reall" as lo! as t'e" can $o. 5e co*ld red*ce t'e f*rt'er+ %*t t'is co*ld
a&e t'e defor %adl"+ so lea#e t'e alone. 9ide t'e for no! so "o* can
concentrate on t'e rest of t'e %od".
'ead and !nner
Mouth
As s'o!n in Figure 7.5<+ t'ere isn-t *c' !e can reo#e fro t'e 'ead. 5'at !e can
do is colla)se a fe! ed$es+ &noc&in$ a fe! )ol"$ons off t'e co*nt. T'ese ed$es are
aro*nd t'e sides of t'e 'ead+ so reo#in$ t'e !ill not alter t'e o#erall s'a)e.
Figure 7.5<. )pti%i?ing the head
Mo#in$ on to t'e internal )art of t'e 'ead+ 'ide e#er"t'in$ e2ce)t for t'e ain+ left side
of Grae-s %od". Foc*s in on t'e inner o*t'. T'ere are a fe! ed$es inside 'ere !e can
colla)se+ as 'i$'li$'ted in Figure 7.51. T'e inner o*t' !ill 'a#e a %asic te2t*re and
so does not need lots of detail. Reo#in$ t'ese )ol"$ons !on-t ca*se an" )ro%les.
Figure 7.51. )pti%i?ing the inner %outh
Ne2t+ loo& at 'is teet'. To 'el) "o*r e2aination+ isolate t'e teet' *sin$ t'e #ie!-s S'o!
L Isolate Selected L ;ie! Selected coand. T'e #er" to) of t'e $*s !ill %e 'idden
inside t'e $eoetr" a&in$ *) t'e inner o*t'. T'erefore+ !e can afford to colla)se
soe of t'e ed$es. T'is )rocess is deonstrated in Figure 7.52.
Figure 7.52. &educe the top of the gu%s.
5e are done !it' t'e 'ead+ no! let-s loo& at t'e rest of t'e %od".
Main #od and
,egs
First+ t'ere are a co*)le of e2tra )ol"$ons on 'is s'o*lder =Figure 7.53>. T'ese
!ere created to s'o! t'e *scles a&in$ *) t'is area. Since t'ese )artic*lar
*scles co*ld %e defined !it' t'e te2t*re+ !e can reo#e t'e detail 'ere.
Figure 7.53. &e%o:e the e-tra detail fro% the shoulders.
Loo&in$ at t'e o#erall lo!er le$+ !e initiall" see t!o areas containin$ s'allo! c*r#es+ one
on t'e t'i$' and t'e ot'er on t'e lo!er le$ =Figure 7.54>. 5e can safel" select t'e
ed$es 'i$'li$'ted in t'e fi$*re and colla)se t'e.
Figure 7.54. &e%o:e the shallo; angles fro% the legs.
Finall"+ !e can do t'e sae on t'e idsection of t'e le$+ colla)sin$ t'e ed$es s'o!n in
Figure 7.55.
Figure 7.55. Collapse the edges on the %idsection of the leg.
T'ere isn-t *c' ore !e can reo#e at t'is sta$e+ %*t ta&e a last loo& aro*nd "o*r
odel and see if "o* can find an"t'in$. 5'en "o*-re read"+ clean *) t'e es' and sa#e
t'e file as GraeKO)tii8ed.%.
Defor%ation
Testing
5it' t'e odel co)lete and o)tii8ed+ !e-#e arri#ed at t'e final sta$e for Grae(
testin$ 'o! 'e defors.
/oint
Creation
Initiall"+ !e need to insert 1oints for t'e ars and le$s. ,o t'is *sin$ S&eleton L
<oint Tool as deonstrated in Figures 7.56 and 7.57.
Figure 7.56. !nsert Aoints into the ar%.
Figure 7.57. Create the skeleton for the leg.
Since Grae-s ars are not identical+ it-s %est to test t'e se)aratel". Instead of
creatin$ a ne! set of 1oints for t'e ri$'t ar+ !e can irror t'e e2istin$ ones. T'e
)rocess in t'e follo!in$ ste)s is ill*strated in Figure 7.58.
Select t'e first 1oint of t'e ar+ t'e one %efore t'e s'o*lder.
T'is 1oint needs to %e o#ed across t'e F a2is to t'e center of t'e odel+ so )ress
Insert and re)osition t'e 1oint as close to t'e center as )ossi%le.
5'en "o*-re t'ere+ )ress Insert a$ain to ret*rn to t'e noral translation ode.
Tip
Yo* can a&e s*re t'e 1oint is in t'e center %" settin$ Translate F to G in
t'e C'annel :o2.
4. Select t'e s'o*lder 1oint and $o to S&eleton L Mirror <oint. a&e s*re t'e o)tions
are set as s'o!n in Figure 7.59. T'e )rinci)al settin$ to %e s*re of is Mirror Across+
!'ic' dictates !'ic' !a" t'e irror !ill ta&e )lace. Set t'is to YM.
Figure 7.59. )ptions for %irroring the ar% Aoints
Figure 7.58. Mirror the Aoints to create the right ar%.
Figure 7.6<. #uild the Aoints to defor% the ;ing.
Follo! Figure 7.6<
to %*ild *) t'e 1oints for t'e !in$. Initiall" "o* !ill 'a#e to create fo*r se)arate sections+ %efore
)arentin$ t'e saller t'ree to t'e ain &n*c&le of t'e !in$.
Tip
To acc*ratel" )lace t'e 1oints for t'e !in$+ "o* can )oint/sna) eac' 1oint to t'e
a))ro)riate #erte2 %" 'oldin$ do!n ; as "o* o#e t'e.
Tip
To )arent one o%1ect to anot'er+ si)l" select t'e c'ild+ and t'en 'old S'ift and
select t'e )arent. Press P to co)lete t'e o)eration.
T'e %asic 1oints are no! in )lace and !e are read" to %e$in %indin$ t'e to t'e
$eoetr". To a&e t'e %indin$ )rocess easier+ !e s'o*ld first tid" t'e scene %"
renain$ t'e o%1ects t'at e2ist in it.
/oint
&ena%ing
O*r scene is $ettin$ 7*ite lar$e+ so let-s tid" it *) a little and a&e it easier to !or&
!it'.
1. O)en *) "o*r O*tliner. Loo&in$ at Figure 7.61 =left>+ "o* can see !e 'a#e t'ree
ain 1oints( 1ointB+ 1oint@+ and 1ointB3. Ne2t to t'ese are )l*s icons =N>+ !'ic' tells *s
t'at ot'er o%1ects e2ist %elo! t'ese in t'e 'ierac'". S'ift/clic& eac' of t'e )l*s icons to
o)en *) t'e 1oint o%1ects =Figure 7.61+ center>.
Figure 7.61. &ena%e the Aoints that ;ill %o:e our
character.
[View full size image]
()T*
9oldin$ S'ift !'en "o* clic& o)ens t'e f*ll 'ierarc'". Clic&in$ !it'o*t
S'ift !ill erel" o)en t'e iediate c'ild of t'e o%1ect.
2. O*r collection of 1oints in t'e scene c*rrentl" 'a#e naes t'at aren-t associated !it'
!'at t'e" !ill %e deforin$. It-s a $ood idea at t'is )oint to renae t'e 1oints ore
a))ro)riatel" =Figure 7.61+ ri$'t>.
After s)endin$ tie tid"in$ t'e scene it !o*ld no! %e a $ood tie to sa#e.
#inding and
Testing
5e !ill no! test t'e deforation of t'e !in$+ so 'ide e#er"t'in$ in t'e scene e2ce)t t'e
!in$ $eoetr" and t'e s&eleton.
Select t'e 1oints t'at a&e *) t'e !in$+ so !e can %ind t'e to t'e !in$ itself. Yo*
can 7*ic&l" do t'is %" selectin$ t'e root 1oint and $oin$ to Edit L Select 9ierarc'".
9old S'ift and select t'e !in$. t'en $o to S&in L :ind S&in L Soot' :ind in t'e
Aniation en* set.
T'e es' !ill a*toaticall" %e deselected+ %*t t'e 1oints s'o*ld reain selected.
Rotate t'e aro*nd t'e M a2is to test t'e deforation =Figure 7.62>.
Figure 7.62. &otate the ;ing to see ho; it defor%s.
T'e !in$ sees to 'old *) fine. deforin$ it doesn-t 'i$'li$'t an" )otential )ro%les+
so reset t'e 1oints %" ri$'t/clic&in$ and selectin$ Ass*e Preferred An$le fro t'e
ar&in$ en*. T'en detac' t'e s&in and !e-ll o#e on to test t'e le$.
9ide e#er"t'in$ e2ce)t for Grae-s left side and t'e 1oints a&in$ *) t'e s&eleton for t'e
le$. Select t'e 1oints+ t'en t'e es'+ and %ind t'e as "o* did t'e !in$. :efore "o*
!or& on t'e le$+ !ei$'t t'e *))er %od" to t'e 5aist 1oint =S&in L Edit Soot' S&in L
Paint S&in 5ei$'ts Tool>+ a&in$ s*re it !on-t %e infl*enced %" an" ot'er 1oint =Figure
7.63>.
Figure 7.63. Weight the upper =od to the Waist Aoint.
()T*
For a refres'er on t'e !ei$'tin$ tools and o)tions+ refer %ac& to C'a)ter A+
4,eforation Testin$.4
To %e$in testin$ t'e le$+ rotate it for!ard and see 'o! it loo&s. T'e to)olo$" a))ears to
%e o&a". a %it of !ei$'t )aintin$ is all t'is area needs. Test t'is %" ad1*stin$ t'e
!ei$'tin$ inforation aro*nd t'e 'i). Figures 7.64 and 7.65 s'o! t'e front and %ac& of
t'e *))er le$ %efore and after t'e !ei$'ts 'a#e %een ad1*sted.
Figure 7.64. The ;eighting =efore and after editing
Figure 7.65. With the leg rotated for;ard1 s%ooth out the rear of the
%odel.
5'en finis'ed+ follo! Figures 7.66 and 7.67 and rotate t'e le$ %ac&!ard to see 'o!
it defors in t'is )osition. A$ain+ ad1*st t'e !ei$'tin$ to see if "o* can $et a!a"
!it'o*t addin$ an" ore $eoetr" to t'is area.
Figure 7.66. AdAust the ;eighting ;ith the leg =ack
Figure 7.67. S%ooth out the large Aagged area at the =ack of the leg.
To finis' testin$ t'e le$+ rotate t'e t!o &nee 1oints *)!ard and see 'o! t'e" 'old *)
=Figure 7.68>.
Figure 7.68. &otate the knees to see ho; the look.
T'e &nee 1oints see finenot'in$ t'at can-t %e fi2ed %" ad1*stin$ t'e !ei$'tin$
inforation. Reset t'e le$ s&eleton and detac' t'e s&in fro t'e ain %od"+
c'oosin$ ,elete 9istor" in t'e o)tions.
5it' t'e le$ co)lete and not needin$ an" deforation ad1*stents+ !e can )roceed to
t'e final )art of Grae-s ain %od"+ 'is ars. 5e need to test %ot' ars+ %*t first !e
*st reattac' t'e to t'e ain odel.
1 Reo#e t'e irrored instance if "o* 'a#e one in "o*r scene. Yo* need to 'a#e t!o
se)arate 'al#es of Grae-s %od" to !or& !it'. a irrored instance !ill not !or& at t'is )oint.
2 9ide e#er"t'in$ in "o*r scene e2ce)t t'e t!o ars+ t'e ain %od" es'+ and t'e
1oints for t'e ars.
3 ,*)licate t'e ori$inal es'+ a&in$ s*re Co)" and not Instance is selected as t'e
,*)licate $eoetr" t")e. Settin$ Scale F to B !ill in effect irror t'e d*)licate to create t'e
second 'alf.
4 Co%ine t'e left ar !it' t'e left side of t'e %od"+ !eldin$ t'e #ertices !'ere t'e
ar !as di#ided.
5 ,o t'e sae for t'e ri$'t side+ co%inin$ it to t'e ri$'t ar and !eldin$ t'e #ertices.
Yo* s'o*ld no! 'a#e t!o es'es( t'e left and ri$'t sides of Grae =Figure 7.69>.
,elete t'e 'istor" on %ot' %efore "o* )roceed.
Figure 7.69. T;o separate sides for $rae
Soot' :ind.
As "o* did )re#io*sl" for t'e 5aist 1oint+ a&e s*re t'e !'ole of 'is ain %od" is
!ei$'ted to t'e U))erS)ine 1oint =Figure 7.7<>.
Figure 7.7<. Full ;eight the =od to the 0pperSpine Aoint.
Foc*s in on t'e s'o*lder and %end it do!n to see 'o! it initiall" defors =Figure 7.71>.
As e2)ected+ soe inor !ei$'ts !ill need to %e )ainted+ es)eciall" to fill o*t t'e ar)it
area. :*t once t'is is done+ t'e s'a)e s'o*ld %e $ood eno*$' for *s to o#e on to t'e
el%o!.
Figure 7.71. AdAust the ;eighting on the shoulder.
:efore !e %end t'e el%o!+ !e 'a#e to address a sall )ro%le. As "o* can see in Figure
7.72 on t'e left+ t'e rotation ani)*lator does not follo! t'e orientation of t'e ar. T'is
is %eca*se t'e rotational pivot is incorrect. T'e rotational )i#ot dictates 'o! t'e 1oint !ill
rotate and s'o*ld atc' t'e orientation of t'e ar. 5e need to reali$n t'e )i#ot so t'at
t'e el%o! !ill %end correctl" aro*nd t'e M a2is.
Figure 7.72. Fi- the rotational pi:ot so ;e can rotate the ar%
correctl.
5e !ill disc*ss rotational )i#ots and 1oint orientation in ore de)t' in C'a)ter BB+
4S&eleton Set*).4
For no!+ to 7*ic&l" fi2 t'e )ro%le+ $o to S&eleton L Orient <oint and o)en *) t'e o)tions
!indo!. Confi$*re t'is tool as s'o!n in Figure 7.73( Set Orientation to FYM and a&e
s*re t'e o)tion to 4Reorient t'e local scale a2es4 is not ena%led. T'en clic& A))l".
Figure 7.73. Setting the /oint )rient options to "- the
rotational pi:ot
5it' t'e rotational )i#ot corrected+ !e can no! %end t'e ar %efore ad1*stin$ t'e
!ei$'ts+ to see 'o! it !ill loo& =Figure 7.74>. It a))ears to %e fine+ so let-s reset t'e
1oints+ detac' t'e s&in+ and t'en re)eat t'e )rocess on t'e ri$'t ar.
First %ind t'e s&eleton to t'e ri$'t/side es'.
5ei$'t t'e %od" to t'e U))erS)ine 1oint.
5e &no! t'e s'o*lder is o&a" %eca*se it-s identical to t'e one on t'e left+ so !e !ill
s&i) t'is area.
C'ec& t'e 1oint orientation on t'e el%o!+ and fi2 it if it-s incorrect.
Rotate t'e el%o! %efore t!ea&in$ t'e !ei$'ts+ to see 'o! t'e area !ill loo& =Figure
7.75>.
Figure 7.75. Work on the right el=o; ;eights.
6. 5'en e#er"t'in$ is fine for all t'e 1oints+ reset t'e s&eleton and detac' t'e s&in.
Figure 7.74. Work on the left ar% el=o; ;eights.
Co%ine %ot' sides of t'e es' no!+ !eldin$ t'e #ertices do!n t'e iddle so !e
'a#e a sealess 1oin.
No! for t'e face( T'ere isn-t *c' !e reall" need to test 'ere. Grae doesn-t tal&+ so all
'e reall" needs is a o*t' t'at can o)en and t'at-s alread" in )lace. 5'at !e do need to
test are 'is e"es.
5it' Kila+ !e created a d*)licate of 'er 'ead to !or& on for testin$+ %*t !e don-t
need to do t'is !it' Grae. 5e are onl" testin$ 'is e"es+ so !e can rel" on t'e Undo
coand to ret*rn to t'e ori$inal es' !'en !e are finis'ed.
Foc*s in on 'is left e"e and+ as seen in Figure 7.76+ ad1*st t'e e"elid *ntil t'e e"e is
closed. It loo&s $ood. not'in$ needs to %e t!ea&ed or altered. Use Undo =M6CdNM> to
ret*rn to t'e es' !it' t'e e"es o)en.
Figure 7.76. Test the eelids to %ake sure the co:er the ee
correctl.
T'e Grae odel is no! co)lete =Figure 7.77>. S)end as *c' tie as "o* can no!+
o#in$ aro*nd t'e odel to do*%le/c'ec& t'e o#erall s'a)e. As al!a"s+ &ee) an e"e
o*t for !a"s to f*rt'er i)ro#e or o)tii8e t'e $eoetr".
Figure 7.77. The "nal $rae %odel
5'en "o*-re read"+ delete t'e 'istor" on all t'e $eoetr"+ tid" *) t'e scene+ and sa#e
"o*r !or& as GraeK,eforTest.%.
Su%%ar

In t'is c'a)ter "o* 'a#e once a$ain !or&ed t'ro*$' t'e )rocess of odelin$ a
c'aracter+ t'is tie to %*ild t'e i)osin$+ ore st"li8ed creat*re+ Grae. :" no! "o*
s'o*ld 'a#e a $ood $ras) of odelin$ tec'ni7*es+ as !ell as t'e essential tas&s
associated !it' )ol"$on odelin$+ 1oint creation+ and %indin$. In addition+ "o*
s'o*ld 'a#e a $ood idea of !'at to loo& for !'en o)tii8in$ "o*r $eoetr".
No! t'at !e 'a#e Kila and Grae odeled+ !e can )roceed in a ne! direction and
learn to a))l" a))in$ data and a te2t*re.
Chapter 8. Te-ture
Preparation
CD Files
C'ec&erMa).1)$ KilaK,eforTest.% KilaK,i#ided.% KilaKMa))ed.%
GraeK,eforTest.% GraeK,i#ided.% GraeKMa))ed.% Kila:od"U;.t$a Kila9airU;.t$a
Kila9eadU;.t$a Grae:od"U;.t$a GraeMiscU;.t$a Grae5in$U;.t$a T9E KILA AN, GRAE
odels are co)lete+ %*t t'e" need color to %rin$ t'e to life.
:efore !e can a))l" color to o*r $eoetr" !e *st )re)are t'e s*rface %" a))l"in$ =@ data. Within each verte) that e)ists in your polygon model lies a =@ point ,"=@" for
short0, which stores ?A coordinates that correspond to speci+c pi)els on your te)ture.
When you create any primitive ob%ects in ;aya, =@s are assigned by default, but these
=@s are often altered when further modeling occursmeaning that they need to be
rearranged to look correct.
We will begin this chapter by looking at ways to clean up the =@ data, making it
usable so that we can then apply a te)ture to our characters.
Mapping
Methods
T'ere are fo*r ain !a"s to a))l" U; a))in$ data to a )ol"$on o%1ect( )lanar
a))in$+ c"lindrical a))in$+ s)'erical a))in$+ and a*toatic a))in$. All of
t'ese in#ol#e )ro1ectin$ t'e data directl" onto t'e o%1ects s*rface.
>lanar mapping =Edit Pol"$ons L Te2t*re L Planar Ma))in$> )ro1ects U;s t'ro*$' a
)lane alon$ one direction onl" onto a es'. T'is et'od is ideal for a))in$ flat
o%1ects.
As "o* can see in Figure 8.1+ t'e front of t'e c*%e is a))ed fine+ %*t %eca*se !e are
*sin$ a )lanar a) t'e te2t*re is stretc'ed alon$ t'e sides. To fi2 t'is "o* !o*ld need to
a))l" additional a))in$ to t'e ot'er fi#e sides.
Figure 8.1. Planar %apping
Cylindrical mapping =Edit Pol"$ons L Te2t*re L C"lindrical Ma))in$>+ as t'e nae
i)lies+ )ro1ects t'e U;s in!ard t'ro*$' a c"linder onto t'e selected o%1ect =Figure
8.2>. T'is !ill !or& %est on t'e o*ter )ol"$ons %*t+ as !it' t'e )lanar a))in$+ "o* !ill
need to add f*rt'er a))in$ to correct t'e to) and %otto ca)s.
Figure 8.2. Clindrical %apping
Siilarl"+ spherical mapping =Edit Pol"$ons L Te2t*re L S)'erical Ma))in$> )ro1ects
in!ard t'ro*$' a s)'ere =Figure 8.3>.
Figure 8.3. Spherical %apping
T'e t'ree tec'ni7*es entioned so far 'a#e #er" siilar o)tions for alterin$ t'e final
)ro1ection. Let-s 'a#e a loo& at soe of t'e ore coon o)tions+ s'o!n in Figure 8.4.
t'ese are for a )lanar )ro1ection %*t are also *sed on t'e ot'er )ro1ections.
Kee) Ia$e Ratio !ill loc& t'e as)ect of t'e )ro1ection to t'at of t'e ia$e
B
"o* are a))l"in$ it to.
B
Sart Fit !ill
a*toaticall" fit t'e
)ro1ection to t'e
$eoetr". If t*rned off+
t'e )ro1ection
ani)*lator !ill %e
created at t'e !orld
root.
B
B
B
Ma))in$ ,irection is a
settin$ *ni7*e to a
)lanar )ro1ection and
t'e one "o* !ill *se
ost often. T'is allo!s
"o* to dictate !'ic'
a2is t'e )ro1ection
s'o*ld coe fro.
B
B
B
Ia$e Center+ Ia$e
Rotation+ and Ia$e
Scale eac' ad1*st t'e
)osition+ orientation+
and si8e of t'e
)ro1ection.
B
Figure 8.4. The options for Polgon Planar ProAection
T'e fo*rt' and final a))in$ et'od is automatic mapping =Edit Pol"$ons L Te2t*re L
A*toatic Ma))in$>. T'is !ill atte)t to find t'e %est U; la"o*t for "o*r es' %"
)ro1ectin$ in!ard fro a s)ecified n*%er of an$les.
Loo& at Figure 8.5+ left+ !'ere !e 'a#e a %asic+ lo!/)ol"$on 'and odel. If !e a))l"
a*toatic a))in$ !it' t'e defa*lt o)tions+ o*r U;s !ill %e laid o*t for *s. Yo* can see
t'is in Figure 8.5+ ri$'t.
Figure 8.5. Auto%atic %apping applied to a =asic hand %odel
()T*
To see an o%1ect-s c*rrent U; la"o*t+ si)l" select t'e es' and $o to
5indo! L U; Te2t*re Editor. In addition to seein$ t'e U;s+ "o* can also edit
t'e. !e !ill tal& ore a%o*t t'e U; Te2t*re Editor later in t'e c'a)ter.
5e !ill see 'o! to *se soe of t'ese a))in$ et'ods as !e a))l" U; a))in$ to o*r
c'aracters+ %*t first !e need to )re)are t'e $eoetr" to a&e t'e a))in$ )rocess
easier.
Di:iding a
Character
T'e ost efficient !a" to te2t*re a c'aracter is to di#ide it *) into areas !'ose
s'a)es lend t'esel#es to a )artic*lar t")e of )ro1ection. For e2a)le+ an ar co*ld
eit'er %e treated as a c"linder+ or if di#ided len$t'!ise+ co*ld *se t!o )lanar
)ro1ections. T'e idea is to a))roac' t'e a))in$ )roced*re !it' a strate$".
9ere is !'at to loo& for !'en c'oosin$ 'o! to %rea& *) t'e c'aracter(
Loo& for areas t'at rese%le t'e )ro1ection s'a)e ost closel". If "o* a) a
c"linder !it'+ sa"+ a )lanar )ro1ection+ "o* !ill !ind *) !it' stretc'in$ on t!o sides
and o#erla) on t'e %ac&. o#erla) is bad in alost all cases.
Loo& for areas t'at can s'are t'e sae te2t*re and )ro1ection inforation. T'e
left and ri$'t side 'and areas+ and a"%e e#en t'e )ants le$s or t'e face =if
s"etrical> are li&el" candidates.
5'en c'oosin$ !'ere to c*t+ tr" to 'ide seas !'ere#er )ossi%le. Loo& first for
nat*ral seas li&e !aist%ands and collars. If t'ere is no nat*ral sea+ c'oose t'e ne2t
least cons)ic*o*s s)ot+ s*c' as *nder t'e ar)it+ %et!een le$s+ *nder 'air+ and so
fort'.
S)littin$ t'e $eoetr" *) !ill a&e it easier to a))l" t'e initial U; )ro1ections to t'e
c'aracter. 5it' t'ese in )lace+ !e can t'en $o in and t!ea& t'e U;s indi#id*all" to
red*ce an" *ndesira%le stretc'in$ and o#erla).
5e !ill no! %e$in !or&in$ on Kila to s'o! 'o! %est to di#ide 'er. No a))in$ !ill
%e a))lied at t'is sta$e.
+ila
Load t'e file called KilaK,eforTest.%.
()T*
It-s %een a !'ile since !e loo&ed at t'e Kila odel %eca*se !e 'a#e %een
!or&in$ on Grae. Ta&e t'is o))ort*nit" to 'a#e a fres' loo& at t'e odel+
a&in$ s*re "o* are 'a))" !it' it. 5'en "o*-re read"+ !e !ill %e$in %"
e2ainin$ t'e torso and ars.
Torso and Ar% Preparation
Kila c*rrentl" onl" 'as one/'alf of 'er *))er %od". t'e entire ri$'t side is a irrored
instance. 5e-re $oin$ to delete t'e instance and create a irrored copy of t'e left torso
for 'er ri$'t side%*t first !e !ill e2tract 'er ar. 5e do t'is %eca*se alt'o*$' !e !ant
to a) t'en entire torso+ t'e a))in$ for 'er left and ri$'t ars can initiall" %e t'e
sae+ so !e onl" need one ar to e2ist at t'is tie.
Select t'e faces t'at a&e *) Kila-s left ar and e2tract t'e+ se)aratin$ t'e ar
fro t'e torso =Figure 8.6>.
No! !e can $o in and finis' )re)arin$ t'e torso. First delete t'e irrored instance+
so onl" t'e left 'alf of 'er torso reains.
Use t'e Pol"$ons L Pol"$on Mirror tool+ a&in$ s*re 5eld ;ertices is ena%led. T'is
!ill create t'e ri$'t side.
Figure 8.6. *-tract the left ar%.
5e no! 'a#e a co)lete torso t'at is alost read" for a))in$. T'ere are t!o !a"s to
a))roac' t'is area(
It-s %asicall" c"lindrical in s'a)e+ so !e co*ld a) it c"lindricall". T'is !o*ld
)rod*ce a $ood res*lt+ %*t it can %e diffic*lt to control t'e )ositions of t'e seas. =T'e
seas are t'e areas !'ere t'e c"linder ed$es eet. If "o* ia$ine rollin$ a )iece of
)a)er aro*nd "o*r ar+ t'is is t'e c"lindrical )ro1ection. T'e )osition of t'e seas !ill %e
t'e )laces !'ere t'e ed$es of t'e )a)er eet.>
5e co*ld detac' t'e front and %ac&+ )lanar/a))in$ %ot'. T'is !o*ld $i#e a
%etter U; la"o*t. 5e-d onl" 'a#e to ad1*st t'e sides and t'e %reast area %eca*se t'e" !ill
initiall" o#erla) and %e stretc'ed.
Anot'er ad#anta$e to s)littin$ t'e torso !o*ld %e t'e )laceent of t'e U;
seas. T'e" !o*ld r*n do!n Kila-s sides+ so !e co*ld dis$*ise t'e as t'e
seas on 'er T/s'irt. In addition+ t'e" !o*ld also %e 'idden !'en 'er ars are
do!n+ !'ic' !o*ld %e for t'e a1orit" of t'e tie.
Planar a))in$ see to %e t'e %est o)tion+ so let-s no! s)lit t'e torso in t!o.
1. Select t'e faces t'at a&e *) Kila-s front+ selectin$ t'e ones t'at face for!ard ore
t'an %ac&!ard. Use E2tract to se)arate t'e =Figure 8.7>.
Figure 8.7. Split the torso into the front piece and the =ack piece.
T'e front and %ac& are no! se)arated and )re))ed+ read" to %e a))ed.
5e !ill a))l" c"lindrical a))in$ on t'e ar+ %eca*se t'e s'a)e is alost c"lindrical and
it !ill $i#e *s an o))ort*nit" to see t'is for of )ro1ection deonstrated. Alternati#el"+
"o* co*ld a))l" t'e sae tec'ni7*e t'at !e *sed for t'e torso+ as !e !ill !it' t'e le$s
later. T'e 'and+ 'o!e#er+ !ill need )lanar a))in$ to %ot' t'e to) and %otto+ so t'at
!e can a))l" a different te2t*re to eac' side.
2. Start %" detac'in$ 'er 'and fro t'e ar. Select t'e faces t'at a&e *) t'e 'and
and E2tract t'e =Figure 8.8>.
Figure 8.8. *-tract the hand.
3. Finall"+ se)arate t'e to) of t'e 'and fro t'e %otto =Figure 8.9>.
Figure 8.9. Separate the top of the hand fro% the =otto%.
T'e torso+ ar+ and 'and are no! read" to %e a))ed. Let-s contin*e do!n 'er
%od" no! and !or& on t'e le$s.
,eg Di:ision
For Kila-s le$s+ !e can ado)t t'e sae tec'ni7*e !e *sed on t'e torso. 9er 1eans !ill
'a#e a sea t'at r*ns do!n t'e o*tside and t'e inner le$. t'is can %e *sed to dis$*ise
t'e U; sea.
As "o* did !it' t'e torso+ select t'e front faces =Figure 8.1<> and E2tract t'e.
Figure 8.1<. Separate the front and the =ack of the legs.
Shoe and #elt Di:ision
Contin*in$ on+ !e $et to t'e s'oes. :ot' s'oes !ill %e a))ed t'e sae+ so !e can
delete t'e one on t'e ri$'t for no!+ and d*)licate t'e left s'oe once a))in$ 'as %een
a))lied.
T'ere are a n*%er of !a"s "o* can a))roac' t'e s'oes+ de)endin$ on t'e ao*nt of
detail "o* !is' t'e to 'a#e.
A si)le )lanar )ro1ection fro t'e side is *s*all" a $ood !a" of 7*ic&l" a))in$
t'e s'oe. T'is does ean+ t'o*$'+ t'at t'e inner and o*ter sides of t'e s'oe 'a#e to %e
t'e sae.
Yo* co*ld *se a*toatic a))in$+ as deonstrated earlier !it' t'e 'and odel+
%*t t'is i$'t $i#e *n)redicta%le res*lts"o* co*ld !ind *) s)endin$ ost of "o*r tie
rearran$in$ t'e U;s.
To $et t'e ost detail into t'e s'oe+ t'e %est a))roac' is to an*all" s)lit *) t'e
odel. T'is !ill also $i#e "o* ore control o#er t'e U;s- )laceent. T'is is t'e et'od
deonstrated in t'is disc*ssion.
Se)arate t'e sides+ to)+ front+ %ac&+ and %otto =Figure 8.11>. 5e !ill a))l" )lanar
a))in$ to eac' area later.
Figure 8.11. Di:ide the foot into speci"c areas.
Lea#e t'e %elt intact+ since it !as created fro a %asic c"linder t'at 'as not %een
altered eno*$' to destro" its initial a))in$ coordinates.
5it' se)aration of t'e ain %od" co)leted no!+ let-s see !'at needs to %e done to 'er
'ead.
'ead Di:ision
T'e ain 'ead !ill %e fine as it is. a si)le c"lindrical or )lanar a) !ill !or& !ell
'ere. So let-s concentrate on t'e inner o*t'+ alon$ !it' 'er e"es+ teet'+ and ton$*e.
1. ,etac' t'e inner o*t' =Figure 8.12> and t'e ear =Figure 8.13>. 5e do t'is
%eca*se %ot' t'ese areas can initiall" %e )lanar/a))ed.
Figure 8.12. Detach the inner %outh fro% the head.
Figure 8.13. Separate the ear.
T'e inner o*t' !ill need onl" a si)le te2t*re+ )er'a)s a $radient r*nnin$
t'ro*$' it. T'e ear !ill %enefit fro a si)le )lanar )ro1ection.
:ot' t'e e"es !ill %e 'andled t'e sae+ so delete t'e one on t'e ri$'t side.
5e don-t need to do an"t'in$ to t'e teet'. Li&e t'e %elt+ t'e teet' !ere created fro
c"linders and so s'o*ld still retain soe $ood a))in$. Yo* can also lea#e t'e ton$*e as is+
%eca*se it-s a %asic s'a)e =Figure 8.14>.
Figure 8.14. The inner %outh and ee are "ne as the are.
'air Di:ision
T'e inside la"ers of Kila-s 'air !ere initiall" ade fro indi#id*al stri)s of )ol"$ons.
T'erefore+ t'is )art of t'e 'air s'o*ld retain its %asic a))in$if !e te2t*re one stri) !it'
)artic*lar a))in$ coordinates+ t'e" !ill e2ist in t'e ot'er stri)s.
Usin$ t'is et'od !ill sa#e te2t*re s)ace and+ since t'e inner la"ers are not f*ll"
#isi%le+ !e s'o*ld %e a%le to $et a!a" !it' re)eatin$ t'e te2t*re. If+ on t'e ot'er
'and+ t'e te2t*re loo&s o%#io*sl" co)ied+ !e can a))l" a c"lindrical a) to t'e la"ers.
T'e o*ter la"er of 'air is a different stor". No *sa%le a))in$ e2ists on it %eca*se !e
'a#e drasticall" edited t'e to)olo$". :*t !e onl" need to do a co*)le of t'in$s to )re)are
t'e 'air.
1 T'e %est a))roac' for t'e o*ter 'air is to first s)lit t'e 'air do!n t'e iddle+ as
s'o!n in Figure 8.15.
2 Se)arate t'e inner )ol"$ons fro %ot' sides =Figure 8.16>.
Figure 8.15. Split the hair into t;o hal:es.
Figure 8.16. Detach the inner polgons.
Kila is no! )re))ed and read" to %e a))ed. Clean *) t'e $eoetr" %" deletin$ t'e
'istor"+ and sa#e t'e file as KilaK,i#ided.%.
$rae
Grae is a ore *ni7*e c'aracter t'an Kila+ %*t a lot of t'e sae )rinci)les !ill a))l". 5e
!ill no! ta&e t'e sae ste)s !it' t'e Grae odel+ $ettin$ 'i read" to a))l" U;
a))in$.
Start %" loadin$ t'e file naed GraeK,eforTest.%. As "o* did !it' Kila+ ta&e
soe tie to c'ec& t'e odel for an" last/in*te c'an$es.
Wings
5e !ill initiall" 'ide t'e !in$s and concentrate on t'e ain %od" of Grae.
Yo* a" %e t'in&in$ t'at !e co*ld delete a !in$+ irrorin$ t'e ot'er one across. 5e
co*ld do t'is !it' ordinar" !in$s %eca*se t'e irrorin$ !o*ld not %e o%#io*s. 9o!e#er+
Grae-s !in$s are ade *) of tendrils and s'o*ld not loo& identical. 5'at !e can do is
lea#e t'e !in$s *ntil last+ a))l"in$ t'e to a se)arate te2t*re )a$e. T'en !e can 1*d$e
!'et'er !e 'a#e t'e s)ace to a) %ot' se)aratel".
So for no!+ $o a'ead and di#ide *) t'e %od".
,eg Di:ision
5it' t'e !in$s 'idden+ t'e first area of Grae-s %od" t'at stands o*t are 'is le$s. Loo&in$
%ac& to o*r conce)t dra!in$+ !e can see t'at t'e *))er t'i$' sections differ in s*rface
desi$n and t'*s !ill eac' need se)arate a))in$. T'e lo!er le$s+ 'o!e#er+ are t'e
sae+ !'ic' allo!s *s to *se identical a))in$ tec'ni7*es.
1 As s'o!n in Figure 8.17+ detac' t'e lo!er le$s and delete t'e one on Grae-s ri$'t.
2 :eca*se all t'ree toes !ere initiall" created o*t of t'e sae )iece of $eoetr"+ !e
can delete t'e o*ter t!o and concentrate on t'e central one. ,etac' all t'ree toes fro t'e
ain foot =Figure 8.18>+ se)arate t'e toes+ and delete t'e o*ter t!o.
Figure 8.17. Detach the lo;er legs.
Figure 8.18. Separate the toes1 deleting the outer t;o.
3. As is+ t'e lo!er le$ section is too co)le2 to ac'ie#e clean a))in$. %rea&in$ it *)
!ill si)lif" t'e )rocess. ,etac' t'e lo!er section of t'e le$+ as s'o!n in Figure 8.19.
Figure 8.19. Separate the lo;er section of the leg.
T'e lo!er le$s can %e c"lindricall" a))ed+ lea#in$ t'e *))er t'i$'s to %e a))ed !it'
t'e torso+ so let-s loo& at t'at area ne2t.
Torso Di:ision
Let-s %e$in o*r !or& on t'e torso.
1 Select and detac' t'e ars =Figure 8.2<>. T'is !ill lea#e *s !it' t'e ain area !e
!ant to !or& on.
2 5e can a) Grae-s *))er %od" and t'i$'s *c' t'e sae !a" as Kila-s torso.
Se)arate t'e front and t'e %ac& =Figure 8.21> so "o* can later a))l" )lanar a))in$ to
t'e.
Figure 8.2<. Detach the ar%s.
Figure 8.21. Split the upper =od into the front and the =ack.
3
.
,etac' t'e 'ead =
Figure 8.22
> and t'en t'e inner o*t' =
Figure 8.23
>. Yo* co*ld s)lit t'e 'ead do!n t'e center+ a))in$ one 'alf and irrorin$ it. In t'is
case+ t'o*$'+ lea#e t'e 'ead intact+ %eca*se t'e te2t*re a" need to %e different on
eac' side.
Figure 8.22. Detach the head1 =ut don>t split it.
Figure 8.23. Separate the inner %outh fro% the head.
4. Se)arate t'e *))er and t'e lo!er teet' so t'at "o* can a) t'e
inde)endentl" =Figure 8.24>.
Figure 8.24. Separate the upper and lo;er teeth.
()T*
:eca*se t'e *))er and lo!er teet' aren-t )'"sicall" connected+ "o* can
si)l" $o to Edit Pol"$ons L Se)arate to detac' t'e.
T'is is all !e need to do to t'e *))er %od" area for no!+ so no! let-s edit t'e ars.
Ar% Di:ision
Start !it' t'e left ar.
1 Follo!in$ Figure 8.25+ first detac' t'e 'and and t'en t'e *))er ar. =T'e ar itself
is %ent *c' ore t'an Kila-s !as. ,etac'in$ it !ill a&e it easier to a).>
2 Se)arate t'e s)i&es fro t'e *))er ar =Figure 8.25+ ri$'t>+ since t'ese can %e
a))ed se)aratel".
3 Mo#in$ on to t'e ri$'t ar+ di#ide it *) into t'e sae !or&a%le sections.
4 To finis' *)+ di#ide %ot' 'ands into to) and %otto sections.
Figure 8.25. Di:ide the left ar% into sections.
Grae is no! di#ided and read" to %e a))ed. Sa#e t'e file as GraeK,i#ided.%.
5it' %ot' odels )re)ared+ !e can o#e on to a))l" a))in$ to Kila and Grae. 5e !ill
*se tools alread" entioned in t'is section+ as !ell as $et o*r first introd*ction to t'e U;
Te2t*re Editor.
Mapping 0Cs. The Checker Map
TechniHue
Usin$ a c'ec&ered te2t*re as a $*ide !'ile "o* ani)*late t'e U; coordinates on
"o*r es' !ill a&e it #er" o%#io*s !'en an area $ets stretc'ed or loo&s distorted.
Once "o*-#e corrected all t'ese )ro%les+ "o* can create "o*r te2t*re safe in t'e
&no!led$e t'at !'at "o* dra! is !'at "o* !ill see on "o*r $eoetr". T'e c'ec&ered
tec'ni7*e is also a $ood !a" to #is*all" #erif" t'at all areas of t'e odel are
recei#in$ )ro)ortionall" co)ara%le te2t*re s)ace relati#e to eac' ot'er.
Create the Checkered
Te-ture
Load in t'e file KilaK,i#ided.%.
:efore !e edit t'e U;s+ !e need to see 'o! t'e" c*rrentl" lie on t'e $eoetr". To
do t'is+ !e-ll first create t'e c'ec&ered aterial t'at !ill %e a))lied to t'e odel.
1. Go to 5indo! L Render Editors L 9")ers'ade. T'is o)ens t'e !indo! in Figure
8.26. 9")ers'ade contains all t'e inforation on "o*r c*rrent aterials and
te2t*res+ as !ell as on #ario*s ot'er o%1ects s*c' as li$'ts and caeras in Ma"a.
Figure 8.26. 'pershade sho;ing top ta=s onl.
[View full size image]
()T*
:" defa*lt t'e 9")ers'ade !ill o)en !it' s)lit #ie!+ t'e to) s'o!s t'e
c*rrent s'aders in t'e scene and t'e %otto is a !or& area. T'is is *sef*l
if "o*r scene 'as lots of aterials+ as "o* can dra$ indi#id*al s'aders into
t'e !or& area for closer attention. To c'an$e t'e 9")ers'ade #ie!+ *se
t'e t'ree %o2es to t'e far ri$'t of t'e 9")ers'ade tool%ar+ S'o! To) Ta%s
Onl"+ S'o! :otto Ta%s Onl"+ and S'o! To) and :otto Ta%s.
'pershade
)ptions
T'ere are a n*%er of aterials a#aila%le to "o* in 9")ers'ade+ so
let-s %riefl" loo& at soe of t'e ore coon ones.
An Anisotropic aterial is *sed to re)resent s*rfaces t'at

'a#e sall $roo#es+ li&e %r*s'ed etal or a #in"l record.

#linn

aterial is *sef*l for s'in"+ etallic/loo&in$ s*rfaces.

,a%=ert

is a aterial t'at re)resents flat+ atte s*rfaces.

,aered Shader

is *sed !'en "o* !ant to co%ine t!o aterials or te2t*res

Phong

and

Phong *

aterials are *sef*l for s'in"+ )lastic

loo&in$ s*rfaces.

2. 5e don-t need a s'in" finis' to t'is te2t*re+ so !e !ill *se a La%ert. T'ere are a
co*)le of !a"s to create t'is(
Select Create L Materials L La%ert eit'er fro t'e 9")ers'ade en* %ar
or %" ri$'t/clic&in$ in t'e ain !indo! and *sin$ t'e conte2t*al en*s.
Select t'e La%ert icon *nder t'e Create Materials %ar on t'e left. =If t'is
%ar is set to soet'in$ else+ li&e Create Te2t*res+ clic& t'e nae and select Create
Materials fro t'e dro)/do!n en*.>
5'ic'e#er et'od "o* c'oose+ t'e res*lt is a ne! aterial called la%ert?
=Figure 8.27>.
Figure 8.27. Create a ne; ,a%=ert %aterial.
[View full size image]
Figure 8.28. The ne; ,a%=ert %aterial>s attri=utes
3. ,o*%le/clic& t'e ne! aterial to o)en its attri%*tes+ as s'o!n in Figure 8.28.
4
.
9i$'li$'ted at t'e to) of t'e !indo! in
Figure 8.28
+ in t'e la%ert te2t field+ is its c*rrent nae. C'an$e la%ert? to C'ec&.
5. Under t'e Coon Material Attri%*tes section "o* !ill see #ario*s o)tions+ fro
Color to Transl*cence Foc*s. 5e are onl" interested in t'e Color o)tion for no!.
Ne2t to t'is is a colored rectan$le and t'en a slider+ and a sall %o2 !it' a
c'ec&ered )attern in it. Clic& t'is %o2 to o)en *) a Create Render Node !indo!
=Figure 8.29>.
Figure 8.29. De"ning the %aterial in the Create &ender (ode
;indo;
6. Under t'e 'eadin$ ?, Te2t*res+ select File. T'e Attri%*te Editor no! c'an$es to
7
.
Ne2t to Ia$e Nae+ "o*-ll see a s)ace follo!ed %" a folder icon. Clic& t'is folder and
%ro!se to t'e file called C'ec&erMa).1)$ ="o* can find t'is file on t'e C, in Pro1ect
Files6GD>.
8. Clic& Close to co)lete t'e aterial-s creation. Go %ac& to t'e 9")ers'ade. as
"o* can see fro Figure 8.31+ t'e aterial is no! naed C'ec& and t'e %all
s'o!s t'e c'ec&ered te2t*re t'at is a))lied.
s'o! t'e file-s attri%*tes =Figure 8.3<>.
Figure 8.3<. The "le attri=utes
Figure 8.31. The ne; Check te-ture has =een created.
[View full size image]
1 :efore !e a))l" t'is aterial to Kila+ !e need to a&e aterials #isi%le in t'e #ie!
)anels. Go to t'e S'adin$ en* and a&e s*re 9ard!are Te2t*rin$ is on+ or )ress A on "o*r
&e"%oard.
2 T'e 7*ic&est !a" to a))l" t'e C'ec& aterial to o*r c'aracter is to select all t'e
$eoetr"+ t'en ri$'t/clic& t'e aterial in t'e 9")ers'ade and select Assi$n Material To
Selection. Ma&e s*re to ri$'t/clic& only t'e aterialt'ere is no need for it to %e selected
='i$'li$'ted> in t'e 9")ers'ade. Left/clic&in$ to select it first !ill onl" ser#e to de/select t'e
$eoetr".
Anot'er et'od is to iddle/o*se/%*tton/clic& "o*r aterial and dra$ it to
t'e $eoetr" to !'ic' "o* !ant to a))l" it.
Yo*r odel no! loo&s li&e t'e one in Figure 8.32. Yo* can tell t'at t'e U;s need !or&
at t'is sta$e+ %eca*se t'e $rid is not cleanl" laid o*t o#er 'er %od". 5it' t'e aterial
a))lied+ !e can no! $o in and t!ea& t'e U;s+ a&in$ s*re t'e s7*ares on t'e te2t*re
are lined *) correctl".
Figure 8.32. +ila ;ith the %aterial applied
Ar% 0Cs
Let-s %e$in o*r U; !or& !it' Kila-s ar. Since t'e s'a)e is c"lindrical+ !e can si)l"
a))l" a c"lindrical a) to t'is area. T'e )ro%le is t'at since 'er ar is %ent+ a sin$le
c"linder !ill not s*ffice. So !e !ill a) 'er *))er and lo!er ar se)aratel"+ as s'o!n in
Figure 8.33.
Select t'e faces of t'e *))er ar =Figure 8.33=>.
Go to Edit Pol"$ons L Te2t*re L C"lindrical Ma))in$+ to a))l" t'e a))in$ to t'e
selected faces.
Figure 8.33. Appl clindrical %apping to her upper ar%.
Yo* are no! )resented !it' t'e )ro1ection ani)*lator. "o* can see it in Figure 8.33c.
T'is re)resents 'o! t'e a))in$ is %ein$ a))lied to t'e $eoetr" and+ li&e an" ot'er
ani)*lator in Ma"a+ "o* can ad1*st it to %etter s*it "o*r needs(
T'e sall li$'t/%l*e s7*ares in t'e corners ani)*late t'e )ro1ection-s 'ei$'t and
'ori8ontal s!ee).
T'e hori$ontal sweep is t'e ao*nt %" !'ic' t'e )ro1ection !ra)s aro*nd an
o%1ect. T'e defa*lt ao*nt is B.D+ !'ic' is BDG de$rees and onl" co#ers 'alf t'e
o%1ect. T'is doesn-t ean+ 'o!e#er+ t'at onl" 'alf of t'e o%1ect is
a))ed. it erel" alters t'e as)ect ratio of t'e U; )laceent. Yo* can edit t'e
'ori8ontal s!ee) directl" %" o#in$ t'e red s7*ares on eit'er side of t'e
ani)*lator.
T'e $reen s7*ares ad1*st t'e 'ei$'t of t'e a))in$+ and t'e li$'t/%l*e flat s7*are
in t'e center ad1*sts its o#erall scale.
T'e last+ lar$er c"an c*%e+ !'ic' e2ists on t'e ed$e of t'e )ro1ection+ ad1*sts its
rotation aro*nd t'e o%1ect.
T'ese 'andles are all $ood for ad1*stin$ t'e )ro1ection locall"%*t !'at if "o* need to
o#e it $lo%all"0 Yo* s'o*ld see a red T icon in t'e %otto/left corner of t'e )ro1ection
ani)*lator. Selectin$ t'is !ill to$$le %et!een t'e )ro1ection-s defa*lt ani)*lator and
Ma"a-s standard Translate6Rotate6Scale ani)*lator =Figure 8.33d>.
5e no! need to ad1*st t'e c"linder-s ani)*lator so t'at it fits t'is )ortion of 'er
ar.
Start %" *sin$ t'e red c*%es to ad1*st t'e 'ori8ontal s!ee)+ a&in$ t'e )ro1ection
s)read aro*nd to t'e %ac& of t'e ar.
Clic& t'e T icon to s!itc' to Ma"a-s defa*lt ani)*lator and *se t'is to ad1*st t'e
c"linder-s rotation so it atc'es t'e orientation of t'e *))er ar =Figure 8.33e>.
No! "o* can eit'er *se t'e c*rrent Scale ani)*lator+ or clic& t'e T icon a$ain to
ret*rn to t'e )ro1ection ani)*lator and ad1*st t'e scale to en#elo) t'e ar.
5it' e#er"t'in$ still selected+ $o to 5indo! L U; Te2t*re Editor.
T'e U; Te2t*re Editor =Figure 8.34> s'o!s 'o! t'e U;s of t'e c*rrentl" selected o%1ect
are laid o*t. 5'at "o* see is t'e *))er ar flattened o*t+ as if "o* 'a#e )eeled t'e s&in
off and laid it o*t flatin ot'er !ords+ 4*n!ra))ed.4 9ere is !'ere !e !ill ani)*late t'e
U;s+ ad1*stin$ t'e to eliinate *ndesired o#erla)+ red*ce stretc'in$+ and a&e t'e
U;s easier to )aint.
Figure 8.34. The 0C Te-ture *ditor
[View full size image]
Yo* a" still 'a#e t'e act*al C'ec& te2t*re in t'e %ac&$ro*nd. T'is te2t*re is *s*all"
$ood to *se as a $*ide+ %*t for no! !e need to reo#e it. T*rn off t'e ia$e %" $oin$ to
Ia$e L ,is)la" Ia$e.
T'e *))er ar is loo&in$ o&a" no!. T'e U;s are nicel" laid o*t follo!in$ a *nifor
)attern. 5e can also identif" &e" areas of t'e ar+ s*c' as t'e s'o*lder+ !'ic' !ill %e
*sef*l !'en !e )aint o*r te2t*res.
Let-s contin*e on no! to !or& on t'e U;s of lo!er ar. Select t'e faces for t'e lo!er ar
and re)eat t'e fore$oin$ )roced*re =Figure 8.35>.
Figure 8.35. Map the lo;er ar%.
()T*
It is i)ortant t'at t'e )ro1ection ani)*lator-s orientation aro*nd t'e es'
atc'es t'at of t'e *))er ar. T'is !ill ens*re t'at %ot' sets of U;s !ill follo!
t'e sae lines !'en !e coe to edit t'e. for e2a)le+ !e !ant t'e el%o!-s
U;s to line *).
T'e %asic U; a))in$ is no! in )lace for t'e ar+ %*t !e need to !or& on it soe
ore %efore !e are finis'ed.
0C Manipulation on the Ar%
5it' t'e %asic a))in$ in )lace+ !e can no! edit t'e U;s in t'e U; Te2t*re Editor.
1. Select t'e ar and loo& in t'e U; Te2t*re Editor. Yo* can see in Figure 8.36 =left>
t'at %ot' sets of a))in$ o#erla" eac' ot'er. 5e need t'e to %e se)arate.
Figure 8.36. AdAust the position of the %apping for the ar%.
In t'e )ers)ecti#e #ie!+ select t'e faces of t'e *))er ar. T'e" !ill %e 'i$'li$'ted in
t'e U; Te2t*re Editor.
Mo#e %ac& to t'e U; Te2t*re Editor and $o to Select L Con#ert Selection To U;s. :ot'
sections of t'e ar !ill %e #isi%le once ore+ %*t onl" t'e U;s for t'e *))er ar !ill %e
selected =Figure 8.36+ iddle>.
Press 5 to s!itc' to translate ode+ and o#e t'e selection *)+ se)aratin$ t'e t!o
sets of U;s =Figure 8.36+ ri$'t>.
No! t'e U;s are se)arated so !e can see t'e clearl". 5e ne2t need to co%ine %ot'
sections of t'e ar+ a&in$ one co)lete )iece and eliinatin$ t'e sea %et!een t'e
*))er and lo!er ar sections.
0C Se;ing
Since t'e *))er and lo!er ars are alread" co%ined in t'e 3, #ie!+ connectin$
t'e in t'e U; Te2t*re Editor is si)le.
1 Ri$'t/clic& in t'e U; Te2t*re Editor and select Ed$e fro t'e ar&in$ en*+
)*ttin$ "o* into ed$e/selection ode.
2 Select one of t'e ed$es at t'e %ase of t'e *))er ar. Yo* !ill notice t'at t'e ed$e
it is connected to in t'e 3, #ie! is also 'i$'li$'ted in t'e U; Te2t*re Editor+ and its
associated ed$e alon$ t'e %order of t'e ot'er set of U;s is 'i$'li$'ted.
()T*
If t'e t!o ed$es do not lie a%o#e and %elo! eac' ot'er+ ri$'t/clic& and
select U;s. t'en o#e t'e *))er ar U;s alon$ *ntil t'e ed$es
atc'.
1 9oldin$ t'e S'ift &e"+ contin*e across *ntil "o* 'a#e t'e %otto ro! selected+ as
s'o!n in Figure 8.37 =left>.
2 To !eld t'ese ed$es to$et'er+ $o to Pol"$ons L Se! U;s.
Figure 8.37. Co%=ine the upper and lo;er sets of 0Cs.
5e no! 'a#e one co)lete a) of U;s *n!ra))ed for t'e ar =Figure 8.37+ left>.
0C Cutting and Mo:ing
Loo& at t'e U;s of t'e ar. "o* !ill notice an area t'at stic&s o*t to t'e left. T'is needs
to %e c*t off and )ositioned in t'e $a) on t'e ri$'t+ a&in$ t'e U; a) clean and easier
to read.
()T*
,e)endin$ on 'o! "o*r a))in$ !ent+ t'is )ro1ection a" %e se#ere+ %*t
don-t !orr"t'e ne2t ste)s !ill 'el) "o* fi2 t'is.
Let-s first c'ec& and see !'ere t'e seas lie. Select a U; on t'e %order in t'e U; Te2t*re
Editor. t'is !ill also s'o! *) in t'e 3, #ie!+ lettin$ "o* see !'ere t'e sea is. 5e !ant
t'e sea to %e on t'e %otto of t'e ar+ so t'at !'en t'e ar is lo!ered+ t'e sea is
not as noticea%le. C*rrentl" t'e sea is aro*nd t'e %ac& of t'e ar+ across t'e el%o!.
5e 'a#e t!o )ro%les to sol#e 'ere. 5e !ill first c*t t'e U;s !'ere !e !ant t'e sea
to %e+ o#in$ t'e reainder o#er to t'e ri$'t %efore se!in$ t'e a$ain. T'e follo!in$
ste)s are ill*strated in Figure 8.38.
1. In t'e U; Te2t*re Editor+ select a line of ed$es fro t'e to) to t'e %otto.
T'ese !ill ar& t'e *nderneat' of t'e ar =
Figure 8.38a
>. To find t'is line+ $o to "o*r 3, #ie! and s!itc' to U; editin$ ode. T'en select a
U; *nder t'e ar. t'is !ill also s'o! *) in t'e U; Te2t*re Editor+ so "o* can tell
!'at ed$es to select.
2. No! "o* &no! !'ere to c*t+ so $o to Pol"$ons L C*t U;s.
3. Still in t'e U; Te2t*re Editor+ s!itc' to face/editin$ ode and select t'e faces to t'e
left of t'e c*t =Figure 8.38=>.
4. Go to Select L Con#ert Selection To U;s so t'at !e can edit t'is )iece =Figure
8.38c>.
5. Mo#e t'e selection o#er to t'e ri$'t. T'is s'o*ld fit ore or less e2actl" =Figure
8.38d>.
6. Finall"+ select t'e ed$es !'ere t'e ne! 1oin is and $o to Pol"$ons L Se! U;s to 1oin
t'e =Figure 8.38e>.
Figure 8.38. *dit the 0Cs to %ake the laout cleaner.
#ersion of t'e ar. T'e )ro%le is t'at soe areas are still stretc'ed and do not fit
correctl". 5e-re $oin$ to edit t'e U;s indi#id*all" in t'e U; Te2t*re Editor+ tr"in$ to $et
t'e $rid on t'e ar as )erfect as )ossi%le.
T'e c'ec&ered te2t*re !or&s !ell as a $*ide. Tr" to &ee) t'e s7*ares s7*are and
)ro)ortionate =Figure 8.39>. T'is can %e a tedio*s 1o%+ %*t !'en t'e U;s are correctl"
laid o*t+ "o*r te2t*re !ill not stretc' or loo& incorrect. Once "o* 'a#e s)ent tie )aintin$
t'e te2t*re in P'otos'o)+ t'e last t'in$ "o* !ant is for it to a))ear !ar)ed on t'e act*al
$eoetr".
Figure 8.39. Work on the 0Cs indi:iduall1 keeping the sHuares in the
te-ture sHuare.
()T*
Kee) in ind t'at "o* !ill not %e a%le to reo#e all of t'e stretc'in$ fro t'e
te2t*re. I s*$$est t'at "o* concentrate on t'e lar$er areas t'at !ill 'old
detail. T'e ain forear+ el%o!+ and s'o*lder !ill %e ost #isi%le+ !'ereas
t'e *nderneat' )art of 'er ar !on-t %e seen ost of t'e tie.
T'e ar is done. let-s $et to t'e torso U;s.
Torso 0Cs
5e !ill a))roac' t'e torso fro a sli$'tl" different an$le+ t'is tie !e !ill %e$in %"
)lanar/a))in$ t'e front and %ac& %efore t!ea&in$ t'e U;s in t'e U; Te2t*re Editor.
1. Select t'e front and $o to Edit Pol"$ons L Te2t*re L Planar Ma))in$. Ma&e s*re Kee)
Ia$e Ratio is c'ec&ed in t'e o)tions %o2. t'is !ill initiall" &ee) t'e s7*ares in "o*r
te2t*re at t'e correct si8e. Yo*r torso !ill no! %e a))ed =Figure 8.4<+ ri$'t>.
Figure 8.4<. Planar %apping applied to the front of the torso
2. Fli) aro*nd to t'e %ac& of t'e torso and a))l" t'e sae a))in$ !it' t'e sae
confi$*ration =Figure 8.41>.
Figure 8.41. Planar %apping applied to the =ack of the torso
3. Alt'o*$' t'ese areas loo& fine !'en "o*-re loo&in$ at t'e strai$'t on+ t'e sides
are stretc'ed. 5or& on t'e front first+ editin$ t'e U;s in t'e U; Te2t*re Editor =Figure
8.42>. Ma&e s*re no U;s o#erla)+ )artic*larl" aro*nd 'er c'est and ar)it areas.
Figure 8.42. *dit the 0Cs for her front1 "-ing the stretched
areas.
5'en !e a))lied t'e a))in$ to Kila-s %ac&+ it !as )ro1ected fro t'e front+ so in
effect t'e U;s are irrored. :efore "o* %e$in editin$ 'ere+ !e need to fli) all t'e U;s. Select
t'e all in t'e U; Te2t*re Editor and $o to Pol"$ons L Fli) U;s+ a&in$ s*re "o* select
9ori8ontal in t'e o)tions.
No! !or& on t'e %ac&+ reo#in$ ost of t'e stretc'ed areas of t'e te2t*re *ntil it
rese%les t'at in Figure 8.43. Tr" to reo#e as *c' as "o* can 'ere+ %eca*se Kila !ill
e#ent*all" 'a#e a tattoo. if t'e U;s are incorrect+ t'e tattoo !ill stretc'.
Figure 8.43. After Gipping the 0Cs on her =ack1 re%o:e the
stretched areas.
T'e U;s are no! nicel" laid o*t for 'er torso. Ne2t *) is t'e lo!er %od"+ incl*din$
!aist area+ le$s+ and feet.
,o;er #od
0Cs
To a&e it easier to $enerate t'e te2t*re for Kila-s sas' and t'e 1eans+ !e !ill &ee) t'e
!aist and le$ U;s to$et'er.
Waist and ,egs
T'e U;s for t'e !aist ites and t'e le$s !ill %e edited e2actl" t'e sae as "o* did 'er
torso. Let-s start !it' t'e le$s.
1. As seen in Figure 8.44+ first a))l" )lanar a))in$ to t'e front and t'e %ac& of t'e
entire lo!er %od".
Figure 8.44. Appl planar %apping to the front and =ack of her
legs.
2. 0sing Figures 8.45 and 8.46 as a $*ide+ edit t'e U;s in t'e U; Te2t*re Editor. Yo*r
$oal is to red*ce t'e ao*nt of stretc'in$ t'at can %e seen. Ree%er to
fli) t'e U;-s for t'e %ac& of 'er le$s %efore "o* edit t'e.
Figure 8.45. *dit the 0Cs on the front of her legs.
Figure 8.46. Flip then edit the 0Cs on the =ack of her legs.
Feet
T'e feet are alread" s)lit into si2 se$ents+ read" for a))in$. Yo* s'o*ld 'a#e
front+ %ac&+ left+ ri$'t+ to)+ and %otto se$ents.
()T*
As entioned )re#io*sl"+ si)le )lanar/a))in$ of t'e foot fro t'e side !ill
)ro#ide a $ood eno*$' U; la"o*t for "o* to te2t*re+ %eca*se ost s'oes are
identical on %ot' sides. Yo* !ill t'en 1*st se)arate t'e %ase of t'e foot and
a) t'is se)aratel" in order to a))l" t'e tread on t'e sole. Creatin$ t'e U;s
for t'e s'oe+ as deonstrated in t'is section+ s'o*ld %e reser#ed for feet t'at
'old a lot of te2t*re detail.
Select eac' )ortion of t'e foot and a))l" Planar Ma))in$ to t'e all indi#id*all"
=Figure 8.47>. Ree%er to set t'e Ma))in$ ,irection in t'e o)tions. t'is !ill sa#e "o* tie
!'en "o* are ad1*stin$ t'e )ro1ection.
Select all t'e )ieces of t'e foot and loo& at t'eir a))in$ in t'e U; Te2t*re Editor
=Figure 8.48a>.
T'e U;s for eac' )iece are o#erla))in$+ so+ !or&in$ on eac' )iece indi#id*all"+ select
t'e U;s and o#e t'e o*t of t'e center+ as in Figure 8.48=.
5'en t'e" are all o#ed+ "o* can co%ine t'e $eoetr" t'at a&es *) t'e foot.
Ree%er to !eld t'e #ertices as "o* do.
5it' t'e foot once a$ain a !'ole o%1ect+ edit t'e U;s soe ore+ se!in$ t'e sides
and front to t'e to) =Figure 8.48c>. Ma&e s*re all t'e )ieces are t'e correct si8eree%er
t'at "o* !ill end *) !it' ore detail on areas t'at are lar$er.
Figure 8.47. With the foot di:ided into seg%ents1 planar%ap
each section.
Figure 8.48. AdAust the laout of the foot 0Cs in the 0C Te-ture
*ditor.
As "o* can see in Figure 8.48d+ !it' t'e U;s ani)*lated t'e foot loo&s a lot
cleaner.
'ead
0Cs
T'e 'ead is relati#el" si)le to a). As "o* can see in Figure 8.49+ startin$ !it' a
%asic c"lindrical a) !ill $i#e *s a $ood startin$ %ase.
Figure 8.49. The head after a =asic clindrical %ap
Kila-s e"elas'es are $oin$ to %e solid %lac&+ so !e !ill a) t'e se)aratel". If !e
need to later+ !e can ad1*st t'ese U;s so !e can a))l" additional detail.
1. Select t'e faces t'at a&e *) t'e e"elas'es+ as s'o!n in Figure 8.5< =to)>.
Figure 8.5<. Select the eelashes and %ap the% separatel.
1 :eca*se t'e e"elas'es are a %asic %lac&+ !e don-t need t'e to 'a#e se)arate U;s.
t'e" can occ*)" t'e sae s)ace on t'e te2t*re )a$e. And t'e" !on-t 'a#e an" detail+ so !e
can afford for t'e to *se 1*st a sall area of t'e )a$e. So $o a'ead and a))l" a %asic )lanar
a) to t'e+ )ro1ectin$ fro t'e F a2is =Figure 8.5<+ %otto>.
2 5'ile "o* still 'a#e t'e e"elas'es selected+ $o to t'e U; Te2t*re Editor !indo!+
c'an$e t'e selection to U;s and o#e t'e *) so t'e" !ill %e a%o#e t'e 'ead.
Figure 8.51
s'o!s t'e 'ead U;s in t'eir c*rrent state. As "o* can see+ t'e e"elas'es are
no! se)arate and a%o#e t'e 'ead.
Figure 8.51. The current head 0C laout
Let-s sta" in t'e U; Te2t*re Editor and !or& directl" on t'e U;s for t'e face. T'e
act*al $eoetr" of t'e face 'as t'e e"es o)en+ %*t in t'e U; la"o*t t'e" s'o*ld
%e closed so t'at !e can a))l" a te2t*re to 'er e"elids.
4. As seen in Figure 8.52+ ani)*late t'e U;s so t'at t'e e"es a))ear to %e
closed.
Figure 8.52. !n the 0C Te-ture *ditor1 close the ees.
Ne2t+ "o* !ill se)arate 'er li)s. T'is !ill $i#e t'e nice clean ed$es+ a&in$ t'e
te2t*re a))ear 'i$'er in resol*tion t'an it act*all" is. Secondl"+ it !ill let "o* $i#e
t'e li)s a lar$er area on t'e te2t*re )a$e so t'at "o* can i)leent ore detail
in t'e.
1. In t'e U; Te2t*re Editor+ select t'e ed$es t'at ar& t'e o*tline of t'e li)s.
2. Go to Pol"$ons L C*t U;s to se)arate t'e li)s fro t'e face.
3. S!itc' to face selection+ and select t'e faces t'at a&e *) t'e li)s.
4. Go to Select L Con#ert Selection to U;s.
5. Mo#e t'e li)s a!a" fro t'e face+ scalin$ t'e *) sli$'tl" =Figure 8.53>.
Figure 8.53. Separate the lips in the 0C Te-ture *ditor.
5it' t'e ain areas co)lete+ contin*e to !or& on t'e 'ead+ red*cin$ an" stretc'ed
areas in t'e te2t*re. In )artic*lar+ !or& on t'e nose area.
!nner Mouth1 *e1 and *ar
Let-s sta" !it' t'e 'ead no! and concentrate on t'e e"es+ inner o*t'+ and ear.
1. Loo&in$ first at t'e e"es+ a))l" a si)le )lanar a) 'ere across t'e M a2is+ scalin$
t'e U;s to!ard t'e %ac& sli$'tl". T'is !ill red*ce t'e stretc'in$ alon$ t'e sides. Yo*
can see t'e res*lt in Figure 8.54.
Figure 8.54. Planar@%ap the ee=all.
2. Ne2t+ consider t'e $eoetr" t'at a&es *) t'e inner !all of t'e o*t'. T'is+ too+ can
'a#e a si)le )lanar a) a))lied to it. t'is tie+ 'o!e#er+ as s'o!n in Figure 8.55+
)ro1ect it fro t'e F a2is.
Figure 8.55. For the inner %outh1 proAect a planar %ap fro% the
side.
Yo* don-t need to *n!ra) t'is area of t'e odel+ %eca*se at ost it !ill 'a#e a
%asic $radient te2t*re a))lied to it.
3. Yo* can s&i) t'e teet'+ !'ic' alread" 'a#e )rett" $ood a))in$ on t'e. T'is
lea#es t'e ton$*e. T'is is anot'er area t'at !ill not !arrant *c' detail. T'is tie+ !e
!ill )ro1ect t'e a))in$ alon$ t'e Y a2is =Figure 8.56>. T'is eans !e can at least
add soe detail to 'er *))er ton$*e.
Figure 8.56. ProAect the %apping do;n onto the tongue.
4. No! "o*-#e coe to t'e ear. A$ain+ a si)le )lanar a) !ill !or& !ell 'ere
=Figure 8.57>+ %*t *n!ra) t'e U;s t'at are %e'ind t'e ear.
Figure 8.57. Planar@%ap the ear.
5e are alost done. t'ere are 1*st a fe! ore areas to !or& on. Coin$ *) ne2t is t'e
'air.
'air
0Cs
T'e inner la"ers of t'e 'air alread" 'a#e soe %asic a))in$ a))lied to t'e. T'is !ill
allo! *s to *se a sin$le te2t*re to a) all of t'e.
)uter 'air
T'e onl" area needin$ attention 'ere is t'e o*ter la"er of 'air.
1. As shown in Figure 8.58, apply planar mapping to the outer layers on both
sides of t'e 'air+ )ro1ectin$ alon$ t'e F a2is.
Figure 8.58. Appl planar %apping to the outer laer of her hair1 on
=oth left and right sides.
2. 5it' t'e a))in$ a))lied+ select Kila-s left/side )iece first and+ as ill*strated in
Figure 8.59+ ad1*st t'e U;s in t'e U; Te2t*re Editor.
Figure 8.59. AdAust the 0Cs for the hair on +ila>s left.
3. ,o t'e sae !it' t'e 'air on Kila-s ri$'t+ ree%erin$ to fli) t'e U;s first
=Figure 8.6<>.
Figure 8.6<. AdAust the 0Cs for the hair on +ila>s right.
No! coes t'e tric&" )art. 5e !ant %ot' sides of t'e 'air to %e co%ined a$ain%*t if
!e do it no!+ t'e U;s !ill o#erla). 5'at !e !ill do is se)arate t'e U;s %efore !e
co%ine t'e.
1. First of all+ se)arate t'e U;s+ o#in$ t'e a)art.
2. Co%ine %ot' sides of t'e $eoetr" a&in$ *) t'e 'air+ !eldin$ t'e #ertices do!n
t'e center. 5it' t'e left and ri$'t U;s no! se)arated+ !e can !or& on t'e ore
easil".
5e !ant to 1oin t'e U;s across t'e to) of 'er 'air. Connectin$ t'e at t'e )art !ill
ean !e can &ee) t'e flo! of t'e 'air !'ile a&in$ s*re t'e detail is not %ro&en.
So+ !e need to rotate t'e.
3. Select t'e U;s for one side of t'e 'air and $o to Pol"$ons L Rotate U;s+
o)enin$ *) t'e o)tions. 9ere "o* can s)ecif" !'at de$ree of rotation "o*
!is' to a))l".
4. Rotate %ot' sides *ntil t'e to)s are facin$ eac' ot'er =Figure 8.61+ left>.
5
.
Use t'e Se! U;s tool to connect t'e ed$es do!n t'e center =
Figure 8.61
+ ri$'t>.
6. 5it' %ot' )ieces of t'e 'air connected no!+ edit t'e U;s a little ore
%efore o#in$ on. Yo*r $oal is for t'e o*ter 'air la"er to loo& li&e t'at in
Figure 8.62.
Figure 8.61. &otate the 0Cs for the hairB then se; the facing
edges together.
Figure 8.62. The outer hair1 ;ith %apping
5it' t'e ain section of t'e o*ter 'air a))ed+ o*r ne2t tas& is to edit t'e U;s on t'e
inner side of t'e 'air at t'e %ro!.
!nner Front 'air
To co)lete Kila-s 'air+ !e !ill no! a) t'e )ol"$ons t'at a&e *) t'e inside la"er of
'er 'air at t'e fore'ead.
1. As "o* did in t'e )recedin$ section+ a))l" )lanar a))in$ to %ot' sides of t'e front
area of 'air across t'e F a2is =Figure 8.63>.
Figure 8.63. Appl %apping to the inner pieces of hair at the
=ro;.
1 T!ea& t'e U;s+ reo#in$ an" o#erla))in$ or stretc'in$ areas.
2 Se)arate %ot' sets of U;s if t'e" !ill o#erla) !'en t'e t!o )ieces of $eoetr" are
co%ined.
3 Co%ine t'e es'es+ !eldin$ t'e #ertices do!n t'e center.
4 Ne2t+ "o* !ill 1oin t'e t!o sections of U;s+ *sin$ t'e center as t'e connectin$ )oint.
Rat'er t'an 'a#in$ to an*all" o#e one set of U;s to t'e ot'er+ Ma"a !ill do it for "o*. In
t'e U; Te2t*re Editor+ select t'e ed$es t'at connect+ as seen in Figure 8.64+ left.
Figure 8.64. 0se Mo:e and Se; 0Cs to ;eld the separate 0Cs.
6. Go to Pol"$ons L Mo#e and Se! U;s. 5'at "o* !ill see is t'at t'e saller )iece 'as
not onl" %een !elded to t'e lar$er one %*t 'as o#ed+ too =Figure 8.64+ ri$'t>.
As s'o!n in Figure 8.65+ t'e inner )ieces of t'e front 'air are no! co)lete.
Figure 8.65. 'air 0C %apping applied and adAusted at the
forehead
To finis' t'e U; !or& on t'e Kila odel+ !e still need to !or& on t'e 'ands and t'e %elt.
Let-s loo& at t'e 'ands ne2t.
'and
0Cs
T'e 'and is anot'er area to !'ic' a))l"in$ a))in$ is relati#el" si)le.
1. :e$in %" a))l"in$ )lanar a))in$ do!n!ard on to) of t'e 'and+ ad1*stin$ it to
atc' t'e orientation =Figure 8.66>.
Figure 8.66. Planar@%ap the hand1 proAecting do;n onto it.
T!P
Yo* can select %ot' t'e to) and %otto of t'e 'and and a))l" t'e
a))in$ to %ot' areas at t'e sae tie.
2. As s'o!n in Figure 8.67+ first !or& on t'e to) 'alf-s U;s in t'e U; Te2t*re Editor.
Mo#e t'e U;s for t'e sides of eac' fin$er o*t!ard+ so "o* can add a %it of detail to
t'e !'en it-s tie to dra! t'e te2t*re.
Figure 8.67. AdAust the 0Cs of the top half.
3. ,o t'e sae for t'e %otto of t'e 'and+ ree%erin$ to fli) t'e U;s first. T'e
finis'ed 'and s'o*ld loo& li&e t'at in Figure 8.68.
Figure 8.68. The hand %apping is co%plete.
#elt 0Cs
T'e final lo!er/%od" area to address is Kila-s %elt. Initiall"+ t'e a))in$ 'ere !as fine
=%eca*se t'is ite of clot'in$ !as created fro a %asic c"linder+ it 'ad in'erent
a))in$>. 5e 'a#e since t'en ad1*sted it sli$'tl"+ addin$ ore $eoetr" to t'e %ac& of
t'e %od"+ so !e need to address t'e res*ltin$ alterations in U;s.
1. Select t'e %elt and loo& at its U; la"o*t in t'e U; Te2t*re Editor =Figure 8.69>.
Figure 8.69. The =elt>s 0C %ap
Yo* can see t'e ain %elt area in t'e centert'e section t'at loo&s &ind of li&e a
UFO%*t t'ere are also lots of oddl" s'a)ed %o2es aro*nd it. T'ese are fro t'e
e2tra )ol"$ons "o* created on t'e inside of 'er %elt. To start !it'+ "o* !ill o#e
t'ese %o2es a!a" fro t'e ain %elt-s U;s+ a&in$ it easier to !or& on t'e.
1 Go %ac& to t'e 3, #ie!+ and select t'e faces "o* added to t'e inside of t'e %elt
=Figure 8.7<>. T'is !ill 'i$'li$'t t'e in t'e U; Te2t*re Editor.
2 No! t'at t'e faces are e)'asi8ed+ $o %ac& into t'e U; Te2t*re Editor and $o to
Select L Con#ert Selection to U;s. Follo! t'e ill*strations in Figure 8.71. Mo#e t'e selected
U;s *)+ a!a" fro t'e ain %elt-s U; la"o*t =Figure 8.71=>.
Figure 8.7<. Select the =elt>s inner faces.
Figure 8.71. *dit the =elt>s inner %apping1 %atching it ;ith
an appropriate section of the =elt.
4. T'e s'a)es of t'e %o2es need alterin$+ to a&e t'e cleaner and ore *nifor. To
'el) !it' t'is tas&+ a&e s*re t'e $rid is #isi%le %" $oin$ to ;ie! L Grid.
5. Select t'e U;s for eac' corner and+ 'oldin$ t'e F &e"+ sna) t'e U;s to )oints on t'e
$rid *ntil t'e" all atc' t'e sae rectan$*lar s'a)e. Yo* !ant it to loo& as if onl" one
rectan$le e2ists =Figure 8.71c>.
T'e te2t*re for t'ese inner sections of t'e %elt can %e t'e sae as )art of t'e
o*tside+ so !'at "o* can do ne2t is o#e t'ese U;s to t'e sae )lace as a
section of 'er %elt%*t !'ic' section0
6. Select a face on t'e o*tside of t'e %elt =Figure 8.72>. 5e-ll *se t'is section
%eca*se it !ill 'a#e a %asic te2t*re a))lied to it+ so no one !ill notice it-s t'e
sae on t'e inside. If !e !ere to *se t'e front+ !'ere t'e %*c&le !ill %e+ t'en t'at
te2t*re !o*ld %e re)eated on t'e inside+ !'ic' !o*ld loo& !ron$.
Figure 8.72. Select a face on the outside of her =elt.
5it' t'e face selected+ $o %ac& to t'e U; Te2t*re Editor+ con#ertin$ t'e selection to
U;s =Figure 8.71d>.
No! t'at "o* &no! !'ere to o#e t'e to+ 'old do!n t'e ; &e" and sna) t'e U;s
for t'e inner %elt to t'e selected ones on t'e act*al %elt+ as s'o!n in Figure 8.71e.
All t'at-s left to do no! is edit t'e U;s for t'e to) and %otto of t'e %elt =Figure
8.73>.
Figure 8.73. AdAust the top and =otto% 0Cs for the =elt.
Figure 8.74. The =elt>s "nal 0C %apping
5e no! 'a#e %asic U; a))in$ a))lied to t'e entire es'%*t %efore !e can si$n it off
as co)lete+ soe ad1*stents are needed.
*-tra Mapping AdAust%ents
T'ere is one final t'in$ to do %efore !e can finali8e Kila-s U; !or&. On an" noral odel+
!e co*ld *se t'e sae a))in$ for t'e left and ri$'t ars+ essentiall" 'a#in$ to dra!
onl" one ar. Kila-s ars are different+ 'o!e#er. one 'as a tattoo. So !e !ill need a
se)arate set of a))in$ for eac' ar. T'e tattoo e2tends do!n onto 'er 'and+ so !e !ill
also need a se)arate set of a))in$ for t'e.
1. ,*)licate and irror t'e c*rrent ar and *))er 'and =Figure 8.75>. T'en $o to
Modif" L Free8e Transforations. t'is !ill reset t'e B #al*e on t'e Scale F attri%*te
%ac& to B.
Figure 8.75. Duplicate and %irror the left ar% and upper hand.
2. Alt'o*$' "o* 'a#e d*)licated t'ese )ieces of $eoetr"+ t'e U; coordinates t'e" 'old
!ill still %e t'e sae. To fi2 t'is+ first fli) and t'en o#e t'e U;s so t'e" no lon$er
o#erlie t'e ones on t'e left side. Fli) t'e ar U;s #erticall"+ and do t'e 'and U;s
'ori8ontall".
Yo* can see t'e ad1*sted U;s in Figures 8.76 and 8.77.
Figure 8.76. Flip and separate the 0Cs for the ne; ar%
:erticall.
Figure 8.77. For the ne; hand1 Gip the 0Cs hori?ontall =efore
%o:ing the%.
T'e %asic U;s are a))ed no!. As "o* can see in Figure 8.78+ Kila-s a))in$ is
loo&in$ cleaner t'an t'e ori$inal. C*rrentl"+ t'e s7*ares of t'e $rid are differin$ si8es+
indicatin$ t'at soe areas occ*)" ore te2t*re s)ace t'an ot'ers. T'is is not
U;s so t'at t'e" can %e e2)orted to an ia$e file *sin$ U; Sna)s'ot.
Figure 8.78. +ila1 full %apped =ut not "nished
*-porting the 0C Positions
5it' t'e 'el) of Ma"a-s U; Te2t*re Editor+ !e can e2)ort t'e U; )ositions as a %ita) to
*se as a 'and" $*ide for creatin$ t'e te2t*re. First+ !e need to rearran$e o*r U;s+
atte)tin$ to fit t'e all into a s7*are !'ile a&in$ s*re t'e" don-t o#erla).
0C Manage%ent
5'en t'e odel is finis'ed+ s'e !ill %e co%ined into a sin$le )iece of $eoetr". 5it'
t'at in ind+ let-s see 'o! t'e U;s !ill loo&.
1. Select all of Kila-s $eoetr" and ta&e a )ee& in t'e U; Te2t*re Editor.
As "o* can see in Figure 8.79+ t'in$s are a %it of a ess. Yo* can a&e o*t a fe!
of t'e %od" )arts+ %*t t'ere is no c'ance "o* co*ld dra! onto t'is ia$e and
create a s*ccessf*l te2t*re a).
2. S)end soe tie selectin$ eac' se)arate )iece of $eoetr" and o#in$ t'e U;s
o*t+ so "o* end *) !it' e#er"t'in$ laid o*t as seen in Figure 8.8<. Eac' )iece is no!
se)arate. T'is loo&s *c' %etter"o* can tell !'at eac' )art is.
Figure 8.79. +ila>s current 0C %apping
Figure 8.8<. The untangled 0Cs
T'e ne2t )ro%le to address is one of )riorit". At )resent t'e e"e%all U;-s are
lar$er t'an 'er 'ead+ eanin$ t'e e"e !ill 'a#e *c' ore detail in t'e final
te2t*re. T'is is clearl" !ron$. "o* need to ad1*st t'e scale of eac' set of U;s+
enlar$in$ areas t'at need $reater detail.
3. To scale t'e U;s+ si)l" select t'e )iece of $eoetr" in t'e 3, #ie!. T'en+ in t'e U;
Te2t*re Editor+ ri$'t/clic& and select U;s. Select all t'e U;s and )ress R to s!itc' to t'e
Scale ani)*lator.
5'ile "o* are doin$ t'is scalin$+ "o* can %e$in to rearran$e t'e U;s into t'eir
res)ecti#e te2t*re )a$es. Use t'e ain $rid to 'el) "o* )lace t'e. O*r %*d$et is t!o
@B?2@B? te2t*re )a$es+ so !e can a&e *se of t'is %" di#idin$ t'e U;s into t'ree
se)arate )a$es.
()T*
As a $eneral r*le+ te2t*re )a$es *st confor to s)ecific si8es+ in )o!ers of ?
=?+ I+ D+ BA+ 3?+ AI+ B?D+ ?@A+ @B?+ etc.>. To %e certain of !'at "o* are
re7*ired to *se+ cons*lt "o*r ana$er.
4. T'e first )a$e to set *) !ill contain t'e ain 'ead and 'ands+ alon$ !it' t'e
feet and %elt. T'is !ill %e e2)orted as a ?@A2?@A te2t*re )a$e.
5. In t'e ne2t )a$e+ )lace all t'e ain %od" )arts. T'is !ill %e a @B?2@B? )a$e
%eca*se !e !ill need ore detail in t'e %od".
6. Place t'e 'air on a t'ird te2t*re )a$e+ also ?@A2?@A in si8e. Parts of t'is )a$e !ill
%e trans)arent+ so !e !ill &ee) it se)arate.
Yo* can see t'e final U; la"o*ts in Figure 8.81.
Figure 8.81. +ila>s 0C laout
T'ere is one final ad1*stent !e !ill a&e %efore !e co)lete t'e a))in$ )rocess(
s)littin$ t'e U;s in t'e T/s'irt.
Di:ide the Shirt
5'at !e !ant to do no! is s)lit t'e U;s at t'e %ase of Kila-s cro)/to). T'is is
necessar" %eca*se+ !it' t'e U;s attac'ed+ soe of t'e color fro 'er s'irt a"
%leed t'ro*$' onto 'er stoac'.
1. Select t'e ed$es across t'e %ase of t'e T/s'irt+ as s'o!n in Figure 8.82. Go to
Pol"$ons L C*t U;s to c*t t'e.
Figure 8.82. Create a gap in the 0Cs =et;een her shirt and
sto%ach.
Select t'e faces t'at a&e *) t'e %otto section of t'e torso. Con#ert t'e
selection to U;s %" $oin$ to Select L Con#ert Selection to U;s.
Mo#e t'e selected U;s do!n sli$'tl"+ creatin$ a $a).
5it' t'is final ad1*stent ade+ !e 'a#e co)leted t'e )rocess of a))in$ U;s onto
Kila. As "o* can see in Figure 8.83+ t'e s7*ares are no! *c' ore *nifor in si8e.
All !e need to do no! is e2)ort t'e U; la"o*t+ %a&in$ it o*t as an ia$e !e can *se as
a $*ide !'en !e dra! 'er te2t*re.
Figure 8.83. +ila ;ith her "nal 0C %apping
Taking a 0C Snapshot
Usin$ t'e U; Sna)s'ot tool+ !e can e2)ort t'e U; la"o*t as a %ita)+ !'ic' !e can t'en
ta&e into a di$ital ia$in$ a))lication to *se as a $*ide for o*r te2t*re.
1 Select t'e eleents t'at a&e *) t'e first te2t*re )a$e. T'ese s'o*ld %e t'e 'ead+
e"e+ teet'+ inner o*t'+ 'ands+ ton$*e+ s'oe+ e"elas'es+ and ear.
2 Loo& at Figure 8.84. t'ese eleents are alread" )ositioned correctl". To create a U;
sna)s'ot+ t'e eleents "o* !ant to ca)t*re *st lie in t'e *))er/ri$'t corner of t'e $rid. T'is
is t'e onl" area t'at Ma"a considers =)ositi#e G to B te2t*re coordinate s)ace> !'en sa#in$
o*t a U; sna)s'ot ia$e. An"t'in$ o*tside of NB*+ NB# is i$nored.
Figure 8.84. The head 0Cs in the correct position
So "o* are read" to create t'e %ase for t'e first te2t*re )a$e.
3. In t'e U; Te2t*re Editor+ $o to Pol"$ons L U; Sna)s'ot. T'is o)ens t'e o)tions dialo$
%o2 seen in Figure 8.85.
4. T'is first te2t*re is $oin$ to %e si8ed at ?@A2?@A+ so a&e s*re t'e Si8e F and
Si8e Y o)tions are set to t'is.
5. Clic& :ro!se+ and )oint to !'ere "o* !ant t'e te2t*re to %e stored. Call it
Kila9eadU;.t$a.
6. Ma&e s*re Anti/alias Lines is not ena%led. t'is !ill a&e t'e U; lines e2)orted
easier to ana$e and follo!. Clic& OK+ and t'e U; ia$e !ill %e created.
Figure 8.85. The 0C Snapshot dialog =o-
:efore !e loo& at t'e sna)s'ot+ let-s create t'e %ase ia$es for t'e ot'er t!o
te2t*re )a$es.
1 Select t'e eleents t'at ade *) t'e %od" )a$e. T'is incl*des t'e le$s+ torso+ and
ars.
2 Mo#e t'ese U;s *) to t'e *))er/ri$'t corner of t'e $rid =Figure 8.86>. t'en o)en
*) t'e U; Sna)s'ot o)tions.
3 T'is tie set t'e Si8e F and Si8e Y to @B?.
4 S)ecif" "o*r )lace to sa#e+ nain$ it Kila:od"U;.t$a+ and clic& OK.
5 Finall"+ do t'e sae !it' t'e 'air U;s+ sa#in$ t'ese at a si8e of ?@A2?@A !it' t'e
nae Kila9airU;.t$a.
Figure 8.86. Mo:e the =od 0Cs into position to take a
snapshot.
Yo* s'o*ld no! 'a#e t'ree ia$es t'at "o* can *se to $*ide "o* in creatin$ "o*r
te2t*res. T'ese are s'o!n in Figure 8.87.
Figure 8.87. The three e-ported te-ture pages
T'e U;s 'a#e %een s*ccessf*ll" a))ed and e2)orted. 5'at-s needed no! is to
)iece soe of Kila %ac& to$et'er and co%ine 'er.
&eco%=ine the Character
To %e$in+ !e need to create d*)licates of t'e lo!er 'and+ t'e foot+ and t'e e"e.
1 5e can irror t'e 'and and foot. $o a'ead and do t'is. :*t t'e e"e *st reain
t'e saesi)l" co)" t'is and o#e it across to !'ere t'e ri$'t e"e s'o*ld %e.
2 At t'is sta$e+ !e !ill onl" co%ine t'e ain %od". T'is !ill incl*de t'e torso+ le$s+
and ars. Ma&e s*re "o* !eld t'e #ertices after!ard.
5'en irrorin$ and co%inin$ $eoetr"+ "o* *st c'ec& t'e norals in )artic*lar.
T'ese are t'e directions in !'ic' eac' face is )ointin$. At )resent+ s'e loo&s fine+ %*t
t'at is %eca*se Ma"a is dis)la"in$ 'er as do*%le/sided.
3. To c'ec& t'e norals+ select t'e es' and o)en *) its attri%*tes %"
)ressin$ CtrlNA.
4. Scroll do!n to t'e )anel la%eled Render Stats and o)en it *). Unc'ec&
t'e c'ec&%o2 la%eled ,o*%le Sided.
5
.
No! loo& at "o*r es'. do an" areas a))ear inside o*t0 Yo* can 7*ic&l" fi2 t'e %"
$oin$ to Edit Pol"$ons L Norals L Confor.
In ost cases+ all t'e )ol"$ons in t'e o%1ect !ill no! %e facin$ t'e sae
direction. If t'e )ro%le reains+ tr" selectin$ t'e faces and r*nnin$ Edit
Pol"$ons L Norals L Re#erse+ a&in$ s*re t'e o)tions are set to Re#erse.
T'e Kila odel is f*ll" )re)ared no! and read" to %e te2t*red. ,elete t'e 'istor" and
sa#e t'e file as KilaKMa))ed.%.
Mapping $rae
Usin$ !'at "o* 'a#e learned in t'is c'a)ter+ load t'e di#ided Grae odel
=GraeK,i#ided.%>+ and see if "o* can a))l" U; a))in$ to 'i.
T!P
If "o* are 'a#in$ tro*%le a))in$ an area+ tr" di#idin$ it f*rt'er into ore
%asic s'a)es+ s*c' as c"linders or )lanes. T'is !ill si)lif" t'e tas& of a))l"in$
%asic U; a))in$. Concentrate t'en on $ettin$ eac' )iece loo&in$ correct
%efore co%inin$ t'e all a$ain.
Figures 8.88 and 8.89 s'o! " finis'ed Grae odel and U; a)s+ !'ic' !e can *se
in t'e ne2t c'a)ter. Yo* can find t'is file on t'e C, as Pro1ect
Files6GD6GraeKMa))ed.%.
Figure 8.88. $rae ;ith full 0C %apping
Figure 8.89. $rae>s e-ported te-ture pages
()T*
E2)ortin$ t'e U; a)s does not ean t'at t'e" are set in stone. Yo* can
edit t'e f*rt'er if "o* li&e+ as !ill %e deonstrated in C'a)ter E+ 4Te2t*re
Paintin$.4 <*st ree%er t'at t'e ia$es "o* e2)ort are t'e U;s at t'at
sta$e+ so if "o* drasticall" edit t'e %efore te2t*re )aintin$+ "o* a" need
to re/e2)ort t'e a)s.
Su%%ar
Yo* no! 'a#e t'e t!o odels co)letel" a))ed and read" to %e te2t*red. T'is
c'a)ter on U; a))in$ 'as $i#en "o* s*%stantial &no!led$e and e2)erience !it'
Ma"a-s U; editin$ tools+ and "o*-#e created a %asic aterial.
,*rin$ t'e ne2t c'a)ter+ !e ste) o*tside Ma"a and+ *sin$ t'e U; sna)s'ots
$enerated 'ere+ !e-ll dra! t'e te2t*res for o*r c'aracters
Chapter 9. Te-ture
Painting
CD Files
KilaKTe2t*re.%
GraeKTe2t*re.%
Kila:od".)sd
Kila9air.)sd
Kila9ead.)sd
Grae:od".)sd
GraeMisc.)sd
Grae5in$.)sd
Kila:od".t$a
Kila:od"K:*).t$a
Kila:od"KS)ec.t$a
Kila9air.t$a
Kila9airK:*).t$a
Kila9airKS)ec.t$a
Kila9ead.t$a
Kila9eadK:*).t$a
Kila9eadKS)ec.t$a
Grae:od".t$a
Grae:od"K:*).t$a
Grae:od"KS)ec.t$a
GraeMisc.t$a
GraeMiscK:*).t$a
GraeMiscKS)ec.t$a
Grae5in$.t$a
T9IS C9APTER CO;ERS #ario*s te2t*rin$ tec'ni7*es. It is not+ 'o!e#er+ a c'a)ter on
4'o! to dra!.4 Rat'er+ it e2)lains 'o! to *se Ma"a in con1*ction !it' Ado%e P'otos'o)
to )re)are and )aint "o*r c'aracters- te2t*res. 5e also disc*ss 'o! %est to o)tii8e
"o*r )a$es to $et t'e file si8e as sall as )ossi%le.
I c'ose P'otos'o) for o*r !or& in t'is c'a)ter %eca*se it sees to %e t'e ind*str"
standard. ost co)anies I &no! of *se it. Feel free to ada)t t'is c'a)ter to !'ate#er
di$ital ia$in$ soft!are "o* are *sin$+ or "o* can do!nload a trial #ersion of P'otos'o)
fro t'e Ado%e 5e% site *sin$ t'e lin& on t'is %oo&-s C,.
T'e P'otos'o) tool%ar s'o!n in Figure 9.1 'olds ost of t'e tools !e !ill *se to )aint
o*r te2t*res. T'ese tools are $enerall" self/e2)lanator"for e2a)le+ t'e Moo tool allo!s
"o* to 8oo in and o*t of "o*r ia$eand I-ll %riefl" e2)lain t'e ot'ers as !e *se t'e.
Figure 9.1. The Photoshop tool=ar
For f*rt'er inforation on P'otos'o)-s tools+ $o to t'e a))lication-s 9el) L
P'otos'o) 9el)+ or )ress FB.
T!P
For %est res*lts !'en creatin$ an" ?, art!or& on a co)*ter+ I 'i$'l"
recoend )*rc'asin$ a $ra)'ics ta%let. A o*se is $ood for !or& t'at
re7*ires ore )recision+ %*t for dra!in$ it-s not a #er" fl*id tool. Gra)'ics
ta%lets are also )ress*re sensiti#e+ eanin$ "o* can #ar" t'e t'ic&ness of t'e
line "o* are dra!in$ %" a))l"in$ ore or less )ress*re. T'e t!o ain
s*))liers of $ra)'ics ta%lets are 5aco =!!!.!aco.co> and Nisis
=!!!.nisis.co>.
!%age
Preparation
To %e$in+ !e !ill load in o*r U; sna)s'ot and )re)are t'e ia$e so !e can *se it
efficientl". 5e need to in#ert t'e U; sna)s'ot so !e 'a#e %lac& lines on a !'ite
%ac&$ro*nd. 5e can t'en *se t'is as an o#erla"+ $*idin$ *s as !e )aint *nderneat' it.
1 O)en *) P'otos'o) and load in t'e file called Kila9eadU;.t$a.
2 Go to Ia$e L Ad1*st L In#ert =CtrlNI6CdNI>.
3 No! "o* need to d*)licate t'is ia$e and t'en create a se)arate la"er !it' it+ so first
$o to Select L All =CtrlNA6CdNA> to select t'e entire ia$e.
4 To reo#e t'e selected ia$e fro t'e %ac&$ro*nd la"er and )lace it in a la"er of its
o!n+ $o to Edit L C*t =CtrlNF6CdNF>+ follo!ed %" Edit L Paste =CtrlN;6CdN;>. T'is
creates a ne! la"er for "o* in t'e La"ers !indo! =Figure 9.2> called La"er B.
Figure 9.2. Photoshop>s ,aers ;indo;
Renae La"er B to U; La"o*t %" do*%le/clic&in$ on t'e nae itself in t'e !indo! and
t'en t")in$ t'e ne! nae.
Near t'e to) of t'e La"ers !indo! is a !'ite dro)/do!n list !it' Noral c*rrentl"
selected. T'e o)tions 'ere alter t'e !a" t'e la"er is dis)la"ed. C'an$e t'is to M*lti)l".
M*lti)l" !ill co%ine t'e c*rrent la"er-s colors !it' t'e ones *nderneat' it.
M*lti)l"in$ an" color !it' %lac& )rod*ces %lac&. M*lti)l"in$ an" color !it' !'ite
lea#es t'e color *nc'an$ed. So in effect "o* 'a#e t'e %lac& o*tlines in t'is la"er
!'ile t'e rest of t'e la"er a))ears trans)arent.
T'e initial )re)aration of t'e ia$e is co)lete no!. In t'e ne2t section+ !e-ll a))l" t'e
%ase colors for o*r te2t*re.
Te-ture Page
Si?e
If "o* 'a#e t'e tie+ I recoend do*%lin$ t'e si8e of "o*r te2t*re )a$es
%efore "o* %e$in )aintin$. It can %e diffic*lt to incl*de lots of detail in a saller
)a$e. Paintin$ it first on a lar$er )a$e and t'en sa)lin$ it do!n
!ill i)ro#e t'e o#erall ia$e 7*alit" and retain ost of t'e ori$inal-s
detail.
As a )ro1ect )ro$resses+ "o* a" %e as&ed to )ro#ide soe )*%licit" renders
for ar&etin$. t'ese i$'t %e *sed for a$a8ine co#ers+ POP dis)la"s+ and
5e% site !all)a)ers. T'ese renders !ill all need a %etter te2t*re 7*alit"+ and
t'e c'aracters !ill loo& *c' %etter if rendered !it' t'e lar$er te2t*re
)a$es.
Te-ture #it Depth and Page
Si?e
Te2t*re eor" is an i)ortant factor in $ae de#elo)ent. Kee) "o*r )a$es as
sall as )ossi%let'e ia$e si8e as !ell as t'e file si8e is i)ortant. Alt'o*$' "o*
a" 'a#e %een $i#en a a2i* te2t*re liit+ "o*-ll $et e2tra )oints if "o*r
c'aracter co*ld loo& 1*st as $ood in less.
T'ere are t!o !a"s "o* can do t'is( red*cin$ t'e act*al )a$e si8e+ and red*cin$ t'e
%it de)t'. Yo* can e#en co%ine red*ctions in %ot' to $et te2t*re si8es do!n e#en
ore.
9o! far "o* can $o !it' t'ese red*ctions =or !'et'er "o* can *se t'e at all>
de)ends on "o*r ana$ers and t'e $ae "o* are de#elo)in$+ so al!a"s c'ec& t'is
o*t !it' "o*r tea. If "o* can+ tr" and see %ot' #ersions of t'e c'aracterred*ced
and not red*cedr*nnin$ in t'e $ae en$ine+ to $et a realistic idea of 'o! t'e" !ill
loo&. Ree%er t'at t'in$s loo& co)letel" different on a tele#ision screen t'an
t'e" do on a co)*ter onitor+ so it a" %e t'at "o* can-t see an" difference in t'e
red*ced #ersion. In t'at case+ "o* 'a#e sa#ed soe eor" t'at can %e *sed to
)olis' t'e $ae else!'ere.
Page Si?e
&eduction
Red*cin$ t'e si8e of "o*r te2t*re )a$es is a draatic !a" to red*ce t'e o#erall file
si8e+ %*t on soe c'aracters t'is !ill lea#e "o* !it' *nacce)ta%le res*lts. Let-s %e$in
%" deterinin$ 'o! %i$ o*r te2t*res c*rrentl" are.
5it'o*t t'e al)'a a)s e%edded+ t'e ain @B?2@B? )a$es are CAE K: eac'. t'e
?@A2?@A )a$es are BE3 K: eac'. Iediatel" !e can see t'at if !e red*ce t'e
'i$'est ones to ?@A2?@A+ !e !ill %e sa#in$ @CA K: on eac'. t'at-s eno*$' to add
ro*$'l" anot'er t'ree te2t*re )a$es for ot'er c'aracters. If !e red*ced t'e ?@A2?@A
)a$es to B?D2B?D+ !e !ill sa#e an additional BII K: eac'.
T'is is all !ell and $ood%*t 'o! do t'e c'aracters loo& after t'is sacrifice0 On first
$lance+ t'ere doesn-t see to %e *c' difference+ %*t on closer ins)ection "o* can
see t'at a lot of t'e detail 'as %een lost. Also+ soe areas are sli$'tl" ore %l*rred
and )i2elated t'an %efore t'e red*ction.
9a#e a loo& no! at t'e close/*) s'ots in Figure 9.54. Gettin$ in closer to t'e
c'aracter a&es it a %it ore o%#io*s t'at t'e )a$es are red*ced.
Figure 9.54. Close@ups of the te-ture page co%parison DSee page
C11 for color :ersion.E
Red*cin$ )a$e si8e is a 7*ic& and eas" !a" to retrie#e soe eor"+ %*t it can
affect t'e loo& of "o*r c'aracters.
#it
Depth
5'at a%o*t alterin$ t'e %it de)t'0 :it de)t' eas*res t'e ao*nt of color
inforation a#aila%le in an ia$e. Greater %it de)t' eans ore colors are
a#aila%le. An ia$e !it' a %it de)t' of D 'as ?@A )ossi%le colors. one !it' a %it
de)t' of ?I 'as ro*$'l" BA illion )ossi%le colors.
U) to no! !e 'a#e %een !or&in$ !it' ?I/%it ia$es+ %*t !'at !o*ld t'e" loo& li&e if !e
red*ced t'e to D/%it =?@A colors>+ and 'o! *c' !o*ld t'e file si8e %e red*ced0 A
@B?2@B? ia$e at CAE K: !o*ld %e &noc&ed do!n to ?@C K:not as *c' as red*cin$ t'e
ia$e si8e+ %*t !e do $et to &ee) t'e sae ao*nt of )i2els.
1 To red*ce t'e %it de)t' in P'otos'o)+ $o to Ia$e L Mode L Inde2ed Color. T'is o)ens
*) t'e o)tions !indo! s'o!n in Figure 9.55.
2 T'e Colors o)tion s'o*ld %e a*toaticall" set to ?@A. if it-s not+ set it to t'is ao*nt.
3 T'e ot'er o)tion to )la" aro*nd !it' is ,it'er. :eca*se !e are red*cin$ t'e n*%er of
colors+ !e can s)ecif" !'et'er !e !ant P'otos'o) to tr" to %lend t'e reainin$ ones *sin$ a
et'od called dithering. T'e o)tions are None+ ,iff*sion+ Pattern+ and Noise. Figure 9.56
s'o!s t'e res*lts of a))l"in$ t'ese o)tions. I find Pattern to %e t'e %est c'oice 'ere+ %*t it
does de)end on t'e ia$e "o* are red*cin$ and "o*r )ersonal tastes.
Figure 9.55. !nde-ed Color options
Figure 9.56. *Fects of the diFerent Dither options DSee page
C15 for color :ersion.E
Figure 9.57 s'o!s 'o! red*ced t'e %it/de)t' affects Kila. Alt'o*$' it does loo& )i2elated
in areas+ t'ere isn-t *c' of a difference+ and !it' a little !or& to*c'in$ *) t'e te2t*re
"o* !on-t see an" noticea%le de$radation.
Figure 9.57. The 24@=it and 8@=it co%parison. DSee page C16 for color
:ersion.E
5it' t'e te2t*res finis'ed and o)tii8ation tas&s done+ !e 'a#e co)leted o*r tas&s for
t'is c'a)ter. Figures 9.58 and 9.59 s'o! t'e finis'ed odels.
Figure 9.58. +ila "nal %odel after te-turing and t;eaking DSee page
C12 for color :ersion.E
Figure 9.59. $rae "nal %odel after te-turing and t;eaking DSee page
C12 for color :ersion.E
T'e $ood t'in$ a%o*t t'e te2t*res is t'at "o* can contin*e to !or& on t'e
t'ro*$'o*t t'e )ro1ect+ so t'ese #ersions do not need to %e t'e final ones. Kee)
coin$ %ac& to t'e t'ro*$'o*t t'e rest of t'e %oo&. =T'e %est !a" to i)ro#e
*)on t'e is to for$et a%o*t t'e for a fe! da"s and t'en 'a#e a fres' loo&.>
Su%%ar

Kila and Grae are no! tr*l" co)lete. T'e" 'a#e %een f*ll" te2t*red+ $i#in$ t'e
color to %rin$ t'e to life in t'e $ae !orld. T'ro*$'o*t t'is c'a)ter !e 'a#e
disc*ssed 'o! to create te2t*res as !ell as 'o! to red*ce t'e file si8e of te2t*re
)a$es. 5it' t'e odels no! finis'ed+ "o*-re read" for C'a)ter BG+ !'ere "o* !ill
e2)lore le#els of detail.
The #ase
Colors
T'e first sta$e in a))l"in$ color is to la" do!n flat s'ades to act as a %ase.
:efore !e )aint+ !e !ill create a ne! la"er called Flats. To create it+ $o to La"er L Ne!
L La"er =S'iftNCtrlNN6S'iftNCdNN>+ or clic& t'e Ne! La"er %*tton to t'e left of t'e
sall tras'can at t'e %otto of t'e La"er !indo!.
()T*
5'en a ne! la"er is created+ it is al!a"s )laced a%o#e t'e one "o*
c*rrentl" 'a#e selected. T'e ne! Flats la"er s'o*ld %e in %et!een t'e
:ac&$ro*nd and U; La"o*t la"ers+ so t'at t'e U; La"o*t la"er al!a"s
o#erla"s "o*r !or&. If t'in$s are not so arran$ed+ "o* can si)l" select
Flats in t'e la"er !indo! and dra$ it into t'e correct )osition.
5e !ill no! )aint t'e %ase colors onto t'e Flats la"er. T'ese colors s'o*ld %e
edi* tones+ %eca*se !e !ill need to a))l" li$'ter ones for t'e 'i$'li$'ts and
contrastin$ dar&er ones for dar&er areas and s'ado!s.
1. Use t'e Paint :*c&et tool to fill t'e la"er !it' !'ate#er color doinates t'e )a$e. In
t'is case+ t'ere is ore s&in on t'is )a$e t'an an" ot'er+ so !e !ill *se t'at =Figure
9.3+ iddle>. Clic& t'e Fore$ro*nd Color %o2 in t'e tool%ar to o)en t'e Color Pic&er and
select t'e color.
Figure 9.3. #lock in the =ase colors. DSee page C1 for color
:ersion.E
2. Contin*e aro*nd t'e )a$e+ %loc&in$ in t'e %ase color for eac' eleent. First
select t'e area *sin$ t'e Lasso tool+ and t'en fill it *sin$ t'e Paint :*c&et tool and
t'e a))ro)riate color =Figure 9.3+ ri$'t>.
No! sa#e o*t t!o #ersions of t'is file+ one to !or& on and a co%ined+ flattened
#ersion to #ie! in Ma"a. Note t'at if "o* are r*nnin$ Ma"a A or 'i$'er+ "o* can *se
t'e .)sd file directl". T'ere is no need to sa#e o*t a se)arate Tar$a file to *se in
Ma"a.
3. Go to File L Sa#e As+ sa#in$ t'e file as Kila9ead.)sd. T'is !ill %e t'e ain file t'at
"o* !or& on. Sa#in$ it as a .)sd =P'otos'o)> file eans it &ee)s all t'e la"er
inforation.
4. 5it' t'e .)sd #ersion sa#ed+ reo#e t'e U; La"o*t la"er. Yo* can a&e it
in#isi%le %" clic&in$ on t'e e"e icon to t'e left of t'e la"er+ or delete it %" dra$$in$
it to t'e tras'can at t'e %otto ri$'t of t'e La"ers !indo!.
5. Ne2t $o to La"er L Flatten Ia$e. T'is !ill flatten all t'e la"ers+ %a&in$ t'e onto
t'e %ac&$ro*nd la"er. If "o* t*rned off t'e #isi%ilit" for t'e U; La"er+ "o* !ill %e as&ed
if "o* !ant to ,iscard 9idden La"er. select "es.
6. No! sa#e t'is #ersion as Kila9ead.t$a+ sa#in$ it as a Tar$a file. After "o* clic& OK+
"o*-ll %e $i#en t'e o)tion to c'an$e t'e file-s %it6)i2el settin$. Since !e don-t 'a#e an"
al)'a c'annels+ ?I %its6)i2el is fine =!e !ill disc*ss %it de)t's later in t'e c'a)ter>.
Follo! t'is )roced*re for all t'e ot'er te2t*re )a$es "o* 'a#e+ sa#in$ t'e in %ot'
P'otos'o) and Tar$a file forats. Yo* s'o*ld 'a#e si2 )a$es for Kila+ a .)sd and a .t$a
eac' for Kila9ead+ Kila:od"+ and Kila9air. At t'is )oint+ "o* can also !or& on t'e )a$es
for Grae+ callin$ t'e Grae:od"+ GraeMisc+ and Grae5in$ and sa#in$ a .)sd and .t$a
for eac'.
T!P
I recoend creatin$ a se)arate la"er for eac' ite of Kila-s clot'in$. T'is !ill
a&e editin$ t'e *c' easier later on.
:efore !e add ore detail to t'e te2t*res+ !e !ill a))l" t'e to o*r odels in Ma"a so
t'at !e can #ie! t'e interacti#el" as !e !or&.
Cie;ing the Te-ture in
Maa
Let-s no! a))l" t'ese %asic te2t*res to o*r $eoetr". 9a#in$ t'e a))lied eans
!e can s!itc' %et!een Ma"a and P'otos'o) as !e !or&+ &ee)in$ an e"e on t'e !a"
t'in$s are loo&in$ on t'e act*al odels.
In Ma"a+ o)en *) t'e file "o* created in C'a)ter D+ KilaKMa))ed.%. S'e
c*rrentl" 'as t'e c'ec&ered a) a))lied to 'er+ and !e no! !ant to s!a) t'is for t'e
ain te2t*re )a$es.
First !e need to create t'ree ne! s'aders+ eac' one 'oldin$ t'e Tar$a files !e
1*st sa#ed. O)en t'e 9")ers'ade !indo! or t'e M*ltilister+ de)endin$ on !'ic' "o*
)refer+ and create t'ree La%ert s'aders. 5e *se La%ert %eca*se t'ese !ill $i#e *s
flat+ atte/loo&in$ te2t*res.
Renae t'e ne! s'aders to KilaK9ead+ KilaK:od"+ and KilaK9air.
()T*
Ma"a does not allo! s)aces to e2ist in t'e naes of its o%1ects and so
!ill al!a"s re)lace s)aces !it' *nderscores.
4. O)en *) eac' s'ader-s Attri%*te Editor and clic& t'e c'ec&er %*tton to t'e ri$'t
of t'e Color slider =Figure 9.4>. C'oose File in t'e Create Render Node !indo! t'at
a))ears t'en )oint t'e Ia$e Nae to eac' corres)ondin$ Tar$a file.
Figure 9.4. )pen each shader>s Attri=ute *ditor and assign the
color te-ture.
5. 5'ile t'e Attri%*te Editor is still o)en+ set t'e ,iff*se #al*es to B. T'e" are set to
G.D %" defa*lt. alterin$ t'e to B !ill set t'e te2t*re to %e at f*ll stren$t'.
6. No! "o* can a))l" t'ese aterials to t'e odel. Select t'e $eoetr" t'at a&es
*) Kila-s 'air. In t'e 9")ers'ade+ ri$'t/clic& t'e Kila 9air s'ader and select Assi$n
Material to Selection.
7. Select t'e eleents t'at e2ist on t'e %od" U; )a$e. T'is s'o*ld %e a sin$le
es' %eca*se !e co%ined t'e earlier. Ri$'t/clic& t'e Kila :od" s'ader+ and
select Assi$n Material to Selection.
8. Finall"+ select t'e rest of t'e $eoetr" t'at still 'as t'e C'ec& te2t*re a))lied to it+
ri$'t/clic& t'e Kila 9ead s'ader+ and select Assi$n Material to Selection.
An eas" !a" to do t'is is to ri$'t/clic& t'e C'ec& s'ader and c'oose Select
O%1ects !it' Material. T'is !ill select all t'e faces t'at 'o*se t'at aterial.
9. In t'e 9")ers'ade !indo!+ select Edit L ,elete Un*sed Nodes. T'is !ill delete t'e
C'ec& te2t*re+ as it is no lon$er *sed.
As seen in Figure 9.5+ Kila no! 'as color and is loo&in$ ore li&e t'e ori$inal
conce)t art. Sa#e t'e file as KilaKTe2t*re.%.
Figure 9.5. The +ila geo%etr ;ith =ase colors applied DSee page C6
for color :ersion.E
,o all t'ese sae tas&s on t'e Grae odel+ a))l"in$ t'e %ase aterials to 'i
=Figure 9.6>. Call t'is file GraeKTe2t*re.%.
Figure 9.6. The $rae geo%etr ;ith =ase colors applied DSee page C1
for color :ersion.E
5it' t'e %ase colors a))lied+ !e can no! $o on to c'ec& t'at eac' section lines *)
correctl". It-s i)ortant to do t'is no!+ %efore !e !or& t'e details into t'e te2t*re
)a$es.
Te-ture
Align%ent
:eca*se t'e U;s for Kila-s to) and sas' 'a#e %een s)lit in t!o+ !e need to a&e s*re
t'e" line *) on t'e odel %efore !e %e$in addin$ details. Loo& at t'e ar)it area
s'o!n in Figure 9.7+ left. Yo* can see t'at t'e front and %ac& te2t*res don-t line *)
)ro)erl".
Figure 9.7. AdAust the te-ture and 0Cs to line up the te-ture. DSee
page C1 for color :ersion.E
T'is ali$nent )ro%le !ill often occ*r at sea locations+ %*t correctin$ s*c' areas !ill
$et easier as "o* %ecoe ore e2)erienced. To 'el) red*ce t'e isali$nent+ "o* can
*se t'e U; La"o*t to 'el) $*ide t'e )laceent of "o*r colors.
1 Ma&e s*re "o* 'a#e %ot' Ma"a and P'otos'o) o)en+ !it' t'e odel loaded into one
and t'e te2t*re loaded into t'e ot'er.
2 Initiall"+ loo& at t'e $eoetr" in Ma"a+ )artic*larl" at t'e seas+ to identif" areas t'at
are not ali$ned )ro)erl". T'en+ in P'otos'o)+ select t'e a))ro)riate color and+ *sin$ a sall
%r*s'+ !or& on t'e .)sd file.
3 5'en "o* are 'a))" !it' "o*r !or&+ flatten t'e file =La"er L Flatten Ia$e> and
o#er!rite t'e Tar$a file t'at is *sed %" Ma"a. =Ma&e s*re to &ee) *)datin$ t'e .)sd file !it'
t'e *nflattened #ersion at re$*lar inter#als+ too.>
()T*
Anot'er !a" to do t'is reali$nent is to &ee) %ot' t'e .)sd and t'e .t$a o)en in
P'otos'o). T!ea& t'e .)sd file+ 'ide t'e U; O#erla" la"er+ and t'en select all
=CtrlNA6CdNA>. Use t'e Co)" Mer$ed tool =CtrlNS'iftNC6CdNS'iftNC> to
sna)s'ot all t'e la"ers of t'e .)sd file !it'o*t 'a#in$ to flatten t'e file+ and
)aste =CtrlN;6CdN;> into t'e .t$a file. Flatten t'e .t$a and sa#e.
T!P
Settin$ *) a s'ortc*t &e" for 4flatten ia$e4 is a $reat tie/sa#er+ too.
Mo#e %ac& into Ma"a and reload t'e te2t*re so "o* can see it a))lied to t'e odel.
In Ma"a+ $o to "o*r 9")ers'ade !indo! and select t'e Te2t*res ta% a%o#e t'e ain
!indo!. T'is )resents t'e t'ree ain te2t*re files *sed on Kila.
O)en t'e te2t*re for 'er %od"+ !'ic' !ill o)en t'e Attri%*te Editor.
Clic& t'e Reload File Te2t*re %*tton to reload t'e te2t*re. T'e #ie! )anel !ill no! %e
*)dated.
Alternati#el"+ "o* can *se t'e first %*tton+ la%eled Te2+ in t'e GC,M s'elf s*))lied
on t'e C,. T'is !ill a*toaticall" reload all t'e te2t*res in t'e scene.
T!P
If "o* can-t $et t'e sea to line *) )erfectl" %" editin$ t'e te2t*re+ "o* can
al!a"s fine/t*ne t'e U;s in t'e U; Te2t*re Editor.
No! t'at "o*-#e reali$ned t'e ar)it area+ fi2 t'e stra) of t'e T/s'irt. T'en !or& on t'e
left and ri$'t sides of 'er sas' =Figure 9.8>.
Figure 9.8. Fi- the te-ture on the sash. DSee page C2 for color
:ersion.E
,ighter Shades and
'ighlights
5it' t'e %ase te2t*res co)lete and in )osition+ !e can %e$in to add soe details.
In t'is section !e !ill )aint in li$'ter s'ades and 'i$'li$'ts.
First+ let-s follo! t'e )rocess ill*strated in Figure 9.9 to add li$'ter s'ades to t'e
front of Kila-s torso.
Figure 9.9. Add lighter shades to the torso front. DSee page C2 for
color :ersion.E
1 Start %" creatin$ a ne! la"er naed Li$'ter Tones. Set t'e fore$ro*nd color to %e a
li$'ter s'ade of t'e s&in tone. ,on-t 1*st *se !'ite. it-s not a realistic s&in tone. Tr" a )ale
"ello! or )in& color.
2 Usin$ t'e Paint :r*s' tool at a si8e of 3+ ro*$'l" ar& in t'e areas of t'e torso t'at
!o*ld catc' t'e li$'t =Figure 9.9=E.
3 Usin$ t'e :l*r tool+ !or& "o*r !a" aro*nd and %l*r t'e ed$es of t'e areas "o* 1*st
)ainted =Figure 9.9cE.
4 Yo* !ant t'e li$'tin$ to %e ore s*%tle 'ere+ so set t'e la"er-s O)acit" to aro*nd
IGH+ tonin$ do!n t'e li$'ter s'ades =Figure 9.9dE.
5 Usin$ t'e Lasso tool+ select t'e areas t'at o#erla) onto t'e cro) to)+ and $o to Ia$e
L Ad1*stents L ,esat*rate. T'is !ill t*rn t'e fro t'e li$'ter s&in tone to !'ite+ !'ic'
!ill !or& %etter for t'e T/s'irt.
6 Use t'e Eraser tool to s'ar)en *) soe of t'e ed$es t'at are too %l*rred aro*nd 'er
stoac' *scles. 5or& on t'e area *ntil "o* are 'a))" !it' t'e res*lts. ta&e a loo& at
Figure 9.9e.
7 Sa#e t'e ia$e as a .)sd. T'en+ 'idin$ t'e U; La"o*t la"er first+ flatten it and
o#er!rite t'e Kila:od".t$a file.
8 In Ma"a no!+ reload t'e Kila :od" te2t*re. 5'at "o* s'o*ld see is t'e te2t*re
a))lied as in
Figure 9.1<
+ left.
Figure 9.1<. Set 0se (o ,ights to see the character unlit. DSee
page C2 for color :ersion.E
9. To $et a %etter idea of t'e te2t*re-s )laceent+ $o to t'e )anel-s Li$'tin$ en* and
select Use No Li$'ts. T'e ia$e !ill no! loo& li&e t'e one in Figure 9.1< on t'e ri$'t.
T!P
Yo* s'o*ld !or& in Use No Li$'ts ainl" !'en "o*-re a))l"in$ te2t*res. T'is is
)artic*larl" *sef*l !'en linin$ *) t'e se)arate sections of t'e te2t*re+ as !'en
atc'in$ t'e s'o*lder !it' t'e torso. Kee) in ind t'at t'e %etter "o*r
c'aracters loo&s in t'e 4no li$'ts4 #ie!+ t'e %etter t'e" !ill loo& in t'e $ae.
Contin*e aro*nd t'e %od" and t'e 'ead te2t*re )a$es+ fillin$ o*t t'e li$'ter areas.
5'en "o*-re done !it' t'ose areas+ create anot'er la"er called 9i$'li$'ts. 5or& on to)
of t'e li$'ter tones+ i)leentin$ an" 'i$'li$'ted areas =for e2a)le+ 'er c'ee&s+ nose+
and %reasts>.
T!P
Feel free to create ore la"ers !'en "o* are not co)letel" confident a%o*t
)aintin$ directl" on to) of "o*r !or&. If anot'er la"er e2ists a%o#e
t'e ain one+ "o* can al!a"s co%ine t'e after "o*-#e finis'ed !or&in$+ %"
$oin$ to La"er L Mer$e ,o!n =CtrlNE6CdNE>. Also+ instead of 1*st er$in$
!it' t'e la"er %elo!+ "o* can er$e all t'e #isi%le la"ers %" $oin$ to La"er L
Mer$e ;isi%le =S'iftNCtrlNE6S'iftNCdNE>. Anot'er o)tion is to er$e all t'e
lin&ed la"ers %" $oin$ to La"er L Mer$e Lin&ed =CtrlNE6CdNE>.
Yo* can still at t'is sta$e a&e inor alterations to t'e $eoetr"sa"+ for e2a)le+ "o*
notice t'at t'e s'a)e of t'e face needs a sli$'t alteration. Ma1or c'an$es+ t'o*$'+ !ill
in#ol#e soe editin$ in t'e U; Te2t*re Editor and )ossi%le alterations to t'e te2t*re. If
"o* a&e considera%le c'an$es to t'e $eoetr" and6or U; La"o*t+ "o* can al!a"s
$enerate a ne! U; sna)s'ot to re)lace t'e one in "o*r .)sd file.
At t'is )oint+ Kila loo&s li&e t'e ia$e in Figure 9.11+ !'ic' *ses t'e te2t*re )a$es
s'o!n in Figure 9.12.
Figure 9.11. +ila ;ith lighter tones and highlights added DSee page C3
for color :ersion.E
Figure 9.12. The te-ture pages1 ;ith lighter tones added DSee page C3
for color :ersion.E
5e !ill edit t'e 'air te2t*re )a$e later in t'e c'a)ter+ so let-s !or& ne2t in t'e
dar&er contrastin$ areas of t'e ain %od" and 'ead.
Darker Shades and
Shado;s
In order to %rin$ t'e li$'ter tones o*t in t'e odel+ addin$ de)t' to t'e te2t*res+ !e
ne2t need to add t'e dar&er areas.
As "o* did !it' t'e li$'ter tones+ %e$in %" creatin$ a ne! la"er naed ,ar&er
Tones+ and !or& "o*r !a" aro*nd t'e te2t*re )a$es+ foc*sin$ on dar&er areas.
T'ese !ill incl*de t'e creases in 'er 1eans and recessed areas in 'er s&in.
T!P
Ree%er+ !'en te2t*rin$ !it' dar&er tones+ to *se dar&er s'ades of t'e
color "o* are )aintin$ onto+ rat'er t'an %lac&. Also+ e2)erient !it'
sli$'tl" different tones. for e2a)le+ tr" a&in$ dar&er areas of s&in
sli$'tl" redder+ and see !'at res*lts "o* $et.
5'en "o*-re read"+ create a fo*rt' la"er called S'ado!s. No! "o* can $o in and add
t'e dar&est areas to t'e te2t*re+ !'ile also i)leentin$ soe of t'e inor s'ado!s
=Figures 9.13 and 9.14E.
Figure 9.13. +ila ;ith darker tones and shado;s added DSee page
C4 for color :ersion.E
Figure 9.14. The te-ture pages ;ith darker tones added DSee page
C4 for color :ersion.E
Notice in Figures 9.13 and 9.14 t'at I 'a#e added t'e s'ado!s t'at are cast %" 'er 'air+
%elt+ and cro) to)+ and in t'e crotc' of t'e 1eans. Alt'o*$' a fe! $ae en$ines do allo!
t'e c'aracter to recei#e s'ado!s cast %" itself+ addin$ t'ese s'ado!s in t'e ia$e !ill
'el) $i#e de)t' and detail to areas !'ere none e2ists.
5e are coin$ alon$ !ell !it' t'e te2t*res. 5e 'a#e added 'i$'li$'tin$ to t'e+ to
)ro#ide detail and for to t'e odel. Ne2t+ !e-ll $o in and add co)ellin$ details s*c' as
'er 'air+ e"e%ro!s+ and tattoo.
Final Te-ture
Details
To co)lete t'e ain te2t*res+ !e need soe )artic*lars t'at don-t "et e2ist. In
addition to en'anceents for 'er %od" and face+ !e !ill also add Kila-s teet' and
ton$*e. Figure 9.15 s'o!s t'e odel !it' all t'ese final details incl*ded.
Figure 9.15. +ila ;ith details added to the te-tures DSee page C5 for
color :ersion.E
Start !it' a ne! la"er for eac' detail "o* add"o* can al!a"s colla)se t'e later+
er$in$ t'e into a sin$le la"er.
Face
Let-s loo& at t'e face first. t'is is s'o!n in Figure 9.16.
Figure 9.16. Add detail to her face1 including the ees1 ee=ro;s1
and hairline. DSee page C13 for color :ersion.E
Ree%erif "o* are at all *ns*re a%o*t 'o! soet'in$ s'o*ld loo&+ refer to a
)'oto$ra)'ic reference. Yo* can also searc' online for ot'er artists- te2t*re
)a$es1*st don-t *se t'e act*al ia$es in "o*r art!or&.
1. First+ dra! in t'e )*)ils and iris o*tlines of t'e e"es+ %*t don-t add an" 'i$'li$'ts
to t'e te2t*re. !e !ill %e )*ttin$ t'ese in later. Addin$ t'ese e"e eleents !ill
reall" a&e a differenceKila !ill no lon$er loo& li&e a 8o%ieJ
T'e %ac&$ro*nd te2t states t'at Kila-s e"es !ill $lo!. Yo* don-t need to %e
concerned a%o*t t'at 'ere %eca*se it can %e %etter ac'ie#ed %" *sin$ an in/
$ae effect.
Use a li$'t $ra" rat'er t'an )*re !'ite for t'e 4!'ites4 of Kila-s e"es. No one-s
e"es are )*re !'iteore i)ortantl"+ t'o*$'+ t'e li$'t $ra" !ill a&e t'e
'i$'li$'ts !e !ill create later stand o*t nicel".
Ne2t+ $i#e 'er soe e"e%ro!s. t'ese !ill 'el) rear&a%l" to co)lete t'e loo& of t'e
face.
In t'e conce)t render+ Kila 'as #er" dar& e"es !it' )in& e"e/s'ado!+ so i)leent
t'ese into t'e te2t*re ne2t.
Usin$ t'e %ase 'air color+ caref*ll" s&etc' in t'e 'airline at t'e to) of 'er fore'ead+
a))l"in$ t'e :l*r tool to soot' it o*t a little. T'is !ill 'el) %rea& *) t'e c*rrentl" solid
'airline.
Ori$inall"+ t'e e"elas'es !ere to %e left %lac&+ %*t after cons*ltin$ !it' t'e lead artist it
is a$reed t'at t'e" !o*ld %enefit fro additional detail. 5e 'a#e t'e te2t*re s)ace
a#aila%le+ so !e !ill add t'is e"elas' detail later on in t'e c'a)ter.
()T*
Yo* !ill find !'ile !or&in$ !it' "o*r ana$er t'at t'e s)ecifications of a
c'aracter !ill often c'an$e+ and t'e loo& a" de#iate soe!'at fro t'e ain
conce)t art!or&. If lots of c'an$es are )lanned+ don-t %e afraid to #oice "o*r
o!n o)inionsc'ed*les are #er" i)ortant+ so if c'an$es loo& li&e t'e"-re $oin$
to ta&e an e2tra t'ree !ee&s+ let "o*r ana$er &no! t'is. And do it %efore "o*
%e$in editin$. it a" t*rn o*t t'at "o* !on-t 'a#e tie to i)leent t'e
c'an$es. Yo* don-t !ant to end *) 'a#in$ to cra t'ree !ee&s of !or& into
one.
Let-s o#e on no! and foc*s on t'e eleents at Kila-s !aist.
Waist
Area
At t'e !aistline+ !e 'a#e t!o ain areas !e can en'ance. Kila 'as a c'ain t'at !ra)s
aro*nd 'er stoac'+ actin$ as a %elt. :elo! t'at+ it loo&s li&e 'er na#el is )ierced+ so !e
s'o*ld i)leent t'is+ too. Finall"+ t'ere-s t'e %elt+ !'ic' needs t'e %*c&le and soe
ot'er details added to it.
Yo* can see all of t'ese details in Figure 9.17.
Figure 9.17. Add detail to the =elt and other ite%s at the ;aist. DSee
page C13 for color :ersion.E
/eans
Detail
Contin*in$ do!n t'e odel+ !e ne2t coe to 'er 1eans. At )resent+ t'e 1eans loo&
fine+ %*t t'ere are a n*%er of areas !e can i)ro#e.
Deni% $rain
,eni+ li&e ost clot'+ 'as te2t*re. In t'is case+ it 'as a $rain" loo&. Usin$
P'otos'o)-s Noise Filter+ !e !ill add t'is $raininess to a&e o*r te2t*re loo& ore li&e
real deni. =Later+ t'is tec'ni7*e can also %e ado)ted on Grae to $i#e 'is s&in ore
te2t*re.>
1. On t'e Flats la"er in P'otos'o)+ *se t'e Ma$ic 5and tool to select t'e %l*e area of t'e
1eans =Figure 9.18aE.
Figure 9.18. 0se Photoshop>s (oise Filter to add grain to the
fa=ric of the Aeans. DSee page C6 for color :ersion.E
2. ,*)licate t'is area into a ne! la"er. $o to Edit L Co)" =CtrlNC6CdNC> and t'en
Edit L Paste =CtrlN;6CdN;>.
()T*
Ma&e s*re t'e ne! la"er e2ists a%o#e t'e Li$'ter Tones+ ,ar&er Tones+
and S'ado!s la"ers. T'is !ill a&e t'e ne! la"er a))ear to %e
o#er/!ritin$ t'e ot'ers+ %*t don-t !orr"t'is la"er !ill act*all" o#erla" t'e
ot'ers =
Fi$*re E.BD%
>.
3. Go to Filter L Noise L Add Noise. T'is o)ens *) t'e dialo$ %o2 seen in Figure
9.19.
Figure 9.19. The Add (oise ;indo;
1 Set Ao*nt to a%o*t D.3+ and set t'e ,istri%*tion to Ga*ssian. Ma&e s*re
Monoc'roatic is ena%led. t'is !ill &ee) t'e noise t'e sae color as t'e 1eans.
2 Clic& OK to a))l" t'e filter =Figure 9.18c>.
3 Yo* need to ad1*st t'is la"er so t'at it loses its color inforation and also ad1*sts t'e
sat*ration of t'e 1eans. ,o t'is %" $oin$ to Ia$e L Ad1*stents L ,esat*rate.
4 Ad1*st t'e o#erall %ri$'tness %" $oin$ Ia$e L Ad1*stents L :ri$'tness6Contrast
and settin$ :ri$'tness to 3@ =Figure 9.18dE.
5 Finall"+ t'is la"er *st %e trans)arent so t'at "o* can still see t'e detail %elo!
it. Set O)acit" in t'e la"er !indo! to B@H =
Figure 9.18e
>.
5it' t'e 1eans $rain co)lete+ let-s no! add t'e seas+ and finall" t'e tears at t'e
front of 'er t'i$'s.
Sea%s and Tears
To co)lete t'e 1eans+ !e need to add t'e seas t'at r*n do!n t'e inner and o*ter le$s+
as !ell as t'e tears in t'e fa%ric at t'e front. :ot' t'ese en'anceents can %e seen in
Figure 9.2<+ and %ot' feat*res s'o*ld initiall" %e created on ne! la"ers.
Figure 9.2<. +ila>s Aeans ;ith details added DSee page C14 for color
:ersion.E
As ill*strated in
Figure 9.21
+ t'e seas are created %" *sin$ t'e Line tool !it' a li$'ter color to trace t'e inside
ed$es of t'e U; La"o*t. T'e lines !ill %e sli$'tl" too t'ic&+ so $o in after!ard and
caref*ll" tri off a fe! )i2els. T'e idea is to $i#e a sli$'t 'int of t'e detail needed.
Figure 9.21. &un the sea%s do;n the inside and outside of the leg.
DSee page C14 for color :ersion.E
T'e ri)s in t'e 1eans le$s are initiall" created on a n*%er of la"ers( t'e ain s&in color+
t'en s'adin$+ and finall" t'e !'ite strands t'at 'an$ o#er t'e tears. 5'en "o* are 'a))"
!it' t'e res*lts of "o*r !or& on t'ese la"ers+ "o* can co%ine t'e into a sin$le la"er.
Tattoo
To finis' off t'e ain %od" of o*r c'aracter+ !e ne2t !ill add 'er tradear& tattoo t'at
e2ists on 'er face+ %ac&+ left ar+ and 'and.
T'e !indin$ tattoo s'o*ld first %e created on a se)arate la"er+ since "o* !ill need to
ad1*st t'e la"er-s o)acit" so t'at t'e tattoo a))ears to o#erla" t'e ot'er details =Figure
9.22>. Settin$ t'e O)acit" to a%o*t AGH s'o*ld !or& !ell.
Figure 9.22. )nce the =od is co%plete1 ;e can add another
laer for the tattoo. DSee page C15 for color :ersion.E
5it' all t'e ain %od" te2t*red no!+ let-s loo& at t'e inside of t'e o*t'.
'nner ;outh
As seen in Figure 9.23+ !e ne2t !or& on $i#in$ color to t'e inner o*t'+ ton$*e+ and
teet'read" for an" li)/s"nc'in$ s'e a" need to do.
Figure 9.23. The inner %outh ;ith te-tures
At )resent+ t'e U; La"o*t for t'e teet' is not #er" efficient. T'e entire ro!s of to) and
%otto teet' need to %e s7*ee8ed into t'is sall area. 5'at !e can do is ass*e t'at
'er teet' are )erfect+ so !e create one 'alf and irror t'e $eoetr" for t'e ot'er
'alfeanin$ !e onl" 'a#e to dra! 'alf of 'er teet'+ allo!in$ *s to add ore detail.
1. First delete t'e left side of t'e teet' $eoetr".
2. Ad1*st t'e U;s so t'e" ta&e *) ore s)ace on t'e )a$e =Fi$*re B?.?I>.
Figure 9.24. AdAust the teeth 0Cs to take up %ore space on the
page.
1 No! d*)licate and irror t'e e2istin$ 'alf of t'e teet'+ creatin$ t'e left side.
2 Finall" sna)s'ot t'e U; a) a$ain and load it into "o*r .)sd file for Kila-s 'ead in
P'otos'o). Yo* can no! dra! t'e teet' onto t'e te2t*re )a$e. Yo* can see t'e c*rrent
te2t*re )a$es in Figure 9.25.
Figure 9.25. The current te-ture pages DSee page C5 for color
:ersion.E
'air
5it' Kila-s ain %od" and 'ead nearin$ co)letion+ let-s !or& on 'er 'air. As
deonstrated in Figure 9.26+ creatin$ t'e 'air is si)l" a atter of %*ildin$ *)
different la"ers of 'air *sin$ $rad*all" li$'ter tones.
Figure 9.26. #uild up the hair te-ture page DSee page C14 for color
:ersion.E
T!P
Tr" to &ee) to indi#id*al stro&es !'en %*ildin$ *) t'is te2t*re. don-t %e
te)ted to 4scri%%le4 t'e 'air.
5or&in$ %ac&!ard t'is tie+ first create a dar&er %ase la"er =Figure 9.26a>.
Add a li$'ter la"er+ dra!in$ onl" !'ere t'e li$'t !o*ld stri&e t'e 'air. In t'is case+
t'e )art and t'e area t*c&ed %e'ind 'er ear need to %e dar&er =Figure 9.26=>.
A$ain ste) *) t'e li$'tness+ addin$ a t'ird la"er to t'e 'air. T'e t'ree stri)s t'at
e2ist *nder t'e o*ter la"er of 'air s'o*ld reain sli$'tl" dar&er to 'el) $i#e t'e 'air de)t'
=Figure 9.26c>.
T'e %asic 'air is ore or less co)lete no!. T'e final ste)s are to add 'i$'li$'ts+
and to dar&en t'e area !'ere t'e 'air c*r#es in!ard =Figures 9.26d and 9.26e>.
Kila-s te2t*rin$ is finis'ed =Figure 9.27>. It-s Grae-s t*rn no!. si)l" follo! t'e
sae ste)s to create 'is te2t*res =Figure 9.28>.
Figure 9.27. The current +ila %odel ;ith the hair no; te-tured. DSee
page C7 for color :ersion.E
Figure 9.28. Follo; the sa%e steps to te-ture $rae. DSee page C9 for
color :ersion.E
Working ;ith an Alpha
Map
In t'is section !e !ill add trans)arent areas to t'e $eoetr" %" *sin$ an alpha map.
An al)'a a) is %asicall" a $ra"scale ia$e. T'is ia$e tells Ma"a =or "o*r $ae
en$ine> !'ic' )arts of t'e te2t*re )a$e are trans)arent and !'ic' are o)a7*e. In
Ma"a+ areas t'at are )*re !'ite =#al*es ?@@+?@@+?@@ in all red+ $reen+ and %l*e
c'annels> !ill render o)a7*e. %lac& =G+G+G> !ill render trans)arent. and an" #al*es in
%et!een !ill %e transl*cent to #ar"in$ de$rees. =Soe $ae en$ines in#ert t'ese
#al*es+ so it-s i)ortant to c'ec& !it' "o*r ana$er to #erif" t'e final o)acit"
#al*es.>
T'ere are fi#e re$ions in o*r t!o c'aracters on !'ic' !e can *se an al)'a a). For
Kila+ !e can i)leent al)'a a)s into 'er 'air+ e"es+ and e"elas'es. Grae onl"
needs al)'a a)s on 'is e"es and !in$s.
Creating the 'air Alpha
Map
Let-s loo& at Kila-s 'air first. At )resent+ 'er 'air is 7*ite an$*lar =Figure 9.29>+ and
!e can fi2 t'is %" a&in$ t'e strands ore trans)arent to!ard t'eir ends+ losin$ t'e
s'ar) ed$es t'at t'e )ol"$ons for.
1 Yo* first need to create t'e al)'a a). Load in t'e c*rrent 'air te2t*re file+
Kila9air.)sd.
2 Create a ne! la"er called Al)'a.
3 T'e !'ite areas of t'e ia$e !ill %e o)a7*e+ and %lac& !ill %e co)letel"
trans)arent. Most of t'e 'air !ill %e solid+ so fill t'e la"er in !'ite.
4 In %lac&+ dra! in all t'e areas t'at !ill %e trans)arent. T'an&s to t'e si8e of t'e
)a$e+ "o* can afford to dra! in a %it ore detail in t'is ste)+ allo!in$ for additional 'air
strands t'at !ill 4%rea& *)4 and ore clearl" define t'e 'air.
5 Use t'e :l*r tool to soot' o*t soe of t'e ed$es. T'e al)'a a) also !or&s in
different s'ades of $ra"+ so t'e %l*rrin$ !ill a&e t'e 'air $rad*all" fade o*t.
:e caref*l not to %l*r t'e ed$es too *c'. Go in after!ard and reo#e soe of
t'e %l*r !it' t'e Eraser tool. Areas t'at are $ra" !ill %e seitrans)arent+ so
a&e s*re areas t'at *st %e co)letel" trans)arent are solid %lac&.
Yo* can see t'e finis'ed al)'a a) in Figure 9.3<.
Figure 9.3<. The hair alpha %ap
Figure 9.29. 0sing an alpha %ap1 ;e can %ake +ila>s hair less
angular.
#'>
:efore "o* sa#e t'e al)'a a)+ 7*ic&l" in#ert it %" $oin$ to Ia$e L
Ad1*stents L In#ert. Yo* !ill %e a%le to see an" s*%tle areas t'at "o*
a" 'a#e issed !'en )aintin$ on "o*r ia$e.
T!P
Yo* can *se P'otos'o)-s E"edro))er tool to sa)le t'e %lac& and !'ite
colors to ens*re t'at "o* 'a#e G+G+G and ?@@+?@@+?@@ #al*es.
Most $ae en$ines re7*ire t'e al)'a a) to %e a se)arate te2t*re )a$e+ so at t'is
)oint "o* co*ld sa#e t'e co)lete file as a .)sd+ t'en flatten it and sa#e it as
Kila9airKAl)'a.t$a.
Cie;ing the Alpha Map in
Maa
T'e ain al)'a a) is co)lete. Ne2t+ !e !ill %rin$ it into Ma"a so !e can see 'o! it
loo&s !'en a))lied to t'e c'aracter. To see t'e ia$e in Ma"a+ !e !ill e%ed t'e al)'a
a) into t'e ain 'air ia$e.
1. Ma&e s*re Kila9air.t$a is t'e acti#e !indo! in P'otos'o). Yo* need to !or& in t'e
C'annel !indo!+ so o)en it *) %" $oin$ to 5indo! L C'annels. T'is s'o!s t'e different
color c'annels t'at e2ist in t'e ia$e( red+ $reen+ and %l*e.
2. Create a ne! c'annel. <*st as in t'e La"ers !indo!+ clic& t'e Create Ne! C'annel
%*tton at t'e %otto of t'e !indo!+ directl" to t'e left of t'e tras'can. T'is adds a ne!
c'annel+ con#enientl" called Al)'a B =Figure 9.31>.
3. S!itc' %ac& to Kila9airKAl)'a.t$a or t'e .)sd fro !'ic' it !as created. Select t'e
entire al)'a la"er "o* dre! earlier =CtrlNA6CdNA>+ and a&e a co)" of it
=CtrlNC6CdNC>.
4. Select t'e Al)'a B c'annel of Kila9air.t$a and )aste t'e al)'a a) into it
=CtrlN;6CdN;>.
5. Flatten t'e rest of t'e ia$e+ lea#in$ "o* !it' t'e 'air te2t*re. Sa#e it as
a Tar$a file+ selectin$ 3? %its6)i2el !'en )ro)ted. T'e 3? %its6)i2el o)tion
ensures that the alpha map is embedded in the image +le.
6. Mo#e into Ma"a. Reload t'e te2t*res and o)en *) 9")ers'ade.
7. ,o*%le/clic& t'e aterial called KilaK9air+ o)enin$ *) its attri%*tes.
8. Still in t'e 9")ers'ade !indo!+ clic& t'e Te2t*res ta% to re#eal all t'e te2t*re files
associated !it' t'e scene.
9. 5it' t'e iddle o*se %*tton+ select and dra$ t'e 'air te2t*re o#er t'e
Trans)arenc" attri%*te in t'e Attri%*te Editor. A %o2 !ill a))ear aro*nd t'e
Trans)arenc" attri%*te+ s'o!in$ "o* t'at it-s all ri$'t to dro) t'e te2t*re 'ere.
1<. Go %ac& to t'e #ie! )anel+ and "o* !ill see t'at t'e 'air no! 'as trans)arenc"
=Figure 9.32+ left>.
Figure 9.31. Create a ne; alpha channel.
Figure 9.32. After appling the alpha channel1 "ll in an gaps in
the hair geo%etr.
()T*
5it' t'e al)'a a) a))lied to t'e 'air+ "o* a" e2)erience soe dis)la"
)ro%les. T'e lo!er la"ers of 'air a" )o) t'ro*$' t'e o*ter one+ as "o*
can see on t'e ri$'t side of 'er 'air in Fi$*re E.3?. T'is is ainl" d*e to
t'e 'air $eoetr"-s %ein$ se)arate fro t'e rest of t'e ia$e. co%inin$
t'e !ill red*ce t'e )ro%le. T'is iss*e is a dis)la" )ro%le !it'in Ma"a
and not indicati#e of trans)arenc" errors in t'e al)'a a).
11. All t'at is left to do is ad1*st t'e #ertices on t'e se)arate strands of 'air+ t'ic&enin$
t'e and !idenin$ t'e to fill in an" lar$e $a)s in t'e 'air =Figure 9.32+ ri$'t>.
T'e 'air is no! co)lete and read". Ne2t !e !ill !or& on t'e al)'a a) for t'e
e"es.
Preparing the *es> Alpha
Map
At )resent+ t'e e"es don-t loo& real. t'e" 'a#e no de)t'+ ainl" d*e to t'e lac& of
'i$'li$'ts. Usin$ t'e al)'a a) created for Kila-s 'air+ !e can add t'ese 'i$'li$'ts as
!ell as a sli$'t s'ado! to t'e !'ites of t'e e"es. First+ "o*-ll )re)are t'e e"es to recei#e
t'ese details.
1. In Ma"a+ 'ide e#er"t'in$ e2ce)t for t'e e"e $eoetr" =Figure 9.33a>.
Figure 9.33. Create duplicates of the ees.
2. ,*)licate t'e e"es+ o#in$ t'e co)ies sli$'tl" for!ard =Figure 9.33=>.
3. Yo* !ill a))l" t'e al)'a a) to t'e d*)licates. T'is eans t'e e"es as a !'ole can
rotate+ !'ile t'e 'i$'li$'ts and s'ado! sta" static. Yo* can t'erefore delete t'e %ac&
ro! of )ol"$ons fro t'e d*)licates =Figure 9.33c and 9.33d>.
4. Mo#e t'e d*)licate e"es %ac& so t'e" e2ist 1*st in front of t'e ori$inal e"es
=Figure 9.33e>.
5. Finall"+ a))l" t'e 'air aterial to t'e d*)licate e"es. =5e are *sin$ t'e 'air
)a$e %eca*se it alread" *ses an al)'a a) and 'as e2tra U; s)ace in it.> T'e" !ill
%e co)letel" %lac& for t'e tie %ein$+ *ntil "o* *)date t'e te2t*re.
6. 5it' t'e d*)licate e"es still selected+ o)en *) t'e U; Te2t*re Editor =Figure 9.34+
left>.
7. Se)arate t'e U;s for eac' e"e so t'at t'e" no lon$er lie on to) of eac' ot'er. T'en
re)osition t'e U;s for %ot' e"es so t'at t'e" lie o#er t'e e)t" s)ace on t'e te2t*re
)a$e =Figure 9.34+ ri$'t>.
8. No! !e 'a#e e2tra inforation on o*r U; La"o*t. 5e need to e2)ort it as a U;
Sna)s'ot so !e can *se it in P'otos'o). E2)ort t'e e"e U;s as a te)orar" file+ a&in$
s*re it is t'e sae si8e as t'e 'air te2t*re )a$e =?@A2?@A )i2els>.
Figure 9.34. Appl the hair te-ture to the ees.
T'e $eoetr" is )re)ared. no! let-s *)date t'e al)'a a).
Creating the *es> Alpha
Map
Follo! t'ese ste)s to add t'e e"e details to t'e al)'a a).
1. O)en t'e Kila9air.)sd file.
2. Load in t'e U; sna)s'ot "o* created for t'e e2tra e"e U;s.
3. Co)" and )aste t'e ne! e"e U;s into t'e Kila9air.)sd file. t'is !ill create a
ne! la"er.
4. Usin$ t'e ne! U;s as a $*ide+ !or& on t'e al)'a la"er and create t!o
%lac& circles ar&in$ !'ere t'e e"e al)'as are. T'is !ill initiall" a&e t'e
co)letel" trans)arent.
5
.
To create t'e s'ado! at t'e to) of t'e !'ite )art of t'e e"e+ create a ne! la"er and
ar& in t'e s'ado!. *se !'ite o#er t'e to) of one of t'e %lac& s)'eres. Ma&e s*re to
%l*r t'e lo!er ed$e so t'e s'ado! is 7*ite soft.
6. ,*)licate t'is la"er =CtrlNC6CdNC and t'en CtrlN;6CdN;> and irror
it+ creatin$ t'e s'ado! for t'e ot'er e"e. Ad1*st O)acit" for %ot' of t'e la"ers
to a%o*t AGH.
7. 5it' t'e s'ado! done+ create anot'er la"er and ar& in t'e 'i$'li$'ts for
one of t'e e"es.
8. ,*)licate t'is la"er and o#e it into )osition for t'e ot'er e"e. Yo*r al)'a
a) s'o*ld no! loo& li&e t'e one in Figure 9.35+ ri$'t.
Figure 9.35. 0pdate the alpha %ap and te-ture page to add ee
details.
To co)lete t'e 'i$'li$'ts+ "o* !ill fill t'e sae area in !'ite on t'e color te2t*re
)a$e =Figure 9.35+ left>. If "o* for$et to do t'is last ste)+ t'e 'i$'li$'t !ill %e dis)la"ed in
%lac& %eca*se t'e area t'at is !'ite =solid> on t'e al)'a a) is %lac& on t'e color te2t*re
)a$e.
U)date t'e Al)'a B c'annel in t'e C'annels !indo!. t'en flatten and resa#e "o*r
ia$e.
5'en "o* reload t'e te2t*re in Ma"a+ t'e s'ado! and 'i$'li$'ts !ill %e a))lied to t'e
e"es =Figure 9.36+ to)>. F*rt'erore+ !'en t'e entire e"e rotates+ t'ese 'i$'li$'ts !ill
sta" static. t'is is deonstrated in Figure 9.36 =iddle and %otto>.
Figure 9.36. The ees ;ith highlights and shado;s applied DSee page
C16 for color :ersion.E
()T*
Yo* a" need to alter sli$'tl" t'e $eoetr" t'at 'olds t'e 'i$'li$'ts+ to
)re#ent t'e ain e"e $eoetr" fro )o))in$ t'ro*$' !'en t'e e"es o#e.
Kila-s e"es no! loo& *c' %etter and 'a#e ore life. Ne2t+ !e !ill address one last area
t'at needs t'e al)'a a)( t'e e"elas'es.
Creating the *elash Alpha
Map
At )resent+ Kila-s e"elas'es are a little %orin$. at t'e sae tie+ t'e"-re
e2a$$eratedl" t'ic&. 5e !ill tone t'e do!n and a&e t'e ore realistic %"
addin$ ore detail.
1 Select t'e faces t'at a&e *) t'e e"elas'es and e2tract t'e+ se)aratin$ t'e fro
t'e ain odel.
2 A))l" )lanar a))in$ to t'e alon$ t'e M a2is. T'e U;s s'o*ld no! %e laid o*t as
seen in Figure 9.37+ left.
Figure 9.37. *dit the 0Cs for the eelashes so that the all occup
the sa%e area on the te-ture page.
Sna) t'e U;s for t'e left e"elas'es to t'e ones on t'e ri$'t+ so t'at t'e" all occ*)" t'e
sae s)ace =Figure 9.37+ iddle>.
Ad1*st %ot' sets of U;s so t'at t'e to) and %otto las'es o#erla). T'is eans t'e
sae te2t*re !ill %e a))lied not onl" to %ot' t'e left and ri$'t sides %*t also to t'e *))er and
lo!er e"elas'es.
Position t'e edited U;s o#er a %lan& area of t'e )a$e =Figure 9.37+ ri$'t>.
As "o* did !it' t'e e"e 'i$'li$'ts+ create a ne! U; sna)s'ot to !or& fro+ i)ortin$
it into t'e .)sd file in P'otos'o).
As seen in Figure 9.38+ dra! t'e te2t*re for t'e e"elas'es on t'e al)'a )a$e+ lea#in$
t'e sae section on t'e ain color )a$e %lac&.
Figure 9.38. 0pdate the alpha %ap to include the eelashes.
8. Edit t'e al)'a c'annel+ *)datin$ t'e ia$e. Flatten and sa#e.
5'at "o* s'o*ld 'a#e no! are %etter/loo&in$ e"elas'es on "o*r odel+ as s'o!n in
Figure 9.39.
Figure 9.39. The eelashes =efore and after updating
5e are finis'ed !it' Kila-s al)'a a)+ so let-s !or& on Grae-s !in$s.
Creating the Alpha Map for the
Wings
Grae-s !in$s are not 1*st a sin$le o%1ect. t'e" consist of n*ero*s tendrils t'at coe o*t
of 'is %ac&. To &ee) t'e )ol"$on co*nt do!n+ !e created t'e !in$s fro a n*%er of
lar$er )ol"$ons+ intendin$ to add t'e tendrils !it' t'e 'el) of an al)'a a). :eca*se t'e
tendrils are solid %lac&+ t'e ain color )a$e for t'e !in$s can %e solid %lac&+ too. T'e
al)'a a) !ill %e t'e one t'at 'olds all t'e detail.
1 Load t'e file Grae5in$.)sd.
2 Create a ne! la"er called Al)'a+ fillin$ it in %lac& =eanin$ it !ill initiall" %e
co)letel" trans)arent>.
3 Go in !it' solid !'ite and dra! t'e indi#id*al tendrils+ as seen in Figure 9.4<.
Figure 9.4<. Dra; the tendrils into $rae>s ;ing alpha %ap.
No! co)" t'e al)'a la"er into an al)'a c'annel+ 'ide t'e al)'a la"er so t'at t'e color
c'annels !ill %e solid %lac&+ flatten t'e ia$e+ and sa#e it. T'en #ie! it in Ma"a =Figure
9.41>.
Figure 9.41. $rae ;ith ;ings te-tured
Yo*r ne2t tas& is to $o in and add 'i$'li$'ts to Grae-s e"es+ as "o* did for Kila. T'at !ill
finis' 'i *)all of "o*r al)'a a)s are done.
T'e ain te2t*res for %ot' Kila and Grae are no! co)lete+ and "o* can see t'e in
Figures 9.42 and 9.43.
:ersion.E
Figure 9.42. +ila>s te-ture pages DSee page C7 for color
Figure 9.43. $rae>s te-ture pages DSee page C8 for color
:ersion.E
#u%p and Specularit
Maps
5e can $i#e t'e te2t*res e#en ore life %" addin$ effects t'at !ill !or& on to) of t'e
%ase te2t*res. Effects s*c' as specularity and bump maps are incl*ded in ost of
toda"-s $aes to add t'e a))earance of s'in" and ro*$' s*rfaces.
()T*
Of co*rse+ "o* !ill need to c'ec& !'et'er t'e $ae en$ine can 'andle
s)ec*larit" and %*) a)s. Secondl"+ "o* *st #erif" t'at "o* 'a#e t'e
te2t*re s)ace a#aila%le for t'ese effects. Eac' added effect !ill add anot'er
#ersion of t'e te2t*re )a$e to t'e o#erall te2t*re )a$e co*nt.
:*) a)s are *sed to $i#e o%1ects t'e ill*sion of 'a#in$ e#en ore detail. T'e
%*) a) *ses a $ra"scale 'ei$'t a) t'at !or&s !it' t'e s*rface norals of t'e
odel. T'is a) tells *s !'ic' areas on t'e te2t*re need to %e %*)"+ and t'e
norals tell t'e a) !'at direction to !or& in. T'is tec'ni7*e does not add an"
$eoetr" to t'e odel+ and t'e sil'o*ette sta"s t'e sae.
T'e specular map si)l" s)ecifies !'ic' areas of t'e te2t*re are s'in" and !'ic'
ones 'a#e a atte finis'. It does t'is %" )rod*cin$ a central 'ots)ot and t'e 'alo
s*rro*ndin$ it. to$et'er+ t'e" )ro#ide an ill*sion of reflected li$'t.
In *c' t'e sae !a" as an al)'a a)+ %*) and s)ec*lar a)s !or& off a
$ra"scale ia$e. 5'ite areas indicate 'i$'er %*)s or s'in" areas. dar&er areas
create recessed areas or atte areas. As descri%ed earlier for al)'a a)s+ t'e #al*es
for %lac& and !'ite a" %e in#erted in soe $ae en$ines. %e s*re to c'ec& t'is o*t.
No! let-s e2)lore %riefl" 'o! !e can i)leent %*) and s)ec*lar a)s into o*r
c'aracters+ !'ile also seein$ 'o! to a))l" t'e in Ma"a.
$rae>s Te-ture
*Fects
For a c'an$e+ !e !ill loo& at Grae first+ %eca*se 'e !ill %enefit ore fro t'ese
effects. 9is s&in is 7*ite %*)"+ and in lots of areas t'e fles' is torn a!a" to re#eal
*scle *nderneat'. :" a))l"in$ a sli$'t s'ine to t'is *scle+ !e can $i#e t'e
i)ression of oist*re.
For t'e %*) a)+ %e$in !it' a @GH $ra" %ac&$ro*nd. T'is !ill allo! "o* to add
dar&er colors to act as recessed areas on t'e c'aracter+ as !ell as li$'ter areas to
create %*)s.
Figure 9.44 shows the specular ,top0 and bump maps ,bottom0 we will be applying to
2rae. &ou can +nd the completed maps on the -A in >ro%ect 8iles7CD. Eook for the
files !it' K:*) or KS)ec at t'e end of t'e filenaes.
Figure 9.44. $rae>s specular and =u%p %aps
First !e !ill a))l" t'e s)ec*lar a). To a))l" a s)ec*lar a)+ !e first need to c'an$e
t'e s'ader t")e. La%erts are $ood for *se !it' atte s*rfaces+ %*t !e cannot a))l" a
s)ec*lar a) to t'is %eca*se it doesn-t 'a#e t'e a%ilit" to %e s'in". So !e-ll *se a
:linn.
1. O)en *) t'e attri%*tes for t'e GraeK:od" aterial =Figure 9.45+ left>.
Figure 9.45. Change the ,a%=ert shader to a #linn.
[View full size image]
2. At t'e to) of t'e s'ader-s ain attri%*tes !indo!+ c'an$e T")e fro La%ert to :linn.
T'e la"o*t s'o*ld c'an$e to t'at seen in Figure 9.45+ ri$'t. T'e nae !ill also c'an$e+
to %linnB. renae t'is %ac& to GraeK:od".
:" defa*lt+ a :linn aterial is s'in"+ so in effect "o* are tellin$ Ma"a !'at
le#els of s'ininess eac' area of t'e te2t*re s'o*ld 'a#e.
3. To a))l" a s)ec*lar a)+ "o* follo! *c' t'e sae )roced*re as for a))l"in$ t'e
%asic color a)+ e2ce)t in t'is case !e !ill %e editin$ t'e S)ec*lar Color attri%*te in t'e
S)ec*lar S'adin$ section. Si)l" clic& t'e %*tton to t'e ri$'t of t'e attri%*te and )oint
t'e file !indo! to t'e file called Grae:od"KS)ec.t$a.
4. To finis' t'e a))lication+ ad1*st t'e Eccentricit" and S)ec*lar Roll Off #al*es to $et
t'e correct 'i$'li$'ts.
:ccentricity controls t'e si8e of t'e 'i$'li$'ts on t'e s*rface. T'e defa*lt #al*e of
G.3 s'o*ld !or& fine.
Specular ?oll 75 affects t'e intensit" and s'ar)ness of t'e 'i$'li$'t. Use G.3 to $et
a $ood s'ine re)resentin$ a !et s*rface.
Re)eat t'e fore$oin$ )roced*re+ a))l"in$ t'e GraeMiscKS)ec.t$a file to t'e
can see+ onl" t'e areas "o* s)ecified are s'in".
Figure 9.46. $rae ;ith specular %ap applied DSee page C9 for
color :ersion.E
No! let-s add t'e %*) a).
1. Loo& at t'e GraeK:od" aterials attri%*tes in t'e Attri%*te Editor+ and "o*-ll see t'e
:*) Ma))in$ attri%*te *nder t'e Coon Material Attri%*tes 'eadin$. T'is is !'ere !e
assi$n o*r %*) a).
Clic& t'e sall %*tton to t'e ri$'t of t'e :*) Ma))in$ te2t %o2. t'is o)ens *) t'e
Create Render Node !indo!. As "o* did !'en "o* a))lied t'e color te2t*re+ select
File.
No! soet'in$ different 'a))ens. Instead of $oin$ directl" to t'e file !indo!+ "o*
$o to t'e act*al %*) nodes attri%*tes =Figure 9.47>.
Figure 9.47. The #u%p (ode attri=utes
2. T'e onl" attri%*te !e are interested in 'ere is :*) ,e)t' in t'e ?, :*)
Attri%*tes )ane. Ad1*stin$ t'is !ill alter t'e e)'asis "o*r %*) a) 'as on t'e
te2t*re. A settin$ of B is *s*all" far too se#ere+ so set t'is to aro*nd G.?.
3. To 'el) &ee) t'in$s tid"+ renae t'is node to :od":*);al*e.
4. Clic& t'e fileB ta% at t'e to) of t'e !indo!. t'is %rin$s "o* to t'e file-s
attri%*tes. Select t'e %*) a) file called Grae:od"K:*).t$a.
5. Finall"+ renae fileB to :od":*).
T'ere !e 'a#e itt'e %*) a) is a))lied. ,o t'ese sae ste)s for t'e GraeKMisc
aterial.
5it' %ot' t'e s)ec*lar and %*) a)s a))lied+ "o* can see in Figure 9.48 t'at t'e Grae
odel 'as draaticall" i)ro#edand !it'o*t 'a#in$ to add an" e2tra )ol"$ons.
Figure 9.48. $rae ;ith =oth specular and =u%p %aps applied DSee
page C9 for color :ersion.E
+ila>s Te-ture
*Fects
T'e %*) and s)ec*lar a)s for Kila !ill create effects t'at are 7*ite restrained.
Alt'o*$' Kila doesn-t 'a#e an" s'in" areas+ !e can still a&e *se of a s)ec*lar
a). T'e oils in o*r s&in a&e it s'ine sli$'tl" !'en e2)osed to certain li$'tin$ conditions+
so !e can *se t'e a) to iitate t'is effect.
5e can also e)lo" a %*) a) to %rin$ o*t soe of t'e saller details in t'e
odel. T'e creases in 'er clot'in$+ or detail in 'er 'air co*ld %enefit fro t'is.
Figure 9.49 s'o!s t'e c'aracter !it' t'e %*) and s)ec*lar a)s a))lied. Yo* can see
a s*%tle difference+ %*t "o* and "o*r tea a" !ant to decide !'et'er t'is s*%tlet" is
!ort' addin$ fo*r ore te2t*re )a$es. 5'ate#er "o* decide+ once t'e a)s are created
"o* can al!a"s decide to a))l" t'e at a later sta$e.
Figure 9.49. +ila ;ith =oth specular and =u%p %aps applied DSee
page C1< for color :ersion.E
Topolog
Check
5it' t'e te2t*res and t'eir s)ecial en'anceents co)leted+ !e can no! ta&e one
last loo& o#er o*r odels to see if !e can fi2 an" )ro%le areas or reo#e an" ore
)ol"$ons. ,oin$ t'is no! is a $ood idea %eca*se+ !it' t'e te2t*res a))lied+ it is
easier to s)ot )otential )ro%les. T'e t!o areas !e are loo&in$ for+ as !e-#e done in
earlier sta$es of t'e )ro1ect+ are )ol"$on red*ction and trian$*lation.
Polgon
&eduction
No! t'at !e 'a#e finis'ed t'e te2t*res+ !e can reassess t'e $eoetr" and reo#e
an"t'in$ t'at is no lon$er needed. T'e first area !e can reo#e is !'ere t'e
)ol"$ons a&e *) t'e *))er s)ine. t'ese are s'o!n in Figure 9.5<+ left. :eca*se
'er cro) to) falls 7*ite 'i$' across 'er s'o*lder %lades+ !e don-t see 'er s)ine+ so
t'ese )ol"$ons are no lon$er needed.
1 Sna) t'e #ertices to t'e inner ones and !eld t'e. T'is s'o*ld not in#ol#e
alterin$ an" U;s.
2 T'e ne2t area !e can red*ce is 'er na#el. Ori$inall"+ !e %*ilt it in 1*st in case
!e needed detail in t'is area+ %*t t'e te2t*re does a $ood eno*$' 1o% at )ro#idin$
definition. Select t'e #ertices t'at a&e *) t'e na#el and !eld t'e to eac' ot'er+
ad1*stin$ t'e reainin$ #erte2 so it is in t'e correct )lace.
3 T'e res*lt s'o*ld loo& li&e Figure 9.51+ iddle. T'e U;s need reali$nin$ sli$'tl"
in t'e U; Te2t*re Editor+ $i#in$ "o* t'e res*lt in Figure 9.51+ ri$'t.
Figure 9.51. &e%o:e the na:el detail.
Figure 9.5<. &e%o:e the spine %esh detail.
It-s not li&el" t'ere-s *c' else !e can red*ce in Kila+ %*t 'a#e a $ood loo& aro*nd
an"!a". E2aine Grae+ too+ to %e s*re+ %efore !e contin*e on to c'ec& t'e
trian$*lation.
Triangulatio
n
All en$ines =$ae en$ines and e#en Ma"a-s o!n renderin$ en$ine> con#ert )ol"$ons to
trian$les at render tie. Yo* a" see a 47*ad4 in t'e #ie!)ort+ %*t loo& closel" and "o*-ll
see t'at t'e s7*are is alread" di#ided into t!o trian$les+ !'et'er t'ere-s a line %ein$
dra!n t'ere or not. For 7*ads+ Ma"a is a&in$ t'e di#ision decision ont'e/fl"+ de)endin$
on t'e )lanarit" of t'e )ol"$on-s s*rfaceand t'is i$'t not %e t'e decision t'at s*its t'e
s*rface of t'e odel.
It-s a $ood idea to do a )ass on t'e odel+ slo!l" t*rnin$ it aro*nd+ loo&in$ to a&e s*re
t'at t'e 7*ad decisions don-t create conca#ities or %*l$es t'at are ina))ro)riate to t'e
anato". In t'ose cases+ "o* can an*all" create t'e desired ed$e !it' t'e S)lit Pol"$on
tool. Or+ if an ed$e alread" e2ists+ t*rn it !it' t'e Fli) Pol"$on Ed$e tool.
()T*
se !e are onl" s)littin$ or fli))in$ ed$es+ t'e U;s !ill not %e affected. If !e
!ere to delete )ol"$ons or draaticall" alter t'e to)olo$"+ t'e U;s !o*ld
need to %e t!ea&ed or rea))lied.
T'e ain area containin$ soe of t'ese )ro%les is Kila-s face.
1. 9ide t'e 'air $eoetr" so t'at "o* can concentrate on t'e face-s to)olo$".
2. Loo& in fro t'e an$le deonstrated in Figure 9.52+ left. Yo* !ill see a
conca#e face ca*sin$ t'e c'ee& to loo& an$*lar.
Figure 9.52. Split the conca:e faces to s%ooth her upper cheek.
1 S)lit t'ese )ol"$ons as s'o!n in Figure 9.52+ iddle+ to soot' o*t t'e *))er c'ee&
=Figure 9.52+ ri$'t>.
2 No! loo& at t'e %rid$e of 'er nose =Figure 9.53a>+ !'ere "o* can see a %ad crease.
Figure 9.53. &educe the crease on the =ridge of her nose.
5. O*r first ste) in red*cin$ t'is crease is to s)lit t'e )ol"$ons as s'o!n in Figure
9.53=.
Ne2t+ s)lit t'e )ol"$ons across 'er fore'ead as deonstrated in Figure 9.53c.
Finall"+ delete t'e ed$es 'i$'li$'ted in Figure 9.53d.
Figure 9.53e s'o!s t'e red*ced crease. Alt'o*$' it-s not co)letel" $one+ it-s
%etter t'an it !as.
Contin*e to loo& aro*nd %ot' c'aracter odels to see if "o* can see an" ore areas t'at
need trian$*latin$.
Yo*-#e acco)lis'ed a $reat deal so far in t'is c'a)ter. T'e te2t*res are a))lied and
en'anced+ and t'e odels 'a#e %een fine/t*ned. 5e-re read" no! to o)tii8e t'e
te2t*re )a$es.
Chapter 1<. ,e:els of Detail
D,)DsE
CD Files
KilaKTe2t*re.% KilaKPose.% KilaKLO,KPre).% KilaKLO,KActi#e.% GraeKTe2t*re.% GraeKPose.%
GraeKLO,KPre).% GraeKLO,KActi#e.% Kila:od".t$a Kila9air.t$a Kila9ead.t$a Grae:od".t$a
Grae:od"K:*).t$a Grae:od"KS)ec.t$a GraeMisc.t$a GraeMiscK:*).t$a GraeMiscKS)ec.t$a
Grae5in$.t$a NO5 T9AT OUR c'aracters are co)lete+ incl*din$ te2t*res+ and 'a#e %een si$ned
off %" o*r ana$ers+ !e can )roceed to $enerate t'e level of detail @"7=A models
needed to )reser#e )rocessin$ )o!er. As !e 'a#e alread" disc*ssed =ainl" in
C'a)ter @+ 4Model O)tii8ation4>+ sa#in$ )rocessor )o!er and eor" is #er"
i)ortant !'en creatin$ co)*ter $aes.
9ere in
C'a)ter BG
!e !ill deonstrate 'o! to $rad*all" red*ce a c'aracter to its lo!est resol*tion+
efficientl" o)tii8in$ t'e odel to $et t'e #ario*s le#els of detail needed in t'e $ae.
Wh Do We (eed
,)Ds?
5'en a c'aracter is far off in t'e distance+ essentiall" ta&in$ *) fe! )i2els on t'e
screen+ t'ere is no need for t'e c'aracter to 'a#e IGGG )ol"$ons !'en BGG or less !ill
do.
T'is is !'ere LO,s coe into )la". 5'at "o* do is ta&e "o*r ain odel and create fo*r
#ersions+ or fi#e+ or 'o!e#er an" are needed+ eac' one ste))in$ do!n in its )ol"$on
co*nt. As t'e c'aracter o#es a!a" fro t'e caera+ a different #ersion of t'e odel is
loaded in its )lace. T'e fart'er a!a" fro t'e caera+ t'e lo!er t'e #ersion+ *ntil t'e
c'aracter can no lon$er %e seen.
If !e *se Kila as an e2a)le+ 'er ain odel of IGEI )ol"$ons !o*ld ore t'an li&el"
%e *sed for close/*) s'ots+ or a"%e 1*st in c*t scenes. T'e ne2t LO, for Kila+ t'en+
!o*ld %e t'e ain one *sed in $ae+ since !e co*ld reo#e aro*nd BGGG )ol"$ons and
still retain all t'e detail needed. T'e LO, after t'at !o*ld co)rise BGGG )ol"$ons. t'en
!e-d dro) do!n to aro*nd @GG. and t'e last one !o*ld %e a%o*t BGG or ?GG. As "o* can
see+ !e ste) do!n $rad*all" at first+ %efore dro))in$ draaticall" as distance fro t'e
c'aracter increases. 5e can do t'is %eca*se t'ere !ill %e decreasin$ need for detail as
t'e c'aracter o#es fart'er a!a".
T!P
T'e $ra)'ics )ro$raer *s*all" sets t'e n*%er of LO,s and t'e n*%er
of )ol"$ons in eac' LO,. T'e tric& is to 'a#e as fe! LO,s as )ossi%le. One
r*le of t'*% in t'e ind*str" is 4T'e s* )ol"co*nt of all LO,s s'o*ldn-t
e2ceed t'e ain $ae odel.4
Yo* can see Kila !it' 'er le#els of detail in Figure 1<.1. Alt'o*$' t'ere are fe!er
)ol"$ons in t'e #ersions t'at are fart'er a!a"+ "o* cannot tell.
Figure 1<.1. +ila ;ith le:els of detail
C'ec& o*t t'e $aes "o* )la". Loo& caref*ll"+ and "o* !ill see c'aracters or o%1ects
4)o)4 as t'e" o#e a!a" fro t'e caera. T'is is t'e $ae en$ine s!a))in$ t'e c*rrent
odel for a lo!er LO,.
Setting the #inding
Pose
:efore !e )roceed to create LO,s for %ot' o*r c'aracters+ !e need to alter t'eir )ose.
5e %e$an !it' %ot' Kila and Grae in t'e %asic T )ose+ !'ic' ade it easier to !or& !it'
t'e+ %*t !e !ill need to alter t'e )ose in )re)aration for t'e c'aracters to %e %o*nd to
a s&eleton =!'ic' !e-ll do in t'e ne2t c'a)ter>.
It-s ad#isa%le to alter t'e )ose no! ="o* co*ld e#en start off desi$nin$ "o*r odels !it'
t'e ars )osed li&e t'is+ to sa#e tie>. Ot'er!ise+ once t'e le#el of detail odels 'a#e
%een created+ "o* !o*ld need to edit fi#e odels instead of 1*st one.
T'e ain areas t'at !ill need alterin$ on Kila are t'e ar and fin$er )ositions.
Ar%
AdAust%ent
T'e ar s'o*ld %e at t'e a#era$e )osition %et!een t'e ost/*sed e2tree )ositions. If
a c'aracter onl" e#er !al&s !it' its ars do!n %" its sides+ it doesn-t a&e an" sense
to raise t'e ars *) to s'o*lder le#el !'en "o* %ind it. T'is !o*ld 1*st increase
distortion to t'e s'o*lder area !'en t'e s&eleton defors t'e es'.
Kila !ill %e )erforin$ $enerall" ordinar" actions+ so t'e ars s'o*ld %e set at a%o*t a I@
de$ree an$le.
:efore !e ad1*st t'e+ !e need to a&e t'e ars se)arate o%1ects so t'at t'e"-re
easier to ani)*late.
Detach the Ar%s
Not onl" do !e need for t'e ars to %e detac'ed fro t'e torso+ %*t also to %e
se)arated alon$ t'eir U; %orders so t'at !e &ee) t'e U;-s intact.
O)en *) t'e file called KilaKTe2t*re.%.
1. Select t'e ain %od" $eoetr" and o)en t'e U; Te2t*re Editor =Figure 1<.2+ left>.
:eca*se !e co%ined t'e %od" $eoetr"+ all t'e U;s are %ein$ dis)la"ed on to) of
eac' ot'er. 5e need to se)arate t'e U;s in order to see t'e ones %elon$in$ to t'e
ars.
Figure 1<.2. Select the ar%s using the 0C Te-ture *ditor.
2. Yo* can tell Ma"a to s'o! onl" t'e faces %elon$in$ to t'e %ac&$ro*nd ia$e+ %" $oin$
to ;ie! L ;ie! Faces Of Selected Ia$es. As seen in Figure 1<.2 =iddle>+ t'is !ill 'ide
t'e ot'er U;s not associated !it' t'is te2t*re )a$e.
Tip
It a" %e t'at t'e incorrect ia$e is dis)la"ed in t'e %ac&$ro*nd+
$i#in$ "o* t'e !ron$ U;s =Fi$*re BG.?+ left>. To s!itc' to t'e ia$e "o*
need+ select it fro t'e Ia$e L Selected Ia$es en*.
1 Select t'e faces %elon$in$ to t'e ars+ and ret*rn to t'e ain #ie! )anel.
2 Usin$ t'e E2tract tool+ se)arate t'e ars fro t'e %od" as seen in Figure
1<.3.
Figure 1<.3. Detach the ar%s.
T'e ars are no! free for "o* to !or& on. =Notice "o*r %on*s( T'e 'ands are no!
for rotatin$ t'e ars.
&otate the Ar%s
5e !ant to rotate %ot' t'e ars t'e sae ao*nt and fro t'e sae )i#ot on eit'er
side. 5e co*ld ad1*st t'e )i#ot as s'o!n earlier in t'e %oo&+ sna))in$ it to a #erte2
close to !'ere o*r s'o*lder )i#ot !o*ld %e. T'is !o*ldn-t %e #er" acc*rate+ t'o*$'+
%eca*se t'e ar !o*ld rotate aro*nd t'e !ron$ a2is. 5'at !e !ant is for t'e a2is to
follo! t'e orientation of t'e ar.
For t'is )*r)ose !e !ill *se a locator+ !'ic' is a #er" si)le d*" o%1ect t'at ta&es t'e
s'a)e of a cross. Locators 'a#e an" *ses( T'e" can )in)oint )ositions in s)ace. t'e"
can %e *sed as a ain controller. or+ as in t'is case+ t'e" can %e *sed to dri#e t'e
rotation of a series of o%1ects.
5e !ill )osition a locator !'ere t'e s'o*lder )i#ot is+ and )arent t'e ar and 'and to
it. 5'en t'e locator is rotated+ t'e ar !ill rotate correctl".
1. Create a locator %" $oin$ to Create L Locator. T'en o#e it *) to t'e correct
)osition o#er t'e s'o*lder-s )i#ot )oint =Figure 1<.4a>.
Figure 1<.4. Create a locator and position it at the shoulder pi:ot.
1 To a&e t'e rotation ore )recise+ s!itc' to t'e to) #ie! =Figure 1<.4=> and rotate
t'e locator to atc' t'e orientation of t'e ar =Figure 1<.4c>. T'is rotation s'o*ld onl" %e
aro*nd t'e Y a2is.
2 ,*)licate t'e locator+ and a&e t'e Translate F and Rotate Y attri%*tes ne$ati#e
#al*es. T'is irrors t'e locator for t'e ot'er ar =Figure 1<.4d>.
3 No! select t'e ar $eoetr" for t'e first ar+ t'en t'e 'and+ and t'en t'e locator
last. To )arent t'e+ )ress P.
,o t'e sae for t'e o))osite ar+ )arentin$ t'e ar and 'and to t'e ot'er
locator.
(ote
:" selectin$ t'e locator last+ "o* are tellin$ Ma"a t'at "o* !ant t'e
o%1ects "o* selected first to %e )arented to t'e locator.
5. T'e rotations *st %e e2actl" t'e sae on eit'er side+ so !e !ill acti#ate sna))in$
on t'e Rotate tool. ,o*%le/clic& t'e Rotate tool icon+ o)enin$ *) t'e tool-s o)tions
=Figure 1<.5>.
Figure 1<.5. *na=le Snap &otate in the &otate tool>s
options.
Ena%le Sna) Rotate and set t'e Ste) Si8e to @.G. T'is !ill a&e t'e tool rotate in
*nits of @ instead of flo!in$ freel".
6. Rotate t'e locator aro*nd t'e M a2is =%l*e>+ *sin$ t'e ani)*lator and not t'e
C'annel :o2. =If "o* *sed t'e C'annel :o2+ t'e locator !o*ld not rotate aro*nd its local
a2is. instead+ t'e M a2is i$'t defa*lt %ac& to t'e $lo%al a2is.>
Rotate t'e locator %" se#en ste)s+ and t'en do t'e sae to t'e o))osite ar
=Figure 1<.6>.
Figure 1<.6. &otate =oth locators se:en steps.
T'e ars are no! orientated correctl"+ eanin$ !e can no! reattac' t'e to t'e torso.
Ma&e s*re "o* deacti#ate Sna) Rotate on t'e Rotate tool %efore "o* )roceed.
&eattach the Ar%s
No! t'e t!o ars are in )osition+ and !e can stitc' t'e %ac& onto t'e torso. First+ !e
need to co%ine t'e t'ree )ieces of $eoetr" into a sin$le odel.
1 Select %ot' ars and t'e torso and co%ine t'e =Pol"$ons L Co%ine>.
2 5or& "o*r !a" aro*nd t'e s'o*lders+ er$in$ t'e #ertices so t'at t'e" lie in
%et!een t'e ar and torso $eoetr" =Figure 1<.7+ ri$'t>.
Figure 1<.7. Weld the :ertices around the shoulders.
3. As "o* can see in Figure 1<.8+ left+ t'e s'o*lders are no lon$er s'a)ed correctl"+
so !or& t'e #ertices and soot' o*t %ot' s'o*lders =Figure 1<.8+ ri$'t>.
Figure 1<.8. S%ooth out the shoulders.
T!P
Ree%er to &ee) t'e s'o*lders s"etrical+ select t'e o))osin$
#ertices and o#e t'e at t'e sae tie. If t'e #ertices need to %e
o#ed a!a" fro or to!ard eac' ot'er+ si)l" *se t'e Scale tool
instead of translation.
No! t'at t'e s'o*lders are re)ositioned and soot'ed o*t+ let-s re)osition t'e
fin$ers.
Finger
AdAust%ent
Li&e t'e ars+ t'e fin$ers s'o*ld %e %et!een t'eir ost e2tree )ositions. C*rrentl" t'e"
are flat+ !'ic' is close to one e2tree. 5e need to $o in and %end t'e sli$'tl"
so t'at t'e" loo& ore rela2ed.
()T*
Ad1*stin$ t'e 'ands is a $ood idea+ %*t it-s not strictl" necessar"+ so feel free
to s&i) t'is section if "o* li&e.
To sa#e tie+ !e can delete t'e ri$'t 'and and !or& onl" on t'e left. 5e can do t'is
%eca*se %ot' 'ands 'a#e ore or less t'e sae U; a))in$. T'en !e can d*)licate t'e
edited 'and to re)lace t'e ri$'t 'and.
1. ,elete t'e ri$'t 'and.
2. T'e left 'and !ill still %e )arented to t'e locator+ so *n)arent it %" selectin$ it and
$oin$ to Edit L Un)arent.
T'e 'and-s orientation is c*rrentl" correct+ %*t to a&e editin$ t'e fin$ers
easier+ "o*-ll need to rotate t'e 'and in order to flatten it. :efore "o* do+
t'o*$'+ "o* need to store =free8e> its c*rrent )osition and rotation.
3. Free8e t'e transfors =Modif" L Free8e Transfors>. T'is !ill reset t'e
translation+ rotation+ and scale #al*es to 8ero+ eanin$ t'at after "o*-re done
editin$ t'e fin$ers+ "o* can 1*st set t'e Rotate #al*es %ac& to 8ero a$ain+
resettin$ t'e 'and to its correct )osition.
4. 5'en "o* detac'ed t'e ar at t'e #er" %e$innin$ of t'is )ose/ad1*stent
)rocess+ t'e )i#ot )oint for t'e 'and defa*lted %ac& to t'e center of t'e !orld+
and t'is !ill no! a&e it diffic*lt to ani)*late. So center t'e )i#ot for t'e 'and
%" $oin$ to Modif" L Center Pi#ot.
5. 5it' t'e translation+ rotation+ and scale #al*es at 8ero and t'e )i#ot
centered+ "o* can no! rotate t'e 'and so it is flat+ as s'o!n in Figure 1<.9+
iddle.
6
.
Ad1*st t'e fin$ers so t'e" are li&e t'e ones in
Figure 1<.9
+ ri$'t+ %endin$ t'e into a ore rela2ed )ose. Loo& at "o*r o!n 'and for reference.
7. 5'en "o* are 'a))" !it' t'e s'a)e of t'e fin$ers+ reset t'e 'and rotations
%ac& to 8ero in t'e C'annel :o2 or %" *sin$ t'e Modif" L Reset Transfors tool+
ret*rnin$ t'e 'and %ac& to its correct orientation.
8. ,*)licate t'e left 'and to create t'e ri$'t 'and.
Figure 1<.9. AdAust the orientation of the hand =efore
=ending the "ngers.
()T*
Ma&e s*re "o* sna) t'e )i#ot )oint %ac& to t'e !orld-s center %efore "o*
irror it. Press Insert to acti#ate t'e )i#ot )oint and t'en 'old do!n F+
!'ic' !ill sna) t'e )oint to t'e $rid as "o* o#e it.
9. 5it' t'e ri$'t 'and selected+ o)en t'e U; Te2t*re Editor and ad1*st t'e U;-s so t'e
%ac& of t'e 'and is o#er t'e section t'at does not 'a#e t'e tattoo on it. Yo* can see t'is
in Figure 1<.1<.
Figure 1<.1<. AdAust the ne; right hand>s 0Cs.
1<. To finis' "o*r !or& on t'e )ose+ clean *) all t'e $eoetr" in t'e scene. Go to
Edit L ,elete All :" T")e L 9istor". Yo* 'a#e to delete t'e 'istor" first %eca*se
=e#en t'o*$' none of t'e $eoetr" is still )arented to t'e locators> t'e locators are
still attac'ed to t'e $eoetr" #ia 'istor". Once t'e 'istor" is cleared+ "o*
can safel" delete t'e locators.
11. Finall"+ sa#e t'e scene as KilaKPose.%.
T!P
No! t'at "o* 'a#e a 'and t'at is odeled+ o)tii8ed+ te2t*red+ and
)osed+ I recoend sa#in$ it to "o*r Mor$*e. It-s a nice addition to
"o*r collection for *se on f*t*re c'aracters.
Figure 1<.11 s'o!s Kila in 'er ne! )ose.
Figure 1<.11. +ila in her ne; pose
Grae+ too+ needs to %e )osed+ so load GraeKTe2t*re.%. Ad1*st 'is ars and fin$ers 1*st
as "o* 'a#e done Kila-s. Sa#e 'i as GraeKPose.% !'en 'e-s finis'ed.
5'en "o*r odels are )osed and read"+ "o* can %e$in $eneratin$ t'e le#els of
detail.
$enerating
,)Ds
Creatin$ t'e LO,s is in soe !a"s siilar to o)tii8in$ t'e es'. T'ere are t!o
)rinci)al sta$es(
First+ loo& for areas t'at can %e sacrificed+ or in t'is case+ !'at can-t %e seen
!'en t'e caera is at t'at )artic*lar distance. For e2a)le+ if t'e indi#id*al fin$ers
are not #isi%le !'en "o* 8oo o*t+ "o* can co%ine t'e fin$ers to create a itten/
t")e 'and.
After "o* 'a#e reo#ed an" *nnecessar" detail+ "o* can reo#e ore
)ol"$ons. Loo& for areas t'at create s'allo! an$les and )laces t'at 'o*se *n*sed
)ol"$ons+ 1*st as "o* do in o)tii8ation. Contin*e to do t'is *ntil "o* reac' t'e
)ol"$on liit of t'e LO, "o* are creatin$.
Kila is c*rrentl" ade *) fro IGEI )ol"$ons. T'is !ill %e t'e first LO, and t'e ain
odel t'at !ill %e *sed for close/*)s. It-s ore t'an li&el" t'e ne2t LO, !ill %e t'e
one ostl" #ie!ed in $ae. So let-s create fo*r ore le#els of detail for 'er at t'e
follo!in$ )ol"$on co*nts( 3GGG+ BGGG+ @GG+ and B@G.
,)D 2. 3<<<
Polgons
Ma&e s*re t'e KilaKPose.% file is o)en. :efore creatin$ t'e second LO,+ !e *st
d*)licate t'e c*rrent c'aracter-s $eoetr". 5e onl" need one co)" at t'is sta$e+
%eca*se t'e LO, after t'is one !ill %e %ased on t'is LO, ?-s co)lete $eoetr".
1 Yo* s'o*ld 'a#e all t'e )ieces of t'e c'aracter in a $ro*) called Kila. Renae t'is
to KilaIGEI.
2 ,*)licate t'is $ro*)+ callin$ t'e ne! co)" Kila3GGG.
3 Create t!o ne! dis)la" la"ers =$o to La"er L Create La"er in t'e La"er Editor>+
one for eac' se)arate #ersion of t'e odel. Call one KilaKIGEA and t'e ot'er KilaK3GGG+
)lacin$ t'e a))ro)riate $ro*) into eac' la"er.
4 9ide t'e ori$inal file =KilaIGEI> %" t*rnin$ off t'e la"er-s #isi%ilit"+ so "o* are onl"
!or&in$ !it' t'e d*)licate.
5 Position t'e odel =%" 1*st o#in$ t'e caera> as seen in Figure 1<.12. S'e
s'o*ld ore or less fill t'e screen. t'is !ill %e t'e si8e of t'e f*ll/resol*tion c'aracter.
Figure 1<.12. The full@resolution %odel ;ill =e seen at this
distance.
[View full size image]
6. No! doll" o*t *ntil s'e is ro*$'l" 'alf/si8e =Figure 1<.13>. T'is is a))ro2iatel" t'e
distance at !'ic' t'is odel !ill %e #ie!ed !'en in a $ae. 5'en t'e ain odel is
t'is far a!a" fro t'e caera+ t'e $ae !ill s!itc' to t'is LO,.
[View full size image]
Figure 1<.13. The distance of the ne-t le:el of detail.
7. No! t'at "o* 'a#e a %asic distance to $a*$e "o*r odel on+ %e$in rotatin$
aro*nd 'er and see !'at "o* can initiall" sacrifice. At t'is distance "o* can still
see 7*ite a %it of detail. e#en 'er indi#id*al fin$ers are still #isi%le. 5'at "o*
can do+ t'o*$'+ is
Reo#e t'e 'i$'li$'ts created for 'er e"es+ and delete 'er e"elas'es and
'er ton$*e. =If s'e does tal& at t'is distance+ "o* !ill not see it.>
Reo#e t'e sin$le strand of 'air fro t'e front of 'er 'ead+ as !ell as t'e
first inside la"er of 'er 'air. After doin$ t'is+ "o* !ill need to t!ea& t'e reainin$
inner la"ers of 'air to fill t'e $a) t'at no! e2ists.
T'at-s a%o*t as *c' as "o* can reo#e at t'is sta$e+ %*t s'e is still *sin$ 3DCD
)ol"$ons. Ne2t !e !ill $o in and reo#e soe areas of sall detail in order to $et
closer to o*r 3GGG liit for t'is LO,.
'ands
Alt'o*$' Kila-s fin$ers are still #isi%le at t'is le#el+ t'e" don-t need to 'a#e *c' detail
in t'e. it-s s*fficient if t'e" erel" 4s*$$est4 fin$ers. In desi$nin$ t'e ain 'and+ !e
incl*ded )ol"$ons aro*nd t'e 1oints so t'at t'e fin$ers !o*ld not )inc' %adl" !'en
%ent. T'ere is no need for t'ese )ol"$ons at t'is distance+ so !e can reo#e t'e.
Red*ce t'e fin$ers do!n to %asic c*%es li&e t'e ones seen in Figure 1<.14+ ri$'t. If "o*
are erel" er$in$ #ertices or colla)sin$ ed$es+ t'e U; inforation s'o*ld sta" intact.
Figure 1<.14. &educe the "ngers do;n to =asic cu=es.
Red*cin$ t'e fin$ers %rin$s *s do!n to 3?3A )ol"$ons+ not too far fro o*r $oal.
Sash and /eans ,egs
Let-s no! red*ce soe areas of detail in t'e sas' and t'e 1eans le$s+ !'ic' !on-t %e
issed at t'is distance. 5'en creatin$ t'e ain odel+ !e %*ilt creases on 'er 'i) to
$i#e t'e sas' additional detail+ and creases and folds in t'e 1eans. T'is detail can no! %e
reo#ed.
:e$in %" colla)sin$ t'e ain ed$es t'at create t'e o#er'an$ for t'e folds of t'e sas'.
T'ese are 'i$'li$'ted in Figure 1<.15a.
Reo#e t'e final set of ed$es t'at ade *) t'e folds =Figure 1<.15=>.
As "o* can see in Figure 1<.15c+ t'e U;s 'a#e %een altered. So+ o)en *) t'e U;
Te2t*re Editor and fi2 t'e U;s *sin$ t'e ain odel =KilaKIGEA> as reference =Figure
1<.15d>.
Reo#e t'e siilar folds in t'e 1eans at t'e %ac& of 'er &nees. ,o t'is %" colla)sin$
t'e ed$es 'i$'li$'ted in Figure 1<.16.
Figure 1<.15. &e%o:e the folds fro% her sash.
Figure 1<.16. Collapse the folds at the =ack of her knees.
5. No! foc*s on t'e folds at t'e %ase of 'er le$s. 5or& "o*r !a" aro*nd t'ese+
colla)sin$ t'e a1orit" of t'e ed$es *ntil "o* 'a#e a ore r*dientar"/loo&in$ lo!er
le$ =Figure 1<.17+ ri$'t>.
Figure 1<.17. &educe the folds in the lo;er part of the Aeans legs.
5it' t'ese red*ctions to t'e sas' and 1eans+ o*r )ol"$on co*nt no! stands at ?EID+ 1*st
*nder t'e liit. T'is is $reat ne!sit eans !e can o#e on and %e$in !or& on t'e ne2t
LO,.
:efore "o* do+ renae t'e $ro*) and t'e dis)la" la"er to re)resent t'e ne! )ol"$on
co*nt. So Kila3GGG !o*ld %ecoe Kila?EID+ and KilaK3GGG !o*ld %e KilaK?EID. T'is
'el)s to infor ot'ers of t'e )ol"$on co*nt and &ee)s "o* *) to date.
Figure 1<.18 s'o!s o*r second le#el of detail. Yo* s'o*ldn-t see *c' of a difference
in Kila-s for at )resent+ !'ic' is $ood %eca*se t'is odel !on-t %e too far a!a" fro
t'e caera.
Figure 1<.18. The second le:el of detail1 up close.
,)D 3. 1<<<
Polgons
LO, 3 !ill %e 7*ite a draatic ste) do!n %eca*se !e !ill %e a%le to reo#e a '*$e
ao*nt of )ol"$ons fro areas !'ere t'e" are not seen at t'is distance.
1 Create t'e %ase $eoetr" to !or& on. ,*)licate t'e )re#io*s LO,-s $ro*)
=Kila?EID> and call t'e ne! co)" KilaBGGG.
2 Create a ne! dis)la" la"er called KilaKBGGG+ )lacin$ into it t'e KilaBGGG $ro*) and
its contents.
3 T*rn off t'e #isi%ilit" for t'e la"er called KilaK?EID. T'is lea#es "o* !it' 1*st t'e
ne! $eoetr" to !or& on.
4 As "o* did %efore+ 8oo o*t to a%o*t 'alf t'e si8e of LO, ? to $et an idea of 'o!
t'e $eoetr" !ill %e #ie!ed in a $ae. Yo* can see t'is in Figure 1<.19. Fro t'is
distance+ "o* can-t see #er" *c' detail. 9er facial feat*res are lost+ as are 'er fin$ers. It
s'o*ld %e 7*ite eas" to red*ce t'is #ersion do!n to BGGG )ol"$ons.
Figure 1<.19. Doll out to a=out half the si?e of ,)D 2.
[View full size image]
()T*
5e co*ld e#en $o lo!er t'an BGGG for LO, 3. <*st %eca*se !e 'a#e a
liit doesn-t ean !e *st 'it it e2actl". !e 1*st can-t $o o#er it. If areas
are not seen+ t'en t'ere is no *se for t'e+ so !e a" as !ell delete
t'e.
1 Let-s first reo#e o%#io*s t'in$s t'at can-t %e seen. T'is #ersion of t'e odel !ill not
'a#e an" facial aniation %eca*se "o* si)l" !on-t %e a%le to see it+ so "o* can reo#e t'e
inner o*t'+ incl*din$ t'e teet'+ and !eld 'er li)s to$et'er.
2 Reo#e 'er e"es and 'er ear. t'e" !on-t %e seen+ eit'er.
3 :ot' inner la"ers of 'er 'air can $o+ too. 5e can ad1*st t'e o*ter la"er to co)ensate
for t'is loss.
5it' t'ese eleents reo#ed+ !e are do!n to ?AE?+ so let-s 8oo in and %e$in
red*cin$ t'e ain $eoetr".
'air &eduction
:e$in %" !or&in$ on 'er 'air.
1 Foc*s on 'er 'air $eoetr" %" selectin$ it and )ressin$ F.
2 Select t'e ed$es s'o!n in Figure 1<.2< =left> and t'en colla)se t'e =Figure
1<.2<+ ri$'t>.
Figure 1<.2<. #egin reducing the polgons in the hair.
1 ,elete t'e trian$*lar faces at t'e #er" %otto of t'e 'air and t'en !eld t'e
se)arate stri)s to$et'er+ a&in$ t'e es' solid.
2 O)tii8e t'e 'air f*rt'er+ reo#in$ )ol"$ons not onl" fro t'e o*tside+ %*t fro
t'e frin$e of 'air at t'e fore'ead =Figure 1<.21+ left>.
Figure 1<.21. Make the outer hair solid =efore e-tending it do;n.
1 E2tend t'e 'air do!n to ro*$'l" atc' its ori$inal len$t' on t'e 'i$'erresol*tion
odel =Figure 1<.21+ ri$'t>. It doesn-t 'a#e to %e e2act. !e can edit it ore )recisel" in t'e
ne2t ste).
2 :eca*se !e 'a#e reo#ed )ol"$ons+ t'e o#erall s'a)e of t'e 'air !ill %e less f*ll.
Ma&e t'e LO, ?-s dis)la" la"er #isi%le+ t*rnin$ t'e dis)la" t")e to Te)late. T'is !ill s'o! t'e
second LO,-s $eoetr" as a $ra" !irefrae o#er t'e c*rrent odel =Figure 1<.22+ left>.
Figure 1<.22. 0se the ;irefra%e of ,)D 3 as a te%plate to thicken
the hair.
7. Yo* can no! !or& on t'e 'air+ s'a)in$ it as seen in Figure 1<.22+ ri$'t+
4t'ic&enin$4 it to atc' its )re#io*s loo&.
5e !ill lea#e t'e 'air as it is for no!. t'is s'o*ld %e s*fficientl" red*ced. Ne2t !e !ill
tri do!n 'er face.
Face &eduction
5e onl" reall" need to &ee) %asic feat*res in t'e face. Ta&e anot'er loo& at Figure
1<.19. "o* can-t see an" a1or details.
1. Foc*s in on t'e face. Feel free to 'ide t'e 'air at t'is sta$e+ to a&e !or&in$ on t'e
'ead easier. T'en+ as deonstrated in Figure 1<.23 =to)/ri$'t>+ !eld t'e e"es closed.
Figure 1<.23. &educe the polgons in +ila>s face.
2. :" no! "o* s'o*ld 'a#e a $ood $ras) of )ol"$onal odelin$+ so $o a'ead and !or&
on t'e nose and t'en t'e li)s =Figure 1<.23+ iddle>. Finall"+ !or& "o*r !a" aro*nd
t'e face+ colla)sin$ ed$es t'ere *ntil "o* 'a#e a %asic face li&e t'e one in Figure
1<.23+ %otto/ri$'t.
()T*
Ree%er to &ee) *)datin$ t'e U;s as "o* !or&+ as !ell as c'ec&in$ t'e
s'a)e a$ainst t'e ne2t/'i$'er LO,.
,on-t !orr" too *c' a%o*t decidin$ !'ere to reo#e faces. Once "o* start colla)sin$
ed$es+ "o* !ill notice ot'er areas t'at can %e colla)sed. T'e" !ill stand o*t %eca*se t'e
detail in t'at area does not atc' !'ere "o* are c*rrentl" !or&in$.
()T*
T'e odel is startin$ to loo& 7*ite odd no!+ %*t ree%er t'at t'is #ersion
!ill onl" e#er %e seen fro a distance. Kee) 8ooin$ o*t as "o* !or&+ to
$et a realistic idea of 'o! s'e !ill loo& in a $ae.
Yo* !ill )ro%a%l" 'a#e t'e *r$e to contin*e red*cin$ )ol"$ons on 'er nec& and t'e rest
of 'er %od"+ ainl" %eca*se t'e 'ead and %od" don-t atc' an"ore. :*t !ait. !e !ill
loo& at t'e rest of t'e %od" later on. Ne2t *) are t'e 'ands.
'and &eduction
T'e 'ands 'a#e far too *c' detail in t'e for t'is le#el. 5e no lon$er re7*ire
se)arate fin$ers+ for e2a)le+ so !e !ill con#ert t'e into flat+ itten/st"le 'ands as
entioned earlier.
1. :e$in %" !eldin$ t'e fin$ers to$et'er as seen in Figure 1<.24=+ a&in$ s*re "o*
delete t'e inner faces after!ard.
Figure 1<.24. AdAust the "ngers to get a %itten@tpe hand.
1 Reo#e t'e fin$er ends+ flattenin$ o*t t'e end of t'e 'and =Figure 1<.24c>.
2 5or& on t'e !'ole 'and+ red*cin$ t'e o#erall detail+ and ree%er to fi2 t'e U;s
after!ard.
1<.24d
.
T'e red*ced 'ands can no! %e *sed to $*ide o)tii8ation of t'e ars
.
,i%=s &eduction
:eca*se !e red*ced t'e 'ands+ trian$les !ill 'a#e a))eared at t'e !rist area =Figure
1<.25>. T'is is %eca*se t'e sections t'ere no lon$er atc' *) to t'e ones !'ere t'e
'ands attac' to t'e ars.
1. On eac' ar+ follo! t'e trian$les+ and select t'e ed$es all t'e !a" *) Kila-s ar. Yo*
s'o*ld end *) !it' eac' alternate stri) selected =Figure 1<.26+ left>.
Figure 1<.26. &educe the di:isions around the ar%>s a-is.
1 As "o* can see in Figure 1<.26 =iddle>+ colla)sin$ t'ese ed$es !ill red*ce t'e ar
fro 'a#in$ ten di#isions aro*nd t'e a2is to fi#e.
2 O)tii8e eac' ar f*rt'er =Figure 1<.26+ ri$'t>+ reo#in$ ost of t'e detail !e
added to allo! it to defor correctl". At t'is caera distance+ "o* !on-t %e a%le to tell
!'et'er t'e el%o! and !rist loo& !ron$ as t'e" %end.
3 No! ta&e a loo& at t'e le$s. Reo#e ost of t'e detail 'i$'li$'ted in Figure 1<.27+
left+ follo!in$ t'e )ol"$ons aro*nd to 'er %*ttoc&s. T'is !ill lea#e t'e le$s in a ore or less
c"lindrical s'a)e.
Figure 1<.27. &e%o:ing details fro% the legs lea:es the% ;ith a
=asic clindrical shape.
5e 'a#e a s'allo! an$le on t'e t'i$' area. Select t'e ed$es s'o!n in Figure
1<.27+ iddle+ and colla)se t'e. T'e le$s !ill loo& li&e t'ose in Figure 1<.27+ ri$'t.
In t'e crotc' and %*ttoc& area+ reo#e t'e )ol"$ons s'o!n in Figure 1<.28.
Figure 1<.28. &e%o:e polgons at the crotch and =uttocks.
7. No! re)eat for t'e le$s t'e ste)s *sed !'en "o* red*ced t'e ars. Select t'e
ed$es t'at a&e *) e#er" second #ertical stri) =Figure 1<.29+ left> and colla)se t'e+
red*cin$ t'e di#isions aro*nd t'e le$s fro ten to fi#e.
Figure 1<.29. Collapse e:er second :ertical strip of
polgons.
ar% no longer %atch.
T'e le$s are no! s*fficientl" red*ced. Ree%er to *se LO, ? as a te)late to fill
t'e o*t+ since t'e" !ill 'a#e t'inned do!n !'en t'e ed$es !ere colla)sed.
Torso &eduction
Co)ared to t'e rest of t'e odel+ t'e torso no! loo&s o*t of c'aracter. it 'as too *c'
detail. 5e need to reo#e soe of t'is detail to %rin$ it in line !it' t'e rest of 'er
red*ced $eoetr".
1. Select t'e ed$es 'i$'li$'ted in Figure 1<.3<a+ 1*st at t'e %ase of 'er s)ine+ and
colla)se t'e as s'o!n in Figure 1<.3<=.
Figure 1<.3<. Work our ;a around the torso1 re%o:ing an
%aAor details.
2. T'ere are 7*ite a fe! areas to red*ce on t'e torso. let-s do t'e all at once.
Follo! Figure 1<.3<+ selectin$ and colla)sin$ t'e ed$es t'at are ar&ed in !'ite on
%ot' front =Figure 1<.3<c> and %ac& =Figure 1<.3<e>. After "o* a&e t'ese
c'an$es+ t'e torso s'o*ld no! rese%le Figures 1<.3<d and
1<.3<f
.
Ne2t+ colla)se t'e ed$es t'at for t'e o#er'an$ of 'er to) =Figure 1<.31>.
T'ere are still 7*ite a fe! )ol"$ons in 'er stoac' t'at !e don-t need+ so delete t'ose
=Figure 1<.32>.
5or& "o*r !a" alon$ as s'o!n in Figure 1<.33 to colla)se t'e ed$es on t'e %reasts.
Figure 1<.31. &e%o:e the o:erhang on her top.
Figure 1<.32. Delete the e-tra edges in her sto%ach.
Figure 1<.33. &e%o:e detail on the =reasts.
6. Under t'e %reasts+ colla)se t'e ed$es 'i$'li$'ted in Figure 1<.34+ left.
Figure 1<.34. Collapse these edges under the =reasts.
7. On t'e c'est and at t'e clea#a$e+ reo#e all of t'e $eoetr" 'i$'li$'ted in
Figure 1<.35+ left.
Figure 1<.35. )pti%i?e the clea:age area.
8. Finis' off t'e c'est area %" !or&in$ on its $eneral s'a)e =Figure 1<.36>.
Ree%er to *se LO, ? as a $*ide.
Figure 1<.36. The opti%i?ed chest area
()T*
,on-t for$et t'e U;scorrect an" incorrect areas as "o* )ro$ress.
9
.
To co)lete "o*r !or& in t'e torso area+ 7*ic&l" reo#e t'e di#ision in 'er nec& =
Figure 1<.37
+ left>+ a&in$ it a sin$le flat area =
Figure 1<.37
+ ri$'t>.
Figure 1<.37. &e%o:e the di:ision in her neck.
Onl" t'e accessories are left to finis' t'e red*ctions for LO, 3.
#elt and Shoe &eduction
Alt'o*$' !e co*ld 1*st delete t'e %elt+ it is still sli$'tl" #isi%le at t'is distance+ so !e-ll
ta&e t'e tie to red*ce t'e n*%er of )ol"$ons *sed to constr*ct it. T'en !e-ll !or& on
t'e s'oes.
1. Reo#e t'e inside )ol"$ons on t'e %elt+ as !ell as t'e *))er and lo!er ed$es
=Figure 1<.38a>.
Figure 1<.38. #elt reduction
Colla)se e#er" ot'er set of ed$es+ reo#in$ e#er" second )ol"$on =Figure
1<.38= and c>.
Ad1*st t'e s'a)e of t'e %elt so it does not c*t t'ro*$' t'e c'aracter odel
=Figure 1<.38d>.
To co)lete t'is LO,+ red*ce t'e s'oes *ntil t'e" rese%le Figure 1<.39+ ri$'t.
Figure 1<.39. The opti%i?ed shoe
LO, 3 is finis'ed. Loo& at t'e )ol"$on co*nt to a&e s*re "o* are %elo! t'e liit of
BGGG. Goodt'e final co*nt is CEI+ !ell *nder t'e liit. Renae %ot' t'e $eoetr" $ro*)
and t'e dis)la" la"er to reflect t'is n*%er. Figure 1<.4< s'o!s t'e t'ird le#el of detail.
as "o* can see+ Kila is no! startin$ to loo& 7*ite different fro 'er ori$inal for.
Figure 1<.4<. ,)D 3 up close
5e are %e$innin$ to see soe draatic alterations to Kila-s $eoetr". 5'en !e are
finis'ed !it' t'e ne2t t!o LO,s+ s'e !ill %e alost *nreco$ni8a%le *) close.
,)D 4. 5<<
Polgons
Figure 1<.41 s'o!s t'e ne2t LO,-s distance fro t'e caera. As "o* can see+ !e are
$ettin$ 7*ite far fro o*r c'aracter and can no lon$er see an" details. All !e can see is
'er %asic s'a)e.
<*st as "o* did %efore+ d*)licate t'e )re#io*s LO,-s $ro*) and renae it to
Kila@GG+ )lacin$ it into a ne! dis)la" la"er called KilaK@GG.
Start %" deletin$ 'er %elt+ !'ic' is no lon$er #isi%le at t'is distance.
On t'e 'ands+ reo#e t'e t'*% %efore red*cin$ %ot' 'ands ri$'t do!n to
t'eir %asic s'a)es =
Figure 1<.42
>.
Figure 1<.42. &educe the hands to =asic shapes.
1 T'e ars c*rrentl" 'a#e fi#e di#isions aro*nd t'e a2is+ so !e can red*ce t'e do!n to
fo*r =Figure 1<.43>. Select t'e ed$es at t'e #er" front of t'e ar+ and colla)se t'e.
2 No! "o* can reo#e t'e )ol"$ons t'at add s'a)e to t'e ars+ s'o!n in Figure
1<.43+ iddle. A$ain+ t'ese !on-t %e #isi%le !'en t'e caera is at t'is distance+ so it-s safe
to reo#e t'e.
3 Mo#in$ on to t'e 'air no!+ t'is can %e red*ced to a %asic %o2 s'a)e li&e t'e one in
Figure 1<.44+ ri$'t. Yo* can e#en reo#e all of t'e internal $eoetr"+ if an" still e2ists.
Figure 1<.43. )pti%i?e the ar%s do;n to =asic shapes.
Figure 1<.44. &educe the hair geo%etr do;n to a =asic =o-
shape.
Red*ce t'e face as deonstrated in Figure 1<.45+ reo#in$ t'e details for 'er e"es+
nose+ and li)s and lea#in$ 'er face ore or less flat.
T'e le$s can %e red*ced in t'e sae !a" as "o* did t'e ars. Select t'e ed$es at t'e
front and colla)se t'e+ red*cin$ t'e di#isions aro*nd t'e le$s fro fi#e to fo*r =Figure
1<.46>.
Figure 1<.45. &e%o:e details fro% the face.
Figure 1<.46. &educe the di:isions around the legs.
9. 5'en t'e le$s are red*ced+ "o* !ill notice areas aro*nd t'e crotc' and !aist t'at
can %e o)tii8ed. At t'is le#el+ )ol"$ons to aid deforation are not needed+ so select
and colla)se t'e ed$es 'i$'li$'ted in Figure 1<.47 to)/left and to)/ri$'t.
Figure 1<.47. )pti%i?e the ;aist and crotch.
1<. No! "o*-#e coe to t'e torso. Yo* onl" need t'e %asic s'a)e to re)resent t'e
c'aracter+ so t'ere are 7*ite a fe! areas "o* can red*ce 'ere. Reo#e t'e ed$es
s'o!n in Figure 1<.48 to)/left and %otto/left+ $i#in$ "o* t'e torso seen in t'e to)/
ri$'t and %otto/ri$'t of Figure 1<.48. After reo#in$ t'e )ol"$ons+ "o* !ill need to
fine/t*ne t'e s'a)e sli$'tl".
Figure 1<.48. &e%o:e %ost of the detail fro% her torso1 lea:ing
the =asic shape intact.
Figure 1<.49. You onl need a :er funda%ental shape for the
shoe.
11. Finall"+ !or&
on t'e s'oe+ red*cin$ it do!n to t'e %asic s'a)e seen in Figure 1<.49+ ri$'t.
[View full size image]
Figure 1<.41. ,)D 4>s distance fro% the ca%era
LO, I is no! co)lete and "o* can see it in Figure 1<.5<.
Figure 1<.5<. ,)D 4 up close
C'ec&in$ t'e )ol"$on co*nt s'o!s !e are do!n to 3GEanot'er s*ccessf*l red*ction.
Renae t'e $ro*) and dis)la" la"er to reflect t'e correct )ol"$on co*nt+ and o#e on to
create t'e final le#el of detail
,)D 5. 15<
Polgons
5e are no! at t'e final le#el of detail+ t'e ost %asic #ersion of o*r c'aracter. Figure
1<.51 s'o!s t'e distance at !'ic' t'is #ersion !ill %e acti#ated. not *c' at all can %e
seen. 5e can 1*st a%o*t a&e o*t ars+ le$s+ and a torso+ so t'ese are t'e areas !e !ill
concentrate on.
1. Create a co)" of t'e LO, I+ renain$ it to KilaB@G.
2. Place t'is co)" into a ne! dis)la" la"er called KilaKB@G+ and 'ide t'e dis)la"
la"er of t'e )re#io*s #ersion.
3
.
,elete t'e 'air and s'oes.
4. Yo* onl" need a #a$*e re)resentation of ars+ so co)letel" reo#e t'e
'ands+ er$in$ t'e end of eac' ar into a sin$le #erte2 =Figure 1<.52>.
Figure 1<.52. &e%o:e the hands and %erge the ends of the li%=s.
5. Yo* !on-t see t'e face at all at t'is distance+ %*t "o* do need soet'in$ to re)resent
'er 'ead. ,elete t'e faces *nder 'er c'in+ and t'en !or& on t'e 'ead *ntil it-s a %asic
flat c*%e li&e t'e one in Figure 1<.53. Not onl" !ill t'is *se fe!er )ol"$ons+ %*t it !ill
!or& !ell fro a distance.
Figure 1<.53. &educe the head do;n to nothing =ut a =asic cu=e
shape.
6. Reo#e an" e2tra )ol"$ons on t'e le$s t'at add to t'eir s'a)e. All "o* need at t'is
sta$e are #er" %asic c*%e s'a)es =Figure 1<.54>.
Figure 1<.54. ,ea:e Aust t;o =asic cu=es for the legs.
7. Finall"+ t'ere-s no need for details on 'er torso+ eit'er. Yo* 1*st !ant a %asic s'a)e+
so reo#e t'e areas 'i$'li$'ted in Figure 1<.55 to)/left and %ottoleft to a&e
t'e li&e Figure 1<.55 to)/ri$'t and %otto/ri$'t.
Figure 1<.55. )pti%i?e the torso area.
Figure 1<.51. ,)D 5>s distance fro% the ca%era
[View full size image]
O*r final le#el of detail !ei$'s in at B?G )ol"$ons. S'e-s not *c' to loo& at =Figure
1<.56>+ %*t "o* 'a#e to ree%er s'e !ill ne#er %e seen t'is close in t'e $ae. Renae
t'e final $ro*) and dis)la" la"er to re)resent t'e )ol"$on co*nt =KilaKB?G> and sa#e t'e
file as KilaKLO,KPre).%.
Figure 1<.56. ,)D 5 up close
O*r LO, odel for Kila is co)lete+ %*t !ill it !or&0 Once !e 'a#e co)leted t'e
red*ctions on Grae+ !e !ill test %ot' c'aracters- LO,s to see 'o! t'e" !ill loo& in a
$ae !'en t'e c'aracters o#e a!a" fro t'e caera.
$rae>s
,)Ds
For Grae-s LO, !or&+ "o*-ll %e ta&in$ o#er.
Load in t'e file "o* created earlier+ GraeKPose.%.
T'e ain Grae odel is @BCI )ol"$ons+ so $enerate le#els of detail at aro*nd t'e
follo!in$ )ol"$on liits( IGGG+ B@GG+ C@G+ 3@G+ and B@G. 9e is a *c' lar$er
c'aracter t'an Kila+ so 'e !ill need an e2tra LO,.
Ree%er t'at eac' LO, !ill %e ro*$'l" t!ice t'e distance a!a" fro t'e caera as
t'e ne2t/'i$'er one+ so &ee) 8ooin$ o*t to t'at le#el to c'ec& "o*r )ro$ress.
9ere are a fe! areas to consider(
Grae-s teet' and cla!s 'old a lot of )ol"$ons and !ill *ltiatel" not %e seen fro a
distance. Tr" reo#in$ t'e %ac& faces fro 'is teet' first.
If "o* are str*$$lin$ to eet "o*r LO, liits+ consider reo#in$ t'e !in$s
co)letel" !'en 'e is far fro t'e caera%*t t'is is soet'in$ "o*-d !ant to c'ec& o*t
!it' "o*r ana$er first.
Ree%er to consider t'e 'ands for red*ction as !ell as t'e li%s. T'eir need to
defor correctl" fades+ t'e fart'er t'e" $et fro t'e caera.
5'en finis'ed+ sa#e "o*r !or& as GraeKLO,KPre).%. Yo* can see Grae-s LO,s in
Figure 1<.57.
Figure 1<.57. $rae>s le:els of detail
Testing ,)Ds. The ,e:el of Detail
$roup
Kno!in$ 'o! t'e le#els of detail !ill loo& in t'e $ae can %e $*ess!or& at ties. It
*s*all" in#ol#es "o*r act*all" seein$ t'e c'aracter in t'e $ae%*t Ma"a 'as a !a"
aro*nd t'is re7*ireent. Ma"a allo!s "o* to #ie! t'e odels interacti#el" *sin$ a Le#el
of ,etail Gro*). T'e )ro$raers on "o*r tea can t'en *se t'e data in t'is $ro*) to
'el) t'e set *) t'e in/$ae LO,s.
M*c' li&e a noral $ro*)+ !'at t'e LO, Gro*) does is $ro*) all t'e different resol*tions
to$et'er. T'en "o* can desi$nate at !'at distance eac' odel s'o*ld %e #ie!ed.
Let-s a))l" t'is tec'ni7*e to o*r c'aracters+ Kila first.
Load in t'e file called KilaKLO,KPre).%. Ma&e all t'e LO,s #isi%le in t'e La"er Editor.
In t'e O*tliner+ select t'e 'i$'est LO, $ro*) first =KilaIGEA>. T'en+ 'oldin$ Ctrl+ select
t'e lo!er ones in order.
Go to Edit L Le#el Of ,etail L Gro*). Eac' #ersion of "o*r c'aracter !ill no! %e )laced
into a ne! $ro*) called lodGro*)B. T'is $ro*) !ill no! control eac' LO,-s #isi%ilit".
Tr" doll"in$ t'e caera in and o*t of t'e screen. t'e c'aracter !ill c'an$e de)endin$
on its distance fro t'e caera. T'e )ro%le at t'e oent is t'at t'e distances are not set
*) correctl".
If it-s not c*rrentl" selected+ select t'e lodGro*)B $ro*) and loo& in t'e C'annel :o2
=Figure 1<.58>.
Figure 1<.58. The ,e:el of Detail $roup options in the
Channel #o-
In t'e C'annel :o2+ "o*-ll see t'at !e 'a#e soe ne! attri%*tes in addition to t'e
*s*al translate+ rotate+ scale+ and #isi%ilit" attri%*tes.
Acti:e ,e:el tells "o* !'ic' LO, is c*rrentl" %ein$ #ie!ed.
ThresholdK<LK3L are t'e distances at !'ic' t'e LO,s c'an$e.
Distance is t'e c'aracter-s c*rrent distance fro t'e caera.
Displa ,e:elK<LK4L 'old #ario*s dis)la" o)tions for eac' indi#id*al LO,.
6. 5e !ill *se t'e ,istance attri%*te to 'el) *s fill in t'e T'res'old attri%*tes correctl".
,oll" o*t to t'e distance !'ere t'e LO, !ill first c'an$e to le#el ?+ *sin$ Figure 1<.13
as reference. 5'en "o*-re t'ere+ co)" t'e #al*e fro t'e ,istance attri%*te into t'e
T'res'oldQGR attri%*te. It s'o*ld %e @+ or a%o*t t'at.
7. ,o t'e sae for t'e rest of t'e LO,s+ *)datin$ t'e associated T'res'old
attri%*te for eac' le#el. T'e #al*es s'o*ld %e a))ro2iatel" B@ for T'res'oldQBR+
I3 for T'res'oldQ?R+ and B?3 for T'res'oldQ3R.
No!+ as "o* o#e in and o*t fro "o*r c'aracter+ t'e LO,s !ill c'an$e
accordin$ to t'e distances "o* 'a#e set.
8. Renae lodGro*)B to KilaLO,+ and sa#e t'e scene as KilaKLO,KActi#e.% to s'o!
t'at t'e LO,s are all set *) accordin$l".
No! "o* can follo! t'ese sae ste)s on t'e Grae odel. for 'i+ set t'e LO,
t'res'olds to 3@+ EG+ BCG+ 33G+ and CGG.
Su%%ar

5it' t'is c'a)ter co)lete+ Kila and Grae 'a#e %een desi$ned+ odeled+ o)tii8ed+ and
te2t*red+ and no! !e 'a#e $enerated t'eir le#els of detail in order to sa#e )rocessin$
)o!er. T'at is all t'e odelin$ !e !ill %e doin$ for no!.
In C'a)ter BB+ !e !ill $et soe e2)erience !it' Ma"a-s aniation tools as !e )ro#ide
t'e s&eletons t'at !ill ena%le o*r c'aracters to o#e and interact !it' t'e $ain$
en#ironent.
Chapter 11. Skeleton
Setup
CD Files
KilaKLO,KPre).% KilaKS&eleton.% KilaC'estTest.% GraeKLO,KPre).%
GraeKS&eleton.% Kila:od".t$a Kila9air.t$a Kila9ead.t$a Grae:od".t$a GraeMisc.t$a
Grae5in$.t$a Grae:od"K:*).t$a GraeMiscK:*).t$a IT-S NOT <UST a c'aracter-s loo&
in t'e $ae t'at a&es t'at c'aracter a))ealin$. a
lot 'as to do !it' t'e !a" it o#es. To %rin$ o*r c'aracters to life+ !e $i#e t'e a
skeleton. T'is s&eleton t'en dri#es t'e $eoetr" 1*st as o*r '*an s&eletons dri#e o*r
*scles and+ in t*rn+ o*r s&in.
O#er t'e ne2t t!o c'a)ters !e !ill e2)lore t'e )rocess of creatin$ an 4int*iti#e4 s&eletal
str*ct*re t'at !ill a&e o*r c'aracters o#e and eote realisticall" and !it' ease. 5e
!ill %e$in %" insertin$ %asic 1oints into Kila and Grae+ %efore ad1*stin$ t'e rotational a2es
to $et t'e res*lts !e re7*ire.
The #ase
Skeletons
Creatin$ t'e %ase s&eletal str*ct*re is )rett" strai$'tfor!ardit-s si)l" a atter of
%*ildin$ *) 'alf t'e c'aracter and t'en irrorin$ it to create t'e o))osite side.
As !it' an" as)ects of $ae art!or&+ !e do 'a#e tec'nical liits to ad'ere to. T'ese
liits #ar" draaticall" de)endin$ on t'e forat for !'ic' "o* are de#elo)in$ and t'e
$ae en$ine "o* are *sin$+ %*t to %e safe it-s %est to create t'e s&eleton *sin$ as fe!
1oints as )ossi%le. A 4safe4 n*%er for a ain c'aracter is AI. t'is liit is a coon one
%eca*se it-s t'e a2i* for t'e Pla"Station ?.
5e 'a#e alread" to*c'ed on t'e %asics of 1oint creation in C'a)ter A+ %*t %efore !e
)roceed to %*ildin$ s&eletons+ let-s 'a#e a closer loo& at t'e 1oint o)tions.
)ptions for /oint
Creation
O)en *) t'e o)tions for t'e <oint tool =Figure 11.1> fo*nd in t'e S&eleton en*. 5e are
$oin$ to *se t'e defa*lt settin$s in t'is c'a)ter-s !or&+ %*t 'ere-s a list of all t'e o)tions
in t'e <oint Settin$s )ane.
Figure 11.1. /oint tool options
(ote
Yo* can alter an" of t'ese settin$s after a 1oint 'as %een created.
=egrees of 'reedom dictates !'ic' rotations are acti#e. ,isa%lin$ F+ Y+ or M !ill
reo#e t'e a%ilit" to rotate aro*nd t'at a2is. ,isa%lin$ soe a2es can %e done+ for
e2a)le+ on an el%o! 1oint+ !'ere "o* !o*ld !ant to rotate aro*nd one a2is and not t'e
ot'ers.
Scale Compensate =!'en ena%led> a*toaticall" scales ot'er 1oints in t'e sae
s&eletal 'ierarc'" !'en "o* scale 1oints a%o#e t'e. T'e defa*lt settin$ for t'is o)tion is
ena%led.
/uto Boint "imits lets Ma"a s)ecif" 'o! far a 1oint can rotate aro*nd its a2is.
Create IK 0andle a*toaticall" adds IK =In#erse Kineatics. see C'a)ter B?> to
"o*r c'aracter-s 1oints as "o* create t'e. As te)tin$ as t'is o)tion i$'t see at first
$lance+ it-s rarel" a $ood idea to *se it.
/uto Boint 7rient deterines 'o! t'e a2is on eac' 1oint !ill %e set. In t'e defa*lt
settin$ =2"8>+ F !ill al!a"s )oint do!n t'e %one. Y !ill atte)t to )oint *)+ and M !ill tr"
to )oint o*t to t'e front =t'e Y and M a2es- )ositions are deterined ore %" t'e
orientation of t'eir c'ild %ones t'an t'e effect of
t'is settin$>.
Yo* can see t'e effect of t'e 2"8 A*to <oint Orient settin$ deonstrated in
Figure 11.2. In t'is e2a)le+ t'ere are t!o 1oints+ and in t'e center of eac' "o*
can see t'e 1oint-s rotational a2is( F )ointin$ do!n t'e %one to!ard t'e ne2t
1oint+ Y )ointin$ *)+ and M )ointin$ o*t to t'e front.
Figure 11.2. A =asic t;o@Aoint setup ;ith the rotational pi:ots
:isi=le
5e !ill tal& ore a%o*t t'e rotational a2is and 1oint orientation later in t'is c'a)ter.
Tip
To s'o! t'e selected o%1ect-s rotational )i#ot+ $o to ,is)la" L Co)onent
,is)la" L Local Rotational A2is.
No! t'at !e &no! a little ore a%o*t t'e o)tions a#aila%le for 1oint creation+ let-s
contin*e on and %*ild t'e s&eletons t'at !ill aniate o*r c'aracters. 5e !ill !or& on Kila
first.
+ila>s Skeletal
Structure
For Kila !e need an essentiall" standard s&eleton to start *s off. First !e !ill create 'er
li%s.
Load t'e file t'at contains all t'e LO,s+ KilaKLO,KPre).%.
Soe 1oints a" alread" e2ist in t'e scene. t'ese !ere *sed %ac& in
C'a)ter A
!'en !e tested Kila-s deforation. ,elete t'ese for no!. !e !ant to constr*ct t'is
s&eleton fro scratc'.
5e don-t !ant to edit an" of t'e $eoetr"+ so t*rn t'e dis)la" la"er #isi%ilit" off for t'e
lo!er le#els of detail+ and set t'e 'i$'est LO,-s dis)la" t")e to Te)late.
1. S!itc' to t'e front #ie! and $o to S&eleton L <oint Tool to %e$in %*ildin$ in t'e 1oints
for Kila-s ar+ startin$ !it' t'e cla#icle+ or collar%one =Figure 11.3>. T'en %*ild 1oints
for 'er le$+ startin$ at t'e 'i).
Figure 11.3. For the ar%1 =egin the Aoints ;ith the cla:icle rather
than the shoulder.
After )lacin$ eac' 1oint+ "o* can ani)*late its )osition %" clic&in$ on it !it' t'e
iddle o*se %*tton. Press Enter to co)lete eac' c'ain. Ma&e s*re t'e 1oint
c'ains for t'e ar and le$ a))ear strai$'t !'en "o*-re loo&in$ at t'e fro t'e
front.
2. Ne2t+ *sin$ t'e to) and side #ie!s+ )osition all t'e 1oints of t'e ar and le$ so t'at
t'e" lie do!n t'e center+ or close to it+ of t'e $eoetr" =Figure 11.4>.
Figure 11.4. Position the Aoints do;n the center of the
geo%etr.
Tip
If "o* need to o#e t'e 1oints after t'e c'ain is co)lete+ )ress t'e
Insert &e". T'is allo!s "o* to o#e a 1oint !it'o*t affectin$ ot'ers in t'e
1oint 'ierarc'".
3. T'e ain )art of t'e s)ine is constr*cted fro si2 1oints+ startin$ !it' t'e %ase 1oint
located 'alf!a" %et!een 'er na#el and 'er crotc'. T'e fift' 1oint in t'e c'ain s'o*ld %e
at t'e %ase of 'er nec&+ lea#in$ t'e si2t' and final one to %e )ositioned )arallel to t'e
nec& %*t no 'i$'er t'an 'er o*t'.
5it' t'e ain s)ine done+ create one additional 1oint o*t in front of 'er 'ead+
restin$ 1*st o*tside 'er o*t'.
Yo* can see all se#en of t'ese 1oints in Figure 11.5.
Figure 11.5. Create the spine1 neck1 and head Aoints.
Yo* c*rrentl" 'a#e t'ree se)arate s&eletons. no! "o* !ill co%ine t'e into a sin$le
one. Select t'e cla#icle 1oint and t'en t'e s)ine 1oint t'at e2ists 1*st %elo! it. Press P to
)arent t'e =Figure 11.6>.
Parent t'e t'i$'%one to t'e first+ %ase 1oint of t'e s)ine =Figure 11.7>.
Figure 11.6. Parent the cla:icle to the spine.
Figure 11.7. Parent the thigh=one to the =ase of the spine.
6. T'e %asic s&eleton no! e2ists for Kila-s left side. Yo* still need to add t'e 1oints for
'er fin$ers+ !'ic' s'o*ld %e )arented to t'e !rist =Figure 11.8>. Create fo*r 1oints for
eac' of t'e fi#e fin$ers+ and t'en )arent eac' root 1oint to t'e !rist.
Figure 11.8. Create the Aoints for her "ngers.
5it' t'ese %asic 1oints in )lace+ !e can no! co)" and irror t'e to create Kila-s
ri$'t side.
1
.
O)en t'e O*tliner+ and S'iftNclic& on t'e )l*s si$n ne2t to t'e 1oint 'ierarc'". T'is
o)ens *) t'e entire 'ierarc'" as s'o!n in
Figure 11.9
+ left.
[View full size image]
Figure 11.9. &ena%e all the Aoints..
In t'e 'ierarc'"-s c*rrent state+ "o* can-t tell !'ic' 1oint is !'ere+ so let-s $o in and
an*all" renae t'e all. Call t'e #er" first 1oint Root+ and )*t t'e )refi2 LK in
front of t'e naes of all t'e left/side 1oints. Add KTi) at t'e end of t'e naes of t'e
1oints at t'e #er" end. See 'o! t'e ne! 'ierarc'" loo&s in Figure 11.9+ ri$'t.
2. No! select t'e LKT'i$' 1oint. Go to S&eleton L Mirror <oint and o)en t'e
o)tions =Figure 11.1<>.
3. Set Mirror Across to YM. t'is !ill irror t'e 1oints fro NF to F. Lea#e Mirror
F*nction set to :e'a#ior. In Searc' For+ t")e LK. and in Re)lace 5it'+ t")e RK. T'is
renaes all t'e irrored 1oints %e$innin$ !it' LK so t'e" %e$in !it' RK.
Clic& A))l" !'en "o*-re finis'ed. "o*-#e no! created t'e ri$'t le$.
4. Select t'e cla#icle and irror it+ *sin$ t'e sae o)tions+ to create t'e ri$'t ar.
Figure 11.1<. Mirror /oint )ptions dialog =o-
As "o* can see in Figure 11.11+ Kila no! 'as a %asic s&eleton. Sa#e t'e file as
KilaKS&eleton.%.
Figure 11.11. +ila>s =asic skeleton
$rae>s Skeletal
Structure
No! !e !ill loo& at Grae-s %ase s&eleton.
Load t'e file GraeKLO,KPre).%+ and )re)are it %" t*rnin$ off all t'e dis)la" la"ers
e2ce)t t'e first one =GraeK@BCI>. Set t'is le#el-s dis)la" t")e to Te)late.
Reo#e an" 1oints t'at c*rrentl" e2ist in t'e scene+ e2ce)t for t'e ones "o* created for
t'e !in$s =and &ee) t'ese 'idden for no!>.
1. Use t'e <oint tool to create t'e left ar and le$ 1oints =Figure 11.12>.
Ree%er to %e$in t'e ar fro t'e cla#icle.
Figure 11.12. Create $rae>s left ar% and leg Aoints.
Tip
:eca*se of t'e si8e difference %et!een o*r t!o c'aracters+ Grae-s 1oints
a" not %e clearl" #isi%le+ so ad1*st t'e dis)la" si8e of 1oints %" $oin$ to
,is)la" L <oint Si8e.
2. Grae 'as indi#id*al toes+ *nli&e Kila+ so create t'e 1oints t'at !ill aniate t'ese
=Figure 11.13>.
Figure 11.13. !nsert Aoints into the indi:idual toes.
1 Ne2t+ i)leent t'e s)ine. Grae-s !ill %e 7*ite different fro Kila-s+ of co*rsetr" to
follo! t'e c*r#e of 'is *))er %od" as seen in Figure 11.14.
2 5it' Grae-s s)ine in )lace+ )arent t'e cla#icle to t'e 1oint nearest to it on t'e s)ine+
and )arent t'e t'i$' 1oint to t'e root of t'e s)ine.
3 To co)lete t'e left side+ %*ild t'e 1oints into t'e 'and. Kee) in ind t'at Grae 'as
fe!er 1oints in eac' fin$er t'an Kila does =Figure 11.15>.
Figure 11.14. Add the spine Aoints.
Figure 11.15. Add the Aoints in his hand.
6. To co)lete t'e %ase s&eleton for Grae+ renae all t'e 1oints =ree%erin$ to *se
t'e LK )refi2 and )lace KTi) after t'e naes of t'e end 1ointst'ese !ill %e on t'e
fin$ers+ toes+ !in$s+ and 'ead>. T'en *se t'e Mirror <oint tool to create 'is ri$'t side.
T'e %ase s&eleton is co)lete. "o* can see it in Figure 11.16.
Figure 11.16. $rae>s =asic skeleton.
For %ot' t'e %asic s&eletons t'at no! e2ist inside eac' of o*r c'aracters+ !e can
i)ro#e on t'e !a" t'e" aniate %" addin$ e2tra 1oints on to) of t'e f*ndaental
ones.
Additional
/oints
5or&in$ !it' t'e f*ndaental s&eleton is ideal for aniatin$ a c'aracter-s ain %od"+
%*t !'at a%o*t ot'er areas s*c' as t'e e"es+ Grae-s !in$s+ Kila-s 'air+ and e#en 'er
c'est0 To a&e t'e c'aracter a))ear ore realistic+ t'ese areas s'o*ld aniate+ too.
*es
Kila and Grae-s e"es need t'e a%ilit" to o#e+ so first !e !ill create 1oints to aniate
t'e. Follo! t'ese ste)s for %ot' c'aracters+ as t'eir e"es !ill !or& t'e sae.
Start %" 'idin$ all t'e $eoetr" e2ce)t for t'e e"es.
5'en !e created t'e e"e+ !e reo#ed t'e %ac& 'alf %eca*se it !asn-t needed. For
t'e e"e to rotate con#incin$l"+ !e need t'e 1oint to %e in t'e center of t'e ori$inal s)'ere.
So create a sin$le 1oint and+ loo&in$ fro t'e front+ )osition it o#er t'e center of
t'e e"e =Figure 11.17+ left>.
Figure 11.17. Position a Aoint o:er the pi:ot for the ee.
S!itc' to t'e side #ie!+ and o#e t'e 1oint to t'e #er" %ac& of t'e e"e $eoetr"
=Figure 11.17+ ri$'t>.
5it' t'e e"e in )osition+ renae it to LKE"e and )arent it to t'e 'ead 1oint
=Figure 11.18+ left>.
Figure 11.18. Parent the left ee Aoint to the head Aoint =efore
%irroring it to create the right ee.
5. Use t'e Mirror <oint tool to co)" t'e ne! e"e across to create t'e ri$'t e"e
=Figure 11.18+ ri$'t>. T'is s'o*ld a*toaticall" renae it RKE"e in t'e )rocess.
T'at-s t'e e"es in )osition. 5e !ill loo& into addin$ ore 1oints in t'e !a" of facial
aniation in C'a)ter B3.
+ila>s
Chest
As Kila o#es aro*nd+ it !o*ld %e nice to add a little %o*nce to 'er %oso+ $i#in$ 'er
a %it ore life and a&in$ 'er see ore or$anic. 5e can a))roac' t'is
en'anceent in t!o !a"s( *sin$ eit'er 1oints rotations or translations to add
aniation.
If !e *se t'e translations et'od+ !e 'a#e freedo to o#e t'e 1oints an"!'ere in
s)ace. Also+ t'e ain )i#ot )oint !ill act*all" %e inside eac' %reast+ eanin$ !e are
essentiall" )ic&in$ eac' %reast *) and o#in$ it aro*nd. Usin$ rotations liits t'e
o#eent to aro*nd t'e )i#ot )oint itself. T'is is ideal for rotational/%ased aniation+ on
!'ic' t'e a1orit" of t'e %od" is %ased. 5'at "o* need to find o*t at t'is sta$e is 'o!
t'e 1oints are 'andled !'en t'e" are e2)orted and )laced into t'e $ae. If t'e en$ine
can onl" 'andle rotations+ t'en t'e decision is ade for "o*.
:*t !'ic' et'od is %est0 It de)ends on t'e area "o* are aniatin$ and !'at "o* need
it to do. in t'is instance+ %ot' tec'ni7*es !ill )ro#ide $ood res*lts. Let-s ta&e a loo&.
O)en *) t'e file naed KilaC'estTest.%.
Press Pla" in t'e Tie Slider+ and "o*-ll notice t'at t'e o#eent of %ot' %reasts is
alost identical+ "et t'e one on t'e ri$'t is controlled #ia translations !'ereas t'e left
side is controlled %" t'e 1oints- rotations. T'e onl" initial difference can %e seen !'en
"o* loo& fro t'e side. As t'e c'est rises+ t'e %reast controlled #ia rotations tilts *)!ard
as it rotates.
Loo& at t'e 1oint confi$*ration for t'e t!o tec'ni7*es in
Figure 11.19
. As "o* can see+ t'e 1oints on t'e left+ !'ic' control t'e %reast #ia rotations+ 'a#e to %e
7*ite far %ac&+ 1*st )ast t'e s)ine in fact. 9a#in$ t'e 1oints too close to t'e %reast !ill
ca*se it to tilt *)!ard *nnat*rall" as it rises and falls.
Figure 11.19. T;o diFerent chest Aoint con"gurations
5it' t'e 1oints )laced act*all" inside t'e %reast+ as s'o!n in t'e torso on t'e ri$'t of
Figure 11.19+ controllin$ t'e !it' t'eir translations !ill initiall" $i#e "o* a $ood idea of
'o! t'e" !ill o#eas !ell as $i#in$ "o* ore freedo o#er !'ere t'e" o#e.
Usin$ translations to ani)*late "o*r $eoetr" !ill allo! "o* to aniate it t'ro*$' all
t'ree de$rees of o#eent. 5it' rotations+ on t'e ot'er 'and+ "o* are loc&ed to t'e
)i#ot )oint and so can onl" o#e t'e %reast *) and do!n and t!ist it. Usin$ translations+
'o!e#er+ lets "o* o#e it *)+ do!n+ and in and o*t.
So for Kila+ !e o)t for t'e translation et'od%*t in ot'er )ro1ects+ a&e s*re "o*
c'ec& on !'ic' et'ods are )ossi%le for "o*r $ae en#ironent+ and t'in& first a%o*t
!'at "o* !ant t'e area to do.
+ila>s
'air
Kila-s 'air is 7*ite lon$+ so if it doesn-t 'a#e soe o#eent it !on-t loo& nat*ral.
Ideall"+ t'e 'air !o*ld %e controlled %" an in/$ae )'"sics en$ine+ %*t for t'e
)*r)oses of t'is %oo& !e !ill add soe 1oints to $i#e it %asic o#eent.
5e co*ld create lots of 1oints+ $i#in$ *s t'e freedo to do an"t'in$ !e !ant !it' t'e 'air+
%*t its c*rrent to)olo$" and associated 1oint restrictions ean !e 'a#e to rel"
on fe!er 1oints.
1. First+ 'ide t'e ain s&eleton. T'en+ as deonstrated in Figure 11.2<a+ create fi#e
indi#id*al 1oints alon$ t'e %otto of 'er 'airdo.
Figure 11.2<. 'air Aoint asse%=l
Tip
If t'e $eoetr" la"er is set to Reference instead of Te)late+ 1oints can
%e )oint/sna))ed to #ertices+ !'ic' !ill aid in t'eir )laceent.
:eca*se !e !ant t'e 'air to s!in$+ *sin$ rotations is t'e %est !a" to aniate it.
,*)licate t'e fi#e 1oints "o* 1*st created+ and o#e t'e *) to t'e )i#ot )oints fro !'ic'
t'e 'air 4'an$s.4 9alf!a" *) t'e side of 'er 'ead is an ideal )osition =Figure 11.2<=>.
Parent t'e lo!er 1oints to t'e *))er ones =Figure 11.2<c>. Renae t'e all+ addin$
KTi) after t'e naes of t'e lo!er 1oints so t'at "o* !ill &no! t'ese are end 1oints.
Un'ide t'e ain s&eleton+ and )arent t'e 'air 1oints to t'e 'ead. T'is $i#es "o* t'e
set*) s'o!n in Figure 11.2<d.
5e no! 'a#e t'e a%ilit" to add soe o#eent to 'er 'air.
$rae>s
Wings
Grae-s !in$s+ li&e Kila-s 'air+ need t'e a%ilit" to o#e. Yo* s'o*ld alread" 'a#e a !in$
set*) left o#er fro C'a)ter A. 5e can *se t'at 'ere+ sa#in$ *s t'e effort of creatin$
a ne! one.
First !e need to address t'e !in$s- a%ilit" to o)en and close. 5it' t'e c*rrent 1oint
'ierarc'" !e can-t do t'is =Figure 11.21+ left>. T'e sin$le 1oint at t'e !rist rotates all
t'e fin$ers of t'e !in$. !e need to %e a%le to rotate t'ese indi#id*all".
Select t'e iddle 1oint of eac' !in$ fin$er+ and $o to Edit L Un)arent =Figure 11.21+
iddle>.
No! select t'e &n*c&le 1oint to !'ic' t'e" !ere ori$inall" )arented+ and d*)licate it
fo*r ties. Call t'ese d*)licates LK5in$KFin$erGBK:ase+ LK5in$KFin$erG?K:ase+
LK5in$KFin$erG?K:ase+ and LK5in$KFin$erGIK:ase.
Parent t'ese ne! 1oints to t'e one fro !'ic' t'e" !ere d*)licated+ LK5in$K5rist.
No! )arent t'e ends of t'e !in$ fin$ers to t'e ne! 1oints. So LK5in$KFin$erGB !ill %e
)arented to LK5in$KFin$erGBK:ase+ and so fort'. In effect+ t'e !in$ !ill loo& no different
t'an !'en !e %e$an.
Figure 11.21. AdAust the ;ing hierarch so that the ;ing can open
and close.
As "o* can see in Figure 11.21+ ri$'t+ !e can no! o)en and close t'e !in$ %" *sin$ t'e
ne! 1oints !e-#e created.
No! t'at t'e !in$ is easier to )ose+ !e can $o a%o*t attac'in$ it to t'e ain
s&eleton and irrorin$ it for t'e !in$ on t'e ri$'t.
1. To start+ si)l" )arent t'e !in$ to t'e *))er s)ine 1ointt'e sae one to !'ic' t'e
cla#icles !ere )arented =Figure 11.22+ iddle>.
Figure 11.22. Parent the ;ing to the upper spine and then create
a %irrored duplicate.
2. To create t'e !in$ on t'e ri$'t+ select t'e first 1oint %elon$in$ to t'e e2istin$ !in$
and *se t'e Mirror <oint tool =Figure 11.22+ %otto>.
/oint
Cleanup
T'e )rinci)al s&eletons for Kila and Grae are no! co)lete+ so let-s find o*t 'o! an"
1oints a&e *) eac' one. In t'is case+ I 'a#e ade t'is eas" for "o*. t'e n*%er of
1oints in t'e scene does not atc' t'e n*%er t'at !ill %e *sed in t'e $ae. All of t'e
end 1oints are t'ere erel" as a #is*al aid. t'e act*al $eoetr" !ill not *se t'e to
o#e.
(ote
Yo*-ll !ant to do*%le/c'ec& t'is !it' t'e rele#ant )ro$raer. it a" %e
t'at "o*r $ae en$ine does need t'ese end 1oints.
Contained in t'e GC,M s'elf is a %*tton la%eled 1ntCnt. R*nnin$ t'is !ill $i#e "o* an
acc*rate 1oint co*nt. It !ill not+ 'o!e#er+ incl*de an" of t'e end 1oints =s*c' as t'e e"es>+
so "o* !ill 'a#e to add t'ese to t'e co*nt.
Usin$ t'e 1ntCnt tool+ !e can see t'at Kila *ses @C 1oints+ )l*s anot'er I for 'er e"es and
c'est+ %rin$in$ t'e co*nt *) to AB. Grae *ses AA+ )l*s ? for 'is e"es+ a&in$ t'e total AD.
In t'e ne2t section+ !e !ill need to c'ec& 'o! t'e s&eleton !ill o#eor+ ore
acc*ratel"+ rotate.
,e)endin$ on 'o! "o* constr*cted t'e s&eleton+ t'ere a" %e soe #al*es in t'e
rotation attri%*tes. :eca*se t'e a1orit" of t'e s&eleton is controlled %" its rotations+ it-s
#ital t'at t'ese are 8eroed o*t %efore c'ec&in$ t'e rotational a2es. 9a#in$ t'e all at
8ero !ill si)lif" aniation and control.
:efore !e contin*e to t'e ne2t tas&+ 7*ic&l" select all t'e 1oints and free8e t'e
transfors+ a&in$ s*re to free8e onl" t'e rotations.
Checking the &otational
A-is
One of t'e ost i)ortant sta$es in c'aracter ri$$in$+ )artic*larl" in Ma"a+ is to
c'ec& t'e rotational a2es. T'e !a" a 1oint rotates de)ends on 'o! t'e a2is is ali$ned.
T'is is )artic*larl" i)ortant !'en "o* are *sin$ 1oint c'ains as !e 'a#e done in Kila
and Grae.
Loo& at Figure 11.23+ left. 9ere !e 'a#e o*r c*rrent 'and for Kila+ !'ic' loo&s fine. To
$et t'e fin$ers to %end and a&e a fist+ !e !o*ld select t'e root of eac' fin$er+ t'en its
'ierarc'"+ and do a $lo%al rotation aro*nd t'e M a2is.
Figure 11.23. &otating the "ngers around the M a-is
de%onstrates that the rotational a-es are not correctl aligned.
Figure 11.23+ ri$'t+ s'o!s t'e res*lt. :eca*se all of t'e rotational a2es are o*t of line
at t'is )oint+ t'e fin$ers are all %endin$ in rando directions.
Yo*-ll find t'is isali$nent in a n*%er of areas aro*nd t'e s&eleton as it is
c*rrentl" constr*cted+ so let-s fi2 t'e.
T'is $i#es *s t'e o))ort*nit" to loo& at t!o ore of t'e tools located on t'e GC,M
s'elf( rs<nt and or<nt.
T'e rs<nt tool !ill reset a 1oint-s a2is to atc' t'e one a%o#e it in t'e 'ierarc'". If
no 1oint e2ists a%o#e t'e 1oint %ein$ reset+ rs<nt !ill atc' t'e !orld a2is.
T'e or<nt tool atte)ts to reorient eac' 1oint *sin$ t'e defa*lt 2"8 settin$ =in t'is
case+ F )ointin$ do!n t'e %one+ !it' Y and M )er)endic*lar to it>.
(ote
Ma"a does 'a#e its o!n tool for reorientin$ 1oints =S&eleton L Orient <oint>. I-#e
fo*nd+ 'o!e#er+ t'at t'is tool doesn-t o)erate as I-d e2)ect !'en ore t'an one
1oint is selected. Feel free to *se t'e Ma"a coand if "o* )refer.
1 Select t'e root of Kila-s s&eleton. T'en select t'e rest of t'e 1oints %elo! it %" $oin$
to Edit L Select 9ierarc'".
2 5it' t'e 1oints no! selected+ $o to ,is)la" L Co)onent ,is)la" L Local Rotation
A2is. As "o* can see in Figure 11.24+ ri$'t+ eac' 1oint-s a2is is no! #isi%le.
Figure 11.24. Make all the Aoints> rotational a-es :isi=le.
No! t'at !e can see eac' a2is+ !e can reali$n t'e.
3. To start+ reset t'e s)ine 1oints. Select t'e ain root 1oint and contin*e selectin$ "o*r
!a" *) t'e s)ine+ ri$'t *) to t'e 9eadKTi) 1oint. Ma&e s*re "o* select t'e 1oints in
order.
Tip
It can %e a little conf*sin$ 'a#in$ all t'e rotational a2es dis)la"ed at once.
I recoend 'idin$ t'e ones "o* are not c*rrentl" !or&in$ on. Select a
1oint and $o to ,is)la" L Co)onent ,is)la" L Local Rotation A2is. Yo*
can $o a ste) f*rt'er %" 'idin$ t'e inacti#e 1oints+ too+ %*t %e !arned t'at
'idin$ one !ill also 'ide all t'e ones %eneat' it in t'e 'ierarc'".
4. Figure 11.25+ left+ s'o!s t'e c*rrent orientation of t'e a2es. Clic& rs<nt+ and t'ese
!ill %e reset as seen in Figure 11.25+ ri$'tall nice and neat+ !it' M )ointin$ for!ard.
Figure 11.25. &eset the rotational a-es on the spine.
5. Ne2t+ )erfor t'e sae resettin$ )rocess on t'e %reast+ e"e+ and 'air 1oints
=Figure 11.26>.
Figure 11.26. &eset the =reast1 ee1 and hair Aoints.
(ote
Norall"+ a 1oint-s rotation s'o*ld atc' t'e orientation of t'e 1oint itself+ !it'
one a2is )ointin$ directl" do!n t'e %one. 5e are i$norin$ t'is )rinci)le for t'e
%reast+ e"e+ and 'air 1oints+ 'o!e#er+ %eca*se !e !ant t'e rotations to atc'
Ma"a-s !orld )i#ot. In C'a)ter B?+ !e !ill %e assi$nin$ ri$$in$ controls to t'ese
1oints+ so 'a#in$ t'e a2es at t'is defa*lt state !ill a&e t'e easier to control.
T'at-s t'e center of t'e %od" co)lete+ no!+ so let-s )roceed to t'e ars and 'ands.
To orient t'e ars correctl"+ !e first need to te)oraril" reset t'e cla#icles. 5e do t'is
%eca*se t'e orientation of t'e ar 1oints !ill %e %ased on t'eir )arent 1oints. If !e
si)l" fi2ed t'e cla#icle !it'o*t resettin$+ t'e s'o*lder-s Y a2is !o*ld not )oint directl"
*)+ and t'e ar-s rotation !o*ld %e off. Resettin$ t'e cla#icle !ill allo! t'e s'o*lders+
and t'en t'e rest of t'e ar-s a2es+ to orient correctl".
1 Select t'e cla#icle 1oints and clic& on t'e rs<nt %*tton.
2 Select t'e s'o*lder and el%o! 1oints. t'is tie clic& on t'e or<nt %*tton.
3 :eca*se t'e !rist 1oint 'as lots of c'ildren+ !e can-t tell it to ad1*st t'e a2is so t'at F
)oints do!n one %one to!ard t'e ne2t one. In t'is case+ o*r 'and is oriented t'e sae as
t'e *))er ar+ so !e can *se t'e rs<nt tool !'ic' !ill co)" t'e )re#io*s 1oint-s orientation.
Yo* can see t'e ar orientations in
Figure 11.27
.
Figure 11.27. &eset the cla:icle and then reorient the rest of the
ar%.
(ote
T'in& a%o*t 'o! "o* !ant t'e 'and to %end %efore "o* 1*) in and reset
t'e orientation. If t'e ali$nent )rocess descri%ed 'ere is not $oin$ to
!or&+ t'en "o* !ill 'a#e to edit t'e rotational a2is an*all"+ !'ic' !e
!ill loo& into s'ortl".
4. For t'e fin$ers+ si)l" select eac' 1oint and )ress or<nt =Figure 11.28+
iddle>.
Figure 11.28. Fi- the orientation of the "ngers and thu%=.
No! t'e t'*% !ill 'a#e t'e sae orientation as t'e fin$ers+ %*t if "o* rotate
"o*r o!n t'*% "o*-ll notice it !or&s on a different a2is. To rectif" t'is+ t'e GC,M
s'elf 'as anot'er %*tton la%eled rotI@. T'is tool !ill rotate t'e 1oint-s rotational
)i#ot aro*nd t'e F a2is at I@/*nit inter#als.
On t'e left 'and+ select t'e t'*% 1oints+ and )ress t'e rotI@ %*tton se#en ties
=Figure 11.28+ ri$'t>.
For t'e ri$'t 'and+ "o* onl" need to )ress t'is once %eca*se t'e orientations are
irrored.
Tip
Ma&e s*re to do*%le/c'ec& a$ainst "o*r o!n 'and to #erif" t'e )ro)er
effect is ac'ie#ed+ )artic*larl" for t'e t'*%.
T'e last 1oints to tac&le are in t'e le$s. Startin$ fro t'e 'i)+ select eac' 1oint and )ress
or<nt. As "o* can see in Figure 11.29+ t'is !or&s !ell on t'e le$s. T'e feet+ 'o!e#er+ are
at an an$le. 5e !ant t'e )i#ots to %e flat =an a2is flat and )arallel relati#e to t'e $rid>
!'ile also %ein$ ali$ned !it' t'e foot. ot'er!ise+ !'en !e rotate t'e feet+ t'e" !ill s&e!
off to one side.
Figure 11.29. &eorient the rotational a-es on the legs.
5e co*ld tr" resettin$ t'e an&le 1oints+ %*t t'is !on-t !or&. t'e" !ill onl" in'erit t'e
)re#io*s 1oint-s )i#ot. So !'at !e do is t'is(
1. Select t'e an&le 1oints and *n)arent t'e fro t'e &nees =Edit L Un)arent>. see
Figure 11.3<=.
Figure 11.3<. Fi- the orientation of the feet.
No! reset t'e an&le 1oints. T'e" !ill in'erit t'e !orld )i#ot+ a&in$ t'e nice and
flat.
5it' t'e an&les set+ "o* can select t'e rest of t'e foot 1oints and r*n or<nt on t'e
=Figure 11.3<c>.
Parent t'e an&les %ac& to t'e &nees =Figure 11.3<d>.
T'e feet aren-t finis'ed "et!e still need to fine/t*ne t'e. Loo& fro t'e to) #ie!+
as seen in Figure 11.31+ to). Alt'o*$' t'e a2es are flat+ !'ic' is 'o! !e !ant
t'e+ t'e" don-t atc' t'e orientation of t'e foot. Eac' foot )oints sli$'tl" o*t!ard+
!'ereas t'e a2is is )ointin$ dead a'ead. 5e need t'e a2is to atc' t'at s'o!n in
Figure 11.31+ %otto.
Figure 11.31. We no; need to adAust the orientation fro% the top
:ie;.
5. Go *) to t'e stat*s line and select t'e Select :" Co)onent T")e %*tton+ t'e
second %*tton fro t'e left in Figure 11.32.
Figure 11.32. Choose Select # Co%ponent Tpe then rightclick the
Huestion %ark in the status line.
Yo* are no! in Co)onent ode+ %*t "o* still need to tell Ma"a !'at
co)onents "o* !ant to edit.
Ri$'t/clic& on t'e 7*estion ar& to!ard t'e ri$'t end of t'e stat*s line =Figure
11.32>. On t'e en* t'at a))ears+ select Local Rotation A2is.
No! )'"sicall" select t'e an&les- rotation a2es and rotate t'e to atc' t'e 1oints+ as
deonstrated in Figure 11.33. Ma&e s*re to restrict "o*r rotation to t'e Y a2is+ so t'at F
reains flat relati#e to t'e $ro*nd6$rid.
Figure 11.33. Fine@tune the rotational a-es on the ankles.
8. Press FD !'en "o* are done to ret*rn to O%1ect ode.
5it' t'e rotational a2es cleaned *)+ t'e s&eleton is co)lete =Figure 11.34>. Sa#e "o*r
!or&+ *)datin$ t'e KilaKS&eleton.% file.
Figure 11.34. +ila>s co%pleted skeleton ;ith the cleaned@up
rotational a-es.
Grae-s s&eleton can %e ad1*sted in e2actl" t'e sae !a" as Kila-s. Go a'ead and
!or& on t'is ne2t+ *)datin$ t'e file GraeKS&eleton.%.
&epositioning the
Characters
:efore !e o#e on to C'a)ter B?+ t'ere is one final t'in$ to c'ec& in o*r c'aracters so
far( t'eir o#erall )osition in Ma"a.
S!itc' to t'e side #ie! and a&e s*re t'e $rid is ena%led =S'o! L Grid>. Yo* !ill see
t'at t'e c'aracters are not ali$ned !it' t'e !orld correctl" =t'e left )anels of Figures
11.35 and 11.36>. T'e t!o t'ic& %lac& lines of t'e $rid s'o! t'e !orld-s root. t'e
'ori8ontal one is o*r floor.
Figure 11.35. &eposition +ila and her skeleton in the ;orld.
Figure 11.36. &eposition $rae and his skeleton in the ;orld.
Select KilaLO, and Root in t'e O*tliner+ o#in$ t'e *) t'e Y a2is and alon$ t'e M a2is
*ntil t'eir feet rest on t'e 'ori8ontal line+ as seen in Figure 11.35+ ri$'t. ,o t'e sae
for Grae( Select GraeLO, and Root in t'e O*tliner t'en o#e t'e *) as seen in Figure
11.36+ ri$'t.
5'en finis'ed+ free8e t'e transfors on t'eir LO, $ro*)s+ a&in$ s*re "o* onl"
'a#e Translate selected.
Su%%ar

T'e first sta$e of c'aracter ri$$in$ for Kila and Grae is co)lete. 5e 'a#e created %ase
s&eletons and ad1*sted t'e rotational a2es to correct orientations+ allo!in$ t'e s&eletons
to aniate correctl". Ne2t !e !ill add controls to t'e s&eletons+ a&in$ it easier to )ose
and aniate t'e c'aracters.
Chapter 12. Character
&igging
CD Files
KilaKArRi$.%
KilaK:aiseRi$.%
KilaKLe$Ri$.%
KilaKTorsoRi$.%
KilaK;i8Ri$.%
KilaKFtrasRi$.%
KilaKS&eleton.%
GraeKArRi$.%
GraeK:aseRi$.%
GraeKLe$Ri$.%
GraeKTorsoRi$.%
GraeK;i8Ri$.%
GraeKFtrasRi$.%
GraeKS&eleton.%
Kila:od".t$a
Kila9air.t$a
Kila9ead.t$a
Grae:od".t$a
GraeMisc.t$a
Grae5in$.t$a
Grae:od"K:*).t$a
GraeMiscK:*).t$a
Grae:od"KS)ec.t$a
GraeMiscKS)ec.t$a
in Icons directory8
IconKArro!.%
IconKCross.%
IconKC*%e.%
IconK,iaond.%
IconKE"es.%
IconKFoot.%
IconK9and.%
IconK9ead.%
IconK;isi%ilit".%
IconK5in$s.%
5IT9 T9E :ASE s&eletons in )lace+ !e co*ld 1*st %ind t'e $eoetr" to t'e and %e$in
aniatin$. At first t'is !o*ld !or& !ell+ %*t sooner or later !e !o*ld start to notice
t'at o*r a%ilit" to a&e t'e c'aracter o#e is 'ea#il" restricted. At )resent+ t'e
c'aracter is li&e a car !it'o*t seats+ )edals+ or e#en a steerin$ !'eel. 5e can $et it to
o#e and !e can control it+ %*t not !it'o*t soe diffic*lt".
T'is is !'ere addin$ a ri$ !ill 'el). ?igging is t'e )rocess of addin$ controls on to) of
t'e %ase s&eleton. Initiall" t'ese controls !ill act as a #is*al aid+ 'el)in$ *s identif"
!'ic' area !e are ani)*latin$. On a dee)er le#el+ t'e" !ill allo! *s to o#e and )ose
t'e c'aracter in !a"s !e can-t acco)lis' !it' 1*st t'e %ase s&eleton.
As "o* can ia$ine+ ri$$in$ a f*ll c'aracter can %e a co)licated tas&+ and to t'e no#ice
it can %e 7*ite da*ntin$. Yo* can-t si)l" t'ro! a ri$ to$et'er"o* 'a#e to t'in& a%o*t
!'at "o* !ant eac' control to do+ and !'et'er it !ill a&e life easier in t'e end for t'e
aniator. T'e &e" is a&in$ a ri$ t'at an"one can 1*st )ic& *) and )la"+ ena%lin$ t'e
to $et )oses 7*ic&l" and easil"+ !'ile at t'e sae tie a&in$ s*re no )art of t'e set*)
can %e daa$ed *nintentionall" in t'e )rocess.
Ri$s coe in all s'a)es and si8es+ and "o* !ill find t'at e#er"one 'as t'eir o!n !a" of
ri$$in$. Ri$$in$ can %e 7*ite a )ersonal t'in$+ so don-t %e concerned if t'e ri$ "o* !ill
create d*rin$ t'is c'a)ter is not t'e sae as ones "o* a" 'a#e seen in ot'er
%oo&s or on t'e Internet. Once "o* 'a#e an *nderstandin$ of t'e f*ndaentals of ri$
%*ildin$+ "o* can t'en create "o*r o!n to s*it "o*r needs.
5it' t'is in ind+ !e !ill ta&e a different a))roac' in t'is c'a)ter t'an !e 'a#e so far.
5e-ll %e$in %" s)endin$ soe tie learnin$ t'e *nderl"in$ t'eor" and ne! ters in#ol#ed
%efore !e )roceed to t'e act*al tas& of creatin$ a ri$.
Wh 0se
Controls?
5it' t'e c'aracter es' #isi%le+ tr"in$ to select t'e correct 1oint can )ro#e tric&" and
often fr*stratin$. It !o*ld a&e t'in$s *c' less c'allen$in$ if !e co*ld for$et a%o*t
t'e 1oints on t'e %ase s&eleton+ controllin$ it t'ro*$' ot'er eans. Addin$ int*iti#e
controls to "o*r ri$ !ill a&e t'e !'ole aniation )rocess easier and 7*ic&er.
Ma"a 'as a s"ste on 'and to 'el) "o* !it' t'ese controls. E#er" o%1ect 'as a %*iltin
selection 'andle. t'is is dis)la"ed in t'e for of a sall cross t'at "o* can )osition
an"!'ere in t'e scene. Yo* can acti#ate t'ese 'andles %" $oin$ to ,is)la" L Co)onent
,is)la" L Selection 9andles.
T'e selection 'andle crosses !or& !ell to a )oint+ %*t ia$ine t'at "o* 'a#e one cross
for eac' 1oint. Loo&in$ at t'e e2a)le in Figure 12.1+ left+ can "o* tell !'ic' area of
t'e s&eleton is selected %" !'ic' 'andle0 Soe of t'e are 7*ite o%#io*s fro t'is
an$le+ %*t ia$ine 'o! diffic*lt it !o*ld %e if "o* !ere loo&in$ fro t'e side.
Figure 12.1. )ur +ila skeleton ;ith t;o diFerent control
%ethods
T'is is !'ere icons !or& !ell to re)resent controls. C*sto/ade *sin$ Ma"a-s c*r#e
creation tools+ an icon can %e tailored to s*it t'e area it !ill o#eli&e t'e 'and o*tline in
Figure 12.1+ ri$'tso t'at "o* and ot'er aniators can easil" na#i$ate t'e scene.
Icons don-t 1*st 'el) !it' na#i$ation. t'e" also 'el) !it' )ositionin$. All 1oints 'a#e
translation #al*es on t'e t'at cannot %e fro8en+ and resettin$ t'e to 8ero !ill )osition
eac' 1oint at t'e !orld root. 9a#in$ icons dri#e t'e 1oints !it' an initial #al*e of 8ero is
*sef*l if "o* need to reset t'e c'aracter or co)" aniation fro one icon to anot'er.
Anot'er #al*a%le asset is t'at "o* can add dynamic attributes to t'ese control icons. A
d"naic attri%*te added to t'e icon can t'en control a series of ot'er attri%*tes on a
co)letel" different o%1ect. t'is is done *sin$ t'e Set ,ri#en Ke"s coand *nder t'e
Aniate en* =!'ic' !e !ill disc*ss later in t'e c'a)ter>. For e2a)le+ "o* co*ld 'a#e a
sin$le attri%*te on t'e 'and icon t'at !ill )ose t'e entire 'and+ a&in$ it into a fist. a
#al*e of G on t'is attri%*te !o*ld %e t'e 'and in its defa*lt )ose+ and BG !o*ld %e t'e
fist. As "o* can ia$ine+ aniatin$ t'e 'and !ill $o *c' ore 7*ic&l" *sin$ a d"naic
attri%*te t'an it !o*ld if "o* 'ad to rotate eac' fin$er 1oint indi#id*all" and t'en set a
&e".
All t'at said+ Ma"a-s selection 'andles still 'a#e a $reat deal of *se in o*r ri$ and+
!'en *sed on a sall scale+ can )ro#e in#al*a%le.
!con
Creation
Yo* can *se an"t'in$+ fro locators to defa*lt c*r#es+ as iconsas lon$ as "o* a&e it eas"
to identif" !'ic' area of t'e s&eleton is re)resented. 9a#in$ t'e sae icon6locator for
eac' control !o*ld %e 1*st as conf*sin$ as *sin$ t'e defa*lt selection 'andle+ as s'o!n
earlier in Figure 12.1+ left.
Ma"a 'as soe defa*lt s'a)es t'at "o* can c'oose for icons(
A )lain circle s'a)e can %e created 7*ic&l" %" $oin$ to Create L NUR:S
Priiti#es L Circle.
If "o* onl" !ant 'alf of t'e circle+ "o* can *se Create L Arc Tools.
Yo* can al!a"s *se a locator fro Create L Locator.
T'e defa*lt icon s'a)es are $ood sol*tions for 7*ic& iconic re)resentation+ %*t "o* a"
need ore s)ecific s'a)es+ too+ s*c' as feet or 'ands. To create t'ese+ "o*-ll *se t'e
curve tools fo*nd in t'e Create en*.
T'e Control Certices @CCA Curve tool creates c*r#es %ased on t'e )laceents of
control #ertices =C;s>. Eac' C; contri%*tes to t'e o#erall s'a)e of t'e c*r#e.
As deonstrated in Figure 12.2+ t'e c*r#e "o* %*ild !ill not s'o! *) *ntil "o*
'a#e )laced t'e first fo*r C;s. Yo* !ill also notice t'at t'e C;s don-t lie on t'e
act*al c*r#e+ so t'is et'od of creation is less 'el)f*l if "o* are a&in$ )recise
s'a)es.
Figure 12.2. Creating a cur:e ;ith the CC Cur:e tool
T'e :dit >oint @:>A Curve tool is $eared ore to!ard acc*rate c*r#e creation+
%eca*se eac' )oint "o* )lace lies directl" on t'e c*r#e.
As "o* can see in Figure 12.3+ *nli&e t'e C; C*r#e tool+ t'e act*al s)line is
#isi%le once "o* 'a#e )laced t'e second edit )oint.
Figure 12.3. Creating a cur:e ;ith the *P Cur:e tool
T'e >encil Curve tool allo!s "o* to dra! "o*r c*r#e free'andideal !'en "o* need
to trace an ia$e or create a ore co)le2 s'a)e.
Cur:e Tool )ptions
Eac' c*r#e tool 'as siilar o)tions for controllin$ t'e o#erall s'a)e(
Curve =egree is )er'a)s t'e ost coon o)tion *sed. it controls t'e
soot'ness of t'e c*r#e+ as ill*strated in Figure 12.4.
Figure 12.4. A:aila=le cur:e degrees
T'e settin$ B Linear !ill $i#e "o* an an$*lar s'a)e+ !it' t'e c*r#e follo!in$ a
linear )at' %et!een eac' control )oint. T'e effects of settin$s ?+ 3 C*%ic+ @+ and
C $et $rad*all" soot'er+ !it' C )rod*cin$ t'e soot'est #ersion of a c*r#e.
Knot Spacing ad1*sts t'e )osition of eac' edit )oint. Unifor !ill $i#e "o* a
)redicta%le distri%*tion+ !'ereas C'ord Len$t' !ill i)ro#e t'e o#erall c*r#at*re.
Once t'e c*r#e is created "o* can ad1*st t'e soot'ness of a c*r#e-s dis)la" %"
selectin$ t'e c*r#e and )ressin$ B for a ro*$' #ersion of "o*r c*r#e+ ? for edi*
soot'ness+ and 3 for t'e soot'est dis)la" =Figure 12.5>.
Figure 12.5. You can adAust the cur:e>s displa s%oothness = pressing
11 21 or 3.
()T*
To 'el) %*ild o*r ri$s d*rin$ t'is c'a)ter+ !e !ill *se t'e read"/ade icons
fo*nd on t'e C, in Pro1ect Files6B?6Icons. T'at folder also 'as a fe! e2tra icons
for "o*r con#enience.
Su%%ar

In t'is e2tensi#e c'a)ter "o* 'a#e learned t'e %enefits of *sin$ icons to aniate "o*r
c'aracters. Yo* 'a#e also seen 'o! %est to i)leent t'ese icons to dri#e "o*r
s&eletons.
If "o* find ri$$in$ to %e a lon$ and tedio*s 1o%+ consider *sin$ t'e Creat*re Tools
scri)ts )ro#ided on t'e C,. Creat*re Tools !ill a*toaticall" $enerate a ri$ to "o*r o!n
s)ecifications and 'a#e "o* aniatin$ in in*tes.
5e 'a#e one final section to add to o*r ri$s for Kila and Grae. C'a)ter B3 s'o!s "o* 'o!
to ri$ for facial aniation *sin$ %ot' %lend s'a)es and 1oint/%ased tec'ni7*es.
For;ard +ine%atics and !n:erse
+ine%atics
:efore !e !or& on creatin$ controls for aniatin$ Kila and Grae+ it-s i)ortant to
*nderstand a a1or )rinci)le of c'aracter ri$$in$( forward kinematics @'KA and inverse
kinematics @IKA. FK and IK are t!o different et'ods of o#in$ a c'aracter in a scene.
Eac' 'as its ad#anta$es and disad#anta$es+ de)endin$ on !'at "o* !ant t'e c'aracter to
do+ and so %ot' s'o*ld %e i)leented into t'e c'aracter ri$ to acco*nt for an"
e#ent*alit".
'orward kinematics is t'e )rocess of aniatin$ down t'e 'ierarc'". For e2a)le+ to raise
or lo!er a c'aracter-s 'and "o* !o*ld rotate t'e s'o*lder+ t'en t'e el%o!+ and finall" t'e
!rist =Figure 12.6>.
Figure 12.6. *-a%ple of for;ard kine%atics DF+E
Aniatin$ !it' FK is 'i$'l" recoended %eca*se in an" cases it )rod*ces %etter+
ore nat*ral loo&in$ o#eents%*t it-s not al!a"s )ractical. Sa" t'e c'aracter is leanin$
!it' a 'and on a ta%le. !e !o*ld need t'e 'and to sta" loc&ed !'ile t'e c'aracter-s
*))er %od" o#es. Kee)in$ t'e 'and stead" *sin$ FK !o*ld %e )racticall" i)ossi%le+ %*t
!it' in#erse &ineatics it-s a )iece of ca&e.
In#erse &ineatics !or&s o))osite to FK. As s*$$ested %" its nae+ in IK t'e 1oint c'ain
is e#al*ated backward. Figure 12.7, left, shows the hand on the table with an
IK 'andle a))lied =t'e cross located at t'e !rist>. T'e IK 'andle dictates t'e )osition of
t'e !rist+ loc&in$ it in )lace. T'e rest of t'e ar t'en follo!s. If !e o#e t'e ain 1oints
of t'e %od" for!ard =
Figure 12.7
+ ri$'t>+ "o* can see t'at t'e !rist sta"s !'ere it is. T'e 'and reains loc&ed+ restin$ on
t'e ta%le+ %eca*se t'e IK 'andle is not )arented to =controlled %"> an" 1oints in t'e
s&eleton. T'e s'o*lder and el%o! 1oint rotations are calc*lated %" t'e
IK solver
=e2)lained s'ortl"> to allo! for t'e %est )ossi%le )osition and orientation of t'e s&eleton
c'ain %et!een t'e s'o*lder and t'e !rist.
Figure 12.7. *-a%ple of in:erse kine%atics D!+E
!+
Sol:ers
IK solvers are t'e %rains %e'ind IK 'andles. T'e" !or& o*t 'o! to rotate eac' 1oint in a
1oint c'ain controlled %" an IK 'andle. T'ere are t'ree t")es of IK sol#ers in Ma"a( IK
Sin$le C'ain sol#er+ IK Rotate Plane sol#er+ and IK S)line sol#er.
T'e IK Single Chain sol#er is t'e ost f*ndaental !a" of ani)*latin$ a 1oint c'ain.
Not onl" do "o* *se t'e IK 'andle to ani)*late t'e 1oints- )osition+ "o* can also *se
its rotation to ad1*st t'e 1oint c'ain-s orientation.
Figure 12.8+ left+ s'o!s an ar !it' an IK Sin$le C'ain sol#er a))lied. Rotatin$ t'e IK
'andle aro*nd t'e F a2is !ill ad1*st t'e direction in !'ic' t'e el%o! )oints =Figure 12.8+
ri$'t>.
Figure 12.8. An ar% ;ith an !+ Single Chain sol:er applied
On initial creation+ t'e IK ?otate >lane sol#er loo&s t'e sae as t'e Sin$le C'ain sol#er+
e2ce)t t'at "o* cannot alter t'e orientation of t'e 1oint c'ain %" rotatin$ t'e IK 'andle.
Instead+ t'e pole vector and handle vector =Figure 12.9> define t'e )lane on !'ic' t'e
iddle 1oints lie. Ia$ine t'at t'e t!o #ectors a&e *) t!o ed$es of a flat trian$le+ !it'
t'e ar 1oints l"in$ on t'is trian$le. Since t'e )i#ots for t'is trian$le lie on t'e s'o*lder
and !rist 1oints+ o#in$ t'e end of t'e )ole #ector !ill ti) t'e trian$le+ forcin$ t'e 1oints
to follo! and affectin$ t'e orientation of t'e ar.
Figure 12.9. The pole :ector and handle :ector on an !+ &otate Plane
sol:er
Yo* can o#e t'e )ole #ector %" selectin$ t'e IK 'andle and )ressin$ T to acti#ate t'e
ani)*lator tool. T'is !ill select t'e )ole #ector+ allo!in$ "o* to ani)*late it. T'is can %e
#er" *sef*l !'en aniatin$ ars or le$s+ %eca*se "o* can loc& t'e )ole #ector to an
o%1ect %e'ind t'e ar *sin$ a pole vector constraint+ eanin$ t'e el%o! !ill )oint e2actl"
!'ere "o* need it to )oint. 5e !ill disc*ss t'e #ario*s constraints later in t'e c'a)ter.
()T*
Anot'er !a" to ani)*late t'e ar-s orientation is to *se t'e T!ist
attri%*te on t'e IK 'andle+ alt'o*$' in t'is arran$eent it can %e diffic*lt
to &ee) t'e el%o! stead" !'en t'e ar 'as a lot of o#eent.
T'e IK Sin$le C'ain and Rotate Plane sol#ers are created in e2actl" t'e sae !a". Go to
S&eleton L IK 9andle Tool and o)en *) t'e o)tions. Follo!in$ are soe of t'e o)tions
associated !it' t'is tool =Figure 12.1<>.
T'e Current Solver %o2 s)ecifies !'ic' of t'ese t!o IK sol#ers "o* !is' to create.
Yo* can c'an$e t'is after t'e 'andle 'as %een created+ allo!in$ "o* to s!itc' later if "o*
need to.
Solver :nable s)ecifies !'et'er t'e IK sol#er !ill %e ena%led *)on creation.
S
Snap :nable allo!s t'e IK 'andle to sna) %ac& to its ori$in =t'e second 1oint
"o* selected in t'e 'andle-s creation>.
Sticky
allo!s t'e IK 'andle to stic& to its
c*rrent )osition !'ile "o* contin*e to
)ose t'e s&eleton.
Figure 12.1<. !+ 'andle tool options
An IK Spline sol#er is a s)line/%ased s"ste %est s*ited to lon$ 1oint c'ains+ li&e t'e &ind
"o* !o*ld see in a sna&e+ a tail+ tentacles+ or e#en a s)ine. Once "o* create t'is sol#er+
Ma"a $i#es "o* a s)line !it' !'ic' "o* control t'e o#eent of t'e 1oints.
As "o* can see in Figure 12.11+ ani)*latin$ t'e C;s on t'e s)line !ill affect t'e
rotations of t'e 1oints.
Figure 12.11. *-a%ple of !+ Spline sol:er
9o! can !e a))l" t'ese IK sol#ers to o*r c'aracters Kila and Grae0 T'e ost o%#io*s
)laces are t'e c'aracters- ars and le$s+ ena%lin$ t'e feet to loc& to t'e $ro*nd as t'e"
!al&+ and t'e 'ands to %e loc&ed to s)ecific o%1ects. 5e co*ld *se t'e IK S)line 'andle
on t'e s)ines+ %*t Kila and Grae-s s)ines are ade fro 1*st a fe! 1oints+ so it !o*ld
not %enefit t'e aniator in t'e lon$ r*n. Usin$ t'e IK S)line !o*ld ta&e lon$er to
aniate. in addition+ it co*ld lead to restriction of t'e s)ine-s o#eent since "o*
!o*ld not %e a%le to aniate eac' 1oint se)aratel".
On to) of t'e IK+ !e !ill also need to add controls t'at !ill a&e it easier to *se. All t'is
can %ecoe fairl" co)le2+ so !it' t'is in ind let-s start %*ildin$ t'e controls t'at !ill
aniate o*r %ase s&eletons. 5e-ll %e$in !it' t'e c'aracters- ars and 'ands.
Ar% and 'and
Controls
Kila and Grae-s ars and 'ands+ as is+ are 7*ite ca)a%le of $i#in$ *s t'e aniation !e
need. 5e can ani)*late t'e s'o*lder and el%o! 1oints to )ose t'e ars 7*ite easil". !e
can e#en $o in and aniate t'e indi#id*al fin$ers. Addin$ f*rt'er controls to t'e ars
and 'ands+ 'o!e#er+ !ill a&e )osin$ t'e 7*ic&er and easier to do.
Ar%
Controls
C*rrentl"+ Kila-s ar in'erits t'e rotations of t'e cla#icle. As "o* can see in Figure
12.12+ !'en t'e cla#icle rotates+ so do t'e s'o*lder+ el%o!+ and so on. So !e first need
to loc& t'e s'o*lder-s rotation to anot'er+ inde)endent control. t'is !ill $i#e *s co)lete
coand o#er its o#eent.
Figure 12.12. ,ock the shoulder>s rotation so it>s not dependent on the
cla:icle.
:e$in %" loadin$ t'e file KilaKS&eleton.%.
1. Select t'e left s'o*lder 1oint and create a d*)licate of t'e ar+ a&in$ s*re to set
Gro*) Under in t'e ,*)licate o)tions to 5orld. T'is ens*res t'at t'e ne! ar is not
)arented to t'e s)ine or an" ot'er 1oint.
Mo#e t'is d*)licate %ac& sli$'tl" so !e can see it =Figure 12.13+ iddle>. T'is !ill
%e t'e control ar.
Figure 12.13. Duplicate the ar% and re%o:e the "ngers to create
a control ar%.
()T*
Use a d*)licate of t'e ain 1oints in order to retain t'eir orientations.
2. ,elete t'e fin$er 1oints fro t'e end of t'e control ar+ lea#in$ 1*st t'e
s'o*lder+ el%o!+ and !rist 1oints =Figure 12.13+ ri$'t>.
3. So t'at "o* can distin$*is' t'e control ar fro t'e noral ar+ renae t'e ne!
1oints to LKConS'o*lder+ LKConEl%o!+ and LKCon5rist
4. Loc& t'e rotations of t'e noral ar to t'e control ar. Select t'e control s'o*lder
first+ t'en t'e noral s'o*lder+ and $o to Constrain L Orient and o)en *) t'e o)tions.
An orient constraint loc&s t'e orientation of one o%1ect to anot'er+ so in t'is case
o*r noral ar-s rotations !ill %e loc&ed to t'e control ar-s rotations. 5'en
t'e control ar rotates+ t'e noral one !ill follo!.
5. Loo& at t'e o)tions for t'e Orient Constraint in Figure 12.14. T*rn off Maintain
Offset+ and set Constraint A2es to All. 5it' t'e tool confi$*red+ clic& A))l". =If "o* no!
select t'e LKS'o*lder 1oint+ "o* !ill notice t'at t'e rotations in t'e C'annel :o2 'a#e
t*rned %l*e. t'is indicates t'at t'e" are %ein$ controlled %" anot'er o%1ect.>
Figure 12.14. )rient Constraint options
T!P
T'e Maintain Offset o)tion is *sef*l !'en "o*r initial rotation attri%*tes
are different on eac' o%1ect+ "et "o* !ant to &ee) t'e c*rrent
orientation. 5it'o*t Maintain Offset ena%led+ t'e constrained o%1ect
!o*ld in'erit t'e control o%1ect-s e2act rotations+ )otentiall" fli))in$ it.
6. Tr" rotatin$ t'e control s'o*lder. t'e noral one !ill follo!. E#en %etter+ if "o* no!
rotate t'e cla#icle+ t'e s'o*lder !ill &ee) its ori$inal orientation =Figure 12.15>. T'is
eans t'e ar can 'an$ free.
Figure 12.15. The shoulder>s orientation is no longer
aFected = the cla:icle.
7. Contin*e t'is )roced*re+ orient/constrainin$ t'e ain el%o! to t'e control
el%o!+ and t'e ain !rist to t'e control !rist 1oints.
T'e control ar is e#ent*all" $oin$ to lie o#er t'e ain ar+ so !e need to a&e it
easier to select. 9ere is !'ere !e !ill *se Ma"a-s selection 'andles.
1. Select eac' 1oint in t'e control ar and $o to ,is)la" L Co)onent ,is)la" L
Selection 9andles. Yo* !ill see t'e 'andles a))ear at t'e center of eac' 1oint.
T!P
If t'e 'andles are not #isi%le+ a&e s*re t'eir #isi%ilit" is t*rned on in t'e
c*rrent #ie! %" $oin$ to S'o! L 9andles.
Ne2t+ "o* !ant to o#e t'e 'andles a!a" fro t'e 1oints. Go into Co)onent ode
=FD>+ and select t'e cross ne2t to t'e 7*estion ar& in t'e stat*s line.
Yo* can no! edit t'e selection 'andles- )ositions+ o#in$ t'e o*t and a!a" fro
t'e 1oints =Figure 12.16>.
Figure 12.16. *dit the positions of the selection handles.
4. Press FD !'en "o*-re finis'ed+ to lea#e Co)onent ode.
Finall"+ !e need to loc& t'e control ar-s )osition to t'e ain ar-s s'o*lder+ so t'e
control ar !ill follo! !'ere t'e ain s&eleton $oes.
1 Select t'e ain s'o*lder+ and t'en t'e control ar-s s'o*lder.
2 <*st as !e loc&ed t'e orientation+ !e can also loc& t'e )osition. Go to Constrain L
Point+ and confi$*re t'e o)tions as "o* did for t'e orient constraint+ t*rnin$ off Maintain
Offset and settin$ Constraint A2es to All.
T'e control ar !ill no! %e in e2actl" t'e sae )osition as t'e ain ar+ and "o* can
no! control t'e left ar !it' t'e control ar. In addition+ its orientation is free fro t'e
cla#icle-s+ allo!in$ t'e ar to 'an$ free. Follo! t'is sae )roced*re to create a control
ar for t'e ri$'t ar.
At t'is sta$e+ I recoend creatin$ t!o ne! dis)la" la"ers+ one called S&eleton =!it' a
dis)la" color of dar& $ra">+ and t'e second called Ri$KControls =!it' dis)la" color set to
!'ite or an e7*all" li$'t color>. Place t'e ain s&eleton in t'e S&eleton la"er+ and t'e
ne! control ars into t'e Ri$KControls la"er. T'is !ill 'el) *s differentiate %et!een t'e
t!o o%1ects.
Ar% !+
5e alread" 'a#e FK control o#er t'e ars+ %eca*se t'is is %ased on si)le rotations of
t'e 1oints+ and !e can 7*ite easil" !or& !it' t'e control ars to aniate t'e ain ar.
No! let-s add t'e o)tion of IK so t'at !e can loc& t'e 'and-s )osition in s)ace.
First+ set t'e S&eleton la"er to Te)late. 5e !ill %e !or&in$ onl" on t'e control
ars+ so !e don-t !ant to accidentall" select t'e ain s&eleton.
1 Go to S&eleton L IK 9andle Tool and o)en t'e o)tions.
2 Confi$*re t'e o)tions for a Rotate Plane sol#er+ !it' t'e sol#er ena%led and stic&"+
and t'en clic& Close. Yo*r o*se )ointer is no! a cross.
3 Select t'e control s'o*lder 1oint+ follo!ed %" t'e control !rist 1oint. T'e IK is t'en
a))lied+ $i#in$ "o* t'e ain IK 'andle =Figure 12.17>. Renae t'e IK 'andle to
LKArIK.
Figure 12.17. The ar% ;ith !+ applied
T'e %asic IK is no! a))lied+ %*t *sin$ t'e IK 'andle as an aniation tool can ca*se
)ro%les %eca*se its translations cannot %e fro8en. 5e need all t'e ain aniation
controllers to 'a#e defa*lt #al*es of 8ero. ot'er!ise+ !e i$'t disco#er )ro%les !'en
!e !ant to ret*rn to t'e defa*lt )ose+ or if !e need to transfer aniation %et!een sides
of t'e c'aracter or to ot'er c'aracters.
In addition t'ere is c*rrentl" no #is*al aid to tell *s !'ere t'e )ole #ector is+ so !e !ill
add an icon to tell *s t'is. T'at !a"+ !e al!a"s &no! !'ere t'e el%o! is )ointin$+ and
!e 'a#e a eans of easil" )ositionin$ it.
5it' t'ese aids in )lace+ !e can i)leent t'e final controls+ allo!in$ *s to s!itc'
%et!een IK and FK control.
1.
To re)resent t'e IK in t'e left ar+ a si)le NUR:S circle !ill do as o*r icon. G
o
to Create L NUR:S Priiti#e L Circle. Sna) t'e circle to t'e !rist 1oint =)res
s
;>. t'en scale and rotate it so it loosel" fits aro*nd t'e !rist =
Figure 12.18
>
.
Figure 12.18. Position the circle around the ;rist.
2. 5it' t'e circle in )osition+ free8e t'e transfors. T'en delete t'e 'istor" on it so it
is nice and clean+ and renae it to LKArKIK.
To transfer %et!een IK and FK control+ !e *se t'e tools fo*nd in t'e Aniate L
IK6FK Ke"s en*. T'ese allo! *s to t*rn t'e IK on and off+ and to set &e"s on t'e
1oints affected. T'ese &e"s+ 'o!e#er+ !ill onl" !or& on t'e IK 'andle. To a&e t'e
ri$ ore efficient+ !e !ant to transfer t'is control across to t'e circle icon.
3. Select t'e circle. 9oldin$ S'ift+ select t'e IK 'andle+ and $o to Aniate L IK6FK Ke"s
L Connect to IK6FK.
5it' t'e icon selected+ "o* can no! t*rn t'e IK on and off #ia t'e Aniate L
IK6FK Ke"s L Ena%le IK Sol#er en* ite.
4. Yo* can no! )arent t'e IK 'andle to t'e icon so t'at it !ill o#e !'ere#er t'e icon
does. To do t'is+ 1*st select t'e IK 'andle+ t'en t'e icon+ and )ress P.
Ne2t !e !ill add control to t'e c'aracter-s el%o! %" fi2in$ t'e )ole #ector to a
second icon.
I)ort t'e file IconKC*%e.% =fo*nd in Pro1ect Files6B?6Icons>+ and sna) its
)osition to t'e left el%o!. Ad1*st its scale so "o* can see it clearl" o#er t'e $eoetr"+
a&in$ s*re "o* free8e t'e transfors after!ard.
Select t'e c*%e+ t'en t'e IK 'andle+ and $o to Constrain L Pole ;ector. T'e
el%o!-s )osition !ill no! %e loc&ed to t'e c*%e.
Renae t'e c*%e to LKEl%o!Pos. T'en 'ide t'e ain IK 'andle+ and assi$n %ot'
icons to t'e Ri$KControls dis)la" la"er.
T'is co)letes one ar. Go a'ead and !or& on t'e ri$'t ar =Figure 12.19> ne2t. T'e
control ars s'o*ld lie o#er t'e ain s&eleton-s ars.
Figure 12.19. #oth control ar%s1 ;ith !+ and icons applied
No! follo! t'e sae )roced*re for addin$ IK to Grae-s ars(
1. ,*)licate t'e ain ars to create t'e control ars+ renain$ t'e ne! 1oints
accordin$l".
2. Orient/constrain t'e ain ar 1oints to t'e control ar so t'at t'e" !ill in'erit
t'e control ar-s o#eent.
3. Ma&e t'e dis)la" 'andles #isi%le on t'e control ar+ and edit t'eir )ositions.
4. Point/constrain t'e control s'o*lder to t'e ain s&eleton-s s'o*lder so t'at t'e
control ar al!a"s lies in t'e correct )osition.
5. Add t'e IK 'andle %et!een t'e control s'o*lder and t'e control !rist.
6. Add t!o icons+ one to control t'e IK and anot'er to control t'e )ole #ector. Position
t'e IK control o#er t'e !rist and t'e )ole/#ector control o#er t'e el%o!.
7. Set *) t'e FK6IK s!itc' on t'e !rist icon. t'en )arent t'e IK 'andle to t'e icon. Set
*) t'e )ole #ector constraint %et!een t'e IK 'andle and t'e el%o! icon.
8. Create t!o dis)la" la"ers for t'e s&eleton and ri$ controls+ assi$nin$ t'e
a))ro)riate eleents to eac'.
5it' Grae at t'e sae sta$e no! as Kila+ !e can )roceed !it' t'e ri$ on Kila.
Wrist
Controls
Li&e t'e s'o*lders+ t'e !rist-s rotations s'o*ld %e inde)endent of t'e forear-s. T'is !ill
$i#e t'e aniator $reater freedo !'en aniatin$+ %eca*se t'e 'and can %e )ositioned
and !ill sta" in t'at )ose re$ardless of 'o! t'e rest of t'e c'aracter aniates.
1 On t'e left ar+ 'ide t'e selection 'andle "o* ade #isi%le for t'e control !rist 1oint
=!e are $oin$ to create a ne! !rist control+ so !e don-t need t'is selection 'andle to %e
#isi%le an"ore>. Select t'e control !rist and $o to ,is)la" L Co)onent ,is)la" L Selection
9andle.
2 ,*)licate t'e control !rist 1oint and o#e it %ac& sli$'tl" =Figure 12.2<>. Renae it
to LKCon9and.
Figure 12.2<. Duplicate the control ;rist Aoint.
A$ain 'ere+ !e need to retain t'e correct orientation+ so !e are *sin$ a
d*)licate of t'e !rist 1oint as t'e ain controller.
3. T'is !ill %e t'e ain controller+ so a&e t'e dis)la" 'andle #isi%le. It s'o*ld retain
t'e )osition of t'e 1oint fro !'ic' it !as d*)licated+ so "o* don-t need to re)osition
it.
At )resent+ t'e control !rist in'erits its rotations fro t'e el%o! and s'o*lder 1oints+ so
!e don-t 'a#e co)lete control o#er it. Forcin$ it to follo! t'e rotation on t'is ne! 1oint+
!'ic' 'as no infl*ences+ !ill free *) t'e control !rist-s o#eent and allo! *s to )ose it
freel".
1 Select LKCon9and follo!ed %" LKCon5rist+ and $o to Constrain L Orient. "o*r
)re#io*s o)tions s'o*ld 'a#e %een stored.
2 Select LKCon5rist follo!ed %" LKCon9and+ and $o to Constrain L Point to loc& t'e
ne! !rist control-s translations to t'e old !rist controller.
T'e !rist is no! free fro t'e forear+ so $o a'ead and a))l" t'is to t'e ri$'t ar.
T'en add t'e sae controls to Grae.
Finger
Controls
Aniatin$ t'e 'ands can %e a tie/cons*in$ 1o%+ so !e !ant a !a" aro*nd 'a#in$ to
rotate eac' 1oint se)aratel" %efore settin$ a &e". 5'at !e !ill do ne2t is add controls to
t'e fin$ers+ allo!in$ *s to )ose t'e 7*ic&l" and easil". In t'is section
"o*-ll see 'o! to *se tie/sa#in$ d"naic attri%*tes+ entioned earlier in t'is
c'a)ter.
()T*
T'e ne2t t!o sections co#er ad#anced c'aracter/ri$$in$ tas&s. Yo* a" find
t'at "o* don-t need to aniate t'e 'ands on "o*r c'aracter+ or t'e aniators
on "o*r tea a" )refer to aniate t'e 1oints directl". Feel free to s&i) t'is
entire section on fin$er controls if "o* don-t need it.
Adding Iuick Poses
Usin$ t'e ne! 'and/control 1oint !e created in t'e )recedin$ section+ !e can add
e2tra dynamic attributes t'at+ once confi$*red+ !ill a*toaticall" )ose t'e 'and.
Attri%*tes are %*ilt into e#er" o%1ect. U) to no! "o* 'a#e *sed t'e )riar" Translate+
Rotate+ and Scale attri%*tes+ !'ic' control an o%1ect-s o#eent+ orientation+ and scale.
Yo* &no! t'at c'an$in$ t'e #al*e of an attri%*te 'as an effect on t'e o%1ect. In addition
to t'ese defa*lt attri%*tes+ *ser/added d"naic attri%*tes can control a n*%er of
c'aracteristics on an o%1ect+ or e#en on a co)letel" different o%1ect.
Let-s no! add soe d"naic attri%*tes to Kila-s control 'and 1oints.
1. Select %ot' t'e left and ri$'t 'and controls =LKCon9and and RKCon9and>+ and $o to
Modif" L Add Attri%*te. T'e Add Attri%*te dialo$ %o2 ill*strated in Figure
12.21 a))ears. T'is is !'ere "o* !ill add a ne! attri%*te to t'e selected
o%1ects.
Figure 12.21. Add Attri=ute dialog =o-
Dna%ic Attri=ute
option
T'e follo!in$ o)tions *nder Modif" L Add Attri%*te are a#aila%le for
creatin$ d"naic attri%*tes(
/ttribute &ame allo!s "o* to $i#e t'e ne! attri%*te "o* are
creatin$ a nae. T'is s'o*ld %e a descri)ti#e nae t'at re)resents !'at
t'e attri%*te is created to do.
)ake /ttribute Keyable, !'en ena%led+ eans t'e attri%*te can %e
aniated.
#he =ata #ype is !'ere "o* s)ecif" !'at sort of attri%*te "o* are
creatin$(
;ector !ill $i#e "o* t'ree floatin$/)oint =inte$er or decial
)oint> #al*es. So an attri%*te naed Fist !o*ld end *) !it'
t'ree attri%*tes called Fist F+ Fist Y+ and Fist M
.
Float sets t'e attri%*te to %e a sin$le floatin$/)oint #al*e
.
Inte$er forces t'e attri%*te to acce)t onl" !'ole n*erica
l
#al*es. :oolean creates a si)le on6off s!itc'. Strin$ creates an
attri%*te t'at can 'old a te2t strin$. En* $i#es t'e *ser a list of
c'oices+ !'ic' "o* s)ecif" in t'e
En* Naes %o2 at t'e %otto of t'e Add Attri%*te dialo$
%o2.
In t'e &umerical /ttribute >roperties section+ "o* can loc& "o*r
attri%*tes so t'e" 'a#e a a2i* and ini* #al*e.
1 Let-s no! create o*r first attri%*te+ called Fist. Yo* onl" need a n*erical #al*e+ so set
t'e ,ata T")e to Float =t'e defa*lt>.
2 Cla) t'e attri%*te-s #al*es %" settin$ Mini* to G and Ma2i* to BG in t'e
N*erical Attri%*te Pro)erties section.
3 Clic& Add+ and t'e ne! attri%*te !ill a))ear in t'e C'annel :o2 =after ;isi%ilit"+ as
seen in Figure 12.22>.
Figure 12.22. Add Fist1 Curl1 Point1 and Spla attri=utes to the
;rist Aoints.
5. Re)eat ste)s ? t'ro*$' I to add attri%*tes called C*rl+ Point+ and S)la" =Figure
12.22>.
5it' t'ese d"naic attri%*tes added to t'e !rists+ !e ne2t need to !ire t'e *) to t'e
fin$ers. To do t'is+ !e !ill *se t'e Set =riven Keys options =Aniate L Set ,ri#en Ke" L
Set>.
Set ,ri#en Ke"s lin&s one attri%*te to anot'er =on t'e sae o%1ect or a different one>
*sin$ &e" fraes. Unli&e noral &e"s in Ma"a+ dri#en &e"s are not set at s)ecific ties
in t'e tie slider. rat'er+ t'e" are set at s)ecific #al*es on anot'er attri%*te. For
e2a)le+ t'e c'aracter-s 'and !ill %e in its defa*lt )ose !'en t'e Fist attri%*te is at G.
C'an$e t'e Fist attri%*te to BG+ and "o* !ill see t'e 'and c'an$e into t'e fist )ose. T'is
is %eca*se dri#en &e"s 'a#e %een )laced on t'e 'and for !'en t'e fist attri%*te is at G
and BG.
Let-s no! a))l" t'is tec'ni7*e to o*r c'aracter-s 'and.
1. O)en t'e Set ,ri#en Ke" dialo$ %o2 =Figure 12.23+ left> %" $oin$ to Aniate L Set
,ri#en Ke" L Set and o)enin$ t'e o)tions %o2. Yo* !ill !or& on t'e Fist and Point
attri%*tes first+ since t'ese fin$er )oses are siilar.
Figure 12.23. The Set Dri:en +e ;indo; =efore and after the
attri=utes are selected
[View full size image]
Select t'e LKCon9and 1oint. In t'e Set ,ri#en Ke" dialo$ %o2+ clic& on t'e Load ,ri#er
%*tton. On t'e left side of t'e ,ri#er %o2+ t'e nae of t'e o%1ect !ill a))ear+ !it' all its
&e"a%le attri%*tes in t'e %o2 to t'e ri$'t. Fro t'is list+ select Fist.
Ne2t+ select eac' fin$er 1oint e2ce)t for t'e #er" end ones+ and clic& Load ,ri#en. In
t'e ,ri#en %o2+ t'e naes of all t'e fin$er 1oints !ill a))ear. select t'e all. T'en+ in t'e list
on t'e ri$'t side of t'e ,ri#en %o2+ select t'e rotateF+ rotateY+ and rotateM attri%*tes ="o*
onl" need to store t'e rotations>.
Yo*r Set ,ri#en Ke" !indo! s'o*ld no! loo& li&e t'at in Figure 12.23+ ri$'t.
5'at !e-#e 1*st done is tell Ma"a t'at !e !ant t'e Fist attri%*te to dri#e t'e fin$er
1oints- rotations. No! !e !ill define t'e start and end )oses associated !it' eac'
attri%*te =Fist+ C*rl+ Point+ and S)la">. First !e !ill store t'e defa*lt )ose into eac' of
t'e fo*r d"naic attri%*tes.
()T*
Ma&e s*re all fo*r of t'e d"naic attri%*tes are set to G. To do t'is+ select
LKCon9and in t'e ,ri#er )anel of t'e Set ,ri#en Ke" dialo$ %o2. T'is !ill
7*ic&l" select t'e o%1ect so t'at "o* can c'ec& t'e attri%*te settin$s.
4. In t'e ,ri#er %o2+ select Fist and t'en clic& Ke". Contin*e+ selectin$ C*rl+ Point+ and
t'en S)la"+ %efore clic&in$ Ke" for eac' one.
T'e c*rrent 'and-s )ose is no! stored+ so t'at !'en eac' attri%*te is at G+ t'e
'and !ill %e at t'is defa*lt )ose.
5. 5it' t'e Set ,ri#en Ke" !indo! still o)en+ set t'e Fist and Point attri%*tes to
BG. =,on-t set a &e" "et+ t'o*$'.>
6. Ad1*st t'e fin$er 1oints to for a fist =Figure 12.24=>.
Figure 12.24. Create the four hand poses for Fist1 Point1 Curl1
and Spla.
T!P
Set t'e 1oint dis)la" si8e so t'e 1oints are t'e sae t'ic&ness as t'e
$eoetr" for t'e fin$ers. T'is !ill $i#e "o* a %etter idea of 'o! t'e
fin$ers !ill loo& as "o* )ose t'e.
7. Select Fist in t'e ,ri#en %o2 and clic& Ke". T'en select Point and clic& Ke". No! if "o*
ad1*st t'e Fist or Point attri%*te on LKCon9and+ t'e fin$ers !ill aniate to for a fist.
To $et t'e )oint+ set Fist %ac& to G and Point to BG so it a&es t'e fist. t'en edit
t'e inde2 fin$er so it )oints =Figure 12.24c>. To *)date t'e )ose+ select Point in
t'e ,ri#en %o2 and clic& Ke".
8. Ne2t !e !ill !or& on t'e C*rl. Ma&e s*re all t'e attri%*tes are %ac& to 8ero. t'en
set C*rl to BG.
9. Ad1*st t'e fin$ers as seen in Figure 12.24d+ rotatin$ 1*st t'e end 1oints of t'e
fin$ers. T'en select C*rl in t'e ,ri#er %o2 and clic& Ke".
1<. Finall"+ create t'e )ose for S)la" =Figure 12.24e>. Ree%er to set all t'e
attri%*tes %ac& to G and S)la" to BG %efore "o* %e$in to )ose t'e fin$ers.
No! !e 'a#e t'e a%ilit" to $et 7*ic& )oses on Kila-s 'ands. Yo* a" need ore s)ecific
)oses for "o*r $ae. )er'a)s t'e c'aracter 'olds a $*n or o)erates soe &ind of
ac'iner". No! t'at "o* 'a#e learned t'e d"naic attri%*tes tec'ni7*e+ "o* !ill %e a%le
to add ore )oses if "o* need t'e.
T!P
To 'el) create )oses for t'e ri$'t 'and+ I 'a#e incl*ded a sall tool on t'e
GC,M s'elf la%eled irPo. T'is tool irrors t'e )ose fro one side of t'e
s&eleton to t'e ot'er+ in t'is instance sa#in$ "o* t'e effort of re/)osin$ t'e
ri$'t 'and. <*st $et t'e left 'and into its )ose+ select t'e !rist 1oint on t'e
ain s&eleton =not t'e control !rist>+ and clic& t'e irPo %*tton. T'e ri$'t
'and !ill no! ado)t t'e sae )ose.
T'e &e" )oses are an e2cellent !a" to ac'ie#e 7*ic& aniations. No! "o* need to add
t'e a%ilit" to aniate t'e fin$ers indi#id*all". !e-ll tac&le t'at ne2t.
Full Ani%ation of the Fingers
T'e 7*ic& 'and )oses are norall" all "o* !ill need for in/$ae aniation. T'e
)ro%le facin$ "o* no! is t'at "o* can-t edit t'e fin$ers indi#id*all" %eca*se t'e"
are loc&ed %" t'e dri#en &e"s. 5e !ill no! add f*ll aniation f*nctionalit" %ac& into t'e
'ands.
()T*
:efore "o* i)leent f*ll aniation into "o*r ri$+ c'ec& !it' "o*r ana$er. it
a" %e t'at "o* don-t need t'ese controls and so don-t need to s)end tie
i)leentin$ t'e.
1 I)ort t'e icon file naed IconK9and.%. T'is contains a $ro*) called Left9and+
!'ic' contains indi#id*al fin$er icons.
2 Sna) t'e ain Left9and $ro*) to t'e left !rist 1oint %" 'oldin$ ;+ and ad1*st t'e
o#erall scale so it atc'es t'e si8e of t'e 'and 1oints =Figure 12.25>.
Figure 12.25. !%port and position the hand icon.
3. Free8e t'e transfors.
()T*
T'e 'and icon $ro*)-s ain )i#ot e2ists %elo! t'e act*al icons
t'esel#es. T'is is so t'e icons can sta" o*t of t'e $eoetr" !'ile
also %ein$ loc&ed to t'e !rist-s )osition.
T!P
Yo* a" !ant to t*rn off t'e Ri$KControls dis)la" la"er so t'at "o* can
concentrate on t'e 'and itself.
4. 5e !ant t'e 'and icon to sta" loc&ed to t'e !rist as it o#es. Select t'e control
!rist first+ and t'en t'e ain 'and icon $ro*) =Left9and>. T'en $o to Constrain L
Point+ a&in$ s*re Maintain Offset is disa%led.
No! !e !ill start to !ire t'e fin$ers *) *sin$ Set ,ri#en Ke"s. Since t'e )rocess for
connectin$ eac' fin$er is t'e sae+ !e !ill descri%e t'e )rocess for connectin$ t'e little
fin$er =)in&ie>. t'en "o* can a))l" t'e sae tec'ni7*e to t'e rest of t'e fin$ers.
1 Go to Aniate L Set ,ri#en Ke" L Set and o)en t'e o)tions %o2.
2 Select t'e icon for t'e )in&ie fin$er. T'en clic& Load ,ri#er in t'e Set ,ri#en Ke"
!indo!. Yo* !ill notice t'at I 'a#e alread" added a series of d"naic attri%*tes for "o*+ so
"o* s'o*ld not need to add an".
3 Select eac' 1oint of t'e )in&ie fin$er+ lea#in$ t'e end one *nselected+ and clic& Load
,ri#en. T'e t'ree se)arate Pitc' attri%*tes =Pro2ialKPitc'+ MiddleKPitc'+ and ,istalKPitc'>
corres)ond to eac' indi#id*al fin$er 1oint+ so "o* onl" need to set &e"s for t'ese attri%*tes.
()T*
5'en "o* !or& on Grae+ ree%er t'at 'e onl" 'as t!o 1oints in eac'
fin$er. T'at eans "o* can i$nore 'is ,istalKPitc' attri%*tes.
4. Store t'e fin$er in its %ase )ose %" first selectin$ t'e Pro2ialKPitc' attri%*te+ and
t'en 1*st t'e LKPin&ieKA-s rotateM attri%*te =Figure 12.26>. T'en clic& t'e Ke" %*tton.
=5e onl" need to !or& on t'e M rotation %eca*se it-s all t'at is needed to %end t'e
fin$er.>
Figure 12.26. Select Aust the Pro-i%alNPitch and the
,NPinkieNA>s rotateM attri=utes.
Select t'e MiddleKPitc' and t'e LKPin&ieK:-s rotateM attri%*tes+ and set a &e".
Finall"+ select ,istalKPitc' and t'e LKPin&ieKC-s rotateM attri%*tes+ and set a &e".
5it' t'e defa*lt )ose stored+ !e can no! %e$in to store t'e fin$er-s a2i*
rotations.
1 Set eac' of t'e Pitc' attri%*tes =Pro2ialKPitc'+ MiddleKPitc'+ and ,istalKPitc'> to @.
2 :end t'e fin$er %ac&+ *sin$ onl" t'e M rotation =Figure 12.27+ iddle>.
Figure 12.27. Take the "nger to =oth e-tre%es and store
each pose.
()T*
Settin$ Kila-s 1oints to a%o*t 3G =and @G for Grae> !ill %end t'e fin$er
%ac& fart'er t'an it nat*rall" co*ld $o+ %*t !e need to $i#e t'e aniators
soe fle2i%ilit". And !e !ill also !ant to a))l" t'e sae rotations to t'e
ot'er fin$ers. So &ee)in$ t'is to a nice ro*nd n*%er a&es t'e #al*e
easier to ree%er.
5it' t'e fin$er in )osition+ set a &e" on t'e t'ree Pitc' attri%*tes+ ree%erin$ to
select onl" t'e corres)ondin$ 1oint in t'e ,ri#en !indo!.
Yo* !ill no! ta&e t'e fin$er to t'e ne2t e2tree+ so first set t'e Pitc' attri%*tes to
t'eir a2i* of BG.
Rotate t'e fin$er aro*nd t'e M rotation to DG =Figure 12.27+ ri$'t> and set a &e" on
eac' Pitc' attri%*te in t'e Set ,ri#en Ke" dialo$ %o2.
No! as "o* o#e t'e t'ree Pitc' attri%*tes in t'e C'annel :o2+ t'e fin$er !ill 7*ite
'a))il" %end. 5e still need to add lateral o#eent to t'e fin$er. t'is o#eent+
'o!e#er+ !ill %e restricted to t'e &n*c&le =Pro2ial> 1oint.
1. Select t'e first 1oint of t'e )in&ie+ and reload it into t'e ,ri#en section of t'e
Set ,ri#en Ke" dialo$ %o2.
2. To $et t'e fin$er to s)read+ !e need it to rotate aro*nd t'e Y a2is+ so select
rotateY in t'e ri$'t side of t'e ,ri#en %o2. Ma&e s*re t'e 1oint-s Y rotation and
Pro2ialKYa! are set to G. T'en set a &e".
3. Set Pro2ialKYa! to BG+ and t'e fin$er-s Y rotation to ?@. Set anot'er &e" to
define t'is )ose =Figure 12.28+ iddle>.
4
.
Finall"+ set Pro2ialKYa! to BG and t'e )in&ie-s &n*c&le 1oint to ?@+ settin$ one final &e"
to define t'is second e2tree =
Figure 12.28
+ ri$'t>.
Figure 12.28. 0sing the Y rotation1 store the "ngers>
spread.
To co)lete t'e fin$er set*)+ !e need to allo! for t'e fin$er to roll+ rotatin$ aro*nd t'e
F a2is.
Set t'e %ase )ose+ !it' %ot' t'e Pro2ialKRoll and LKPin&ieKA-s rotateF attri%*tes set
to G.
Set Pro2ialKRoll to BG. T'en set t'e fin$er to one e2tree %" rotatin$ t'e F rotation
to 3G. Set a &e".
Set t'e final &e" %" definin$ t'e ne2t e2tree+ settin$ Pro2ialKRoll to BG+ and t'en
t'e fin$er-s F rotation to 3G.
T'e )in&ie is no! f*ll" )osa%le. contin*e settin$ *) t'e rest of t'e fin$ers for t'e left
'and+ *sin$ e2actl" t'e sae #al*es as !e 'a#e esta%lis'ed for t'e )in&ie fin$er.
5'en all t'e fin$ers are set+ i)ort a second 'and icon =or d*)licate t'e first>+
ree%erin$ to renae t'e ain $ro*) and t'e indi#id*al eleents so t'e" re)resent
t'e ri$'t 'and. Follo! t'e sae )roced*re to !ire *) t'e fin$ers on t'e ri$'t 'and+ %*t
t'is tie a&e t'e #al*es ne$ati#e =for instance+ 3G s'o*ld %e 3G>. T'is allo!s t'e
fin$ers to o#e in t'e sae !a" as t'ose on t'e o))osite 'and+ a&in$ t'e easier to
aniate and transfer aniation if needed.
5e no! 'a#e t'e a%ilit" to 7*ic&l" )ose t'e fin$ers as !ell as aniate t'e
indi#id*all". t'e ars and 'ands are f*ll" ri$$ed =Figure 12.29>. No! !o*ld %e a
$ood tie to sa#e "o*r !or&+ nain$ it KilaKArRi$.%.
Figure 12.29. +ila>s ar%s1 full rigged
5'en "o*-re read"+ start at t'e to) and follo! t'e instr*ctions in t'is section to ri$
Grae-s ars and 'ands. Sa#e 'i as GraeKArRi$.%.
,eg and Feet
Controls
T'e ri$ for t'e le$s is 7*ite siilar to t'e ars. 5e need to create control feet t'at !ill
'el) *s to dri#e t'e feet+ add IK connectin$ t'e control feet to t'e ain feet+ and finis'
t'e off %" addin$ f*rt'er d"naic attri%*tedri#en controls.
:eca*se Kila-s and Grae-s feet are 7*ite different+ !e !ill e2aine in detail t'e ste)s for
creatin$ t'e control feet for %ot' c'aracters.
#asic Control Feet for
+ila
Let-s start %" creatin$ t'e %asic feet t'at !ill control Kila-s le$s. After t'ese are in
)lace+ !e can add controls for aniatin$ t'e toes and &nees.
For t'e %asic feet+ !e !ill *se a odified #ersion of a tec'ni7*e t'at 'as %een aro*nd for
as lon$ as I can ree%er( creatin$ a d*)licate of t'e foot 1oints and *sin$ t'e to dri#e
t'e ain 1oints. T'is differs fro t'e tec'ni7*es !e-#e *sed so far in t'at t'e controllin$
'ierarc'" is dra!n in re#ersetoe to %all to an&le. So to o#e t'e foot+ "o* rotate t'e toe+
t'en t'e %all of t'e foot+ and t'en t'e an&le 1oint+ creatin$ !'at-s &no!n as a reverse
foot.
:efore "o* $et started+ d*)licate %ot' t'e ain s&eletons- feet fro t'e an&le do!n.
Ma&e s*re t'at Gro*) Under is set to 5orld in t'e ,*)licate o)tions.
Place t'e d*)licates in t'e Ri$KControls dis)la" la"er. T'en t*rn off #isi%ilt" for t'e
S&eleton la"er so t'at "o* can concentrate on t'e initial foot set*) =Figure 12.3<+ to)>.
Figure 12.3<. Create the Aoints that %ake up the =asic control
feet.
1 Re#erse t'e order of t'e 1oints creatin$ t'e re#erse foot. T'is is easil" done %"
selectin$ t'e end toe 1oints and $oin$ to S&eleton L Reroot S&eleton+ !'ic' rearran$es t'e
order of t'e control foot. As "o* can see in Figure 12.3<+ %otto+ t'e last 1oint %ecoes t'e
first 1oint.
2 No! t'at "o* 'a#e t'e %asic 1oints to create t'e control feet+ $o t'ro*$' t'e and
renae eac' 1oint+ startin$ !it' LKConToe+ LKCon:all+ and finall" LKConAn&le. ,o t'e sae
for t'e ri$'t foot =*sin$ a )refi2 of RK+ of co*rse>.
3 No! %rin$ in t'e icons. i)ort t'e file IconKFoot.% =Figure 12.31a>. Follo!in$
Figure 12.31=+ )osition t'e icon so it-s on t'e o*tside of t'e left foot.
Figure 12.31. !%port and position the foot icons.
Yo* !ant t'is icon to rotate t'e foot fro t'e an&le+ as "o*r o!n foot does+ so )ress
Insert and )oint/sna) =)ress ;> t'e )i#ot )oint *) to t'e an&le 1oint =Figure 12.31c>.
Create a irrored d*)licate of t'e foot icon+ )ositionin$ it o#er t'e ri$'t an&le.
Free8e t'e transfors+ and renae t'e file to Ri$'tFoot =Figure 12.31d>.
5'en !e created t'e %ase 1oints for Kila-s feet+ in
C'a)ter BB
+ !e 'ad to alter t'e rotational )i#ot of t'e an&les so t'at t'e" lined *) !it' t'e
orientation of t'e foot. 5e !ill 'a#e to do soet'in$ siilar 'ereas "o* can see in
Figure 12.32
+ left+ t'e rotational a2is for t'e foot icon does not follo! t'e orientation of t'e foot
1oints.
1. :eca*se "o* are !or&in$ !it' an icon rat'er t'an a 1oint+ "o* can-t directl" edit t'e
rotational a2is. nor can "o* rotate t'e 1oints of t'e feet+ %eca*se t'e" !o*ld no lon$er
line *) !it' t'e $eoetr". 5'at "o* can do is alter t'e Y rotation of t'e icon so t'at t'e
ani)*lator lines *) !it' t'e foot =Figure 12.32+ ri$'t>.
2. 5'en "o* 'a#e t'e Y rotation #al*e for t'e left foot+ co)" it across for t'e ri$'t foot+
t*rnin$ it into a ne$ati#e #al*e.
Note t'at t'is !ill add soe rotational #al*es to t'e icon+ !'ic' !e don-t reall"
!ant. Once t'e c'aracter is %o*nd+ !e can 8ero t'ese #al*es o*t+ !'ic' !ill a&e
'er feet )oint directl" for!ard.
3. Parent t'e 1oints to t'e icons. Select t'e LKConAn&le 1oint and t'en t'e left foot icon+
and )ress P. T'en select t'e RKConAn&le 1oint and )arent it to t'e ri$'t foot icon.
4. Yo* 'a#e t'e controllers no!+ so "o* need to connect t'e to t'e act*al %ase feet.
Ma&e t'e %ase s&eleton #isi%le once ore+ and t*rn off t'e Ri$KControls la"er+ foc*sin$
in on t'e le$s as seen in Figure 12.33+ left.
Figure 12.33. Add !+ to the legs.
5. For eac' le$+ create an IK Rotate Plane 'andle fro t'e 'i) 1oint to t'e an&le 1oint.
6. A$ain for eac' le$+ create an IK Sin$le C'ain 'andle fro t'e an&le 1oint to t'e %all
1oint+ and anot'er fro t'e %all 1oint to t'e ti). Yo* can see t'is in Figure 12.33+ ri$'t.
Alt'o*$' it onl" controls a sin$le 1oint+ !e add IK onto t'e %all and %all ti) 1oints to
'el) loc& t'e do!n. T'e" !ill t'en onl" o#e !'ere t'e IK 'andles ta&e t'e.
7. Renae t'ese IK 'andles to LKAn&leIK+ LK:allIK+ LKToeIK+ RKAn&leIK+ RK:allIK+ and
RKToeIK.
()T*
5e *se a Rotate Plane IK 9andle on t'e le$s %eca*se !e !ant to %e a%le
to control t'e direction t'e &nees )oint. 5e !ill add t'is feat*re d*rin$
t'e ne2t section.
8. To a&e t'e control feet o#e t'e le$s+ "o* si)l" )arent eac' IK 'andle to t'e
1oint o#er !'ic' it lies on t'e control feet. So )arent LKAn&leIK to LKConAn&le+
LK:allIK to LKCon:all+ and LKToeIK to LKConToe. Follo! t'is )attern for t'e ri$'t le$-s
IK 'andles.
Figure 12.32. AdAust the rotation of the foot icons so the line
up ;ith the Aoints.
No! !'en "o* o#e or rotate t'e feet icons+ t'e ain feet and le$s follo!. 5'at-s
ore+ "o* can ad1*st t'e )osition of t'e root and t'e feet !ill sta" loc&ed to t'eir
)osition.
()T*
In t'e traditional re#erse foot set*)+ "o* !o*ld also 'a#e a 'eel 1oint to *se
as reference for t'e act*al 'eel of t'e c'aracter. 5e don-t need t'is 1oint
'ere %eca*se+ !'en t'e c'aracter $ets aniated+ "o* !ill 'a#e t'e act*al
$eoetr" to refer to.
Additional Foot Controls for
+ila
:ein$ a%le to ani)*late t'e feet is one t'in$+ %*t !e still 'a#e t'e &nee )osition to
consider. 5e can set *) t'e &nees in *c' t'e sae !a" !e did !it' t'e el%o!+ %"
*sin$ a )ole #ector constraint.
First !e need soe icons. To 'el) indicate t'at t'ese are for 1oint )ositions+ !e !ill *se
t'e sae c*%es t'at !e *sed for t'e el%o!s earlier in t'is c'a)ter.
1. Create t!o d*)licates of t'e el%o! c*%es+ and )oint/sna) t'e to t'e &nees as
ill*strated in Figure 12.34. Renae t'e to LKKneePos and RKKneePos.
Figure 12.34. Duplicate the el=o; cu=es and point@snap
the% to the knees.
$3#4
Ideall"+ !e need t'ese &nee controls to e2ist in front of t'e &nees+ %*t if
!e add a )ole #ector constraint it a" ad1*st t'e &nee )ositions sli$'tl".
5e don-t !ant t'is to occ*r *ntil t'is c'aracter is %o*nd to t'e es'+ so to
&ee) t'e 1oints in )osition !e !ill lea#e t'e icons o#er t'e &nees.
Select t'e LKKneePos c*%e and+ 'oldin$ S'ift+ select t'e LKAn&leIK IK 'andle. T'en
$o to Constrain L Pole ;ector.
,o t'e sae on t'e o))osite le$+ selectin$ RKKneePos and RKAn&leIK %efore
a))l"in$ t'e )ole #ector constraint.
T'e &nees are no! loc&ed to t'e control c*%es and !ill )oint to!ard t'e no atter
!'ere "o* )osition t'e c*%es. Once t'e c'aracter is %o*nd+ !e can )*t t'e c*%es in a
ore s*ita%le )osition.
O*r ne2t tas& is to add controls to t'e toes+ a&in$ it easier to )ose t'e feet. To %e$in+
!e need soe d"naic attri%*tes added to t'e foot icons. !'en connected+ t'ese !ill
dri#e t'e toe and foot aniation.
1. Select %ot' t'e foot icons and $o to Modif" L Add Attri%*te. T'e defa*lt o)tions
are set 1*st as !e !ant t'e to %e+ so si)l" t")e in t'e naes for eac' attri%*te
and clic& Add. Call t'ese :all Rotate+ ToeKRotate+ Ti)KToe+ and FootKT!ist.
No! !e !ill *se Ma"a-s Connection Editor to !ire t'e attri%*tes *). T'is tool directl"
connects one attri%*te to anot'er. for e2a)le+ o*r :allKRotate attri%*te !ill connect
to t'e LKCon:all-s rotate M attri%*te. T'en !'en !e ad1*st t'e :allKRotate
attri%*te-s #al*e+ t'e act*al 1oint !ill rotate for *s e#en t'o*$' !e are not directl"
rotatin$ it.
2. O)en t'e Connection Editor !indo! =Figure 12.35> %" $oin$ to
5indo! L General Editors L Connection Editor.
3. O)en t'e Left ,is)la" and Ri$'t ,is)la" en*s and a&e s*re S'o!
Non/Ke"a%le is t*rned off for %ot'. T'is !ill 'ide t'e attri%*tes not rele#ant
at t'is tie+ so t'e col*ns !ill %e easier to read.
4
.
Select t'e LeftFoot icon and clic& t'e Reload Left %*tton in t'e Editor. T'e &e"a%le
attri%*tes %elon$in$ to t'e icon a))ear in t'e O*t)*ts col*n =
Figure 12.36a
>.
5. Select t'e LKCon:all 1oint and clic& Reload Ri$'t. All t'e related
&e"a%le attri%*tes load into t'e In)*ts col*n =Figure 12.36=>.
6
.
Select t'e attri%*te :allKRotate in t'e O*t)*ts col*n. T'e attri%*tes to !'ic' it can
connect in t'e In)*ts col*n t*rn %old =
Figure 12.36c
>.
7. In t'e In)*ts col*n+ o)en t'e Rotate en* %" clic&in$ on t'e N icon ne2t
to it+ and select Rotate M =Figure 12.36d>. :" si)l" selectin$ t'e t!o
attri%*tes+ "o* 'a#e connected t'e+ and t'eir naes t*rn italic to confir t'e
connection.
Figure 12.35. The Connection *ditor ;indo;
[View full size image]
Figure 12.36. Connecting the ,eftFoot>s #allN&otate
attri=ute to ,NCon#all>s M rotation
No!+ as "o* can see in
Figure 12.37
+ t'e LeftFoot-s :allKRotate attri%*te !ill dri#e t'e LKCon:all-s Rotate M attri%*te.
Figure 12.37. The ,eftFoot>s #allN&otate no; rotates the
,NCon#all Aoint.
Let-s !ire *) t'e ne2t attri%*te+ ToeKRotate. 5e !ant t'e toe 1oint to %e a%le to rotate *)
and do!n+ %*t ri$'t no! it is tied to t'e )osition of t'e LKToeIK IK 'andle. 5it' t'at in
ind+ !e co*ld a&e t'e IK 'andle o#e+ !'ic' in t*rn !ill o#e t'e toe 1oint.
First !e need t'e toe 1oint-s )i#ot to %e in t'e sae )osition as t'e LKCon:all 1oint so
t'at it $i#es *s t'e rotation !e need( t'e a%ilit" to ta) t'e toe. As it is+ t'o*$'+ t'e IK
'andle sta"s loc&ed to its )i#ot+ ca*sin$ t'e toe 1oint to )oint o*t to t'e side =Figure
12.38+ ri$'t>. To $et aro*nd t'is+ !e !ill )lace t'e IK 'andle into a $ro*). !e can t'en
ad1*st t'e $ro*)-s )i#ot and connect its rotation to t'e ToeKRotate attri%*te. T'is !ill
t'en rotate t'e IK 'andle.
Select t'e LKToeIK 'andle and $ro*) it to itself =CtrlNG6CdNG>. Renae t'e ne!
$ro*) LKToeRotate.
Edit LKToeRotate-s )i#ot )oint+ sna))in$ it to LKCon:all.
Usin$ t'e Connection Editor+ connect t'e ToeKRotate attri%*te on t'e LeftFoot icon to
t'e Rotate M of LKToeRotate =Figure 12.39>. No! !'en "o* ad1*st t'e
ToeKRotate attri%*te+ t'e toe !ill 4ta)4rotate *) and do!n =
Figure 12.4<
>.
Figure 12.39. Connecting ToeN&otate on the ,eftFoot icon
to the &otate M of ,NToe&otate
Figure 12.4<. The ToeN&otate in action
Notice t'at t'e 1oints on t'e control foot do not o#e. T'is is not a )ro%le+
t'o*$'. all !e !ill see !'en t'e c'aracter is co)leted is t'e act*al $eoetr"
o#in$.
4. Ne2t is t'e Ti)KToe attri%*te. T'is is 7*ite easil" set *). all "o* need to do is *se t'e
Connection Editor to connect it to t'e M rotation on t'e LKConToe 1oint =Figure 12.41>.
Yo* can see t'is connection !or&in$ in Figure 12.42.
Figure 12.41. Connect the TipNToe attri=ute to the &otate M of
,NConToe.
Figure 12.42. AdAusting the TipNToe attri=ute ;ill %ake the
character stand on her toes.
Figure 12.38. Mo:ing the !+ handle>s pi:ot %akes the toe stick out to
the side.
T'e final attri%*te to connect is t'e FootKT!ist. T'is !ill ca*se t'e !'ole foot to rotate
aro*nd t'e %all 1oint. 5e 'a#e t'e sae iss*e 'ere t'at !e 'ad !it' t'e ToeKRotate
attri%*te( If !e connect to t'e Y rotation of t'e LKCon:all 1oint+ onl" t'e %ac& of t'e foot
%*t not t'e front !ill rotate. T'is a&es t'e foot ta&e an *nnat*ral %end =Figure 12.43+
ri$'t>. So+ as !e did !it' t'e ToeKRotate attri%*te+ !e !ill *se a $ro*) node to sol#e t'e
)ro%le.
Select t'e LKConToe 1oint and $ro*) it to itself =CtrlNG6CdNG>. Renae t'e $ro*)
LKFootT!ist. t'en edit its )i#ot+ sna))in$ it to t'e LKCon:all 1oint.
No! "o* can connect t'e FootKT!ist attri%*te on t'e LeftFoot icon to t'e
LKFootT!ist $ro*)-s Y rotation =Figure 12.44>. Yo* no! 'a#e t'e a%ilit" to rotate t'e foot
aro*nd t'e %all 1oint =Figure 12.45+ ri$'t>.
Figure 12.44. Connect the FootNT;ist attri=ute to the Y
rotation of the ne; ,NFootT;ist group.
Figure 12.43. &otating the =all Aoint around the Y a-is gi:es
un;anted results.
8igure .?.FG. #he 8ootH#wist attribute now rotates the foot around its ball
%oint.
T'e left foot is no! set *)+ and !e can do ore !it' it t'an 1*st t'e standard
translation and rotation. Re)eat t'e )rocess+ addin$ ne! attri%*tes and connectin$
t'e *) to t'e 1oints for t'e ri$'t foot. Ree%er to *se t'e $ro*) nodes to 'el) "o*
ac'ie#e t'ose tric&" controls.
Ne2t *) is addin$ t'e a%ilit" to t*rn t'e IK off+ so t'at "o* can aniate *sin$ FK. To
acco)lis' t'is+ !e-ll follo! t'e e2act sae )roced*re t'at !e *sed earlier !it' t'e
ars.
Select t'e LeftFoot icon. 9oldin$ S'ift+ add LKAn&leIK+ LK:allIK+ and LKToeIK to t'e
selection.
Go to Aniate L IK6FK Ke"s L Connect to IK6FK.
No!+ *sin$ Aniate L IK6FK Ke"s L Ena%le IK Sol#er+ "o* can to$$le t'e state of t'e
IK on t'e feet+ t*rnin$ it on and off.
A))l" t'is sae IK arran$eent to t'e ri$'t foot.
5e don-t need t'e control feet and IK 'andles #isi%le an"ore %eca*se all t'e controls
are tied into t'e feet icons+ so select t'e LKFootT!ist and RKFootT!ist $ro*)s and 'ide t'e.
T'is 'ides t'e o%1ects !it'in =Figure 12.46>.
Figure 12.46. The rigged legs and feet
Kila-s le$s and feet are no! co)letel" ri$$ed. Sa#e t'e file as KilaKLe$Ri$.%+ and let-s
o#e on to Grae.
#asic Control Feet for
$rae
:eca*se Grae-s le$s !ill aniate differentl"+ t'e !a" !e ri$ t'e is 7*ite different fro
t'e )rocess for Kila. 5e don-t *se a re#erse foot in t'is instance %eca*se !e don-t need
t'e a%ilit" to rotate Grae-s %all or toe 1oints =t'at-s not to sa" t'at *sin$ a re#erse foot is
t'e onl" !a" to ac'ie#e t'is>. Instead+ for Grae !e !ill rel" solel" on t'e control icon.
O)en t'e GraeKArRi$.% file+ and i)ort t'e IconKFoot.% file into t'e scene.
Usin$ t'e $eoetr" as a $*ide+ )osition t'e icon ne2t to t'e left foot+ a&in$ s*re it-s
scaled a))ro)riatel". T'en free8e t'e transfors and renae it to LeftFoot.
Sna) t'e )i#ot to t'e an&le 1oint on t'e s&eleton =Figure 12.47>.
Figure 12.47. Point@snap the icon>s pi:ot to the ankle Aoint.
1 Create an IK Rotate Plane 'andle fro t'e 'i) 1oint to t'e an&le 1oint+ callin$ it
LKAn&leIK.
2 Create an IK Sin$le C'ain 'andle $oin$ fro t'e an&le 1oint to t'e one iediatel"
after it+ t'e %all of t'e toes. Renae t'is one to LK:allIK.
3 To 'el) loc& do!n t'e toes+ create a second IK Sin$le C'ain 'andle $oin$ fro t'e
%all of t'e toes %ac& to t'e first 1oint of t'e iddle toe. Renae t'is to LKToeIK.
Yo* can see all of t'e IK 'andles a))lied in Figure 12.48.
Figure 12.48. Create three !+ handles.
()T*
If Grae is lifted off t'e $ro*nd+ lea#in$ t'e foot %e'ind !ill allo! 'is toes
to dra$ realisticall" and not %e loc&ed to t'e )osition of t'e an&le 1oint.
T'is !ill 'el) $i#e t'e toes ore !ei$'t.
7. Finis' *) %" )arentin$ t'e t'ree IK 'andles to t'e foot icon.
Yo* can no! f*ll" ani)*late t'e rotation and translation of Grae-s foot #ia t'e icon. 5e
can o#e a'ead no! to t'e additional attri%*tes needed for 'is feet and toes+ %efore "o*
a))l" t'e sae tec'ni7*es to create t'e ri$ for 'is ri$'t foot.
Additional Foot Controls for
$rae
Si)l" o#in$ t'e foot aro*nd in s)ace isn-t eno*$'. !e need to free *) t'e toes and
an&le. Ena%lin$ t'e to %e aniated indi#id*all" !ill $i#e t'e creat*re ore life. As !e-#e
done %efore+ !e-ll %e$in %" addin$ attri%*tes to t'e foot icon.
1 Select t'e left foot icon+ and $o to Modif" L Add Attri%*te to o)en t'e Add Attri%*te
dialo$ %o2.
2 Create si2 Float attri%*tes called :allKRotate+ An&leKTilt+ FootKT!ist+ LKToeKRotate+
MKToeKRotate+ and RKToeKRotate.
3 Connect t'e ToeKRotate attri%*tes to t'e act*al toes+ *sin$ t'e Connection Editor
=5indo! L General Editors L Connection Editor>.
4 Select t'e foot icon and clic& Reload Left =Figure 12.49+ left>. T'en select t'e o*ter
toe 1oint and clic& Reload Ri$'t.
Figure 12.49. Connect ,eftFoot>s ,NToeN&otate attri=ute to
,N)uterToe>s &otateJ attri=ute.
[View full size image]
9i$'li$'t LKToeKRotate in t'e O*t)*ts list+ and t'en Rotate F in t'e In)*ts
section+ connectin$ t'ese attri%*tes =Figure 12.49+ ri$'t>.
Re)eat ste)s 3 t'ro*$' @ of t'is )roced*re+ t'is tie connectin$ t'e
MKToeKRotate attri%*te to t'e iddle toe-s rotate F attri%*te+ and finall" RKToeKRotate
to t'e inner toe-s attri%*te.
As "o* can see in Figure 12.5<+ "o* can no! aniate t'e toes indi#id*all" and
inde)endentl" of t'e foot+ si)l" %" *sin$ t'e attri%*tes on t'e foot icon.
Figure 12.5<. The toes no; ani%ate independentl of the foot.
As !e did !it' Kila-s FootKT!ist and ToeKRotate attri%*tes+ !e no! need to create e2tra
$ro*) nodes on to) of t'e LKAn&leIK and LK:allIK IK 'andles. T'e 1oints t'e" are
connected to are c*rrentl" loc&ed. %" creatin$ t'ese e2tra $ro*)s+ !e can indirectl"
aniate t'e 1oints.
1. Gro*) LKAn&leIK to itself+ and renae t'e $ro*) to LKAn&leTilt. Sna) t'e
$ro*)-s )i#ot to t'e LKToes 1oint =Figure 12.51>.
Figure 12.51. Snap ,NAnkleTilt>s pi:ot to the ,NToes Aoint.
2. Gro*) LKToeIK to itself+ and renae t'e $ro*) to LK:allRotate. Sna)
t'is $ro*)-s )i#ot to t'e sae 1oint as t'e LKAn&leTilt $ro*).
3. For t'e final $ro*)+ select and $ro*) LKAn&leTilt+ LK:allRotate+ and t'e last
IK 'andle t'at 'asn-t %een $ro*)ed "et+ LK:allIK. Nae t'e $ro*)
LKFootT!ist. A$ain+ sna) t'e $ro*)-s )i#ot to t'e sae 1oint as t'e )re#io*s
t!o $ro*)s.
4
.
No! t'at !e 'a#e t'ese control $ro*)s in )lace+ !e can connect t'e to t'e
a))ro)riate attri%*tes on t'e foot icon. Usin$ t'e Connection Editor(
Connect t'e LeftFoot-s :allKRotate attri%*te to t'e LK:allRotate-s Rotate F
attri%*te =Figure 12.52+ left>.
[View full size image]
Figure 12.52. Connect the re%aining attri=utes to their
corresponding groups.
Connect t'e An&leKTilt attri%*te to LKAn&leTilt-s Rotate F =Figure 12.52+
iddle>.
Connect t'e FootKT!ist attri%*te to LKFootT!ist-s Rotate Y attri%*te =Figure
12.52+ ri$'t>.
5e no! 'a#e co)lete control o#er Grae-s foot. One last t'in$ to do is loc& do!n t'e
orientation of 'is le$ *sin$ a )ole #ector constraint.
1. ,*)licate t'e c*%e "o* *sed on Grae-s left el%o!+ and sna) it to t'e left/rear &nee
1oint =Figure 12.53>. Free8e t'e transfors and renae t'is to LKKneePos.
Figure 12.53. Snap the cu=e to $rae>s left@rear knee Aoint.
Select t'e c*%e =LKKneePos> and+ 'oldin$ S'ift+ select t'e LKAn&leIK IK 'andle.
Go to Constrain L Pole ;ector to restrict t'e &nee-s o#eent. No! t'e rear &nee
1oint !ill al!a"s )oint to!ard t'e c*%e.
As !it' Kila+ !e also !ant t'e a%ilit" to free Grae-s feet fro t'eir IK constraints and
aniate t'e *sin$ FK.
Select t'e LeftFoot icon. 9oldin$ S'ift+ add LKAn&leIK+ LK:allIK+ and LKToeIK to t'e
selection.
Go to Aniate L IK6FK Ke"s L Connect to IK6FK.
Usin$ t'e Ena%le IK Sol#er tool in t'e sae Aniate L IK6FK Ke"s en*+ "o* are no!
free to to$$le t'e state of t'e IK on t'e foot.
To finali8e t'e left foot+ clean t'in$s *) a %it. Place %ot' icons into t'e Ri$KControls
la"er. Since !e no lon$er need t'e IK 'andles+ t*rn off t'e LKFootT!ist-s #isi%ilit"+ !'ic'
!ill 'ide all t'e IK 'andles )arented *nder it.
No! re)eat t'e )roced*res for creatin$ t'e %asic control foot and addin$ its d"naic
attri%*tes to ri$ Grae-s ri$'t foot. T'en sa#e t'e scene as GraeKLe$Ri$.%.
Main #od
Controls
5it' t'e ri$$in$ of t'e li%s for %ot' c'aracters co)leted+ !e can no! o#e on to
i)leent t'e ain %od" controls. T'ese !ill ena%le easier ani)*lation of Kila-s 'i)s+
s)ine+ and !aist. T'en !e-ll do siilar !or& on Grae-s %od".
'ips and
Spine
Mo#in$ t'e ain *))er %od" of t'e c'aracters !ill %e done *sin$ t'e 'i)s as t'e ain
control )oint. 5e si)l" need to create an icon to re)resent t'e 'i)s- )osition and
rotation.
1 5or&in$ in t'e KilaKLe$Ri$.% file a$ain+ create a t'ird NUR:S circle.
2 Sna) t'e circle to t'e ain Root 1oint of t'e 'i)s. T'en scale t'e circle as s'o!n in
Figure 12.54+ so it lies o*tside t'e $eoetr" of t'e c'aracter.
Figure 12.54. Manipulate the circle so it lies outside +ila>s hips.
3. Free8e t'e transfors and delete t'e 'istor" %efore renain$ t'e circle to
RootKControl.
:efore !e connect t'is icon to t'e root 1oint+ !e need to create t!o $ro*)s.
t'ese !ill 'el) *s add f*rt'er control to t'e !aist later.
4. Select t'e ain root 1oint and $ro*) it t!ice. Call t'e first $ro*) 5aistControl+ and t'e
second one RootControl. Ma&e s*re t'e )i#ot for RootControl lies o#er t'e root 1oint+ and
t'e )i#ot for 5aistControl lies o#er t'e first 1oint of t'e s)ine.
5. Select t'e circle and+ 'oldin$ S'ift+ select t'e RootControl $ro*) =*sin$
9")er$ra)' or O*tliner>. A))l" a )oint constraint follo!ed %" an orient
constraint. for %ot'+ a&e s*re t'at Maintain Offset is t*rned off.
No! t'e ain root of t'e c'aracter can %e translated and rotated #ia t'e RootKControl
icon. T'e s)ine is ade of #er" fe! 1oints+ so !e don-t need an" fanc" controls to
aniate it. All !e need is to create soe iconic re)resentation t'at !e can *se to )ose
it.
1. I)ort IconKArro!.%+ and )oint/sna) it to t'e first 1oint on t'e s)ine =Figure
12.55+ left>. Yo* a" also need to ad1*st t'e arro!-s scale so it is clearl" #isi%le.
Figure 12.55. AdAust the arro; so it points to;ard the Aoint it ;ill
control.
2. Mo#e t'e arro! %ac& so t'at it e2ists o*tside t'e $eoetr"+ rotatin$ it to
)oint to!ard t'e 1oint it !ill %e controllin$ =Figure 12.55+ ri$'t>. 5'en
"o*-re done+ free8e t'e transfors.
3. So t'e arro! !ill rotate aro*nd t'e correct )i#ot+ sna) its )i#ot %ac&
to t'e lo!er s)ine 1oint.
4
.
To connect t'e arro! and t'e s)ine 1oint+ select t'e arro! first and t'en+ 'oldin$
S'ift+ t'e s)ine 1oint. )erfor an orient constraint on t'e.
5. Renae t'e arro! to Lo!erKS)ine.
6. Re)eat t'is )roced*re to create arro!s for t'e ot'er t!o s)ine 1oints+
callin$ t'e arro!s MiddleKS)ine and U))erKS)ine and )ositionin$ t'e as
seen in Figure
12.56.
Figure 12.56. Position all three control icons for the spine Aoints.
In t'e c*rrent arran$eent+ if !e rotate one of t'e lo!er arro!s+ t'e )i#ots for t'e
ot'ers %ecoe isali$ned!'en !e aniate t'e+ t'e" !on-t %e o#in$ aro*nd t'e
correct )i#ots =Figure 12.57+ left>. 5e !ant t'e to sta" loc&ed to t'e 1oints t'e"
are controllin$. 5e co*ld *se a )oint constraint to a&e t'is 'a))en+ %*t t'e s)ine
!ill still aniate *nrealisticall". Instead+ !e ta&e a si)ler a))roac'.
Figure 12.57. Parent the arro;s to %aintain proper
rotations.
7. Parent t'e U))erKS)ine arro! to t'e MiddleKS)ine arro!+ and t'en t'e MiddleKS)ine
arro! to t'e Lo!erKS)ine arro!. Finall"+ )arent t'e Lo!erKS)ine arro! to t'e ain
RootKControl icon.
T'is ens*res t'at t'e s)ine !ill aniate correctl" !'ile &ee)in$ t'e controls in
t'eir correct )ositions =Figure 12.57+ ri$'t>.
8. One last t'in$ to do( Ma&e s*re all t'e ne! icons are )laced in t'e Ri$KControls la"er.
Waist
Control
Anot'er icon to %e added ne2t !ill $i#e *s control of t'e )el#ic area+ inde)endentl" of
t'e *))er %od". 5e !ill *se t'e 5aistControl $ro*) created earlier.
1 For t'e icon to re)resent t'is control+ create anot'er NUR:S circle and nae it
5aistKControl.
2 Position and scale t'e circle as s'o!n in Figure 12.58 =left>+ so it lies 1*st a%o#e t'e
RootKControl icon. Ree%er to free8e t'e transfors and delete t'e 'istor" after!ard.
Figure 12.58. Position the circle a=o:e the root control and snap
its pi:ot to the lo;er spine Aoint.
1 Point/sna) t'e )i#ot for t'e circle to t'e lo!er s)ine 1oint =Figure 12.58+ ri$'t>.
2 So t'at "o* can control t'e !aist !it' t'e circle+ select t'e 5aistKControl icon and
t'en t'e 5aistControl $ro*) and a))l" an orient constraint.
As deonstrated in Figure 12.59+ t'e !aist !ill rotate !it'o*t affectin$ t'e
s)ine)erfect for addin$ a feinine to*c' to Kila-s !al& and allo!in$ 'er to dance if s'e
is s'o!n at !or& d*rin$ t'e $ae =!e &no! fro t'e %ac& stor" t'at s'e-s a
)rofessional dancer>.
5. Parent t'e 5aistKControl to t'e RootKControl so t'at t'e icon sta"s in its
correct )osition.
Figure 12.59. +ila>s ;aist no; rotates free fro% the spine.
Kila-s s)ine and !aist are no! f*ll" ri$$ed. t'is is a $ood )lace to sa#e t'e scene+ as
KilaKTorsoRi$.%.
Go a'ead and i)leent t'e sae s)ine and !aist ri$ into Graeit-s a $ood idea to add t'e
sae !aist controls to all "o*r c'aracters+ as it adds f*rt'er freedo to t'eir o#eents.
Sa#e t'is scene as GraeKTorsoRi$.%.
0pper #od
Controls
5e 'a#e arri#ed at t'e *))er %od" controls. For %ot' c'aracters+ t'ese incl*de t'e
cla#icle+ 'ead+ and nec& controls.
Cla:icle
For t'e cla#icles+ !e co*ld si)l" control t'e #ia an orient constraint+ %*t t'is !o*ld
not )ro#e a #er" int*iti#e !a" of aniatin$. Instead+ !e !ill *se a constraint t'at !e
'a#en-t *sed so far( t'e aim constraint.
1 T*rn off t'e #isi%ilit" on t'e Ri$KControls la"er and a&e s*re "o* can see t'e act*al
c'aracter $eoetr". Settin$ t'e $eoetr"-s la"er to Te)late !ill allo! "o* to see it %*t not
edit it.
2 5e need a ne! icon for t'e cla#icle controls. t'is tie+ !e !ill %*ild it in Ma"a. S!itc'
to t'e side #ie!+ and $o to Create L Arc Tools L T'ree Point Circ*lar Arc. 5e !ill *se t'e
defa*lt o)tions.
3 5it' t'e Arc tool acti#e+ clic& once in front of t'e c'aracter-s s'o*lder+ t'en once 1*st
a%o#e it+ and t'en a final tie 1*st %e'ind it. t'is defines t'ree )oints on t'e c*r#e. Yo* can
see t'is )rocess in Figure 12.6<. Press Enter to co)lete t'e c*r#e+ and renae it to
LeftCla#icle.
Figure 12.6<. Create a three@point arc.
4. S!itc' to t'e )ers)ecti#e #ie!. Mo#e t'e c*r#e so it sits a%o#e t'e left s'o*lder
=Figure 12.61+ iddle>. 5'en "o* are 'a))" !it' t'e )osition+ )oint/sna) t'e )i#ot
)oint to t'e act*al s'o*lder 1oint =Figure 12.61+ ri$'t>.
5
.
Free8e t'e transfors and delete t'e 'istor".
6. 5it' t'e icon in )lace+ connect it to t'e cla#icle so t'at it !ill control t'e 1oint-s
rotation. Select t'e icon =LeftCla#icle> first+ and t'en add t'e corres)ondin$ 1oint
=LKCla#icle> to t'e selection.
7. Go to Constrain L Ai and o)en t'e o)tions =Figure 12.62>.
Figure 12.61. Position the icon a=o:e the left shoulder.
Figure 12.62. Ai% Constraint options
An ai constraint alters an o%1ect-s orientation =t'e cla#icle 1oint> to al!a"s ai at
anot'er o%1ect =t'e arc> alon$ a set a2is. See t'e side%ar 4Ai Constraint O)tions.4
Ai% Constraint
)ptions
9ere are soe of t'e ore i)ortant o)tions for settin$ *) an ai
constraint(
/im Cector dictates !'ic' a2is !ill )oint to!ard t'e tar$et o%1ect-s )i#ot
)oint. T'e t'ree %o2es after it re)resent t'e F+ Y+ and M a2es. A #al*e of B !ill
f*ll" infl*ence t'e ai in t'at direction. 'o!e#er+ a B in all t'ree a2es at t'e
sae tie !ill $i#e "o* a edian )osition.
Dp Cector is t'e a2is "o* !ant to )oint *)!ard. :" defa*lt+ it !ill tr" to
ali$n itself !it' t'e 5orld U) #ector+ !'ic' is Y.
1orld Dp #ype alters t'e !a" t'e 5orld U) #ector is *sed and 'as t'e
follo!in$ o)tions(
Scene U) !ill tr" to ali$n itself !it' t'e c*rrent scene-s U) a2is.
O%1ect U) ca*ses t'e U) #ector to tr" and ai at t'e ori$in of a
s)ecified o%1ect.
O%1ect Rotation U) sets t'e 5orld U) #ector to *se a s)ecified
o%1ect-s rotations as a $*ide.
;ector a&es t'e U) #ector tr" to ali$n !it' t'e 5orld U) #ector.
None *ses none of t'e a%o#e and instead %ases its orientation on
!'ate#er it !as set to %efore "o* c'ose None.
8. Set t'e ai constraint-s o)tions as follo!s(
5e &no! t'at F )oints do!n t'e %one. T'e first %o2 ne2t to Ai ;ector re)resents
t'e F a2is. set t'is to B so !e are aiin$ f*ll" in t'at direction. Ma&e s*re t'e iddle
%o2 =Y> and t'e last %o2 =M> are %ot' set to G so t'ese 'a#e no infl*ence.
5e also &no! t'at t'e U) ;ector s'o*ld %e set to Y %eca*se t'e Y a2is )oints *)+
so set t'e iddle %o2 to B and lea#e its nei$'%orin$ %o2es at G.
Lea#e t'e 5orld U) T")e set to Scene U).
C'ec& Maintain Offset to ena%le it+ since t'e 1oints a" o#e sli$'tl". 5it' t'is
settin$ t*rned on+ t'e" !ill sta" in )osition.
1 Clic& t'e A))l" %*tton to a))l" "o*r settin$s. T'en set and A))l" t'e sae o)tions for
t'e ri$'t cla#icle+ e2ce)t for t'e U) ;ector-s Y a2is =t'e iddle %o2>. set t'is to B %eca*se t'e
Y a2is on t'is 1oint )oints do!n.
2 To finis' *) t'e cla#icle controls+ )arent t'e to t'e U))erKS)ine icon. T'is !ill &ee)
t'e fro driftin$ a!a" fro t'e %od" as it o#es.
As "o* can see in
Figure 12.63
+ !e can no! )osition t'e s'o*lders %" translatin$ t'e icons alon$ t'e Y and M a2es.
Figure 12.63. The cla:icles are no; controlled = the t;o icons.
Add t'ese icons to t'e Ri$KControls la"er and sa#e t'e scene.
(eck
5e !ill *se a si)le icon to dri#e t'e nec&-s rotations+ *c' as !e did for t'e 'i)s.
Create a NUR:S circle+ callin$ it Nec&Rotation.
Point/sna) it to t'e nec& 1oint. T'en ani)*late it as s'o!n in Figure 12.64+ left+
so t'at t'e circle lies 1*st a%o#e t'e s'o*lders.
Figure 12.64. Add a (0&#S circle to control the neck>s
rotations.
()T*
5'en "o* set *) t'e circle for Grae+ "o* a" need to alter its
rotation+ too+ so t'at it follo!s t'e orientation of t'e nec&.
1 Ad1*st t'e circle-s )i#ot )oint so t'at it lies %ac& o#er t'e nec& 1oint.
2 Select t'e nec& icon and+ 'oldin$ S'ift+ select t'e nec& 1oint. T'en orient/
constrain t'e.
3 Parent t'e nec& icon to t'e U))erKS)ine icon.
T'e nec& no! 'as e2ternal control+ eanin$ !e don-t need to edit t'e s&eleton
directl".
If "o* !ant+ "o* can $o in and ad1*st t'e C;s for t'e circle+ c*r#in$ t'e s'a)e to fit t'e
s'o*lders =Figure 12.64+ ri$'t>. T'is is )*rel" for aest'etic reasons.
'ead
T'e final area of o*r ain ri$+ t'e 'ead+ tends to %e t'e ost *n)redicta%le area of
aniation. In t'is section !e !ill disc*ss an eas" !a" to $ain f*ll control o#er !'ere "o*r
c'aracters are facin$+ allo!in$ t'e 'ead to o#e freel" or to loc& onto o%1ects as t'e
c'aracter !al&s %".
T!P
As an alternati#e to t'e follo!in$ tec'ni7*e for 'ead ri$$in$+ "o* co*ld 1*st add
a control siilar to t'e one !e i)leented for t'e nec&. T'at !ill let "o*
control t'e 'ead-s rotations directl".
O)en t'e Kila file "o* 'a#e %een !or&in$ on so far+ !'ic' s'o*ld %e KilaKTorsoRi$.%.
So "o* can concentrate on t'e 'ead+ t*rn off t'e #isi%ilit" on t'e Ri$KControls la"er. I)ort
t'e file naed IconK9ead.%. T'is !ill %e o*r ain 'ead control icon.
Point/sna) t'e icon to t'e 'ead 1oint. T'en scale and rotate t'e icon so it-s facin$ t'e
sae direction as Kila-s 'ead.
Mo#e t'e icon o*t in front of t'e 'ead+ as s'o!n in Figure 12.65+ and free8e t'e
transfors.
Figure 12.65. !%port1 scale1 and position the head icon.
4. 5e are $oin$ to *se an IK Sin$le C'ain sol#er t'at !ill ena%le *s to )osition t'e 'ead
and loc& it+ so t'at t'e c'aracter can sta" foc*sed on one t'in$ !'ile 'er %od" does
anot'er. Go to S&eleton L IK 9andle Tool. Ma&in$ s*re "o* 'a#e i&SCsol#er selected in
t'e o)tions+ and create a 'andle fro t'e ain 9ead 1oint to t'e 9eadKTi) 1oint =Figure
12.66+ to)>. Call t'is 'andle 9eadK,irection.
Figure 12.66. Create an ikSCSol:er for the head and parent it to
the head icon.
1 5e !ant t'e 'ead icon to %e a%le to control t'e IK 'andle+ so )arent t'e 'andle to t'e
'ead icon.
2 Mo#e t'e IK 'andle o*t so it lines *) !it' t'e 'ead icon =Figure 12.66+ %otto>. T'is
a&es t'e 'ead-s )osition ore acc*rate.
No! t'e 'ead 1oints !ill trac& t'e 'ead icon. "o* can see t'is in Figure 12.67+
iddle. Yo* can e#en *se t'e 'ead icon-s M rotation to tilt t'e 'ead. :efore !e
finis' !it' t'is sta$e of t'e ri$$in$+ !e can add anot'er effect.
Figure 12.67. 0se an ai% constraint to get the head icon to sta
focused on the head.
7. Select t'e 'ead 1oint and t'en t'e 'ead icon+ and $o to Constrain L Ai. In t'e
constraint o)tions+ set t'e Ai ;ector to %e B in t'e M a2is =!it' G in F and Y>+ and set
t'e U) ;ector to %e B in t'e Y a2is =!it' G in F and M>.
No! !'en t'e 'ead icon o#es+ not onl" does t'e 'ead 1oint trac& its o#eent+
%*t t'e 'ead icon sta"s oriented to!ard t'e 'ead =Figure 12.67+ ri$'t>. T'is
a&es it easier to control.
T'e first sta$e of t'e 'ead-s set*) is co)lete. No! !e need to c'ec& t'e 'ead-s rotation
order+ alterin$ it to )re#ent gimbal lock. See t'e side%ar 4Rotation Order and Gi%al
Loc&.4
&otation order and $i%=al
,ock
?otation order indicates !'ic' rotations $et e#al*ated first. t'e defa*lt order
is 2"8+ eanin$ t'e M a2is is e#al*ated first+ t'en t'e Y a2is+ and finall" t'e F
a2is. T'is eans t'at !'en "o* rotate aro*nd t'e M a2is+ t'e Y and F o#e
!it' it. rotatin$ aro*nd t'e Y a2is !ill o#e t'e F a2is. and rotatin$ t'e F a2is
!ill onl" o#e itself.
9a#in$ an incorrect rotation order !ill res*lt in !'at-s &no!n as gimbal lock.
T'is occ*rs !'en t!o a2es end *) e2istin$ alon$ t'e sae )lane. "o* can-t
$et t'e t'ird de$ree of rotation %eca*se it clas'es !it' anot'er. T'is can
ca*se "o*r o%1ects to fli)+ and *ltiatel" not o#e as "o* re7*ire.
Unless "o* are aniatin$ *sin$ t'e $i%al settin$ in t'e Rotate tool o)tions
=t'e defa*lt settin$ is Local>+ t'is )'enoenon is 'idden to "o*. Ma"a !ill
aintain t'e EG/de$ree offset of rotation )lanes %" addin$ rotational #al*es
to t'e ot'er a2es as needed. :" caref*ll" considerin$ "o*r c'aracter-s
o#eents in ad#ance+ "o* can )re#ent soe $i%al loc& )ro%les. Settin$
t'e correct rotation order =in t'e Attri%*tes Editor> is a cr*cial ste).
Loo& at Figure 12.68+ left. t'ese are o*r c*rrent $i%al rotational a2es. To a&e t'ese
settin$s a#aila%le+ o)en t'e Rotate tool o)tions and set Rotate Mode to Gi%al.
Figure 12.68. $i%=al lock e-a%ple
If !e rotate ro*nd t'e Y a2is+ t'e F a2is t*rns !it' it =Figure 12.68+ iddle>+ %*t t'e M
a2is doesn-t. T'is eans t'e M a2is !ill e#ent*all" %e in t'e sae )lace as t'e F+
res*ltin$ in $i%al loc&. T'is 'a))ens %eca*se+ %" defa*lt+ t'e Y a2is is e#al*ated
second+ eanin$ t'e F a2is !ill o#e !it' it %*t t'e 8 !ill not.
C'an$in$ t'e rotation order to 82" =or 28"+ de)endin$ on 'o! "o* !is' t'e o%1ect to
rotate> !ill ean t'e a2es are e#al*ated correctl". as "o* can see in Figure 12.68+
ri$'t+ !'en t'e Y a2is is rotated+ all t'e ot'er a2es follo!.
As o*r 'ead icon o#es aro*nd t'e 'ead+ it *ses )riaril" t'e Y a2is+ !it' t'e F coin$
in a close second. 5e need t'ese a2es to reain intact so t'at !e can t'en edit t'e M
a2is+ ca*sin$ t'e 'ead to tilt no atter !'ere it is. 5it'o*t correct rotation order+ t'is
!o*ld %e diffic*lt to ac'ie#e. Let-s set t'is *) no!.
Select t'e 9eadControls icon+ o)en t'e Attri%*te Editor+ and in t'e Transfor
Attri%*tes+ set Rotate Order to 82". Ma&e t'e sae ad1*stent to t'e ain 'ead 1oint
on t'e %ase s&eleton. No! t'e 'ead and t'e 'ead icon !ill rotate correctl" at an"
an$le.
T!P
It-s i)ortant to c'ec& ot'er )arts of "o*r ri$ for areas !'ere t'e rotation
order a" need alterin$+ to red*ce t'e )ossi%ilit" of $i%al loc&.
5it' o*r 'ead icon !or& done+ and t'e rotational order ad1*sted+ tid" t'e scene a little
%" )lacin$ t'e 'ead icon in t'e Ri$KControls la"er. T'en 'ide t'e IK 'andle.
T'e %ase ri$ for Kilali%s+ %od"+ and 'eadis no! finis'ed+ so sa#e "o*r scene as
KilaK:aseRi$.%. 5or& on Grae+ follo!in$ t'e sae ste)s *ntil "o* arri#e at t'e
sae sta$e for 'i+ sa#in$ 'is scene as GraeK:aseRi$.%.
More
Controls
No! t'at t'e ain ri$ for %ot' c'aracters is co)lete+ !e can set *) t'e ot'er areas t'at
need to 'a#e life. T'ese are t'e e"es+ Kila-s c'est and 'air+ and Grae-s !in$s.
*es
:ot' c'aracters- e"es need t'e a%ilit" to o#e as t'e" loo& aro*nd. T'e %est !a" to
ac'ie#e t'is is to create an icon t'at t'e e"es al!a"s loo& at+ *c' t'e !a" t'e 'ead
follo!s t'e 'ead icon. For t'e e"es+ 'o!e#er+ !e can-t *se IK %eca*se !e onl" 'a#e a
sin$le 1oint.
I)ort t'e file called IconKE"es.% into "o*r scene. Yo* !ill no! 'a#e t!o se)arate
e"e/s'a)ed icons.
Point/sna) eac' e"e icon to its corres)ondin$ 1oint. Scale t'e and t'en rotate t'e
so t'e" are t'e correct orientation+ as seen in Figure 12.69+ to). T'en o#e t'e o*t
=*sin$ M onl"> in front of t'e 'ead *ntil t'e" line *) !it' t'e 'ead icon =Figure 12.69+
%otto>. Free8e t'e transfors.
Figure 12.69. Snap the ee icons to the ee Aoints1 and %o:e
the% out to the head icon.
Aligning the *e
!cons
As "o* can see in Figure 12.7<+ left+ t'e e"es and t'e 'ead do not
line *) correctl". T'is isn-t a a1or )ro%le and it-s not i)ortant to fi2.
:*t if "o* !ant to+ 'ere-s 'o!(
Figure 12.7<. You %ight ;ant to adAust the head icon>s
edit points to %atch the scale of the ees.
Ri$'t/clic& t'e 'ead icon and select Edit Points =Figure 12.7<+ iddle>.
Select all t'e edit )oints+ and o#e and scale t'e so t'e" line *) !it'
t'e e"es =Figure 12.7<+ ri$'t>. 5e edit t'e icon in Co)onent ode+
%eca*se !e !on-t need to free8e t'e transfors or a&e f*rt'er
ad1*stents to t'e 'ierarc'".
5it' t'e e"es in )osition+ !e can !ire t'e *) to control t'e 1oints. Select t'e left e"e
icon and t'en t'e left e"e 1oint. A))l" an ai constraint !it' Ai ;ector set to B in t'e M
c'annel =G in F and Y>+ and !it' U) ;ector set to B in t'e Y c'annel =G in F and M>.
A))l" t'e sae ai constraint to t'e ri$'t e"e icon and t'e ri$'t e"e 1oint+ *sin$ t'e
sae settin$s as for t'e left e"e.
T'e e"es are se)arate at )resent+ %*t !ant to o#e t'e to$et'er. Select %ot' e"e
icons and $ro*) t'e+ callin$ t'e $ro*) E"eControl.
For all ne! $ro*)s+ t'e )i#ot is )laced at t'e !orld root+ so $o to Modif" L Center Pi#ot
and )lace t'e )i#ot %et!een t'e e"es.
Ma&e t'e $ro*)-s selection 'andle #isi%le so "o* can select it easil". ,o t'is %" $oin$ to
,is)la" L Co)onent ,is)la" L Selection 9andle.
To finis' *)+ a&e t'e e"e icons al!a"s face t'e e"es+ as !e did !it' t'e 'ead icon.
Select t'e ain 'ead 1oint and t'en t'e E"eControl $ro*)+ and )erfor anot'er ai
constraint. T'is tie set Ai ;ector to B in t'e M c'annel. Also+
ena%le Maintain Offset if t'e e"e $ro*) is 'i$'er t'an t'e 'ead 1oint.
T'e e"es are no! ri$$ed+ %*t as "o* o#e t'e icon aro*nd+ "o* !on-t see *c' of a
difference to t'e 1oints. To see t'e e"es o#in$+ select t'e 1oints and $o to ,is)la" L
Co)onent ,is)la" L Local Rotation A2is. No! "o* !ill see t'at t'e a2es al!a"s follo!
t'e E"eControl icon %eca*se t'e" !ere told to al!a"s ai at t'e.
+ila>s
Chest
It-s 7*ite eas" to ri$ Kila-s %oso. !e erel" need to )oint/constrain eac' 1oint to an
icon t'at !ill dri#e it.
Start %" creatin$ t!o ore NUR:S circles+ callin$ t'e Left:reast and Ri$'t:reast.
Position eac' circle as s'o!n in Figure 12.71+ left+ so eac' circle is in front of a
%reast. Free8e t'e transfors.
Figure 12.71. Add control icons to the =reasts.
3. Point/sna) t'e )i#ot )oint for eac' icon to t'e 1oint it !ill control.
4. Select t'e left %reast icon+ t'en t'e corres)ondin$ 1oint+ and do a )oint
constraint. ,o t'e sae for t'e ri$'t %reast icon+ constrainin$ t'e 1oint to
t'e icon.
5
.
Yo* no! 'a#e icons t'at let "o* aniate eac' %reast indi#id*all". 5e also !ant to %e
a%le to aniate t'e %ot' at t'e sae tie. To set t'is *)+ select %ot' icons and $ro*)
t'e+ callin$ t'e ne! $ro*) :reastControls. Center t'e )i#ot of t'e $ro*) %" $oin$ to
Modif" L Center Pi#ot.
6. As seen in Figure 12.71+ ri$'t+ a&e t'e dis)la" 'andle #isi%le
=,is)la" L Co)onent ,is)la" L Selection 9andles>.
7. Parent t'e :reastControls $ro*) to t'e U))erKS)ine icon so t'at t'e $ro*)
!ill o#e !it' 'er *))er %od".
5e no! 'a#e t'e o)tion to aniate %ot' %reasts at t'e sae tie %" *sin$ t'e
:reastControls $ro*)+ or o#e t'e indi#id*all" #ia t'eir icons.
'air and
Wings
T'e final areas !e need to ri$ are Kila-s 'air and Grae-s !in$s. Yo* s'o*ld %" no! 'a#e a
$ood $ras) of t'e tools t'at are a#aila%le to 'el) "o* ri$ t'ese areas+ so ta&e a sta% at it
"o*rself and see !'at "o* can coe *) !it'. If "o* 'a#e tro*%le or are str*$$lin$ !it'
soet'in$+ "o* can al!a"s refer to t'e files called KilaKFtrasRi$.% and
GraeKFtrasRi$.% on t'is %oo&-s C,.
Ideall"+ a d"naics en$ine !ill dri#e aniation of Kila-s 'air. T'is !o*ld )ro#ide t'e %est
res*lts and free *) t'e aniators to !or& on ot'er t'in$s. Unfort*natel"+ !e don-t 'a#e
t'at l*2*r" for Kila+ so ta&e t'e o))ort*nit" to tr" and add "o*r o!n+ si)le ri$.
9ere are a co*)le of s*$$estions(
Yo* i$'t $i#e t'e 'air a #er" %asic ri$+ forcin$ t'e aniator to s*))l" e#er"
o#eent t'e 'air needs. Si)l" i)leent soe %asic icons t'at !ill control t'e 'air
1oints- rotations. T'is a))roac' 'as its ad#anta$es+ since t'ere !ill %e occasions !'ere t'e
aniator needs co)lete freedo o#er t'e !a" t'e 'air o#es.
Yo* can *se IK 'andles to control eac' 1oint. T'is tec'ni7*e allo!s "o* to )*ll t'e
'air aro*nd fro t'e %aseit-s a ore *ser friendl" !a" of aniatin$.
Ri$$in$ Grae-s !in$s can %e a))roac'ed in a *c' easier !a"( I)ort t'e file
IconK5in$s.% into t'e scene. Yo* !ill find t'at I 'a#e alread" set *) a series of
attri%*tes on t'e icons for "o* to *se. T'en *se Set ,ri#en Ke"s to $enerate )oses for
t'e !in$s+ !'ic' corres)ond to eac' attri%*te.
:ot' Kila and Grae-s %odies are no! f*ll" ri$$ed+ 'ead to toe =Figure 12.72>. T'e onl"
ot'er ain controls !e need to add are t'ose to control facial aniation+ !'ic' !e !ill
disc*ss in t'e ne2t c'a)ter.
Figure 12.72. +ila and $rae1 full eHuipped ;ith their rigs
Cisi=ilit
Controllers
5it' all t'ese icons l"in$ aro*nd+ "o*r Ma"a scene can %ecoe ess" and diffic*lt to
na#i$ate. T'e final tool !e !ill *se in t'is c'a)ter is a visibility control, !'ic' lets *s s'o!
or 'ide t'e #ario*s icons. For t'e aniator+ it-s an eas" !a" to identif" !'at icons are
needed and 'ide t'e ones not %ein$ *sed.
:efore !e i)leent t'e #isi%ilit" control+ !e first need to ta&e a %road loo& at o*r
scene. Load t'e KilaKFtrasRi$.% file "o* 'a#e %een !or&in$ on so far+ and o)en *) t'e
O*tliner. As "o* can see in Figure 12.73+ left+ !e 'a#e lots of ne! o%1ects t'at are
forin$ t'e ri$. Let-s co)ile t'e all into a nice neat $ro*).
Figure 12.73. Tid up the +ila and $rae scenes> contents =efore ou
proceed.
[View full size image]
Select e#er"t'in$ e2ce)t t'e ain LO, $ro*) =KilaLO,>+ t'e ain scene caeras+ and
t'e RootControl $ro*). 5e oit t'is last eleent %eca*se it contains t'e ain s&eleton.
For no!+ all !e !ant are )arts of t'e ri$. So $ro*) e#er"t'in$ "o* 'a#e selected into a
ne! $ro*)+ KilaKControls =Figure 12.73+ iddle>. Also+ renae t'e RootControl $ro*)
so t'at "o* 'a#e a %etter idea of !'at it is. call it KilaKS&eleton.
T'e scene is no! *c' tidier+ as seen in
Figure 12.73
+ ri$'t. An"one else coin$ i
n
to *se it !ill 'a#e a $ood idea of !'at-s !'ere
.
,o t'e sae tid"in$ *) in GraeKFtras.%
.
No! let-s i)leent o*r #isi%ilit" controller
.
1 I)ort t'e file IconK;isi%ilit".% and renae t'e ;isi%ilit"Control icon to
Kila;isi%ilit". 5e do t'is %eca*se it !ill 'el) *s to differentiate 'er #isi%ilit" controls if !e
!ere to i)ort ot'er c'aracters into t'e scene.
2 Mo#e t'e ne! icon *) a%o#e Kila-s 'ead =see Figure 12.74>. Free8e t'e
transfors.
Figure 12.74. Position the :isi=ilit icon a=o:e +ila>s head.
3. So t'at t'e icon sta"s !it' t'e act*al ri$ as it o#es+ )oint/constrain it to t'e
root 1oint. Select t'e root 1oint and t'en+ 'oldin$ S'ift+ add t'e #isi%ilit" icon to t'e
selection. Go to Constrain L Point+ a&in$ s*re Maintain Offset is ena%led.
No! t'at t'e icon is in )lace and fi2ed to t'e ri$+ !e can start to add attri%*tes to it
t'at !ill control t'e ot'er icons- #isi%ilit". T'in& caref*ll" a%o*t !'at "o* !ant to %e
a%le to control. In t'is case+ let-s add t'e a%ilit" to t*rn all t'e icons on and off. !e
can add t'at control to t'e act*al $eoetr"+ too.
4. Add t!o :oolean attri%*tes to t'e Kila;isi%ilit" icon+ called AllIcons and AllGeo. 5e
can also add t'e a%ilit" to si)l" #ie! t'e icons in certain re$ions. Add anot'er t'ree
:oolean attri%*tes called LeftIcons+ MiddleIcons+ and Ri$'tIcons.
T'in& of ot'er #isi%ilit" controls "o*-d li&e to 'a#e( Ma"%e "o* !o*ld li&e to control
eac' icon se)aratel"0 Feel free to add ore if "o* !ant. Ot'er!ise+ let-s $o a'ead and
connect *) t'e ones !e-#e added so far.
O)en t'e Connection Editor =5indo! L General Editors L Connection Editor>.
Select t'e Kila;isi%ilit" icon+ and clic& t'e Reload Left %*tton to load t'e icon into
t'e O*t)*ts list. In t'e In)*ts list+ load t'e KilaKControls $ro*).
As s'o!n in Figure 12.75a+ connect t'e AllIcons attri%*te to t'e ;isi%ilit"
attri%*te.
Figure 12.75a. Connecting the ne; Cisi=ilit attri=utes
1 All t'e icons no! disa))ear. T'is 'a))ens %eca*se t'e :oolean attri%*tes "o*-#e
created are set to Off %" defa*lt. Go t'ro*$' eac' one no! and set t'ese to On.
2 Load t'e KilaLO, $ro*) into t'e In)*ts list+ and connect t'e AllGeo attri%*te to t'e
;isi%ilit" attri%*te =Figure 12.75=>.
Figure 12.75=. Connecting the ne; Cisi=ilit attri=utes
1 For t'e ne2t attri%*te+ LeftIcons+ !e !ill need to control t'e #isi%ilit" of a n*%er of
o%1ects at once. Select all t'e left/side o%1ects =LKConS'o*lder+ LKArKIK+ LKCon9and+
Left9and+ LeftFoot+ and LKKneePos>+ and clic& Reload Ri$'t in t'e Connection Editor.
2 As s'o!n in Figure 12.75c+ select LeftIcons. t'en !or& "o*r !a" do!n t'e In)*ts
list+ selectin$ all t'e ;isi%ilit" attri%*tes.
Figure 12.75c. Connecting the ne; Cisi=ilit attri=utes
8. For t'e MiddleIcons attri%*te+ load RootKControl+ 9eadRotation+ E"eControl+
:reastControls+ and 9airS!in$ into t'e In)*ts list. T'en connect MiddleIcons to all t'eir
#isi%ilit" icons =Figure 12.75d>.
Figure 12.75d. Connecting the ne; Cisi=ilit attri=utes
Select RKConS'o*lder+ RKArKIK+ RKCon9and+ Ri$'t9and+ Ri$'tFoot+ and
RKKneePos+ and clic& Reload Ri$'t.
Connect t'e Ri$'tIcons attri%*te to all t'e ;isi%ilit" attri%*tes on t'e ri$'t
=Figure 12.75e>.
Figure 12.75e. Connecting the ne; Cisi=ilit attri=utes
Sa#e t'e scene as KilaK;i8Ri$.%!e no! 'a#e co)lete control o#er 'o! t'e icons are
#ie!ed. T'is s'o*ld a&e t'e aniation )rocess *c' easier.
Follo! t'is sae )roced*re to a))l" #isi%ilit" controls to Grae.
Color Coding for
!cons
T'ere is one final #is*al aid !e can add to 'el) distin$*is' o*r control icons. 5e can alter
eac' icon-s !irefrae color+ essentiall" color/codin$ t'e.
At )resent+ all of o*r controls are !'ite. T'is is $ood %eca*se it a&es t'e stand o*t.
:*t !'at 'a))ens if !e are loo&in$ fro t'e side0 Kno!in$ !'et'er "o* are selectin$
t'e left or ri$'t ar co*ld %e diffic*lt. Addin$ colors to different areas of t'e ri$ !ill
'el) to distin$*is' t'e side "o* are !or&in$ on.
T'e color for eac' icon is c*rrentl" loc&ed to t'e Ri$KControls la"er. Initiall"+ t'is !as a
*sef*l la"er to 'a#e!e don-t need it an"ore+ t'o*$'+ %eca*se !e can no! control t'e
icons- #isi%ilit" %" eans of o*r ne! #isi%ilit" icon.
1 ,elete t'e Ri$KControls la"er %" ri$'t/clic&in$ it in t'e La"er Editor and selectin$
,elete. All t'e icons !ill ret*rn to t'e defa*lt color of dar& %l*e.
2 Select t'e LeftFoot icon and o)en *) its Attri%*te Editor %" )ressin$ CtrlNA
=Figure 12.76+ left>.
Figure 12.76. AdAust the color s;atch under Dra;ing
):errides to color@code icons.
[View full size image]
O)en *) t'e Attri%*te Editor-s O%1ect ,is)la" )ane+ and "o*-ll see t'ree ore
sections( G'ostin$ Inforation+ :o*ndin$ :o2 Inforation+ and ,ra!in$ O#errides. O)en
,ra!in$ O#errides =Figure 12.76+ ri$'t>. Ma&e s*re Ena%le O#errides is ena%led+ and t'en
"o* can edit t'e color s!atc' 1*st %elo! it to c'oose a color for "o*r icon.
No! !or& "o*r !a" aro*nd all of t'e icons+ a&in$ t'e ones on t'e left %l*e+ t'e
ones in t'e iddle $reen+ and t'e ones on t'e ri$'t "ello!. C'oose an" colors "o* )refer+ as
lon$ as t'e" are s*fficientl" different. Yo* can e#en a&e e#er" icon a different color if "o*
li&e. 1*st %e s*re t'e scene is eas" to read.
Yo* can see in Figure 12.77 t'at t'e icons are distincti#e no!. "o* can easil" tell
!'ic' side is !'ic'. Sa#e t'e scene !it' its ne! colored icons as KilaKMainRi$.%.
Figure 12.77. +ila ;ith color@coded icons
A))l" color/codin$ to Grae-s control icons+ too.
Chapter 13. Facial Ani%ation
Setup
CD Files
KilaKCo%ined.%
KilaKFace:ind.%
KilaKFaceRi$K:S.%
KilaKFaceRi$K<nt.%
KilaKFace5ei$'t.%
KilaKMainRi$.%
GraeKCo%ined.%
GraeKFace:ind.%
GraeKFaceRi$K:S.%
GraeKFaceRi$K<nt.%
GraeKFace5ei$'t.%
GraeKMainRi$.%
Kila:od".t$a
Kila9air.t$a
Kila9ead.t$a
Grae:od".t$a
GraeMisc.t$a
Grae5in$.t$a
Grae:od"K:*).t$a
GraeMiscK:*).t$a
Grae:od"KS)ec.t$a
GraeMiscKS)ec.t$a
5IT9 EAC9 GENERATION of 'ard!are coes ore sco)e for $ra)'ical detail. Facial
aniation is fast %ecoin$ a a1or eleent of #ideo $aes. c'aracters can not onl"
s)ea& %*t also e2)ress eotions. It *sed to %e t'at a si)le 1oint actin$ as a 1a! !as
eno*$'. T'is allo!ed t'e c'aracter-s o*t' to o)en and close+ %*t t'e ill*sion failed to
%rin$ t'e c'aracter to life. instead+ it loo&ed ore li&e a )*))et.
T!o of t'e ost )o)*lar et'ods toda" of real/tie facial aniation *se eit'er 1oints
or blend shapes. <oint/%ased aniation si)l" *ses a series of 1oints )laced aro*nd t'e
face t'at+ !'en o#ed+ ser#e to aniate t'e c'aracter-s face. :lend s'a)es+ or morph
targets, *se d*)licates of t'e face as a reference. T'e ain face t'en or)'s into t'e
#erte2/odified reference s'a)es.
T'is c'a)ter deonstrates 'o! to set *) "o*r c'aracters *sin$ 1oints and *sin$ %lend
s'a)es+ so t'at "o* can a&e *) "o*r o!n ind a%o*t !'ic' one to *se in a )artic*lar
sit*ation.
Yo*r c'oice !ill de)end 'ea#il" on t'e $ae en$ine+ so cons*lt !it' t'e lead )ro$raer
first %efore e%ar&in$ on a )artic*lar et'od. In addition+ disc*ss t'e atter !it' "o*r
ana$er %efore "o* start !or&. Find o*t e2actl" !'at t'e c'aracter !ill need to do. If all
it !ill e#er do is %lin&+ t'en t'ere is no need to s)end tie creatin$ *lti)le face s'a)es.
/oint@#ased Facial Ani%ation Setup
D+ilaE
T'e ost o%#io*s !a" to aniate a c'aracter-s face is to *se 1oints+ %eca*se !e are
alread" e)lo"in$ t'e to aniate t'e %od". 5e si)l" )lace 1oints at certain )laces
aro*nd t'e c'aracter-s face+ !'ic' !ill t'en act li&e *scles+ o#in$ t'e #ertices aro*nd
and aniatin$ t'e face.
5'ere do !e )*t facial 1oints to $et t'e %est facial e2)ressions on Kila0
5e need one to o)erate t'e o*t'+ o)enin$ and closin$ t'e 1a!.
For t'e e"es+ !e-ll add 1oints t'at o)erate t'e e"elids.
<oints at se#eral locations aro*nd t'e o*t' !ill $i#e o#eent to t'e li)s+
ena%lin$ t'e c'aracter to for !ords.
T'e e"e%ro!s contri%*te a lot to facial e2)ression+ so !e can add 1oints to o#e
t'ese as !ell.
If o*r %*d$et allo!s+ !e can add t'e a%ilit" to aniate t'e ton$*e.
T!o ore 1oints !ill add o#eent to t'e c'ee&s.
T'is list incl*des 7*ite a fe! e2tra 1oints+ so for "o*r o!n )ro1ect+ a&e s*re "o*
'a#e roo in "o*r %*d$et. In t'is c'a)ter+ !e !ill i)leent t'e all.
/oint
Place%ent
As !e did !it' Kila-s %reasts+ !e !ill rel" ostl" on t'e translations of 1oints to
aniate t'e face. 5e onl" need to add 1oints to t'e left side of 'er face+ and t'en
irror t'ese to create t'e ri$'t side.
1 O)en *) t'e file KilaKMainRi$.% and+ *sin$ t'e #isi%ilit" controller !e added in
C'a)ter B?+ t*rn off all t'e icons.
2 S!itc' to t'e side #ie!+ and 'ide 'er 'air and t'e ain s&eleton so "o* can
concentrate on 'er face. T*rn t'e $eoetr" la"er #isi%ilit" to Te)late.
3 Usin$ t'e <oint tool fo*nd in t'e S&eleton en*+ )lace Kila-s 1a!%one as s'o!n in
Figure 13.1a. Call t'e first 1oint <a!+ and t'e second <a!KTi).
Figure 13.1a@c. Place the Aoints that ;ill ani%ate the left side of
+ila>s face
4. Place t'ree 1oints t'at !ill control 'er ton$*e+ *sin$ t'e act*al ton$*e $eoetr" to
$*ide "o*. Call t'ese Ton$*e:ase+ Ton$*eMiddle+ and Ton$*eKTi)+ %efore )arentin$
Ton$*e:ase to t'e <a! 1oint =Figure 13.1=>.
5. Follo!in$ Figure 13.1c+ )lace t!o sin$le 1oints in e2actl" t'e sae )lace as t'e e"e
1oint. =Yo* !ill need to a&e t'e %ase s&eleton #isi%le a$ain for t'is ste). Set it to
Reference+ so t'at "o* !ill %e a%le to sna) t'e ne! 1oints to t'e ones on t'e %ase
s&eleton.>
5e need t'e e"elids to follo! t'e sae rotations as t'e e"es+ so t'ese 1oints
need to %e in t'e sae )osition as t'e e"e 1oint. Use t'e Point Sna) tool to
)osition t'e correctl"+ and call t'e LKU))erLid and LKLo!erLid.
6. Add t'ree se)arate 1oints aro*nd 'er li)s+ )lacin$ one at t'e to)+ one at t'e corner of
'er o*t'+ and a final one on t'e lo!er li) =Figure 13.1d>. Call t'ese LKU))erLi)+
LKO*terLi)+ and LKLo!erLi).
Figure 13.1d@f. Place the Aoints that ;ill ani%ate the left side of
+ila>s face.
7. Place t!o 1oints alon$ t'e e"e%ro!+ callin$ t'ese LKInner:ro! and
LKO*ter:ro! =Figure 13.1e>.
8
.
Create a 1oint t'at !ill aniate 'er c'ee&+ callin$ it LKC'ee& =
Figure 13.1f
>.
9. S!itc' to t'e )ers)ecti#e #ie! no! and o#e all e2ce)t t'e 1a! and
ton$*e 1oints a!a" fro t'e center+ )lacin$ t'e in t'e areas for !'ic' t'e"
!ere intended =Figure 13.2+ iddle>.
Figure 13.2. Mo:e the ne; ee1 ee=ro;1 and cheek Aoints a;a
fro% the center and into their correct places.
()T*
As ill*strated in Fi$*re B3.?+ ri$'t+ a&e s*re t'e 1oints lie 'alf in and 'alf
o*t of t'e act*al $eoetr". T'is !a"+ t'e" !ill $i#e an acc*rate
o#eent !'en aniated.
1<. T'e 1oints are no! in )osition+ so a&e t'e ain s&eleton #isi%le a$ain. T'en
)arent all t'e 1oints e2ce)t Ton$*e:ase+ Ton$*eMiddle+ Ton$*eKTi)+ <a!KTi)+ and
Lo!erLi) to t'e ain 'ead 1oint. Parent t'e Lo!erLi) 1oint to t'e 1a! 1oint %eca*se it
!ill o#e !it' t'e %otto 1a!.
T!P
Yo* a" find it easier to select t'e 1oints in t'e O*tliner. A 7*ic& !a" to
na#i$ate t'ro*$' t'e 'ierarc'" is to select an" of t'e 1oints %elon$in$ to
t'e face in t'e ain #ie!. t'en ri$'t/clic& in t'e O*tliner and select
Re#eal Selected. Yo* !ill %e ta&en to t'e selected 1oint in t'e O*tliner+
!'ic' in t*rn !ill re#eal t'e rest since t'e" all lie in t'e sae )lace.
Ne2t+ si)l" *se t'e Mirror <oint tool to co)" eac' 1oint across+ creatin$ t'e ri$'t side
1oints. ,o all e2ce)t for t'e 1a! 1oints.
1. Select one of t'e ne! face 1oints and $o to S&eleton L Mirror <oint.
2. In t'e tool o)tions+ set Mirror Across to YM. Under t'e 'eadin$ 4Re)laceent
naes for d*)licated 1oints+4 )*t LK in Searc' For+ and RK in Re)lace 5it'.
T'is !ill a*toaticall" renae t'e 1oints for "o* so t'at t'e" re)resent t'e ri$'t
side.
3. Clic& on A))l" to irror t'e 1oint and &ee) t'e !indo! o)en. No! re)eat t'is for
eac' of t'e reainin$ face 1oints.
()T*
Ree%er to reset eac' 1oint-s rotational a2es+ es)eciall" after "o* 'a#e
irrored t'e. Select all t'e ne! 1oints and *se t'e rs<nt %*tton on t'e
GC,M s'elf. Use t'e or<nt %*tton on t'e 1a! and ton$*e 1oints.
Yo* can see in Figure 13.3 t'at t'e face is loo&in$ )rett" co)licated ri$'t no!+ and to
an aniator t'is !o*ld %e a ni$'tare to )ose. :*t !e can ri$ t'e face 1*st as !e did
t'e %od"+ a&in$ it easier to $et %asic )oses and o*t' s'a)es. In order to do t'is+ t'e
1oints *st first %e %o*nd to t'e es' and t'eir )ositions tested.
Figure 13.3. The face ;ith the full Aoint con"guration
Preparation and
#inding
Alt'o*$' %indin$ isn-t co#ered *ntil
C'a)ter BI
+ 4Final C'aracter ,eforation+4 !e !ant to a&e a start no! on t'is )rocess so t'at
!e can f*ll" ri$ t'e face.
To s*ccessf*ll" %ind Kila+ !e need 'er to %e a sin$le o%1ect. Yo*r $ae en$ine a" not
'andle *lti)le o%1ects+ so in t'is case it-s safest to co%ine Kila-s )ol"$ons.
Select eac' eleent t'at a&es *) t'e 'i$'est le#el of detail and $o to Pol"$ons L
Co%ine. T'is !ill create a sin$le o%1ect. renae it to KilaKLO,GB.
:eca*se s'e started o*t as se)arate o%1ects+ co%inin$ Kila !on-t 'a#e !elded t'e
#ertices %et!een eac' eleent. Loo& at Figure 13.4+ iddle. At t'e line !'ere 'er 'ead
eets 'er 'air+ t'ere are t!o #ertices l"in$ on to) of eac' ot'er. Yo* can easil" select one and
o#e it do!n+ !'ic' creates an *ndesira%le 'ole.
Figure 13.4. Merge all the sea%s1 ;elding the :ertices
together.
To fi2 t'is+ select all t'e #ertices of 'er 'ead and 'air and $o to Edit Pol"$ons L
Mer$e ;ertices+ settin$ t'e #al*e to a sall n*%er s*c' as G.GGGB. T'is !a"+ onl"
#ertices t'at lie on to) of eac' ot'er !ill %e !elded =
Figure 13.4
, right0.
1 ,o*%le/c'ec& eac' area t'at t'is !eldin$ s'o*ld 'a#e affected+ incl*din$ t'e 'airline+
e"elas'es+ and inner o*t'. Ma&e s*re t'at t'e li)s+ t'o*$'+ 'a#e not %een er$ed.
2 Co%inin$ Kila into a sin$le o%1ect !ill 'a#e )laced t'e $eoetr" o*t of t'e LO,
$ro*)+ so 7*ic&l" a&e s*re s'e is a$ain )arented to t'e KilaIGEA $ro*). T'is !ill ens*re t'e
LO,s still !or&.
3 ,elete t'e 'istor" on t'e es'.
()T*
T'ere a" %e a stra" node still in t'e KilaIGEA $ro*). t'is a" 'a#e %een
issed !'en !e deleted 'er 'istor". S'e is a sin$le odel no!+ t'o*$'+ so it-s
safe to delete t'is node. Use 9")er$ra)' or O*tliner to c'ec& for t'is iss*e.
T'e first LO, for Kila is no! a sin$le es'+ !'ic' !ill a&e 'er easier to !or& !it'. No!
let-s connect 'er to t'e %ase s&eleton.
1. In t'e O*tliner+ na#i$ate to t'e first 1oint of t'e %ase s&eleton. t'is s'o*ld %e called
Root. Select it and o)en *) t'e 'ierarc'" %" S'iftNclic&in$ on t'e )l*s si$n =N> ne2t
to Root.
2. Go to Edit L Select 9ierarc'" to select all t'e o%1ects %eneat' Root.
3. Alt'o*$' t'e s&eleton 'ierarc'" is selected+ "o* don-t !ant to %ind all t'e 1oints.
Scroll do!n t'e O*tliner and+ 'oldin$ Ctrl+ deselect all t'e 1oints endin$ !it' KTi).
T'ese are onl" 'ere as #is*al aids and don-t defor t'e c'aracter.
Also a&e s*re "o* onl" 'a#e 1oints selected. Unselect an" icons+ constraint
nodes+ or effectors =!'ic' are )art of t'e IK s"ste and *s*all" naed
4effector4> t'at a" also %e selected.
4. 5it' 1*st t'e correct 1oints selected+ 'old S'ift and add t'e Kila es' to t'e
selection.
5. Go to S&in L :ind S&in L Soot' :ind and o)en t'e o)tions. For :ind To+
c'oose Selected <oints+ and for :ind Met'od+ c'oose Closest <oint. Set Ma2
Infl*ences to 3+ and ,ro)off Rate to I.
6. Clic& on :ind S&in+ and t'e s&in is no! attac'ed to t'e %ase s&eleton. Yo* can
test t'is %" o#in$ soe of t'e control icons =
Figure 13.5
+ ri$'t>.
Figure 13.5. Test the =ind = %o:ing so%e of the icons
around.
T!P
On t'e GC,M s'elf+ "o*-ll find a %*tton la%eled :ind. T'is !ill a*toaticall"
select t'e 1oints needed and %ind t'e selected s&in to t'e+ !'ile a&in$ s*re
no *n!anted o%1ects are incl*ded.
Sa#e t'e scene as KilaKFace:ind.%.
5e !ill lea#e %indin$ t'e rest of t'e %od" *ntil C'a)ter BI. For no!+ let-s
concentrate on t'e 1o% at 'and and edit t'e !ei$'tin$ inforation on t'e face.
/oint
Weights
Since !e co#ered t'e #ario*s !ei$'tin$ tools and o)tions in C'a)ter A+ !e can no! $et
ri$'t to it and !or& on t'e facial 1oints.
()T*
Unless s)ecified+ !e !ill ainl" %e *sin$ t'e )aint o)eration Re)lace+ fro
t'e Paint 5ei$'ts )ane in t'e Paint S&in 5ei$'ts o)tions.
5e !ill %e o#in$ t'e 1oints aro*nd+ so it !o*ld %e )r*dent for *s to first store t'eir
c*rrent translations. Since t'e 1oints- translations cannot %e fro8en+ !e !ill set a
&e"frae on t'e+ t'*s storin$ t'eir defa*lt )ose.
Figure 13.6 s'o!s t'e Tie Slider at t'e %otto of t'e Ma"a !indo! =t'e ain %ar !it'
n*%ers in it>. T'is controls tie in Ma"a. si)l" clic&in$ in t'e slider !ill alter t'e frae
"o*-re on. 5e !ill disc*ss t'e Tie Slider in ore detail in C'a)ter BA+ 4Aniatin$ for
Gaes.4
Figure 13.6. The Ti%e Slider
On t'e Tie Slider+ a&e s*re "o* 'a#e frae G selected. t'en select all t'e 1oints
associated !it' t'e face. Ri$'t/clic& in t'e C'annel :o2 and select Ke" All fro t'e
en*. T'e attri%*tes !ill t*rn oran$e to indicate t'e" are &e"fraed.
5e 'a#e t'*s stored t'e 1oints- )ositions at frae G. "o* !ill %e a%le to see a t'in red
line indicatin$ t'at t'e selected o%1ect 'as a &e" set on it. 5e can still o#e t'e 1oints
aro*nd+ %*t to ret*rn t'e to t'eir defa*lt )ose !e need onl" clic& on frae G in t'e
Tie Slider. T'e onl" !a" to store a ne! )ose !o*ld %e to set anot'er &e".
5it' t'e 1oints+ )ositions safel" stored+ let-s loo& at ad1*stin$ t'e !ei$'ts on 'er 1a! and
li)s.
/a; and Mouth Weights
T'e 1a! 1oints are first. t'e"-ll allo! *s to o)en and close 'er o*t'.
1. Make all the icons in:isi=le. Focus in on the face and %ake sure ou can see
the
%ase s&eleton =
8igure ./.:
, left0.
Figure 13.7. &otate the Aa; Aoint so that ou can see ho; the
;eighting looks.
Follo!in$ Figure 13.7+ ri$'t+ rotate t'e ain 1a!%one do!n to !'ere t'e o*t'
!o*ld %e o)en. As "o* can see+ t'e !ei$'ts are not distri%*ted )ro)erl"+ so "o* need to $o in
and t!ea& t'e.
Select t'e ain c'aracter odel+ and $o to S&in L Edit Soot' S&in L Paint S&in
5ei$'ts Tool and o)en t'e tool-s o)tions.
Set %ot' :r*s' O)acit" and t'e Paint 5ei$'ts ;al*e to B+ and select t'e <a! 1oint so
t'at "o* can edit its !ei$'ts =Figure 13.8>.
Figure 13.8. Set the Paint Skin Weights tool settings and select
the /a; Aoint.
1 Usin$ t'e solid %r*s'+ f*ll" !ei$'t t'e %otto of t'e 1a! =incl*din$ 'er %otto teet'
and ton$*e> to t'e <a! 1oint.
2 Reset t'e Paint 5ei$'ts ;al*e to G.@+ and )aint o#er t'e iddle of t'e o*t' at t'e
corners and c'ee&s =t'is is t'e area 'alf!a" %et!een t'e *))er and lo!er li)s>+ as seen in
Figure 13.9+ left.
Figure 13.9. AdAust the ;eights for the Aa; and head Aoints1 "-ing
the %outh.
7. Select t'e 'ead 1oint+ and set Paint 5ei$'ts ;al*e %ac& to B. F*ll" !ei$'t t'e to) of
'er 'ead =incl*din$ 'er *))er teet' and li)> to t'is 1oint =Figure 13.9+ iddle>.
As "o* can see in Figure 13.9+ ri$'t+ t'e o*t' no! loo&s %etter !'en it is o)en. :*t
t'e )ro%le no! is t'at it-s too ro*nd !'en o)en+ so !e need to %rin$ t'e sides of t'e
o*t' in.
5e !ill no! ad1*st t'e !ei$'tin$ for t'e li) 1oints !e created. T'is !ill 'el) to ad1*st t'e
s'a)e of 'er o*t' !'en it is o)en.
Reset t'e 1oints %ac& to t'eir defa*lt )ositions %" o#in$ t'e Tie Slider to a
different frae+ and t'en %ac& to frae G.
Mo#e o*t!ard all si2 1oints t'at !ill o)erate t'e li)s =Figure 13.1<+ ri$'t>. 5'en
t'e"-re !ei$'ted+ t'ese 1oints !ill o)en t'e li)s %*t &ee) t'e teet' to$et'er.
Figure 13.1<. Mo:e the Aoints for the lips slightl out;ard fro%
the %outh.
:eca*se !e f*ll" !ei$'ted t'e to t'e 1a! and 'ead 1oints+ t'e #ertices aro*nd t'e
o*t' are %ein$ told to i$nore t'e li) 1oints. Let-s attend to t'is ne2t.
3. 5it' a softer %r*s' and a saller O)acit" #al*e =sa"+ G.BG>+ start to add !ei$'tin$
inforation for 1*st t'e left t'ree li) 1oints. Ma&e t'e #ertices on t'e inside of 'er li)s
alost f*ll" affected %" t'e 1oints+ !it' t'e infl*ence $rad*all" fadin$ as "o* $et fart'er
fro t'e o*t'. T'is !ill ca*se t'e li)s to flatten sli$'tl" as t'e" )art+ 1*st as t'e"
!o*ld do nat*rall".
As "o* are addin$ t'e !ei$'ts+ "o* !ill see t'e li)s %e$in to o)en *)+ !it' t'e
#ertices o#in$ $rad*all" to!ard t'e 1oint "o* are !or&in$ on =Figure 13.11=>.
4. 5'en "o* are 'a))" !it' t'e !ei$'ts+ "o* can irror t'e across to t'e 1oints on
t'e ri$'t side of 'er o*t'. First+ t'o*$'+ "o* 'a#e to reset t'e 1oints %ac& to t'eir
defa*lt )osition. if t'e" are not reset+ t'e !ei$'ts !ill not irror )ro)erl". In t'is case+
it-s as si)le as ret*rnin$ to frae G.
5. Select t'e $eoetr" and $o to S&in L Edit Soot' S&in L Mirror S&in 5ei$'ts+
settin$ Mirror Across to YM and ena%lin$ Positi#e to Ne$ati#e as t'e ,irection. T'e
!ei$'ts !ill no! %e co)ied across+ as s'o!n in Figure 13.11c.
Figure 13.11. Add ;eighting to the lip Aoints
To add additional realis to t'e face a&e t'e *))er li)s infl*ence 'er nose sli$'tl". Kee)
o)enin$ t'e o*t' *) =
Figure 13.11e
> to $et a %etter idea of 'o! t'e o*t' loo&s !it' t'e ne! !ei$'ts. Ree%er+ t'o*$'+
t'at "o* !ill no! 'a#e to )osition t'e o*ter li) 1oints+ too+ since t'ese !ill control t'e
corners of t'e o*t'.
5'en "o*-#e finis'ed t'is )'ase of !ei$'tin$ and ad1*stin$+ Kila-s 1a! and li)s !ill %e
f*ll" controlled %" t'e 1oints.
Deleting
'istor
5'ile ani)*latin$ t'e li) 1oints+ "o* a" notice t'at t'e inner o*t' )o)s
t'ro*$' t'e teet' or $*s. Yo* can at t'is sta$e fli) or delete an" ed$es
t'at do t'is+ %*t at t'e cost of creatin$ 'istor" on t'e odel.
If "o* are *sin$ Ma"a A+ "o* can delete t'e constr*ction 'istor" !it'o*t losin$
t'e !ei$'tin$ inforation. Si)l" select t'e es' and $o to S&in L Edit
Soot' S&in L ,elete Non/S&in 9istor".
If "o* are *sin$ an earlier #ersion of Ma"a+ 'o!e#er+ t'ere is *nfort*natel" no
eas" fi2. 5'at "o* can do+ once t'e face and rest of t'e %od" are f*ll" ri$$ed
and "o*-#e ade t'e necessar" es' odifications+ is d*)licate t'e es't'is
!ill delete t'e 'istor" on t'e d*)licate.
Ma&e s*re t'e d*)licate is )laced inside t'e correct LO, $ro*). t'en %ind it to
t'e s&eleton+ a&in$ s*re "o* %ind it *sin$ e2actl" t'e sae 1oint selection.
If "o* ori$inall" *sed t'e :ind %*tton on t'e GC,M s'elf+ *se it a$ain 'ere.
t'is !ill $*arantee t'e 1oint selection is t'e sae.
Select t'e ain es'. T'en S'iftNselect t'e d*)licate and $o to S&in L Edit
Soot' S&in L Co)" S&in 5ei$'ts. All t'e !ei$'tin$ inforation !ill no! %e
co)ied across to t'e d*)licate c'aracter odel. "o* can delete t'e ori$inal
es'+ lea#in$ a clean c'aracter.
No! !e !ill co)lete t'e o*t' %" addin$ control to 'er ton$*e. A$ain+ it-s 7*ite
diffic*lt to $et to t'e ton$*e in order to !ei$'t it )ro)erl"+ so first o)en Kila-s o*t'
soe to e2)ose t'e ton$*e ore. 5e !ill no! isolate it so t'at !e can !or& on it ore
easil".
Ri$'t/clic& on t'e Kila odel and select Face+ s!itc'in$ to face editin$ ode.
Go to Edit Pol"$ons L Selection L Selection Constraints+ !'ic' o)ens t'e dialo$ %o2
seen in Figure 13.12. T'is tool allo!s "o* to alter t'e !a" "o* select t'in$s.
Figure 13.12. Polgon Selection Constraints dialog =o-
Near t'e %otto of t'e dialo$ %o2 are t'e Pro)a$ation radio %*tton selections.
Selectin$ S'ell !ill a*toaticall" e2)and o*r ne2t selection to contain all t'e connected faces.
Na#i$ate inside Kila-s 'ead to t'e ton$*e and select an" face on it. !it' t'e ne!
selection settin$+ t'is no! selects t'e entire ton$*e.
Clic& on t'e Close and Reset %*tton in t'e Pol"$on Selection Constraints dialo$ %o2.
5it' t'e ton$*e selected+ $o to S'o! L Isolate Select L ;ie! Selected in order to
!or& on 1*st t'e ton$*e =Figure 13.13a>.
Figure 13.13. !solate the tongue and then adAust its
;eights.
1 Yo* !ant t'e 1oints to %e #isi%le+ too+ so *se t'e O*tliner to select t'e Ton$*e:ase
and Ton$*eMiddle 1oints. T'en $o to S'o! L Isolate Select L Add Selected O%1ects to a&e
t'ese #isi%le =Figure 13.13=>.
2 As seen in Figures 13.13c and 13.13d+ rotate t'e ton$*e 1oints do!n alon$ t'e F
a2is. T'en select t'e ton$*e $eoetr" and o)en t'e Paint S&in 5ei$'ts o)tions.
3 F*ll" !ei$'t t'e !'ole ton$*e to t'e Ton$*e:ase 1oint =Figure 13.13e>.
T!P
Alt'o*$' "o* can-t see t'e rest of t'e $eoetr"+ t'e )aint%r*s' !ill still
%e a%le to select it+ so a&e s*re "o* are act*all" on t'e ton$*e %efore
"o* a))l" an" !ei$'ts. Once "o* &no! "o*-re on t'e ri$'t s)ot+ tr" to
&ee) t'e o*se %*tton 'eld do!n %eca*se t'e %r*s' !ill t'en o#e
o#er t'e ad1oinin$ faces.
1<. Finall"+ !ei$'t t'e lo!er 'alf of t'e ton$*e to t'e Ton$*eMiddle 1oint =Figure
13.13f
>.
11. 5'en "o*-re finis'ed+ reset all ton$*e 1oint rotations %ac& to G.
T'e o*t' area is no! co)lete. so let-s contin*e on to t'e e"es.
*e and *elid Weights
5e need to add control to t'e e"es and e"elids so t'e c'aracter can loo& at t'in$s as !ell
as %lin&.
Gettin$ to t'e $eoetr" for t'e e"es i$'t %e tric&"+ so !e-ll isolate 1*st t'e $eneral area
!e need to !or& on. To do t'is+ si)l" select t'e faces aro*nd t'e area of t'e e"es and+
on t'e c*rrent #ie!+ $o to S'o! L Isolate Select L ;ie! Selected. As "o* can see in
Figure 13.14+ onl" t'e faces "o* selected are #isi%le+ allo!in$ "o* to !or& ore easil"
and 7*ic&l".
Figure 13.14. !solate the faces around the ees.
Go to S&in L Edit Soot' S&in L Paint S&in 5ei$'ts+ o)en t'e o)tions+ and set %ot'
:r*s' O)acit" and Paint 5ei$'ts ;al*e to B. F*ll" !ei$'t t'e left e"e-s $eoetr" to t'e
LKE"e 1oint =Figure 13.15+ to)> and t'en t'e ri$'t e"e-s $eoetr" to t'e RKE"e 1oint
=Figure 13.15+ %otto>.
Figure 13.15. Add ;eighting to the ee Aoints.
No!+ as "o* can see in Figure 13.16+ !'en "o* o#e t'e E"eControl controller
aro*nd+ t'e e"e%alls !ill follo!.
Figure 13.16. After ;eighting the ees1 test to see ho; the rotate.
Ne2t let-s loo& at t'e e"elids. For t'is tas& !e !ill !or& on t'e left side and t'en
irror t'e !ei$'ts.
1. Select t'e 1oint naed LKU))erLid and rotate it aro*nd t'e F a2is a%o*t B@ *nits.
Rotatin$ t'e 1oint allo!s "o* to see !'at effect t'e !ei$'ts !ill 'a#e on t'e es'.
Figure 13.17+ to)+ s'o!s "o* t'e c*rrent infl*ence t'is 1oint 'as+ !'ic' is none.
Figure 13.17. AdAust the ;eights on the upper eelid.
O)en *) t'e Paint S&in 5ei$'ts o)tions. In t'e Infl*ence )ane+ select LKU))erLid. Set
:r*s' O)acit" and Paint 5ei$'t ;al*e to B.
Paint on t'e lo!er #ertices of t'e left *))er e"elid and e"elas'+ lea#in$ t'e #er"
corners of t'e e"e alone =Figure 13.17+ iddle>.
T'e e"elid no! 'as 7*ite a 'ars'+ an$*lar loo& to it. let-s fi2 t'at. T*rn ;al*e to G and
O)acit" to aro*nd G.B. t'en red*ce t'e ao*nt t'e e"elid affects t'e o*ter #ertices+ ro*ndin$
t'e e"elid as it closes =Figure 13.17+ %otto>.
T'e *))er e"elid is co)lete. no! to re)eat t'e )roced*re for t'e lo!er lid.
Set t'e LKLo!erLid 1oint-s F rotation to C.
5it' ;al*e and O)acit" set to B+ f*ll" !ei$'t t'e *))er #ertices of t'e lo!er e"elid
to t'e 1oint =Figure 13.18+ iddle>.
Figure 13.18. AdAust the ;eights on the lo;er eelid.
3. 5it' ;al*e reset to G and O)acit" reset to G.B+ $o in and soot' o*t t'e lo!er lid+
$i#in$ it a %etter c*r#e =Figure 13.18+ %otto>.
T!P
,on-t !orr" a%o*t t'e e"e $eoetr" )o))in$ t'ro*$' t'e e"elids at t'is
sta$e. Later+ !'en !e ri$ t'e+ !e can a&e t'e e"elids o#e for!ard
sli$'tl"+ !'ic' !ill 'ide t'is )ro%le.
Mirrorin$ t'e !ei$'ts of t'e e"es isn-t as strai$'tfor!ard as it !as for t'e li)s. C*rrentl"
!e 'a#e t'ree 1oints residin$ in t'e sae )lace on eit'er side. T'is !ill conf*se Ma"a
!'en !e as& it to irror t'e !ei$'ts %eca*se it !on-t &no! !'ic' 1oint to co)" t'e
!ei$'ts to. To )re#ent t'is+ si)l" o#e %ot' U))erLid 1oints *) sli$'tl" and t'e Lo!erLid
1oints do!n. Gi#in$ t'e t'eir o!n indi#id*al locations !ill 'el) Ma"a c'oose !'ic' 1oint
to irror across to. As lon$ as t'e rest of t'e %od" is in t'e defa*lt )osition+ t'e !ei$'tin$
s'o*ld irror s*ccessf*ll".
Select t'e es' and $o to S&in L Edit Soot' S&in L Mirror S&in 5ei$'ts. T'ere is
no need to set t'e o)tions. Ma"a !ill 'a#e retained t'e )re#io*s settin$s. 5'en
"o*-re done+ sna) t'e e"elid 1oints %ac& to t'e e"e 1oints.
5e !ill %e irrorin$ t'e !ei$'ts in t'e e"e area 7*ite often+ so I s*$$est o#in$ t'e
e"elid 1oints and settin$ a &e" !'ile on frae B. T'is !a"+ "o* !ill erel" need to s!itc'
to frae B !'en irrorin$ !ei$'ts+ rat'er t'an 'a#in$ to o#e t'e e"elids eac' tie.
To set t'is &e"+ first o#e alon$ to frae B in t'e Tie Slider.
Mo#e eac' of t'e 1oints into )osition.
Select all fo*r 1oints and set a &e" in t'e C'annel :o2+ %" ri$'t/clic&in$ it and
selectin$ Ke" All fro t'e en*.
As s'o!n in Figure 13.19+ t'e e"elids no! follo! t'eir 1oints and can %e ade to
o)en and close.
Figure 13.19. The eelids no; open and close.
5e are alost done !it' ad1*stin$ t'e !ei$'ts on t'e face. all !e need to do no! is
!or& on t'e e"e%ro!s and c'ee&s.
*e=ro; and Cheek Weights
First+ t'e e"e%ro!s.
Start %" o#in$ eac' of t'e left e"e%ro! 1oints *) sli$'tl" so t'e" are a!a" fro t'eir
defa*lt )ositions.
Select t'e es' and o)en t'e Paint S&in 5ei$'ts tool. Set Paint 5ei$'ts ;al*e to B+
:r*s' O)acit" to G.@+ and select t'e 1oint naed LKInner:ro!.
Usin$ a softer %r*s'+ )aint in t'e area of t'e e"e%ro!. Ma&e t'e #ertices closest
to t'e e"e%ro! alost f*ll" affected %" t'e 1oint. allo! t'e infl*ence to fade o*t as it
o#es a!a" =
Figure 13.2<
+ iddle>.
Figure 13.2<. Add ;eighting to the left ee=ro;.
Select t'e 1oint naed LKO*ter:ro!. A))l" !ei$'tin$ siilar to t'e inner section of
t'e e"e%ro! =Figure 13.2< %otto>.
Mirror t'e !ei$'ts %" first $oin$ to frae B and t'en selectin$ S&in L Edit Soot'
S&in L Mirror S&in 5ei$'ts. Alt'o*$' t'e e"e%ro! 1oints e2ist in t'eir o!n s)ace+ t'e irror
!ei$'ts tool !or&s $lo%all". so e#en t'o*$' !e are irrorin$ t'e ne! e"e%ro! !ei$'ts+ t'e
e"elids !ill %e irrored+ too.
Tr" t'e e"e%ro!s in different )oses %efore "o* decide t'e" are co)lete =Figure
13.21>. It a" %e t'at t'e" loo& fine in one )ose %*t do not !or& in anot'er and so !ill
need soe inor t!ea&in$.
Figure 13.21. Tr the ee=ro;s in a nu%=er of poses.
T!P
5'en irrorin$ !ei$'ts+ al!a"s c'ec& t'e #ertices do!n t'e center of t'e
odel. T'ese tend to end *) !it' incorrect !ei$'tin$ inforation+ so a&e
s*re to c'ec& t'e after irrorin$.
T'e last area to edit is t'e left c'ee&. Yo* !ant to add ore s*%tle o#eent to t'e face
as s'e tal&s+ $i#in$ 'er a ore or$anic feel. T'e c'ee&s need a soft infl*ence on t'e
$eoetr"+ so *se a soft %r*s' and a))l" a 'i$'er infl*ence close to t'e 1oint+ t'en
$rad*all" fade t'is o*t =Figure 13.22>.
Figure 13.22. Add ;eighting to her cheek.
5e 'a#e one final t!ea& to )erfor %efore o*r !ei$'tin$ tas&s are co)lete. Select t'e
'ead 1oint in t'e Infl*ences )ane of t'e Paint S&in 5ei$'ts settin$s+ and a&e s*re t'e
ain sections of 'air are !ei$'ted f*ll" to it =
Figure 13.23
+ left>. S!itc' t'e Paint O)eration to Soot'+ and set %ot' ;al*e and O)acit" to B. t'en
$i#e t'e ed$es of t'e c'ee&s and e"e%ro!s a $eneral soot'in$ =
Figure 13.23
+ ri$'t>. T'is !ill %e a s*%tle c'an$e+ %*t it !ill soot' o*t t'e o#erall o#eent of 'er
s&in.
Figure 13.23. S%ooth out the edges of the cheeks and
ee=ro;s.
T'e facial 1oints are no! %o*nd and !ei$'ted to t'e c'aracter-s s&in and read" to %e
ri$$ed. Sa#e t'e file as KilaKFace5ei$'t.%.
Facial &ig
D+ilaE
No! t'at eac' 1oint ani)*lates t'e es'+ !e can aniate t'e to create #ario*s facial
e2)ressions. In t'e odel-s )resent state+ t'is !o*ld %e a lon$ and tedio*s 1o%+ so !e !ill
add a ri$ to t'e 1oints *c' li&e t'e one !e created for t'e 'ands.
5e !ill first add t'e a%ilit" to create 7*ic& )oses for coon facial e2)ressions+ and t'en
!e !ill create a sall li%rar" of o*t' s'a)es to 'el) s)eed *) an" li)s"nc'in$. Finall"+
!e !ill create indi#id*al controls for t'e e"es and e"e%ro!s.
&ig
Preparation
:efore !e i)leent t'e ri$ controls+ !e !ill need soet'in$ to ani)*late t'e+ so
let-s first create a series of d"naic attri%*tes t'at !ill dri#e t'e 1oints.
1. T'e ost o%#io*s )lace to )*t attri%*tes is t'e 9eadControls icon+ so select t'is first.
()T*
T'e 9eadControls icon alread" 'as 7*ite a fe! attri%*tes on it+ %*t !e-ll
'ide soe of t'ese later in C'a)ter B@+ 4Finali8e and Clean U).4
2. Go to Modif" L Add Attri%*te to o)en t'e Add Attri%*te !indo!.
3. Start !it' a %asic :oolean called K =a sin$le *nderscore>. T'is a" see to %e a
stran$e nae+ %*t t'is is $oin$ to %e a d*" attri%*te+ actin$ as a di#ider to 'el) *s
7*ic&l" na#i$ate t'e C'annel :o2 and $et to t'e attri%*tes !e need.
4. Ri$'t/clic& on t'e ne! attri%*te-s nae in t'e C'annel :o2+ and select Loc&
Selected fro t'e en*. T'is t*rns t'e attri%*te $ra"+ !'ic' !ill also 'el) *s #is*all".
5. No! !e !ill create t'e first section of act*al attri%*tes. Create fo*r Float
attri%*tes called 9a))"+ S'oc&+ An$r"+ and In1*red+ $i#in$ t'e a ini* #al*e of
G and a a2i* of BG. T'ese !ill for t'e ain facial )oses.
6. Create a second di#ider attri%*te+ t'is tie called KK =t!o *nderscores>. "o* can-t
re)eat attri%*te naes on t'e sae o%1ect. Ree%er to loc& t'is+ too+ *sin$ t'e
sae et'od as in ste) I.
No! !e !ill add t'e attri%*tes t'at !ill dri#e t'e o*t' and for t'e #ario*s
o*t' s'a)es !e need for li)/s"nc'in$.
7. Create BG attri%*tes t'is tie+ all !it' a ,ata T")e of Float and 'a#in$ a
ini* #al*e of G and a a2i* of BG. Call t'ese O+ C,ENSM+ AKI+ L+ MP:+
F;+ Ooo+ A''+ Sile+ and Fro!n. T'ese naes re)resent t'e so*nds t'e o*t' !ill
for.
8. Create and loc& a t'ird and final di#ider naed KKK =t'ree *nderscores>. Yo* !ill
no! add attri%*tes to control t'e e"elids and e"e%ro!s.
9. Create si2 ne! float/t")e attri%*tes naed LeftInner:ro!+ LeftO*ter:ro!+
Ri$'tInner:ro!+ Ri$'tO*ter:ro!+ LeftE"eLids+ and Ri$'tE"eLids. Gi#e t'ese a
ini* #al*e of BG and a a2i* #al*e of BG.
Yo*r C'annel :o2 s'o*ld no! rese%le t'at s'o!n in Figure 13.24.
Figure 13.24. The 'eadControls icon ;ith e-tra facial ani%ation
attri=utes added
5e 'a#e all t'e attri%*tes !e need for no!+ %*t feel free to add ore if "o* !ant
t'e. In t'e ne2t section+ !e-ll !ire t'e *).
&ig Creation1 Main
Poses
5it' t'e ain controls for t'e facial ri$ created+ !e !ill no! *se Set ,ri#en Ke" to
connect t'e controls to t'e 1oints. First !e !ill define t'e ain facial )oses.
1 O)en t'e Set ,ri#en Ke" dialo$ %o2 =Aniate L Set ,ri#en Ke" L Set>+ and load
9eadControls in t'e ,ri#er section. =Select 9eadControls and clic& on Load ,ri#er.>
2 Ne2t select all t'e 1oints associated !it' t'e face+ and clic& on Load ,ri#en.
3 Select t'e 9a))" attri%*te ne2t to 9eadControls+ and select all t'e translation and
rotation attri%*tes ne2t to t'e 1oints. Yo*r Set ,ri#en Ke" dialo$ %o2 s'o*ld loo& li&e t'at in
Figure 13.25.
Figure 13.25. Set Dri:en +e ;ith all needed o=Aects loaded
Clic& on Ke" to store t'e %ase )ose for t'e 9a))" attri%*te.
Re)eat ste)s 3 and I for t'e S'oc&+ An$r"+ and In1*red attri%*tes+ storin$ t'eir %ase
)oses.
No! !e can start %*ildin$ indi#id*al )oses for Kila.
1. Select t'e 9eadControls icon+ and set 9a))" to BG in t'e C'annel :o2.
2
.
Position eac' face 1oint+ *sin$ rotations and translations so t'at Kila loo&s 'a))" =
Figure 13.26a
>. Ma&e s*re "o* *se a facial e2)ression reference at t'is sta$e+ or e#en $ra% a irror
and co)" "o*r o!n sile.
3. Clic& on Ke" in t'e Set ,ri#en Ke" dialo$ %o2+ and t'en test t'e 9a))"
attri%*te.
4. Set 9a))" %ac& to G. Set S'oc& *) to BG in t'e C'annel :o2+ and select S'oc&
in Set ,ri#en Ke". Ree%er t'at o#in$ t'e tieline %ac& to G !ill )o) t'e 1oints
%ac& to t'eir defa*lt )osition.
5. Ad1*st t'e face 1oints so t'at Kila a))ears s'oc&ed =Figure 13.26=>+andset a
&e" to store t'is )ose.
6. In Set ,ri#en Ke"+ select An$r" ne2t. T'en set t'e S'oc& attri%*te %ac& to G+
and An$r" to BG.
7. Gi#e Kila an an$r"/loo&in$ face li&e t'e one in Figure 13.26c. Press Ke" in Set
,ri#en Ke" to store it in t'e An$r" attri%*te.
8. Finall"+ set An$r" %ac& to G and In1*red to BG+ and t'en select In1*red in Set
,ri#en Ke".
9. Gi#e Kila a face e2)ressin$ t'at s'e 'as 1*st %een '*rt and is a%o*t to cr"
=Figure 13.26d>. Set a &e" to store it.
Figure 13.26. The four %ain face poses. 'app1 Shocked1 Angr1
and !nAured
Settin$ t'ese )oses eans !e can 7*ic&l" $i#e 'er face o#eent and t'e a%ilit" to
e2)ress eotion.
&ig Creation1 Mouth
Shapes
Usin$ Set ,ri#en Ke" a$ain+ let-s connect *) a set of attri%*tes t'at !ill a&e Kila tal&.
Yo* s'o*ld still 'a#e t'e Set ,ri#en Ke" dialo$ %o2 o)en. if it-s not+ reo)en it. Reload
9eadControls into t'e ,ri#er section.
1. Yo* !ill onl" %e controllin$ t'e o*t' area+ so reload 1*st t'e 1a!+ li)s+ and
ton$*e 1oints into t'e ,ri#en section. Select t'e rotation as !ell as t'e translation
attri%*tes in t'e list on t'e ri$'t.
5or& "o*r !a" do!n t'is section of attri%*tes+ startin$ !it' O and endin$ !it'
Fro!n+ settin$ a &e" on eac' one to store t'e defa*lt )ose.
2. Select O a$ain in Set ,ri#en Ke"+ and set t'e sae attri%*te to BG.
No! ad1*st t'e 1oints of t'e o*t' to a&e 'er loo& li&e s'e is sa"in$ t'e letter 7
=Figure 13.27a>.
Figure 13.27. +ila>s %outh shapes
T!P
Tr" to e2a$$erate t'e o*t' s'a)es sli$'tl" !'en "o* create t'e. T'is
!ill $i#e t'e aniators a %it ore fle2i%ilit" !'en t'e" are doin$ li)/
s"nc'in$.
3. Set O %ac& to G+ and set t'e attri%*te naed C,ENSM *) to its a2i* of BG.
O*r o*t' s'a)e is siilar !'en !e sa" an" of t'e letters C, =,:, &,S or E, so !e
can co%ine t'e into a sin$le attri%*te for Kila. Ad1*st t'e o*t' as seen in
Figure 13.27=. ;ake sure -A4$SI is selected in Set Ariven *ey, and then
set a &e".
4. Ne2t *) is AKI. Set t'is to BG+ ree%erin$ to reset t'e C,ENSM attri%*te to G.
As "o* did for C,ENSM+ )ose t'e o*t' so s'e is sa"in$ t'e letter /, K, or I
=Figure 13.27c>. T'is is 7*ite siilar to t'e C,ENSM o*t' s'a)e+ %*t t'e
o*t' is o)en sli$'tl" ore. T'en select t'e AKI attri%*te and set a &e".
5. T'e L )ose is ne2t =Figure 13.27d>. Set t'e L attri%*te to BG and t'e AKI attri%*te to
G. Pose t'e o*t'+ t'is tie ree%erin$ to )ose t'e ton$*e *nder t'e *))er teet'.
T'en store t'e )ose %" settin$ a &e" on t'e L attri%*te in Set ,ri#en Ke".
6. Set MP: to BG and reset L %ac& to G.
Yo* co*ld 1*st *se t'e defa*lt )ose to $et t'e loo& of ), >, or 3+ %*t as "o* can see
in Figure 13.27e+ creatin$ a )ose !'ere t'e li)s are closed ti$'ter !ill e)'asi8e
t'e s'a)e. 5'en "o*-re done+ set a &e" on t'e MP: attri%*te in Set ,ri#en Ke".
7. Ne2t is F;. For t'is s'a)e !e !ant to t*c& t'e lo!er li) *nder t'e *))er teet'
=Figure 13.27f>. First set *) t'e attri%*tes %" settin$ F; to BG and MP: %ac& to G.
Pose t'e o*t' and+ !it' F; selected in Set ,ri#en Ke"+ set a &e".
8. Ne2t set Ooo to BG and F; to G. P*s'in$ t'e li)s for!ard and to$et'er sli$'tl" !ill
$i#e *s t'e Ooo s'a)e seen in Figure 13.27g. Set t'e &e" for Ooo in Set ,ri#en Ke".
9. For A''+ "o* !ant 1*st a $eneral o)en/o*t' s'a)e. Mani)*late t'e 1a! 1oint and
t'en )osition t'e o*ter li) 1oints so "o* end *) !it' a o*t' li&e t'e one in Figure
13.27h. 5'en "o*-re done+ set t'e &e".
1<. Kila !on-t %e isera%le all t'e tie+ so "o* need to a&e 'er sile. Set t'e
Sile attri%*te to BG and reset t'e A'' attri%*te to G. Gi#e 'er a lo#el" %i$ sile as
in Figure 13.27i+ and set a &e" on t'e attri%*te.
11. Finall"+ i)leent t'e Fro!n. Set Fro!n to BG and Sile %ac& to G. T'en ad1*st t'e
1oints to a&e 'er loo& sad =Figure 13.27A>+ and set a &e" on t'e Fro!n attri%*te.
T'e )rinci)al s'a)es for t'e o*t' are no! set *) and read" to %e aniated. :eca*se
!e-re *sin$ 1oints+ !e-re not restricted in t'e n*%er of )oses !e create for t'is eleent+
so feel free to a&e ore if "o*r c'aracter needs t'e. Yo* i$'t !ant to assi$n ore
o)tions to t'e ton$*e+ allo!in$ 'er to stic& it o*t or soet'in$ siilar+ %*t onl" add !'at
!ill act*all" %e *sed. It-s a $ood idea to cons*lt !it' "o*r ana$er to a&e s*re #ital
e2)ressions are co#ered+ %*t a con#ersation !it' t'e aniator is also i)ortant at t'is
)oint. T'ere a" %e soe o*t' s'a)es needed for 7*ic& li)/s"nc'in$.
&ig Creation1 *e=ro;s and
*elids
T'e final facial areas !e !ill ri$ are Kila-s e"elids and e"e%ro!s. T'ese are &e" areas in
e2)ressin$ eotions+ so it-s cr*cial t'at !e add t'e a%ilit" to aniate t'e 7*ic&l" and
easil".
Yo* s'o*ld %e $ettin$ t'e 'an$ of settin$ dri#en &e"s %" no!+ so in t'e )roced*res
fro t'is )oint on !e can safel" lea#e o*t soe of t'e details.
1. 5it' t'e Set ,ri#en Ke" dialo$ %o2 o)en+ a&e s*re 9eadControls is loaded into t'e
,ri#er section+ and t'at t'e fo*r ain e"e%ro! 1oints are loaded into t'e ,ri#en section.
5e first need to store eac' 1oint-s defa*lt )osition+ %*t eac' e"e%ro! attri%*te
s'o*ld onl" affect one 1oint+ so !e !ill need to !or& on t'e 1oints indi#id*all".
2. As deonstrated in Figure 13.28+ select LeftInner:ro! ne2t to 9eadControls+ and
t'en all t'e translations and rotations ne2t to LKInner:ro!. Set a &e".
Figure 13.28. Select a single attri=ute and a single Aoint and set a
ke.
,o t'e sae for t'e ot'er t'ree :ro! attri%*tes+ a&in$ s*re "o* 'a#e onl" t'e
corres)ondin$ 1oint selected in t'e ,ri#en section.
With the base pose keyed, we can now de+ne the e)tremes these %oints can
move to.
3. First set t'e fo*r e"e%ro! attri%*tes to BG. t'en ad1*st eac' e"e%ro! 1oint so t'e"
are raised as far as t'e" can $o =Figure 13.29+ iddle>.
Figure 13.29. +e =oth e-tre%es for the ee=ro;s.
5'en "o* are satisfied !it' t'e )ose+ store it in t'e Set ,ri#en Ke" dialo$ %o2. ,o t'is
%" $oin$ t'ro*$' eac' indi#id*al attri%*te on t'e 9eadControls icon and settin$ a &e" on t'e
1oint it !ill control. =on4t select all fo*r 1oints at t'e sae tie.
No! set t'e attri%*tes to BG so t'at !e can define t'e lo!est )oint to !'ic' t'e
e"e%ro!s !ill $o. Mo#e t'e 1oints so t'at t'e e"e%ro!s are li&e t'ose in Figure 13.29+ ri$'t+
and set a &e" on eac'one attri%*te to one 1ointin Set ,ri#en Ke".
No! ri$ t'e e"es.
5it' Set ,ri#en Ke" o)en and 9ead Controls loaded in t'e ,ri#er section+ load all
fo*r e"elid 1oints into t'e ,ri#en section.
Select t'e LeftE"eLids attri%*te in t'e ,ri#er section+ and t'en all t'e rotations and
translations for LKU))erLid and LKLo!erLid in t'e ,ri#en section =Figure 13.3<>. Set a &e"
to store t'e defa*lt )ose.
Figure 13.3<. Select the Aoints and attri=utes associated ;ith
the left eelids.
3. Store t'e defa*lt )ose for t'e ri$'t e"elids+ selectin$ Ri$'tE"eLids and t'en t'e
RKU))erLid and RKLo!erLid 1oints.
4. No! !or& on closin$ 'er e"es+ as s'o!n in Figure 13.31+ left. Start %" settin$
t'e LeftE"eLids and Ri$'tE"eLids attri%*te to BG.
5
.
Close t'e e"es %" rotatin$ %ot' t'e *))er lid 1oints aro*nd t'e F a2is so t'at t'e"
co#er ost of t'e e"e%all. T'en rotate t'e lo!er lids *) to eet t'e.
6. :efore "o* set a &e" to store t'e )ose+ translate all fo*r 1oints o*t alon$ t'e M
a2is so t'at t'e e"e%alls don-t )o) t'ro*$' t'e lids.
7. Follo! t'e sae )roced*re for storin$ t'e defa*lt )ose =ste)s ? and 3> to store
t'is one.
8. No! !e !ill !iden 'er e"es. T'is tie set t'e LeftE"eLids and Ri$'tE"eLids
attri%*te to BG+ !'ic' !ill reset t'e e"elids for *s. T'en+ rotatin$ aro*nd t'e F a2is+
o)en 'er e"es !ider =Figure 13.31+ iddle>. Store t'e )ose in Set ,ri#en Ke".
Figure 13.31. &ig the eelids so she can open and close =oth
ees or either ee.
Kila-s facial ri$ is co)lete no!. Not onl" can s'e o)en and close 'er e"es+ %*t s'e can
also o)en eac' e"e inde)endentl" =
Figure 13.31
+ ri$'t>. Sa#e t'e scene as KilaKFaceRi$K<nt.%.
T'is co)letes t'e tas&s of t'is section. 5it' t'e facial ri$ "o*-#e constr*cted+ Kila can
co*nicate !it' t'e )la"er. If "o*-d li&e to+ "o* can add f*rt'er controls to t'e 1oints to
allo! e2tra ani)*lation of 'er li)s and 1a! =as I 'a#e in t'e KilaKFaceRi$K<nt.% file on
t'e C,>.
Let-s no! e2)lore t'e ot'er et'od for creatin$ facial o#eent( %lend s'a)es.
#lend Shapes Facial Ani%ation Setup
D+ilaE
:lend s'a)es !or& %" referencin$ t'e #ertices fro a d*)licate of t'e ain es'. T'e
d*)licated #ertices are edited to create a facial e2)ression into !'ic' t'e ain 'ead !ill
or)' on coand. S*))ose t'e d*)licate face is edited to re)resent an o)en o*t'.
Usin$ t'e :lend S'a)e !indo!+ "o* can t'en tell t'e ain face to $rad*all" or)' into
t'e d*)licate+ a&in$ t'e c'aracter-s o*t' o)en and close.
,e)endin$ on t'e s"ste for !'ic' "o* are de#elo)in$+ t'e n*%er of a#aila%le %lend
s'a)es i$'t %e restricted+ so al!a"s c'ec& !it' "o*r ana$er first. 5or& !it' as
fe! %lend s'a)es as )ossi%le. In t'is section+ !e !ill !or& !it' 1*st a fe! %asic
s'a)es+ and "o* can add ore if "o* 'a#e t'e %*d$et to do so.
O*r first ste) is to )re)are t'e $eoetr".
Preparation for #lend
Shapes
O)en *) t'e file called KilaKMainRi$.% and t*rn off #isi%ilit" for all t'e icons. 5e can-t
*se t'e $eoetr" in its c*rrent state for o*r !or& !it' %lend s'a)es+ so =as !e did !it'
t'e 1oint ri$> !e need to co%ine all t'e se)arate eleents of Kila into one o%1ect.
5it' t'e first LO, co%ined into a sin$le eleent+ !e co*ld d*)licate t'e !'ole fi$*re
and *se t'at as o*r or)' tar$et+ %*t t'at !o*ld %e a '*$e !aste of eor" and
)rocessin$ )o!er %eca*se !e onl" need to alter 'er face. So !e !ill se)arate 'er face
fro t'e rest of t'e %od"+ and t'en co%ine t'e rest. In effect+ t'ere !ill %e t!o se)arate
es' o%1ects.
1. S!itc' to t'e side #ie! and 'ide 'er 'air+ as seen in Figure 13.32+ left.
2. Follo!in$ Figure 13.32+ iddle+ select t'e faces t'at a&e *) 'er )rinci)al face
area+ as !ell as t'e ones *nder 'er 1a! =t'ese !ill o#e as s'e o)ens 'er
o*t'>.
3. 5it' t'ese faces selected+ $o to Edit Pol"$ons L E2tract. T'is se)arates t'e face fro
t'e %od" =Figure 13.32+ ri$'t>.
4. :eca*se t'e e"elas'es+ inner o*t'+ teet'+ and ton$*e !ill o#e as t'e face o#es+
"o* need to co%ine t'e !it' t'e face-s $eoetr". =T'is can %e done *c' ore
easil" in )ers)ecti#e #ie!.> Select all t'ese eleents+ and $o to Pol"$ons L Co%ine to
co%ine t'e.
Figure 13.32. *-tract +ila>s face.
()T*
5'en %lend s'a)es or)' fro one s'a)e to anot'er+ t'e #ertices follo!
a linear )at'. T'is !on-t !or& for eleents t'at rotate+ so !e-ll lea#e t'e
e"e%alls !it' t'e ain %od"+ controllin$ t'e !it' 1oints instead.
5. No! "o* need to !eld all t'e d*)licate #ertices t'at lie in t'e sae )lace. t'is sto)s
t'e es' fro tearin$ as it o#es. Select all t'e #ertices of t'e co%ined face+ and $o
to Edit Pol"$ons L Mer$e ;ertices and set t'e #al*e to a sall n*%er =sa"+ G.GGGB>.
,o*%le/c'ec& t'at coincident #ertices are indeed er$ed and t'at areas !it'
deli%eratel" sall $a)s =li&e t'e o*t'> !ere not inad#ertentl" er$ed.
6. Center t'e )i#ot for t'e face =Modif" L Center Pi#ot>. T'is !ill a&e it easier to
ani)*late later.
7. T'e face is no! its o!n o%1ect and )erfect for creatin$ Kila-s %lend s'a)es.
,elete t'e 'istor" on %ot' t'e se)arated face and %od" $eoetr".
8. Un'ide t'e 'air. t'en co%ine all t'e ot'er )ieces t'at a&e *) 'er %od"+ incl*din$
t'e e"es and %elt. Yo* co*ld at t'is sta$e 'ide t'e face to a&e t'is ste) easier.
9. 5eld t'e #ertices aro*nd t'e ear and 'airline !it' a sall #al*e li&e G.GGGB.
1<. Finall"+ delete t'e 'istor" on t'e %od".
T'e es' is no! read" for $eneratin$ face s'a)es. Mo#e t'e $eoetr" for %ot' t'e face
and t'e %od" %ac& inside t'e KilaIGE@ folder in t'e O*tliner. T'en renae t'e %od" to
Kila:od" and t'e face to KilaFace. Sa#e t'e file as KilaKCo%ined.%.
5it' t'e face detac'ed and t'e rest of t'e %od" co%ined+ !e can start to %*ild *) o*r
li%rar" of face s'a)es.
$enerating Face
Shapes
Creatin$ %lend s'a)es is a si)le tas& in#ol#in$ not'in$ ore t'an editin$ #ertices. T'e
faces !e create !ill essentiall" %e t'e sae as t'e )oses !e $enerated for t'e 1oint/
%ased facial ri$.
To start+ !e !ill $enerate t'e A'' s'a)e so t'at !e can test t'e o*t' %efore contin*in$
on to create s'a)es t'at !ill aniate t'e e"elids and e"e%ro!s. 5e !ill t'en create t'e
O+ L+ MP:+ F;+ Ooo+ Sile+ and Fro!n s'a)es. Yo* !ill notice t'at+ *nli&e t'e 1oint/%ased
facial set*)+ !e don-t create face s'a)es for C,ENSM and AKI. Since !e are liited in t'e
o#erall n*%er of %lend s'a)es !e can *se+ !e !ill *se t'e A'' and Sile s'a)es
to$et'er to create C,ENSM and AKI. Efficienc" is also called for in t'e creation of soe
%ase facial )oses+ incl*din$ S'oc&+ An$r"+ or 9a))". T'ese can all %e done #ia t'e ot'er
%asic s'a)es.
()T*
It-s i)ortant t'at t'e $eoetr" is f*ll" tested and co)lete %efore "o* create
t'e %lend s'a)es. If t'e to)olo$" is altered in an" !a" after!ard+ t'e" !ill 'a#e
to %e redone. Eac' #erte2 is assi$ned a n*%er in Ma"a+ and %lend s'a)es !or&
!it' t'ese n*%ers. Alterin$ t'e to)olo$" eans alterin$ t'e #erte2 n*%ers+
so t'e face s'a)es !ill no lon$er !or&. Yo* can still fli) and edit ed$es+ as t'at
doesn-t affect #erte2 n*%ers.
T!P
,o not free8e t'e transfors on an" of t'e face s'a)es. T'e #ertices !or& on a
relati#e %asis+ so all transfors s'o*ld reain intact. If not+ !'en "o* %lend
t'e ain face to one of t'e ot'ers+ t'e !'ole face !ill o#e to its tar$et.
Let-s create t'e A'' s'a)e.
1 ,*)licate t'e face and o#e it o#er to t'e left of t'e ain odel. Nae t'is co)" A''.
2 9ide t'e ain odel. T'en+ follo!in$ Figure 13.33+ left+ select all t'e #ertices t'at
a&e *) t'e %otto 1a!+ teet'+ and ton$*e+ %*t not t'e #ertices t'at lie on t'e ed$es of t'e
odel.
Figure 13.33. &otate the :ertices of the Aa;.
Press E to s!itc' to t'e Rotate ani)*lator. t'en )ress Insert and o#e t'e )i#ot
)oint to t'e s)ot fro !'ic' t'e 1a! !ill rotate. Yo* can see t'is in Figure 13.33+ iddle.
Rotate t'e 1a! aro*nd t'e F a2is so t'at t'e o*t' is o)en =Figure 13.33+ ri$'t>.
As "o* can see in Figure 13.34+ left+ t'e o*t' doesn-t loo& ri$'t "et. S)end soe
tie editin$ t'e #ertices on t'e 'ead to sc*l)t t'e s'a)e of t'e o*t' =Figure 13.34+ ri$'t>.
Figure 13.34. Sculpt the :ertices to "- the %outh area.
T'e first o*t' s'a)e is co)lete and !e 'a#en-t noticed an" )ro%les. One $ood
feat*re of %lend s'a)es is t'at+ e#en after t'e" 'a#e %een a))lied to t'e ain odel+
"o* can still t!ea& t'e #ertices to $et t'e s'a)e 1*st ri$'t.
5e-ll do t'e e"e%ro!s ne2t+ and learn a tec'ni7*e of creatin$ t!o face s'a)es fro one.
,*)licate t'e ain face a$ain+ and t'is tie call it Left:ro!U). Position it to t'e left of
t'e A'' face s'a)e.
Edit t'e #ertices+ t'is tie to raise %ot' e"e%ro!s as s'o!n in Figure 13.35.
Figure 13.35. AdAust the :ertices to raise =oth ee=ro;s.
T!P
To sa#e tie+ select t'e sae #ertices on eac' side of t'e face. T'is !a"+
!'en "o* o#e t'e+ %ot' sides !ill %e e2actl" t'e sae.
T'is s'a)e is acce)ta%le for o#in$ %ot' e"e%ro!s at t'e sae tie+ %*t !e !ant Kila
to %e a%le to o#e t'e indi#id*all"+ as !ell.
3. ,*)licate t'is face+ callin$ it Ri$'t:ro!U)+ and o#e t'e co)" o#er to t'e left
=Figure 13.36a>.
Figure 13.36. 0se the Channel #o- to reset the ee=ro;s.
1 On Left:ro!U)+ select all t'e #ertices "o* edited on Kila-s ri$'t side =Figure
13.36=>.
2 Loo& in t'e C'annel :o2+ and "o*-ll see a ne! 'eadin$ la%eled 4C;s =clic& to s'o!>+4
as seen in Figure 13.37+ left. Clic& on t'is 'eadin$ to re#eal all t'e selected #ertices+ )l*s
t'eir c*rrent )ositions relati#e to t'e face-s defa*lt )ose =Figure 13.37+ ri$'t>.
Figure 13.37. &eset the :alues in the Channel #o- to return the
:ertices to their default positions.
Select all t'e coordinates and set t'e to G. T'is resets t'e selected #ertices %ac&
to t'eir defa*lt )ositions =Figure 13.36c>.
Select t'e central #ertices =Figure 13.36d>+ and in t'e C'annel :o2 set t'e to %e
'alf of t'eir c*rrent #al*es.
5'" are !e settin$ t'e central #ertices to 'alf0 Eac' %lend s'a)e !or&s
relati#el". t'at is+ t'e #erte2 )ositions are added to an" t'at are alread"
a))lied. So if t'e left e"e%ro! and ri$'t e"e%ro! s'a)es f*ll" affected t'e
central #ertices on t'e 'ead+ !'en %ot' s'a)es !ere a))lied t'ese #ertices
!o*ld o#e do*%le t'e distance.
So !'en !e set #ertices t'at a" need to s'are t'eir #al*es to o#e 'alf t'e
ao*nt for eac' e"e%ro!+ it eans t'at !'en %ot' are a))lied at t'e sae
tie+ t'e central #ertices !on-t o#e too far *). T'e"-ll !ind *) !'ere "o*
act*all" !ant t'e to %e.
8. On t'e Ri$'t:ro!U) odel+ reset t'e #ertices on its left and center =Figure
13.36e>+ 1*st as "o* did for Left:ro!U).
T'e tec'ni7*e "o*-#e 1*st *sed is a 7*ic& and eas" !a" to $et t!o s'a)es o*t of one.
)l*s+ "o* !ill &no! t'at eac' side !ill %e t'e sae. It a" %e t'at "o* don-t !ant t'e
face to %e s"etrical+ !'ic' is fine+ %*t t'is !a" "o* $et a $ood startin$ )oint fro
!'ic' "o* can t!ea& later.
Go a'ead and create t'e rest of t'e face s'a)es needed+ %" si)l" d*)licatin$ t'e
ain 'ead and editin$ t'e #ertices. Yo* s'o*ld 'a#e t'e follo!in$(
:ot' t'e left and ri$'t e"e%ro!s+ lo!ered.
:ot' indi#id*al e"elids o)enin$ !ider and closin$.
T'e reainin$ facial s'a)es L+ MP:+ F;+ Ooo+ Sile+ and Fro!n.
T!P
For t'e e"elids+ "o* !ill need to *se t'e s'a)e of t'e e"es as a $*ide+ so &ee)
t'e d*)licated 'ead in its defa*lt )osition *ntil "o* are 'a))" !it' t'e e"elid
s'a)e.
Yo* can see all of t'ese s'a)es in Figure 13.38. T'ese re)resent a $ood initial $ro*) of
face s'a)es for a c'aracter. If "o*r %*d$et allo!s+ "o* can add ore to $et ore refined
ani)*lation of t'e face.
Figure 13.38. #lend shapes for +ila>s face
5it' t'e entire li%rar" of face s'a)es co)lete+ !e can no! a))l" t'e to o*r ain
odel.
#lend Shape
Application
T'e $eoetr" s'a)es are read"+ so no! !e can connect t'e to t'e ain face
odel+ allo!in$ *s to or)' t'e face into an" of t'e ne! s'a)es.
Select all t'e face s'a)es+ addin$ Kila-s ain face to t'e selection last.
Go to ,efor L Create :lend S'a)e+ and set t'e o)tions seen in Figure 13.39.
Figure 13.39. Create #lend Shape options
5e !ill *se t'e defa*lt o)tions+ so 1*st set :lendS'a)e Node to KilaKFaceS'a)es.
t'is defines t'e nae for t'e act*al %lend s'a)e controller.
Clic& on Create to create t'e %lend s'a)e controller.
To aniate t'e %lend s'a)es+ $o to 5indo! L Aniation Editors L :lend S'a)e+ !'ic'
o)ens *) t'e !indo! s'o!n in Figure 13.4<+ left. Mo#in$ t'e sliders !ill aniate t'e
ain face+ or)'in$ it into its tar$et s'a)e. Pressin$ Select !ill select t'e node+
ena%lin$ "o* to aniate it #ia t'e C'annel :o2 =Figure 13.4<+ ri$'t>.
Figure 13.4<. The #lend Shape ;indo;
[View full size image]
()T*
Yo* can c'an$e t'e orientation of t'e sliders %" $oin$ to O)tions L Orientation
and selectin$ eit'er 9ori8ontal or ;ertical. ;ertical is t'e defa*lt #ie!.
No! t'at t'e %lend s'a)es are set *)+ ta&e soe tie to edit eac' face+ t!ea&in$ t'e
#ertices *ntil "o* are satisfied !it' t'e final s'a)es.
Place all t'e face s'a)es in a ne! $ro*) called :s'a)es. t'en o#e t'is node so it is
*nder t'e KilaIGE@ $ro*).
Create a ne! dis)la" la"er called :lendS'a)es+ add t'e :S'a)es $ro*) to it+ and
sa#e "o*r scene as KilaKFaceRi$K:S.%.
T!P
Once t'e face s'a)es 'a#e %een a))lied to t'e ain face+ "o* can delete t'e.
9o!e#er+ I recoend &ee)in$ t'e in t'e scene for as lon$ as "o* can. T'is
allo!s "o* to easil" edit t'e if "o* need to.
T'e aniator !ill 7*ite 'a))il" *se t'e :lend S'a)e !indo! to aniate t'e c'aracter. If
"o* li&e+ t'o*$'+ "o* co*ld *se Set ,ri#en Ke" to tie t'e %lend s'a)es into t'e ain
'ead controller+ as "o* did !it' t'e 1oint set*).
Facial Ani%ation and
,)Ds
Yo* 'a#e no! !or&ed t'ro*$' t!o a))roac'es to facial aniation on Kila+ %*t !'at
a%o*t t'e LO,s0 Gi#in$ a c'aracter t'e a%ilit" to %e seen tal&in$ i$'t %e *nnecessar"
at a distance+ %*t "o* a" need it for t'e ne2t le#el of detail.
For t'e 1oint/%ased face+ all t'e 'ard !or& 'as alread" %een done. :eca*se all t'e
aniation is a))lied #ia t'e 1oints+ !e can si)l" %ind t'e lo!er LO,s and t'en co)" t'e
!ei$'tin$ inforation across. 5e !ill %e co#erin$ t'is )rocess in C'a)ter BI.
T'e %lend s'a)es+ 'o!e#er+ !ill need f*rt'er !or& in ters of LO,s. T'ese s'a)es
reference a co)" of t'e face-s $eoetr"+ so !e !ill need to create t'e re7*ired %lend
s'a)es for all t'e LO,s. T'is i$'t see a da*ntin$ tas&+ %*t $ettin$ or$ani8ed a'ead of
tie !ill 'el). :efore "o* start+ consider !'at !ill act*all" %e seen at t'at distance and
!'at t'e $eoetr" !ill allo!. ,oll" o*t *ntil Kila is 1*st a%o*t to s!itc' to 'er ne2t LO,.
t'en *se t'e :lend S'a)e !indo! to see !'at face s'a)es are #isi%le and act*all"
distin$*is'a%le.
Certainl" at t'is distance "o* can see t'at 'er o*t' is o)en or closed+ 'er e"e%ro!s are
raised or lo!ered+ and 'er e"es are o)en or closed. T'e sile is clearl" #isi%le+ %*t t'e
rest of t'e o*t' s'a)es can 'ardl" %e seen+ so it !o*ldn-t %e ad#isa%le to re/create
t'ese for t'e lo!er LO,.
5it' t'e %lend s'a)es created and a))lied+ "o* can *se t'e Connection Editor to
connect t'e lo!er/LO, %lend s'a)e nodes- attri%*tes to t'e 'i$'er ones. 5'en "o*
aniate t'e 'i$'est LO,+ t'e lo!er ones !ill follo!. t'at eans "o* and t'e aniator
don-t need to aniate eac' indi#id*al LO,.
$rae>s Facial
Ani%ation
No! t'at !e 'a#e soe e2)erience !or&in$ !it' t'e t!o ain st"les of facial
aniation+ it-s tie to ta&e a %rief loo& at Grae.
5'ic'e#er aniation et'od "o* c'oose+ ri$$in$ Grae-s face !ill %e si)ler t'an doin$
Kila-s+ ainl" %eca*se 'e does not s)ea&. Ne#ert'eless+ 'is 1a! !ill need soe sli$'t
o#eent+ as !ill 'is *))er li)s. So !e-ll do soe ri$$in$ for t'ese+ in addition to 'is
e"es and e"e%ro!s.
5'en it coes to ri$$in$ t'e 1oint/%ased face+ "o* can s&i) ost of t'e attri%*tes !e
incl*ded for Kila. <*st *se <a!O)en to control 'o! t'e o*t' o)ens+ and add <a!Slide to
ena%le t'e 1a! to o#e left and ri$'t as 'e $rinds 'is teet'. Add soe )oses for 'is
ton$*e+ too. "o* s'o*ld %e a%le to see it o#in$ %eca*se 'is o*t' can o)en 7*ite !ide.
For t'e li)s+ create a LeftU))erLi) and Ri$'tU))erLi) attri%*te+ and connect t'e to t'e
*))er li) 1oints. T'ese !ill ena%le t'e aniator to a&e 'i snarl.
In addition+ "o* can co)" Kila-s final si2 attri%*tes( LeftInner:ro!+ LeftO*ter:ro!+
Ri$'tInner:ro!+ Ri$'tO*ter:ro!+ LeftE"eLids+ and Ri$'tE"eLids.
For Grae-s %lend/s'a)e aniation #ersion+ stic& to ore or less t'e sae face
s'a)es as Kila-s+ !'ic' can %e seen in Figure 13.41.
Figure 13.41. $rae>s =lend shapes
Which !s
#est?
No! t'at !e 'a#e e2)lored %ot' !a"s of $eneratin$ facial aniation in $ae
c'aracters+ let-s 'a#e a loo& at t'e iss*es+ )ros+ and cons for %ot' et'ods.
T'e %i$ 7*estion concerns !'ic' #ersion t'e $ae en$ine+ or indeed t'e tar$et
)latfor+ can 'andle. C'ances are an" one of t'e co*ld *se 1oints+ since t'e" !ill alread"
%e doin$ so to o#e t'e c'aracter aro*nd. Yo* a" e#en find t'at %lend s'a)es are not
eli$i%le and need not %e considered.
T'e !a" eac' t")e of aniation !or&s and loo&s can %e drasticall" affected %" "o*r
%*d$et. 9a#in$ too fe! 1oints+ or too fe! %lend s'a)es+ !ill a&e t'e face loo& stiff. T'e
freedo to incl*de all t'e 1oints needed !o*ld allo! "o* roo to create an alost liitless
n*%er of facial )oses and o#eents. 5it' %lend s'a)es+ eac' ne! face !o*ld add to
t'e o#erall si8e of t'e c'aracter in eor"+ so e#ent*all" "o* co*ld reac' "o*r liit. E#en
so+ t'is can %e o#ercoe t'ro*$' cle#er *se of "o*r s'a)es. "o* can i2 e2istin$ ones to
create ne! ones.
S
T'e initial set*) of t'e 1oint/%ased face ri$ can %e 7*ite c*%ersoe and tric&"+
since "o*-re 'a#in$ to *se Set ,ri#en Ke" to store eac' )ose and area of o#eent.
9o!e#er+ once t'e" are co)lete+ redoin$ t'e s'o*ldn-t %e necessar"+ e#en if t'e
c'aracter-s to)olo$" is c'an$ed.
T'e %lend s'a)es set*) is si)ler %*t does rel" 'ea#il" on t'e ain face-s
$eoetr" %ein$ loc&ed. An" alteration in t'e facial to)olo$" co*ld res*lt in
"o*r 'a#in$ to redo all t'e e2istin$ %lend s'a)es.
5it' t'e 1oint set*)+ "o* can-t $et t'e facial e2)ressions #erte2/
)erfect+ %eca*se eac' #erte2-s )osition is erel" infl*enced %" t'e 1oints. 5it'
%lend s'a)es+ on t'e ot'er 'and+ "o* are )'"sicall" sc*l)tin$ eac' face+
allo!in$ "o* to $et eac' )ose )erfect.
If "o* are l*c&" eno*$' to %e a%le to c'oose eit'er et'od+ it !ill coe do!n to
"o*r o!n )reference or st"le of !or&in$.
Su%%ar

T'is c'a)ter-s disc*ssion of t'e *se of 1oints and or)' tar$ets to ac'ie#e facial
aniation !ill 'el) "o* decide !'ic' one "o* )refer and !'ic' is a))ro)riate for "o*r
)ro1ect. Ne2t+ !e !ill o#e to t'e c'a)ter on t'e final %indin$attac'in$ o*r c'aracters-
$eoetr" to t'eir s&eletons and t'en ad1*stin$ t'e !ei$'tin$ inforation to ena%le
correct deforation.
Chapter 14. Final
Character Defor%ation
CD Files
KilaKFaceRi$K:S.% KilaKFaceRi$K<nt.% KilaK:o*ndK:S.% KilaKS&inned.% GraeKFaceRi$K:S.%
GraeKFaceRi$K<nt.% GraeK:o*ndK:S.% GraeKS&inned.% Kila:od".t$a Kila9air.t$a Kila9ead.t$a
Grae:od".t$a GraeMisc.t$a Grae5in$.t$a Grae:od"K:*).t$a GraeMiscK:*).t$a Grae:od"KS)ec.t$a
GraeMiscKS)ec.t$a 5E 9A;E A MO,EL and a ri$ for %ot' Kila and Grae+ and no! !e need to connect t'e
ri$s to t'e odels so t'at one !ill dri#e t'e ot'er. 5e-ll do t'at 'ere in t'is c'a)ter+
*sin$ tec'ni7*es alread" disc*ssed( es' %indin$ and )aintin$ !ei$'ts. Yo*-#e
!or&ed !it' t'ese tec'ni7*es in C'a)ter A and e2tensi#el" in C'a)ter B3+ so "o*
s'o*ld %e !ell ac7*ainted !it' *sin$ t'e.
Preparation and
#inding
:efore !e can test o*r co)leted c'aracters- deforations+ !e need to )re)are t'e
$eoetr" and %ind it to t'e s&eleton. If "o* follo!ed t'e 1oint/%ased facial set*) in
C'a)ter B3+ "o*r $eoetr" is alread" %o*nd to t'e s&eleton+ so feel free to s&i) alon$ to
t'e ne2t section. If+ on t'e ot'er 'and+ "o* are *sin$ t'e %lend s'a)e et'od+ follo!
t'e instr*ctions 'ere for attac'in$ t'e es' to t'e %ase s&eleton. T'is !ill dri#e t'e
c'aracters- o#eent+ deforin$ t'e es' so t'at t'e c'aracter can ac'ie#e )oses
and+ *ltiatel"+ aniate.
Load t'e file called KilaKFaceRi$K:S.%+ =or GraeKFaceRi$K:S.% if "o* are !or&in$ on
'i>. T'e $eoetr" for t'e first LO, is alread" )re)aredin C'a)ter B3 !e co%ined it into
a sin$le es' and cleaned it *)+ so it is read" for final !ei$'tin$. T'e face and %od" *st
reain se)arate %eca*se %lend s'a)es ani)*late iterations of all t'e #ertices of Kila-s
face+ allo!in$ 'er to tal&.
1. In t'e O*tliner+ na#i$ate to t'e first 1oint of t'e %ase s&eleton+ called Root.
Select it and o)en *) t'e 'ierarc'".
2. Go to Edit L Select 9ierarc'" to select all t'e o%1ects %eneat' Root.
3. Alt'o*$' !e 'a#e t'e s&eleton 'ierarc'" selected+ t'ere are soe 1oints !e don-t
!ant to %ind. Scroll do!n t'e O*tliner and+ 'oldin$ Ctrl6Cd+ deselect all t'e 1oints t'at
end !it' KTi). T'ese are onl" 'ere as #is*al aids. t'e" do not defor t'e c'aracter.
Also+ a&e s*re no icons or ot'er nodes are selected+ !e !ant onl" t'e 1oints to
defor t'e es' !'en o#ed.
4. 5it' t'e correct 1oints selected+ 'old S'ift and add t'e Kila:od" es' to t'e
selection.
5. Go to S&in L :ind S&in L Soot' :ind and o)en t'e o)tions. For :ind To+ c'oose
Selected <oints. for :ind Met'od+ c'oose Closest <oint. and set Ma2 Infl*ences to 3
and ,ro)off Rate to I.
6. Clic& on :ind S&in. t'e %od" $eoetr" is no! attac'ed to t'e %ase s&eleton.
()T*
Alternati#el"+ "o* can select 1*st t'e %od" $eoetr" and )ress t'e :ind
%*tton on t'e GC,M s'elf. Pro#ided t'at t'e %ase 1oint is called Root+ t'is
%*tton !ill a*toaticall" select t'e )ro)er 1oints and %ind t'e es' to t'e.
5e no! 'a#e to attac' 'er face in a sli$'tl" different !a". :eca*se in t'is case t'e
#ertices of 'er face are controlled #ia %lend s'a)es+ certain $ae en$ines !ill 'a#e
tro*%le if t'e #ertices are also controlled %" a n*%er of 1oints. As far as I a a!are+ t'is
conflict is d*e to t'e $ae en$ine-s 'a#in$ to 'andle t!o t")es of deforation at t'e
sae tie( It can %e 7*ite )rocessor intensi#e+ so *sin$ 1*st one et'od is )referred.
9o!e#er+ !e still need t'e 'ead to o#e !it' t'e s&eleton+ so it !ill 'a#e to %e affected
%" one 1oint =t'e 'ead 1oint>. Soeties si)l" )arentin$ t'e face $eoetr" to t'e 'ead
1oint !ill s*ffice+ %*t "o* can also %ind it+ and a&in$ s*re it is onl" infl*enced %" t'e
'ead 1oint !ill certainl" )lease t'e )ro$raers.
For eit'er et'od+ %indin$ or lin&in$+ all of t'e face #ertices !ill essentiall" %e controlled
BGG )ercent %" t'e 'ead 1oint alone. 5it' t'at in ind+ it-s cr*cial to also a&e s*re
t'at all #ertices %orderin$ t'e face es' are also BGG )ercent %o*nd to t'is sae 1oint.
If not+ t'e es' !ill %rea& a)art at t'ose seas d*rin$ )osin$ and aniation.
()T*
It-s a $ood idea to tal& t'ro*$' t'is iss*e !it' "o*r tea-s lead
)ro$raer+ !'o a" 'a#e s)ecific ideas on 'o! it s'o*ld %e 'andled.
1 Select t'e ain 'ead 1oint+ called 9ead.
2 9oldin$ S'ift+ select t'e face $eoetr".
3 Go to S&in L :ind S&in L Soot' :ind+ and set :ind To to Selected <oints+ and :ind
Met'od to Closest <oint. Set %ot' Ma2 Infl*ences and ,ro)off Rate to B+ !'ic' !ill f*ll"
!ei$'t t'e face to t'e 9ead 1oint. 5e don-t need to do an" ore !or& on it.
4 Sa#e t'e file as KilaK:o*ndK:S.%.
:ot' t'e %lend/s'a)es and 1oint/%ased #ersions of o*r c'aracters are no! at e2actl" t'e
sae sta$e. T'is eans !e onl" need to edit t'e !ei$'tin$ inforation on t'eir %odies+
%eca*se t'e 1oint/%ased faces !ere co)leted in C'a)ter B3. So !e !ill 1*st loo& at t'e
1oint/%ased #ersion. T'e sae !ei$'t/)aintin$ tec'ni7*es can easil" %e a))lied to t'e
%lend/s'a)es #ersion if need %e.
Painting +ila>s
Weights
In C'a)ter A+ !e *sed !ei$'t )aintin$ %riefl" to $et an idea of 'o! t'e $eoetr" !o*ld
defor. No! !e !ill %e a))l"in$ t'e final !ei$'ts+ so !e 'a#e to a&e s*re all areas of
'er %od" o#e correctl".
5e !ill concentrate on 'er left side+ and t'en co)" t'e !ei$'ts across to t'e ri$'t
!'en !e are done.
Load t'e file KilaKFaceRi$K<nt.% and !e !ill start !or& on 'er ars.
Ar%
Weights
T'e ars are )ro%a%l" t'e ost i)ortant area to !ei$'t correctl". T'e" are al!a"s in
otion and can o#e draaticall" in all directions+ !'ic' *nfort*natel" !ill s'o! off an"
%adl" !ei$'ted areas.
Shoulders
T'e s'o*lder is ca)a%le of o#in$ aro*nd in all t'ree a2es. Not onl" does it raise and
lo!er+ it can o#e for!ard and %ac&!ard+ and also t!ist. O%#io*sl"+ de)endin$ on !'at
"o*r o!n c'aracter-s )riar" actions !ill %e+ soe of t'ese )oses !ill %e ore i)ortant
t'an ot'ers.
Let-s first loo& at t'e s'o*lder as it is raised and lo!ered.
Usin$ t'e #isi%ilit" icon+ t*rn off t'e iddle and ri$'t icons so t'at !e can
concentrate on 'er left side.
Foc*s in on 'er left ar. rotate t'e s'o*lder do!n and loo& at 'o! t'e es'
defors !'en it-s in t'is rest )osition.
As "o* can see in Figure 14.1+ t'e area *nder 'er ar o#es into 'er torso+
!'ic' !e don-t !ant it to do.
Figure 14.1. ,o;er the ar% = rotating the shoulder.
3. Select t'e $eoetr" itself. T'en $o to S&in L Edit Soot' S&in L Paint S&in 5ei$'ts
Tool and o)en *) t'e o)tions. Set ;al*e to G and O)acit" to B+ and in t'e Infl*ence
)ane a&e s*re "o* 'a#e LKS'o*lder selected.
T!P
If "o* need to see t'e act*al te2t*re of t'e odel !'ile "o* edit t'e
!ei$'ts+ o)en t'e ,is)la" )ane fo*nd in t'e Paint S&in 5ei$'ts !indo!
and *nc'ec& Color Feed%ac&. In soe instances+ t'e act*al te2t*re !ill
)la" a )art in dis$*isin$ soe of t'e )inc'in$ as t'e c'aracter defors+
so it-s $ood to &ee) c'ec&in$ t'e te2t*red #ersion of "o*r odel+ too.
4. As deonstrated in Figure 14.2+ ri$'t+ )aint 1*st *nder 'er ar+ doin$ t'e front of
t'e torso as !ell as t'e %ac&. Also )aint a%o#e t'e s'o*lder+ reo#in$ t'e infl*ence t'e
s'o*lder 'as o#er t'is area.
Figure 14.2. &e%o:e the shoulder>s inGuence fro% the torso.
Select Soot' as t'e Paint O)eration. 5it' a softer %r*s'+ edit t'e s'o*lder itself+
soot'in$ it o*t and ro*ndin$ it off. Usin$ Soot' !ill a#era$e o*t t'e distances %et!een
eac' #erte2+ addin$ a s*%tle c'an$e to t'e !ei$'tin$ #al*es %*t soot'in$ t'e o#erall
s'o*lder as it defors.
Rotate t'e ar as s'o!n in Figure 14.3+ so it is alost 'ori8ontal. =If "o* raise "o*r
o!n ar+ "o* !ill notice t'at it !ill not rotate a%o#e t'is le#el. it is "o*r cla#icle t'at ta&es
o#er and raises t'e ar f*rt'er.>
Figure 14.3. &aise the ar% so it is hori?ontal.
C'ec& to see 'o! t'e s'o*lder and ar)it areas loo&. Yo* a" need to soot' t'e
ar)it sli$'tl" %*t ot'er t'an t'at it s'o*ld loo& fine.
No! let-s e2aine t'e s'o*lder as it rotates for!ard and %ac&!ard. 5it' t'e ar still
in its 'ori8ontal )osition+ rotate it for!ard aro*nd t'e Y a2is =Figure 14.4>. As "o* can
see+ !e 'a#e soe se#ere )inc'in$ t'at needs attention.
1. Red*ce :r*s' O)acit" do!n to aro*nd G.B@+ and &ee) Paint 5ei$'ts ;al*e at B. Usin$
eit'er Re)lace or Add+ tr" and t!ea& t'e !ei$'ts aro*nd t'e s'o*lder to inii8e t'e
)inc' =Figure 14.5>. Yo* !on-t %e a%le to reo#e it co)letel". 1*st tr" to a&e it less
o%#io*s.
2. Reset t'e ar %ac& to its defa*lt )osition. "o* can do t'is 7*ic&l" %" settin$ t'e
s'o*lder rotations to G+ G+ G or ri$'t/clic&in$ on t'e selection 'andle and selectin$
Ass*e Preferred An$le. No! rotate t'e ar for!ard+ a&in$ t'e $eoetr" defor in a
different !a".
Edit t'e )inc'in$ as needed.
3. No! test 'o! t'e s'o*lder loo&s !'en t'e ar is %ent %ac&!ard. A$ain 'ere+ t'e
ar 'as liited o#eent !'en rotated %ac&!ard fro a raised )osition.
Figure 14.5. T;eak the ;eights to reduce the pinch.
Figure 14.4. &otate the ar% for;ard around the Y a-is.
Manual Assign%ents 0sing the Co%ponent
*ditor
If "o* are 'a#in$ tro*%le editin$ t'e !ei$'ts on a )artic*lar area+ "o* can $o in
and an*all" assi$n certain 1oints to affect certain #ertices and %" a certain
ao*nt+ on a )er/#erte2 le#el. To do t'is(
Select t'e c'aracter odel and $o to 5indo! L General Editors L Co)onent
Editor =Figure 14.6+ to)>.
Select a #erte2 fro t'e c'aracter odel+ and t'en select t'e Soot' S&ins
ta% in t'e Co)onent editor =Figure 14.6+ %otto>.
At t'e left of t'e !indo!+ "o* !ill see all t'e #ertices "o* 'a#e selected =listed
#erticall">. In t'is case+ !e 'a#e #t2QBDBAR+ !'ic' is #erte2 n*%er BDBA. All t'e
1oints t'at 'a#e infl*ence o#er it are listed across 'ori8ontall". Yo* can scroll o#er
and assi$n eac' 1oint-s infl*ence o#er t'at #erte2. G is no infl*ence+ and B is t'e
a2i* infl*ence.
Alt'o*$' t'is et'od does allo! "o* to %e ore acc*rate !it' t'e !ei$'t
assi$nents+ &ee) in ind t'at $oin$ t'ro*$' e#er" #erte2 on "o*r c'aracter can
%ecoe 7*ite tedio*s.
5it' t'e first t!o rotations fi2ed+ !e can no! test t'e t!ist+ !'ic' is t'e rotation of t'e
ar aro*nd t'e F a2is.
T'e )ro%le !e $et to no! is one of )riorit". If !e reo#e soe of t'e s'o*lder-s
infl*ence fro t'e s'o*lder 1oint to a&e t'is )ose loo& $ood+ anot'er )ose !ill loo&
!ron$ %eca*se t'e !ei$'ts are t'en different. 5e !ind *) contin*all" alterin$ !ei$'ts to
fi2 one )ose and t'en 'a#in$ to redo !ei$'ts on anot'er.
5'at "o* 'a#e to do is decide !'ic' )oses t'e ar !ill %e in for t'e a1orit" of t'e tie
and concentrate on t'ese. For t'e ot'ers+ "o* can $et a!a" !it' t'e odd )inc' or crease
%eca*se t'ese )oses are not seen #er" often.
T!P
T'e c'aracter-s te2t*re can )la" a role in dis$*isin$ areas t'at don-t defor
!ell. Usin$ dar&er areas !ill 'ide an" )inc'in$ in t'e $eoetr". areas t'at are
li$'ter or incl*de lots of detail ser#e to 'i$'li$'t creases and areas t'at stretc'.
T'e t!ist )ose !ill %e t'e lo!est )riorit" for Kila+ so let-s see 'o! it loo&s.
1. P*t t'e ar %ac& into its defa*lt )ose and+ follo!in$ Figure 14.7+ rotate it for!ard
aro*nd t'e F a2is. Tr" to atc' "o*r o!n ar-s %o*ndaries !'en it-s rotated li&e t'is.
Figure 14.7. &otate the ar% for;ard around the J a-is.
2. <*d$in$ %" 'o! t'in$s loo& in Figure 14.8+ t'e front and %ac& are acce)ta%le. T'is
is a lo!/)riorit" )ose+ so !e can lea#e it as is.
Figure 14.8. The shoulder looks "ne ;ith this rotation.
3. Ne2t+ rotate t'e s'o*lder t'e ot'er !a" aro*nd t'e F a2is. As "o* can see in
Figure 14.9+ t'is tie t'e %ac& loo&s fine %*t !e 'a#e a nast" crease at t'e front.
Figure 14.9. &otated the other ;a1 the shoulder sho;s a crease
at the front.
To red*ce t'is crease+ first soot' t'e !ei$'ts aro*nd it. ,on-t $et carried a!a"+
t'o*$'. t'is soot'in$ !ill affect t'e s'o*lder !'en it ado)ts ot'er )oses.
Notice t'at t'e ed$e 'i$'li$'ted in Figure 14.1<+ iddle+ is t'e a1or ca*se of t'e
crease( It is fli))ed t'e !ron$ !a". Select t'is and delete it. t'en delete t'e
sae ed$e on t'e o))osite s'o*lder.
Figure 14.1<. S%ooth out the ;eights and delete the
oFending edge.
No! t'e s'o*lder s'o*ld loo& )rett" $ood in t'e a1or )oses. :efore "o* o#e on to t'e
el%o!+ rotate t'e s'o*lder aro*nd and do*%le/c'ec& all t'e !ei$'tin$.
*l=o;s
T'e el%o! is sli$'tl" easier t'an t'e s'o*lder to !ei$'t %eca*se it onl" rotates
aro*nd one a2is.
1. Raise t'e ar to a&e t'e el%o! easier to edit. T'en rotate t'e el%o! 1oint
aro*nd t'e Y a2is =Figure 14.11>.
Figure 14.11. &aise the ar%1 and rotate the el=o; around the Y
a-is.
1 Set t'e #ertices %elo! t'e el%o! =Figure 14.12a> to %e f*ll" infl*enced %" t'e
el%o!. Ne2t+ set t'e Paint 5ei$'ts ;al*e to G and )aint on t'e #ertices a%o#e t'e el%o!
=Figure 14.12=>+ reo#in$ its infl*ence.
2 No! set ;al*e to B and :r*s' O)acit" to G.BG. 5it' a soft %r*s'+ !or& on t'e el%o!
area+ fillin$ o*t t'e )inc' t'at c*rrentl" e2ists.
Figure 14.12. AdAust the ;eighting on her el=o;.
Yo* can see t'e final el%o! in Figures 14.12c and 14.12d.
()T*
It-s i)ortant to reali8e t'at "o* !ill not $et e#er" 1oint to defor realisticall".
5e are liited to t'e $eoetr" and t'e s&eleton t'at !e *se to defor it+ so
all !e can do is !or& to!ard t'e %est )ossi%le res*lt. 5it' 1oint and )ol"$on
restrictions+ "o* !on-t $et t'e c'aracter to defor )erfectl" in all sit*ations.
Wrist
5e-#e arri#ed at t'e !rist. Li&e t'e s'o*lder+ it needs all de$rees of freedo
!ei$'ted correctl"+ %*t 'ere t'e !ei$'t )aintin$ is )rett" strai$'tfor!ard.
A$ain !e 'a#e to t'in& a%o*t )riorit" !'en !or&in$ on t'e !rist. 5e can ac'ie#e a
$ood %end !'en t'e !rist rotates aro*nd t'e Y a2is or M a2is+ %*t t'is is at t'e sacrifice
of t'e F rotation+ !'ic' a&es t'e !rist t!ist. T'in& a%o*t !'at actions "o*r c'aracter
is ost li&el" to do oreif t'e" are 'oldin$ !ea)ons+ t'e Y and M rotations !ill ore
li&el" ta&e )riorit". %*t if t'e c'aracter-s actions ca*se t'e !rist to t!ist a lot+ t'en t'e
F rotation !ill 'a#e to offer %etter deforation.
First+ rotate t'e !rist aro*nd t'e Y and F a2es to see 'o! it defors. Yo* !ill no do*%t
notice t'at t'e $eoetr" o#es !it' t'e action in a !a" t'at a&es t'e !rist a))ear to
%end *nnat*rall". T'is is %eca*se t'e !ei$'ts are e#enl" distri%*ted %et!een t'e
forear and !rist 1oints. 5e no! need to loc& soe of t'ese !ei$'ts do!n.
1 Select t'e es' and o)en t'e Paint S&in 5ei$'ts !indo!. Set O)acit" to B and ;al*e
to G+ and select LK5rist in t'e Infl*ence )ane.
2 Paint t'e #ertices 1*st a%o#e t'e !rist+ reo#in$ t'e !rist 1oint-s infl*ence =Figure
14.13+ iddle>. T'en a&e s*re t'e #ertices iediatel" %elo! t'e !rist are f*ll" !ei$'ted
to it =Figure 14.13+ ri$'t>.
Figure 14.13. Change the priorities of the ;eighting around her
;rist.
No! t'e 'and !ill o#e 7*ite nicel" *) and do!n+ left and ri$'t%*t loo& at !'at 'a))ens
!'en "o* t!ist it =Figure 14.14>. Yo* $et 7*ite a %ad deforation aro*nd t'e !rist
area.
Figure 14.14. The ;rist defor%s =adl ;hen t;isted.
In a real ar+ t'e !rist doesn-t act*all" t!ist aro*nd t'e !rist 1oint. Instead+ it-s t'e *lna
and radi*s %ones in o*r forear t'at t!ist aro*nd eac' ot'er+ a&in$ t'e 'and see to
rotate. To i)leent t'is )ro)erl" into o*r c'aracter !o*ld in#ol#e addin$ an e2tra 1oint
'alf!a" *) t'e forear. !e didn-t incl*de t'is in o*r ri$ %eca*se !e re7*ired a si)ler
set*).
Man" st*dio-s add $lo#es or lon$ slee#es to t'eir c'aracter desi$ns+ !'ic' can
dis$*ise t'e t!ist of t'e !rist. T'is *s*all" !or&s !ell+ %eca*se t'e 'and is
essentiall" detac'ed fro t'e ar and t'e !rist is 'idden %eneat' t'e slee#e or
$lo#e.
T'e onl" sol*tion !e 'a#e is to contin*e to )ose t'e 'and and edit t'e !ei$'ts *ntil !e
reac' a satisfactor" res*lt. So let-s lea#e t'e !rist as is and loo& at !'at !e can do !it'
t'e 'and and fin$ers.
'and
Weights
5e !ill s&i) t'e ain )al area *ntil t'e fin$ers are done+ since t'ese are ore
i)ortant to $et ri$'t. After t'e ain fin$er !ei$'ts in )lace+ !e can t'en $o in and
a&e an" inor alterations to t'e )al.
If t'e $eoetr" a&in$ *) t'e fin$ers doesn-t defor correctl"+ t'e 'ands !ill not
!or& #is*all". T'e %est a))roac' is to !or& on t'e fin$ers one at a tie.
1. Select t'e icon for t'e inde2 fin$er. Set t'e Pro2ialKPitc'+ MiddleKPitc'+ and
,istilKPitc' to @.
2. Paint t'e ain area of t'is section of fin$er so it is f*ll" infl*enced %" t'e 1oint
=Figure 14.15c>+ and reo#e an" infl*ence it 'as o#er an" nei$'%orin$ fin$ers. ,o t'is
%" red*cin$ Paint 5ei$'ts ;al*e to G for t'is tas&.
T'en c'an$e ;al*e to G.@ and )aint o#er t'e #ertices t'at lie do!n t'e iddle of t'e
&n*c&le+ a&in$ it 'alf infl*ence %ot' sections of t'e fin$er.
3. Mo#e to t'e ne2t 1oint+ LKInde2K:+ and re)eat ste) ?. F*ll" !ei$'t t'e section to
t'e 1oint+ !'ile reo#in$ an" o*tside infl*ence. T'en a&e t'e center &n*c&le #ertices
infl*enced %" %ot' t'e LKInde2KA and LKInde2K: 1oints.
4. No! !or& on t'e ti) of t'e fin$er. 5ei$'t it f*ll" to t'e LKInde2KC 1oint+
reo#in$ an" infl*ence it 'as o#er t'e iddle fin$er.
5. To finis'+ set O)acit" to a saller #al*e+ select a soft %r*s'+ and !or& on t'e %ase
of t'e di$it+ *nderneat' !'ere it eets t'e )al. Tr" to $et t'e fin$er to )inc' less as
it %ends.
5it' a sin$le fin$er %ent+ "o* can no! see 'o! t'e !ei$'ts 'a#e %een
distri%*ted. As "o* can see in
Figures 14.15a
and
14.15=
, the inde) +nger's %oints are a1ecting the middle +nger's geometry.
Figure 14.15. Paint the indi:idual sections of the "nger.
As s'o!n in Figure 14.15d+ t'e ain fin$er is no! !ei$'ted correctl".
Re)eat t'ese ste)s for t'e ot'er t'ree fin$ers and t'e t'*%. First %end t'e fin$er+ t'en
!or& on eac' section *ntil t'e !ei$'tin$ is correct and doesn-t infl*ence an" of t'e ot'er
di$its.
()T*
T'is )roced*re !ill o%#io*sl" %e different if "o* are *sin$ t'e lo!er/
resol*tion 'ands t'at a" 'a#e fe!er fin$ers. <*st a&e s*re t'at eac'
section is f*ll" !ei$'ted to t'e 1oint t'at rotates it.
No! !'en "o* %end all t'e fin$ers+ t'e" s'o*ld defor correctl" !it'o*t o#in$ an" of
t'eir nei$'%orin$ fin$ers =
Figure 14.16
>.
Figure 14.16. The "ngers no; defor% correctl.
T'e final sta$e for t'e 'ands is to !ei$'t t'e )al area so it is alost co)letel"
controlled %" t'e !rist 1oint =Figure 14.17>. T'is !ill also 'el) "o* to fill o*t t'e %ase
area of t'e fin$ers if t'e" are )inc'in$.
Figure 14.17. Weight the pal% area to the ;rist.
,eg and Waist
Weights
For t'e le$s+ it is %est to %e$in at t'e to) in t'e !aist area+ %eca*se t'e 'i) can rotate in
a n*%er of directions. 5'en t'at is done+ !e can address t'e &nee+ an&le+ and finall"
t'e foot.
1. To start+ o#e t'e foot icon as deonstrated in Figure 14.18+ first o*t in front of t'e
le$+ t'en *)+ and finall" o*t to t'e side. Yo* !ill also need to o#e t'e &nee )osition
icon+ or t'e le$ !ill fli) and t'e &nee !ill )oint %ac&!ard.
Figure 14.18. Position the leg and knee to see ho; the
defor%.
2. No! foc*s in on 'er left 'i). :e$in %" editin$ t'e !ei$'ts for t'e Root 1oint. As "o*
can see in Figure 14.19+ left+ t'e !ei$'ts are distri%*ted 7*ite softl" in t'is area+
a&in$ it 7*ite fle2i%le and s7*as'". Yo* need to loc& do!n soe of t'e !ei$'ts+ a&in$
t'e 'i)s loo& ore solid !'en s'e o#es.
Figure 14.19. Full ;eight her left hip area to the &oot Aoint.
3. Set %ot' O)acit" and ;al*e to B+ and )aint aro*nd t'e ain 'i) area !it' t'e solid
%r*s'. Also )aint aro*nd t'e %ac& of t'e 'i)+ *nder 'er crotc'+ and t'e %elt. Paint onl"
on 'er left side =Figures 14.19= and 14.19c>.
No! t'at !e 'a#e t'e ain 'i) area loc&ed+ !e can $o in and !or& on t'e rest of t'e
#ertices+ soot'in$ o*t t'e $eneral area !'ile also reo#in$ an" )inc'es or creases. To
'el) !it' t'is+ !e !ill first edit t'e !ei$'ts on 'er t'i$'. At )resent+ t'is is )artiall"
!ei$'ted to t'e Root 1oint+ ca*sin$ it to flatten as s'e raises 'er le$. Fi2in$ t'is no! !ill
'el) s'o! *s e2actl" !'at !e need to do to co)lete t'e 'i).
1. F*ll" !ei$'t t'e ain %*l& of 'er t'i$' to t'e left t'i$' 1oint+ )aintin$ o#er
t'e #ertices 'i$'li$'ted in Figure 14.2<+ left. T'e t'i$' s'o*ld literall" )o) o*t+
%ac& into its ori$inal for =Figure 14.2<+ ri$'t>. T'is eans !e can $o %ac&
and tac&le t'e rest of 'er 'i).
2. Still foc*sin$ on t'e LKT'i$' 1oint+ select a softer %r*s'. T'en )aint aro*nd
'er %*ttoc&+ softenin$ t'e c*r#e and a#era$in$ o*t t'e distance %et!een t'e
3
.
Ne2t+ !or& on t'e front of 'er t'i$'. In t'is area+ tr" to red*ce t'e ao*nt of )inc'in$
t'at occ*rs. Reo#in$ it co)letel" !ill %e nearl" i)ossi%le+ so 1*st a&e it less
o%#io*s %" closin$ an" lar$e $a)s in t'e $eoetr" =
Figure 14.21
+ ri$'t>.
Figure 14.2<. Correct the ;eights on her thigh.
#ertices =
Figure 14.21
+ left>.
Figure 14.21. T;eak the ;eights around her hip.
Finall"+ %e s*re to reo#e an" infl*ence t'e left t'i$' 'as o#er t'e ri$'t.
5e 'a#e no! corrected t'e 'i) in one )osition+ %*t it also rotates %ac&!ard and o*t to
t'e side. Mo#e t'e foot icon %ac&+ so t'e le$ rese%les t'at in Figure 14.22.
Figure 14.22. Mo:e the foot =ack to see ho; the hip defor%s fro% a
diFerent position.
C'ec& to see 'o! t'e front and %ac& of t'e t'i$' loo&. In
Figure 14.23
+ left+ t'e front loo&s fine. Ma"%e a little %it of t!ea&in$ is needed to strai$'ten o*t 'er
sas'+ %*t t'ere are no a1or )ro%les. T'e rear !ill need a %it ore !or&. In
Figure 14.23=
!e can see t'at t'ere is a s'ar) )ol"$on stic&in$ *). t'at !ill need to %e fi2ed.
1. O)en t'e Paint S&in 5ei$'ts tool. "o* s'o*ld still 'a#e all "o*r )re#io*s settin$s
stored+ so edit t'e front and rear of 'er 'i) *ntil t'e !ei$'ts rese%le t'ose in Figure
14.24.
Figure 14.24. The edited front and rear ;eights
2. No! rec'ec& 'o! t'e 'i) loo&s !it' t'e le$ %ent for!ard. Ma&e an" inor t!ea&s
needed+ %efore o#in$ it o*t to t'e side =Figure 14.25> so !e can test t'e final
)osition. T'e !ei$'ts on t'e 'i) s'o*ld reall" loo& fine in t'is )ose. If "o* do need to
a&e an" ad1*stents+ it !ill onl" %e to t'e side.
Figure 14.25. Mo:e the leg out to the side to test the "nal pose.
Figure 14.23. The front ;eights look "ne1 =ut the rear needs ;ork.
No! o#e t'e le$ aro*nd and do*%le/c'ec& eac' )osition+ a&in$ s*re t'e 'i) loo&s as
$ood as it can %efore !e !or& on t'e &nee.
As !e did earlier !it' t'e t'i$'+ !e need t'e lo!er le$ to aintain its #ol*e as it
o#es. Ri$'t no! t'e t'i$' 1oint affects it+ so !e need to reo#e t'is infl*ence first.
1. 5it' t'e LKT'i$' 1oint still acti#e+ set ;al*e to G and O)acit" to B %efore
)aintin$ t'e lo!er section of 'er le$ =Figure 14.26+ iddle>.
Figure 14.26. AdAust the ;eights on the lo;er leg and knee.
2. T!ea& t'e !ei$'ts aro*nd t'e &nee =Figure 14.26+ ri$'t> tr"in$ to soot' o*t an"
'ars' lines.
T'at-s t'e &nee area ore or less co)lete no!. !e 'a#e ad1*sted all t'e !ei$'ts !e
need to %" 1*st *sin$ t'e LKT'i$' 1oint.
()T*
,on-t %e disco*ra$ed a%o*t areas t'at intersect !'en t'e" defor+ li&e t'e
&nee and t'i$'+ *))er ar and lo!er ar+ and so fort'. T'is 'a))ens all t'e
tie in #ideo $aes*nfort*natel"+ it-s t'e onl" !a" to allo! t'e li%s to &ee)
t'eir s'a)e and ac'ie#e t'e ost realistic and lifeli&e deforations. Once t'e
c'aracter is in $ae and r*nnin$ aro*nd+ "o* )ro%a%l" !on-t e#en notice t'ese
little fla!s.
No! let-s loo& at t'e %ase of 'er le$ and t'e foot.
1. First reset t'e )osition of t'e le$. T'en rotate t'e foot so it is )ointin$
do!n!ard+ %efore *sin$ t'e ToeKRotate attri%*te to )oint t'e toe *)!ard =Figure
14.27>.
Figure 14.27. Pose the foot to see ho; the ;eights are
distri=uted.
Alt'o*$' t'in$s in t'is area a" initiall" loo& all ri$'t+ t'e ain foot area-s !ei$'ts are
distri%*ted %et!een t'ree 1ointst'e an&le+ toe+ and ti)a&in$ it flatten as t'e foot
rotates. Let-s fi2 t'is+ !ei$'tin$ t'e ain %*l& of t'e foot to one 1oint+ t'e an&le 1oint.
2. 9i$'li$'tin$ LKAn&le as t'e 1oint to edit+ f*ll" !ei$'t t'e 'eel of t'e s'oe and t'e
lo!er )art of t'e 1eans to t'is LKAn&le 1oint =Figure 14.28+ ri$'t>.
Figure 14.28. Set the ankle to full inGuence her heel and lo;er
Aeans.
3. In t'e Paint 5ei$'ts )ane+ select t'e Soot' )aint o)eration to soot' o*t t'e lo!er
section of 1eans+ %*t don-t )aint o#er t'e #er" %otto since t'is needs to sta" loc&ed to
'er s'oe.
As a final test+ rotate t'e foot into a fe! different )oses to see 'o! t'e 1eans defor. As
"o* can see in Figure 14.29+ t'e folds in t'e 1eans co)ress nicel" and !or& 7*ite !ell+
so t'ere is no need to do an" f*rt'er !or& on t'is area.
Figure 14.29. Test the lo;er leg>s defor%ation in other poses.
T'e !aist+ le$+ and foot 'a#e no! 'ad t'eir !ei$'tin$ re!or&ed and s'o*ld no! defor
correctl" !'en Kila is aniated. Tr" )*ttin$ t'e le$ into soe different )oses to see 'o!
different areas defor+ a&in$ an" c'an$es "o* need %efore "o* )roceed.
'ead and (eck
Weights
:efore !e o#e into t'is section-s ste)s for t'e 'ead and nec& !ei$'ts+ let-s a&e s*re
!e 'a#e t'e face all set. Re$ardless of !'ic' #ersion of t'e c'aracter "o* are !or&in$
on+ t'e face area !ill 'a#e alread" %een !ei$'ted+ eit'er earlier in t'is c'a)ter =for
%lend s'a)es> or in C'a)ter B3 =for 1oint/%ased>.
T'e %lend/s'a)es face is alread" a se)arate o%1ect+ eanin$ !e can-t accidentall" edit
its !ei$'tin$. :e caref*l on t'e 1oint/%ased face+ t'o*$'+ since t'e !ei$'ts can easil" %e
daa$ed.
If "o* are !or&in$ on t'e %lend/s'a)es odel+ a&e s*re t'e #ertices aro*nd t'e face
are f*ll" !ei$'ted to t'e 'ead 1oint. T'e face $eoetr"-s !ei$'tin$ is fine+ %*t %eca*se
it-s a se)arate o%1ect !e need to $*ard a$ainst tearin$ aro*nd t'e ed$es !'ere it 1oins
to t'e %od" es'. To do t'is+ !or& on t'e %od" $eoetr"+ f*ll" !ei$'tin$ t'e #ertices
aro*nd t'e face to t'e 'ead 1oint.
In t'e 1oint/%ased #ersion+ a&e s*re all %*t t'e face is f*ll" !ei$'ted to t'e 'ead
1oint. Yo* can do t'e 'air for no!+ if "o* !ant. 1*st a&e s*re not to to*c' t'e face-s
!ei$'ts.
Yo* can see %ot' #ersions of t'e 'ead in Figure 14.3<. T'e 1oint/%ased Kila is on t'e
left+ and t'e %lend/s'a)es #ersion is on t'e ri$'t.
Figure 14.3<. Full ;eight the head and hair to the head Aoint1 =ut
lea:e the face as is.
T'is )re)aration lea#es t'e nec&+ s'o*lders+ and t'e o*ter areas of 'er 'ead to !or& on.
5e !ill need t'e 'ead icons #isi%le+ so t*rn t'e left icons off and t'e iddle icons on. No!
!e can )roceed to loo& at t'e nec& and s'o*lders.
First of all+ t'e 'air 1oints !ill %e affectin$ t'e nec& and t'e to) of t'e s'o*lders. Since
t'e 'air $eoetr" is at )resent controlled %" t'e 'ead+ !e can safel" reo#e its
infl*ence fro t'e odel and rea))l" it to 1*st t'e 'air later.
1. In t'e Paint S&in 5ei$'ts !indo!+ set ;al*e to G and O)acit" to B+ and select
9airKA as t'e 1oint to !or& on.
2. Instead of )aintin$ on t'e odel to reo#e t'e infl*ence+ clic& on t'e
Flood %*tton at t'e %otto of t'e Paint 5ei$'ts )ane. T'is a))lies t'e
c*rrent settin$s to t'e entire odel+ so in t'is case 9airKA !ill 'a#e a #al*e
of G on e#er" #erte2. In ot'er !ords+ t'is 1oint !on-t %e affectin$ an"
#ertices in t'e
odel.
3. Ne2t+ select 9airK: and clic& on Flood+ and t'en do t'e sae for t'e ot'er t'ree 'air
1oints+ to a&e s*re none of t'e infl*ences t'e nec& or s'o*lders.
5it' t'at done !e can no! !or& on t'e nec&s !ei$'ts.
1. Follo!in$ Figure 14.31+ o#e t'e 'ead icon *)+ e2)osin$ t'e nec& and
s'o!in$ "o* 'o! it c*rrentl" defors.
Figure 14.31. &aise the head icon1 tilting the head up;ard.
1 Edit t'e !ei$'ts aro*nd t'e center of 'er nec& so t'at t'e" are f*ll" !ei$'ted to t'e
nec& 1oint.
2 Use a saller O)acit" settin$ and !or& aro*nd t'e *))er and lo!er sections of 'er
nec& so t'at t'e" are e#enl" infl*enced.
3 C'ec& to see t'at t'e nec& 1oint affects no ot'er areas on 'er %ac& or o*ter s'o*lders.
If it does+ "o* can reo#e t'e infl*ence %" settin$ ;al*e to G and O)acit" to B %efore )aintin$
o#er t'e #ertices.
T'e final nec& !ei$'ts s'o*ld rese%le t'ose seen in Figure 14.32+ ri$'t.
Figure 14.32. *dit the neck>s ;eighting.
C'ec& t'e nec&-s act*al rotation+ *sin$ t'e control icon to a&e s*re it defors
correctl"+ and a&e an" needed alterations to t'e !ei$'ts.
Main #od
Weights
All t'at is left in )aintin$ Kila-s !ei$'ts is ad1*stin$ t'e !ei$'tin$ on 'er torso area.
After t'at+ !e can irror t'e !ei$'ts across to t'e ri$'t side.
T'e torso is 7*ite easil" fi2ed. "o* 1*st 'a#e to &ee) t'e deforation soot' so t'at t'e
%od" aintains its o#erall s'a)e as it o#es.
()T*
:e s*re to ta&e care !'en editin$ t'e !aist area+ %eca*se !e 'a#e alread"
a))lied soe !ei$'tin$ to it earlier in t'is c'a)ter.
1. Ma&e all t'e icons #isi%le a$ain and+ as deonstrated in Figure 14.33+ %end Kila
%ac&!ard a little. T'en $o in and f*ll" !ei$'t t'e #ertices to t'e 1oints closest to
t'e.
Figure 14.33. #end +ila =ack;ard so ou can ;eight the
torso.
Figure 14.34. Weight the torso :ertices to their closest
Aoints.
8igure .F./F s'o!s t'e !ei$'ts for t'e U))ers)ine =to)>+ Middles)ine =iddle>+
and Lo!ers)ine =%otto>. As "o* can see+ t'e !ei$'ts are li&e stri)s aro*nd t'e
%od". T'e *))er s)ine 1oint also incl*des 'er c'est and t'e *))er )arts of 'er
%ac&+ ri$'t *) to t'e %ase of 'er nec&.
5it' t'ese !ei$'ts %loc&ed in+ !e can no! test t'e torso in ot'er )oses.
2. First+ *sin$ t'e s)ine icons+ rotate 'er so s'e is %ent for!ard =Figure 14.35>. As
"o* can see+ !e 'a#e soe )inc'in$ and %ad deforation on t'e front. Tac&le t'is %"
*sin$ a saller O)acit" #al*e and a softer %r*s' to ad1*st t'e !ei$'ts. 5'en "o*-re
done+ $o in !it' t'e Soot' )aint o)eration and soot' o*t an" 'ars' ed$es+
a#era$in$ o*t t'e #ertices.
Figure 14.35. #end +ila for;ard to test her torso
defor%ation.
#'>
To 'el) &ee) t'e s'a)e of Kila-s stoac'+ tr" ad1*stin$ t'e !ei$'ts so t'at
t'e Root 1oint 'as ore infl*ence on t'e #ertices t'at for t'e inside of
'er cro) to).
3. Reset t'e s)ine %ac& to its defa*lt )osition. T'en rotate it aro*nd t'e Y a2is t'is tie+
as s'o!n in Figure 14.36. T'e t!ist s'o*ld initiall" %e fine. if t'ere are an" areas t'at
don-t a))ear to t!ist nicel"+ $o in !it' t'e Soot' tool and a sall O)acit" #al*e and
)aint o#er t'e area.
Figure 14.36. T;ist the spine around the Y a-is.
4. Finall"+ test 'o! s'e loo&s !'en %ent o#er to t'e side+ aro*nd t'e M a2is =Figure
14.37>. T'is )osition+ too+ s'o*ld %e fine+ alt'o*$' "o* a" need to !ei$'t t'e
act*al 'i) area to t'e Root 1oint ore+ to )re#ent it fro o#in$ in!ard.
Figure 14.37. T;ist the spine around the M a-is.
Yo*-#e $ot t'e ain torso area co)lete no!. :efore !e o#e on to do 'er c'est+ it-s
a $ood idea to test t'e s'o*lders- deforation !'en t'e cla#icle controls are o#ed.
Mo#e t'e left cla#icle control *) sli$'tl" and see 'o! t'e s'o*lder loo&s. As s'o!n in
Figure 14.38
+ left+ t'e ain s'o*lder o#es *) fine+ %*t t'e area 1*st at t'e nec& sta"s !'ere it is+
ca*sin$ an *nnat*ral indentation. 5it' ;al*e set to B and O)acit" set to a sall #al*e+
$entl" )aint o#er t'e area %et!een t'e nec& and s'o*lder+ %rin$in$ it *) in line !it' t'e
s'o*lder-s )osition =
Figure 14.38
+ iddle>.
Figure 14.38. AdAust the shoulder so that it defor%s correctl ;hen
the cla:icle control is %o:ed.
No! t'at t'e ain torso is co)lete+ !e !ill reinstate t'e controls for 'er %reasts.
1. As deonstrated in Figure 14.39+ left+ o#e t'e Left:reast controller *). T'is !on-t
affect t'e act*al $eoetr" %eca*se t'e #ertices a&in$ *) 'er c'est are f*ll" infl*enced
%" t'e *))er s)ine 1oint.
Figure 14.39. To "nish the torso1 add ;eighting =ack to her =reast.
2. Go %ac& into t'e Paint S&in 5ei$'ts tool and select t'e LK:reast 1oint. Set O)acit" to
aro*nd G.3. Yo* can see t'at t'ere is c*rrentl" no infl*ence %eca*se t'e es' reains
%lac& =Figure 14.39+ iddle>.
3. No! !or& "o*r !a" aro*nd 'er left %reast+ startin$ fro t'e center and !or&in$
"o*r !a" o*t!ard. 5'at !e !ant is for t'e iddle to %e ore or less f*ll" controlled
%" t'e 1oint+ !it' t'e infl*ence fadin$ as it o#es a!a" fro t'e 1oint itself =
Figure 14.39
+ ri$'t>.
4. Ma&e s*re to add a sli$'t infl*ence to 'er cro) to) as !ell.
T'e ain %od" area is co)letet'at is+ 'er entire left side is finis'ed. It-s tie to
irror t'e !ei$'ts.
()T*
Yo* a" 'a#e noticed t'at t'e 'air area is not "et )ro)erl" !ei$'ted. 5e !ant
to irror t'e !ei$'ts first+ %efore finis'in$ t'e 'air+ %eca*se 'er 'air is not
s"etrical. t'at eans t'e !ei$'ts !ill not irror )ro)erl" in t'at area. 5e
can+ 'o!e#er+ ad1*st t'ese !ei$'ts after!ard.
Mirroring
Weights
5it' one side of Kila co)letel" !ei$'ted+ !e can no! sa#e o*rsel#es a lot of !or& %"
co)"in$ t'e !ei$'ts across to t'e ri$'t side of t'e %od".
:efore "o* %e$in+ a&e s*re s'e is %ac& in 'er defa*lt )ose so t'at Ma"a can tell !'ic'
1oints it is co)"in$ fro and to. Also+ if "o* are *sin$ t'e 1oint/%ased facial ri$+ o#e t'e
Tie Slider to frae B+ se)aratin$ t'e e"elid 1oints.
1. Select t'e c'aracter es'. Go to S&in L Edit Soot' S&in L Mirror S&in
5ei$'ts and o)en t'e o)tions =Figure 14.4<>.
Figure 14.4<. Mirror Skin Weights options
T'e !a" Kila is )laced in t'e #irt*al !orld eans 'er ars s)an t'e F a2is. T'erefore+
"o* need to irror t'e !ei$'ts across t'e Y and M a2es+ so set Mirror Across to YM.
9er left side lies in t'e )ositi#e section of t'e a2is+ %*t 'er ri$'t side is in t'e ne$ati#e.
:eca*se "o* are irrorin$ fro t'e left+ ena%le ,irection Positi#e to Ne$ati#e so t'at Ma"a
&no!s !'ic' side to irror fro and to.
Clic& on A))l"+ and t'e !ei$'tin$ inforation !ill %e co)ied across.
Ma"a-s Mirror 5ei$'ts tool doesn-t al!a"s do a )erfect 1o%. t'e !ei$'tin$ tends to $et
conf*sed do!n t'e center of t'e odel+ and often !ei$'ts are assi$ned incorrectl".
Yo* a" find+ for e2a)le+ t'at t'e #ertices do!n t'e center of 'er Ts'irt o#e !it'
t'e ri$'t %reast %*t not !it' t'e left. T'ese &inds of )ro%les !ill need fi2in$ %efore
"o* o#e on. a&e s*re t'at eac' side e7*all" affects t'e #ertices in %et!een.
Ot'er areas to c'ec& incl*de t'e crotc'+ !'ic' needs to sta" fi2ed to t'e Root 1oint. T'e
*))er s)ine and e#en t'e %ase of 'er nec& a" need to %e corrected+ too.
Loo& also at areas s*c' as 'er %elt+ !'ic' isn-t s"etrical. T'is lies across an area t'at
draaticall" defors+ so it !ill %e i)ossi%le for t'e %elt not to intersect !it' t'e es'
at soe )oint. 1*st tr" for t'e %est res*lt "o* can $et.
T!P
T'e %est o#erall !a" to c'ec& "o*r !ei$'tin$ is to )*t "o*r c'aracter into
soe e2tree )oses. T'ese !ill re#eal an" fa*lts in t'e !a" t'e !ei$'ts
are distri%*ted. Yo* can t'en $o in !it' a lo!er O)acit" settin$ and t!ea&
t'e !ei$'tin$ #al*es *ntil t'e" are correct.
5it' t'e ain %od"/!ei$'tin$ irrored !e can no! o#e on and !or& on 'er 'air.
'air
Weights
:eca*se t'e 'air 1oints are not s"etrical+ !e can-t rel" on !ei$'tin$ t'e left side and
irrorin$ t'e !ei$'ts across for t'e ri$'t.
()T*
:efore contin*in$ !it' t'e !or& in t'is section+ It-s i)ortant t'at "o* are
entirel" finis'ed !it' all Mirror 5ei$'ts o)erations on t'is c'aracter. If "o*
)roceed !it' an" nons"etrical !or& and t'en notice )ro%les t'at re7*ire
reirrorin$+ "o*-ll 'a#e to redo all "o*r nons"etical !or&. In addition+ it-s a
$ood idea to &ee) sa#in$ "o*r !or& as "o* $o+ so "o* can easil" refer %ac& to
soe )re#io*s !ei$'ts if "o* a&e a ista&e.
At t'is )oint it !o*ld %e *sef*l to t*rn on t'e %ase s&eleton so "o* can see t'e
)ositions of t'e 'air 1oints.
1. As s'o!n in Figure 14.41a+ o#e t'e indi#id*al controllers for t'e 'air o*tside t'e
'ead.
Figure 14.41. Full ;eight each strand of hair to its closest Aoint.
T!P
Yo* can 7*ic&l" t*rn off all t'e icons %" $oin$ to t'e #ie!-s S'o!
en* and disa%lin$ NUR:s C*r#es.
1 Select t'e c'aracter es' and o)en t'e Paint S&in 5ei$'ts tool+ 'i$'li$'tin$ t'e first
'air 1oint+ 9airKA =Figure 14.41=>.
2 5it' %ot' ;al*e and O)acit" set to B+ %e$in to )aint o#er t'e )ol"$onal strands of 'air
t'at are closest to t'e 1oint. Start on t'e o*tside and !or& "o*r !a" in+ a&in$ s*re "o* don-t
)aint too far *) t'e 'ead =Figure 14.41c>.
3 Re)eat t'ese ste)s for t'e reainin$ strands of 'air+ !ei$'tin$ t'e f*ll" to t'eir
closest 1oints =Figure 14.41d>.
4 At )resent+ if t'e 'air o#es+ it !ill loo& 7*ite ri$id %eca*se !e 'a#e fi2ed t'e #ertices
ri$idl" to eac' 1oint =Figure 14.42+ left>. To 'el) free t'e 'air+ allo!in$ it to flo! ore
nat*rall"+ )aint o#er t'e strands a$ain+ %*t t'is tie *se t'e Soot' )aint o)eration =Figure
14.42+ ri$'t>.
Figure 14.42. S%ooth out each strand of hair1 allo;ing the hair
%ore %o:e%ent.
O*r ai !as to $i#e Kila-s 'air soe life+ 4*nloc&in$4 it fro 'er 'ead+ and !e 'a#e
ac'ie#ed t'at. Yo* can no! aniate t'e controls+ and t'e 'air !ill follo! soot'l".
Yo* 'a#e one ore ste) to co)lete t'e !ei$'tin$ )rocess on Kila+ and t'at is to reo#e
an" sall !ei$'ts t'at 'a#e %een a))lied as "o* !or&ed. 5'ile )aintin$ t'e !ei$'ts+ "o*
a" 'a#e a))lied saller !ei$'tin$ #al*es to ot'er 1oints !it'o*t reall" noticin$. T'ese
are often relics of *sin$ t'e Paint S&in 5ei$'ts tool-s Soot' or Re)lace )aint o)erations.
U)on e2)ort into t'e $ae en$ine+ t'ese i$'t %e reo#ed+ %*t if t'e" are not t'e" co*ld
'a#e an i)act on t'e )rocessin$ )o!er of t'e s"ste.
So let-s $et rid of t'e. Select t'e c'aracter es' and $o to S&in L Edit Soot' S&in L
Pr*ne Sall 5ei$'ts. T'e defa*lt #al*e of G.GB !ill !or& !ell in ost cases+ %*t to %e
safe+ sa#e "o*r scene %efore a))l"in$ t'is to "o*r odel. An" #al*es %elo!
G.GB !ill %e reset to G+ and t'e reainin$ !ei$'ts !ill %e norali8ed to add *) to B.
Final &ig
AdAust%ents
5'en !e created Kila-s ri$+ !e 'ad to &ee) t'e el%o! and &nee )osition ar&ers loc&ed
to t'e el%o! and &nee 1oints. T'is !as to )re#ent t'e %ase s&eleton o#in$ %efore it !as
%o*nd. As "o* 'a#e )ro%a%l" noticed+ t'is can ca*se )ro%leses)eciall" in t'e case of
t'e &nee icons %ein$ act*all" on t'e &nee. 5'en "o* o#e t'e foot+ t'e &nee tries to
sta" )ointin$ at t'e icon+ ca*sin$ t'e le$ to fli).
No! t'at t'e es' is %o*nd to t'e s&eleton+ !e can o#e t'ese &nee icons into
ore s*ita%le )ositions.
1. Mo#e t'e &nee )osition icons o*t in front of t'e &nees =Figure 14.43+ left>.
Figure 14.43. Mo:e the knee icons and parent the% to the feet.
1 Ma&e a note of t'e Rotate Y attri%*tes c*rrentl" set for %ot' feet ="o* !ill need to
rea))l" t'ese #al*es later>. Reset t'e Rotate Y attri%*te on %ot' feet %ac& to G so t'at t'e
feet )oint e2actl" for!ard =Figure 14.43+ iddle>.
2 Parent eac' &nee icon to its corres)ondin$ foot icon.
3 Free8e t'e transfors on %ot' &nee icons and reset t'e Y rotation on %ot' feet icons
%ac& to t'eir ori$inal #al*es.
()T*
It-s i)ortant to a$ain reset t'e feet %ac& to G %efore "o* )ass t'e co)leted
ri$ to t'e aniators. T'is !ill $i#e t'e a clean ri$ to !or& !it'. Settin$ it to G
no!+ 'o!e#er+ !ill ean t'e c'aracter is no lon$er in 'er %ind )ose+ !'ic' co*ld
ca*se )ro%les later !'en !e %ind t'e LO,s.
No! t'e &nees !ill nat*rall" follo! t'e feet as t'e" o#e =
Figure 14.43
+ ri$'t>. Pl*s+ "o* 'a#e t'e a%ilit" to t!ea& t'e &nees- )ositions s'o*ld "o* need to.
5e can also do t'is sae ad1*stent for t'e el%o! )ositions. Li&e t'e &nees+ t'e ars !ill
fli) !'en t'e IK is ena%led+ to sta" )ointin$ at t'e icons. Mo#in$ t'e el%o!s %ac& sli$'tl"
!ill )re#ent t'is fro 'a))enin$ =Figure 14.44>. In t'is instance+ !e don-t need to
)arent t'e to an"t'in$. 1*st free8e t'e transfors !'en "o* 'a#e finis'ed o#in$ t'e+
to store t'eir ne! defa*lt )ositions.
Figure 14.44. Mo:e the el=o; position icons =ack.
()T*
Cons*lt !it' t'e aniators a%o*t 'o! t'e" !o*ld li&e t'e )ole #ector icons set
*). It a" %e t'at t'e" s'o*ld all %e )arented to a certain node+ or not
)arented at all.
T'e ain Kila odel is no! %o*nd and read" to $o to t'e ne2t and final sta$e+ %*t
!'at a%o*t t'e ot'er LO,s0
,e:el of Detail
Weights
5e 'a#e !or&ed 'ard to t!ea& t'e !ei$'ts on t'e first LO, *ntil Kila defors acc*ratel"
as s'e o#es. No! !e need to a))l" t'e sae !ei$'tin$ #al*es to t'e ot'er fo*r le#els
of detail. T'is does see li&e a '*$e tas&+ %*t l*c&il" Ma"a 'as a 'and" toolCo)" S&in
5ei$'tst'at lets *s co)" t'e !ei$'ts fro t'e first LO, across to t'e ot'ers.
5e first need to )re)are t'e $eoetr" as !e did for t'e ain odel. Select t'e LO,
$ro*) in t'e O*tliner+ and a&e s*re all t'e la"ers are #isi%le and t'at eac' LO, is set to
4s'o!4 in t'e C'annel :o2 =Figure 14.45>.
1. At )resent+ "o*r O*tliner s'o*ld loo& li&e t'e one in Figure 14.46+ left. Go t'ro*$'
eac' indi#id*al LO, and co%ine t'e $eoetr" into a sin$le es' =Pol"$on L
Co%ine>+ ree%erin$ to er$e t'e #ertices aro*nd 'er 'air !it' a sall #al*e of
G.GGB.
Figure 14.46. Co%=ine each ,)D into a single %esh.
[View full size image]
()T*
If "o* are *sin$ t'e %lend/s'a)es #ersion+ ree%er to &ee) t'e
faces se)arate !'ere#er %lend s'a)es 'a#e %een a))lied.
1 Place t'e odels %ac& inside t'eir LO, $ro*). ,elete t'e 'istor" and renae t'e to
KilaKLO,G?+ KilaKLO,G3+ KilaKLO,GI+ and KilaKLO,G@ =Figure 14.46+ ri$'t>.
2 5'en co)"in$ !ei$'ts+ t'e n*%er of 1oints to !'ic' t'e so*rce and destination es'
are attac'ed 'as to %e t'e sae. T'erefore+ "o* 'a#e to %e s*re eac' LO, odel is %o*nd to
t'e %ase s&eleton in e2actl" t'e sae !a" as t'e ori$inal. A 7*ic& !a" to do t'is is to select
eac' ne! LO, odel in t*rn and
clic& on t'e :ind %*tton on t'e GC,M s'elf. T'is !ill ens*re eac' le#el is %o*nd to
t'e %ase s&eleton 1*st t'e sae !a" as t'e ori$inal.
5it' all t'e $eoetr" attac'ed to t'e s&eleton no!+ !e can co)" t'e !ei$'ts across.
5e si)l" tell Ma"a !'ic' es' !e are co)"in$ fro+ and !'ic' !e !ill %e co)"in$
to.
Select t'e first LO, t'at "o* 'a#e alread" !ei$'ted+ KilaKLO,GB. No!+ 'oldin$ Ctrl+
select t'e ne2t LO, =KilaKLO,G?>.
Go to S&in L Edit Soot' S&in L Co)" S&in 5ei$'ts.
Re)eat ste)s I and @ for t'e ot'er LO,s+ selectin$ first t'e ain LO, =KilaKLO,GB>
and t'en t'e one "o* !is' to co)" t'e !ei$'ts to.
Figure 14.45. Make each ,)D :isi=le = setting the% to Osho;.O
All t'e LO,s no! 'a#e t'e sae !ei$'tin$ a))lied to t'e+ so t'e" !ill defor
nearl" t'e sae as t'e first LO, does. T'is also eans t'at t'e facial aniation
set*) for t'e 1oint facial ri$ is carried across to t'e second LO,+ sa#in$ *s fro
'a#in$ to set it *) a$ain.
No! $o t'ro*$' eac' LO, and c'ec& t'at t'e !ei$'tin$ is correct on eac' odel. ,*e
to t'e c'an$e in to)olo$"+ t'ere !ill %e areas !'ere t'e !ei$'tin$ 'as accidentall"
affected soe #ertices incorrectl". T'is s'o*ldn-t ta&e *c' !or&. t'e a1orit" of t'e
!ei$'tin$ !ill 'a#e )assed across 1*st fine.
T!P
Ree%er t'at t'ese are LO,str" to #ie! t'e fro t'e sae distance at
!'ic' t'e" !ill *ltiatel" %e #ie!ed in $ae. T'ere is no )oint in s)endin$
tie ad1*stin$ !ei$'ts on areas t'at !ill ne#er %e seen.
5'en "o* are co)letel" 'a))" !it' t'e !ei$'tin$ on eac' le#el+ set t'e ,is)la" Le#el
on eac' LO, $ro*) %ac& to 4*selod+4 and a&e all t'e dis)la" la"ers #isi%le.
As deonstrated in Figure 14.47+ all #ersions of Kila are no! !ei$'ted and c'ec&ed+
allo!in$ *s co)lete freedo to )*t 'er into an" )ose. Sa#e t'is #ersion of Kila as
KilaKS&inned.%.
Figure 14.47. +ila1 full ;eighted
Painting $rae>s
Weights
Yo* s'o*ld no! 'a#e a $ood $ras) of !'at to loo& for !'en ad1*stin$ t'e !ei$'tin$ on
"o*r c'aracters+ so I !ill lea#e t'e Grae odel ore or less *) to "o*. If "o* are
!or&in$ !it' t'e %lend/s'a)es #ersion of Grae+ "o* !ill first need to )re)are and %ind
t'e $eoetr" to t'e %ase s&eleton. Start !it' GraeKFace:indK:S.%+ %ind t'e %od"
es' to t'e s&eleton and t'e face to 1*st t'e 'ead 1oint+ and sa#e t'e file as
GraeK:o*ndK:S.%.
:efore "o* %e$in to !or& on Grae-s !ei$'ts+ "o* need to alter t'e desi$nation of !'ic'
1oints act*all" affect t'e es'. In an earlier c'a)ter+ !e added fo*r e2tra 1oints to t'e
!in$s so !e co*ld control Grae-s fin$ers+ ena%lin$ *s to o)en and close t'e. 5e don-t
need t'ese 1oints %o*nd to t'e es'+ 'o!e#er.
S)ecificall"+ t'ese are t'e !in$ fin$er 4%ase4 1oints. T'e" all lie on to) of one anot'er at
)resent+ and t'e 5in$K5rist 1oint is t'ere+ too. ,ecidin$ !'ic' 1oint to !ei$'t to co*ld %e
a ni$'tare+ so to a&e t'in$s easier !e !ill reo#e t'e infl*ence of t'e fo*r ain fin$er
1oints. T'e fin$ers !ill still !or& as t'e" s'o*ld %eca*se t'e iddle 1oints !ill control t'e
!in$-s ain o#eent.
Load t'e file GraeKFaceRi$K<nt.%.
1 To reo#e a 1oint-s infl*ence+ first select t'e es' and t'en t'e 1oint.
2 Ne2t $o to S&in L Edit Soot' S&in L Reo#e Infl*ence.
Follo! t'ese ste)s for all of t'e follo!in$ 1oints( LK5in$KFin$erGBK:ase+
LK5in$KFin$erG?K:ase+ LK5in$KFin$erG3K:ase+ LK5in$KFin$erGIK:ase and
RK5in$KFin$erGBK:ase+ RK5in$KFin$erG?K:ase+ RK5in$KFin$erG3K:ase+ and
RK5in$KFin$erGIK:ase.
T'e !ei$'ts t'ese 1oints 'ad !ill %e distri%*ted to t'e s*rro*ndin$ 1oints.
After reo#in$ t'e infl*ences+ $o a'ead and !or& on Grae-s !ei$'ts. 9ere are a fe! ti)s
to 'el) "o* o*t(
Start %" f*ll" !ei$'tin$ eac' !in$ to t'e !in$-s root 1oints. T'is !ill si)lif" t'e
tas& of !or&in$ on t'e %od".
5'en "o* !or& on t'e !in$s+ f*ll" !ei$'t t'e #ertices to t'e 1oints t'e" are
closest to. T'en a&e s*re t'e #ertices t'at lie in %et!een are 'alf !ei$'ted to t'e 1oints
on eit'er side.
5'en !or&in$ on t'e ain %od"+ a&e s*re "o* )ose t'e area "o* are !or&in$
on+ #erif"in$ t'at t'e !ei$'ts loo& as $ood as )ossi%le at eac' e2tree.
5'en "o*-re done+ sa#e 'is file as GraeKS&inned.%. Yo* can see t'e res*lts of
Grae-s !ei$'tin$ in
Figure 14.48
.
Figure 14.48. $rae1 full ;eighted
Su%%ar

9ere in t'is c'a)ter !e 'a#e co#ered t'e )rocess of ad1*stin$ !ei$'tin$ #al*es to a&e
t'e es' defor correctl" !'en )osed. :ot' of o*r c'aracters are no! ore or less
read" to %e aniated. 5e can no! o#e on to t'e final ste) of o*r c'aracters- set*).
C'a)ter B@ disc*sses cleanin$ *) t'e scene and loc&in$ off an" *n*sed controls on t'e
ri$. T'is readies t'e file to %e 'anded o#er to anot'er e%er of "o*r tea+ !it'o*t
fear of t'e c'aracter-s %ein$ accidentall" %ro&en %" additional editin$.
Chapter 15. Finali?e and
Clean 0p
CD Files
KilaKS&inned.% KilaKFinal.% GraeKS&inned.% GraeKFinal.% Kila:od".t$a
Kila9air.t$a Kila9ead.t$a Grae:od".t$a GraeMisc.t$a Grae5in$.t$a Grae:od"K:*).t$a
GraeMiscK:*).t$a Grae:od"KS)ec.t$a GraeMiscKS)ec.t$a YOU 9A;E YOUR MO,EL.
it-s ri$$ed and read" to $o+ ri$'t0 5ron$. If "o* )ass Kila
and Grae to "o*r aniator in t'eir )resent state+ it-s a s*re t'in$ t'at !it'in a !ee&
'e or s'e !ill 'a#e %ro&en t'e %" accidentall" o#in$ soe )art of t'e ri$ t'e"
s'o*ldn-t 'a#e.
9ere in t'is c'a)ter !e !ill tal& a%o*t 'o! to clean *) t'e scene and loc& off an" controls
to !'ic' t'e aniator s'o*ld not 'a#e access. Additionall"+ !e !ill introd*ce t'e *se of
c'aracter sets and t'e si$nificant role t'e" )la" in aniation.
Scene
)pti%i?ation
5'ile !or&in$ in Ma"a+ "o*r scene file !ill slo!l" $ro! in si8e. T'is isn-t 1*st d*e to
eleents left o#er as "o* !or&. resid*al nodes fro i)orted scenes can reain+ too+
slo!in$ do!n "o*r !or&flo! and increasin$ file si8es.
5'at !e !ant to do no! is a final a1or clean *) of t'e scene+ reo#in$ an"t'in$ t'at is
no lon$er of *se. :ot' ri$s are alost identical+ so !e-ll concentrate ainl" on Kila. Alon$
t'e !a"+ I-ll )oint o*t )laces !'ere t'e !or&flo! a" differ !'en "o* !or& t'ro*$' t'ese
ste)s on Grae.
Load in t'e file called KilaKS&inned.% =for Grae+ load GraeKS&inned.%>.
()T*
:e s*re to sa#e "o*r scene %efore r*nnin$ t'e O)tii8e Scene Si8e tool in
ste) B. T'is tool is not *ndoa%le+ so it-s !ise to 'a#e a %ac&*) 1*st in case t'e
coand deletes soet'in$ "o* need.
1. Go to File L O)tii8e Scene Si8e and o)en t'e o)tions =Figure 15.1>. T'is tool !ill
scan t'e scene and delete an" *n*sed o%1ects and nodes.
Figure 15.1. The )pti%i?e Scene Si?e options
Ena%le all t'e o)tions. Clic& on O)tii8e+ and t'e scene !ill 7*ic&l" %e o)tii8ed.
Yo* no lon$er need t'e ia$e )lanes+ so reo#e t'e ne2t+ %" $oin$ to Edit L ,elete
All %" T")e L Ia$e Planes.
Loo& at t'e La"er Editor. T'ere are no lon$er an" ia$e )lanes in t'e scene+ so delete
t'e Ia$ePlanes la"er %" ri$'t/clic&in$ it and selectin$ ,elete.
:eca*se t'e #isi%ilit" of t'e la"ers is no! controlled !it' t'e LO, $ro*)+ t'ere isn-t
*c' )oint in 'a#in$ se)arate la"ers for eac' of Kila-s LO,s. ,elete all %*t t'e first la"er and
renae t'is to Kila. =For Grae+ ree%er t'at 'e 'as one ore LO, t'an Kila.>
Use t'e O*tliner to select t'e KilaLO, $ro*). Place it in t'e Kila la"er+ settin$ it to
Reference !'en "o*-re done so t'at no%od" can select t'e c'aracter es'.
If t!o c'aracters !ere in t'e sae scene+ t'eir s&eleton la"ers i$'t %e easil"
conf*sed. To a#oid t'is+ renae t'e Kila la"er to KilaK:aseS&el. =Create a siilar la"er nae
for Grae.> T*rn off its #isi%ilit" and set its dis)la" t")e to
Reference.
T'e scenes are no! clean and tid"+ !it' not'in$ reainin$ t'at is not rele#ant to t'e
c'aracter or t'eir ri$s.
T!P
If "o* !ant t'e scene to %e co)letel" clean+ lea#in$ 1*st t'e o%1ects
needed+ "o* can *se File L Sa#e Selected. Si)l" select t'e o%1ects "o*
!is' to &ee) and sa#e t'e o*t into a se)arate file. T'is !ill stri) o*t
an"t'in$ not re7*ired %" t'e scene.
Make Your &ig !diot@
Proof
T'e %ase s&eleton and c'aracter es'es are no! loc&ed %" t'e La"er Editor+
eanin$ no one can edit t'e %" ista&e. T'e ri$+ 'o!e#er+ still needs soe
)rotection.
In its )resent state+ t'e ri$ can easil" %e %ro&en. Alost all of t'e controls can %e o#ed
a!a" fro t'e ri$+ %*t t'e" need to sta" loc&ed to it. Anot'er concern is t'at "o* !ant
onl" t'e rotations to %e a#aila%le to t'e aniator. as it is+ 'o!e#er+ t'e translations and
e#en t'e scale attri%*tes are freel" a#aila%le to edit. All of t'is can 'a#e disastro*s
res*lts.
In t'is section !e !ill loo& into loc&in$ off all t'e attri%*tes !e don-t !ant an"one to *se+
!it' t'e 'el) of t'e C'annel Control !indo!. T'is tool allo!s *s to a&e attri%*tes
nonkeyable, eanin$ t'e aniator cannot )lace &e"fraes on t'e. T'e aniator can
still o#e an o%1ect *sin$ t'e ani)*lators+ %*t !e can loc& t'e s)ecific attri%*tes t'at
!e don-t !ant to %e edita%le.
T'e %ea*t" of t'e C'annel Control tool is t'at !it' 4C'an$e all selected o%1ects of t'e
sae t")e4 ena%led "o* can !or& on a n*%er of o%1ects at t'e sae tie =as lon$ as
t'e" are of t'e sae t")e>+ !'ic' s)eeds *) t'e !'ole )rocess.
1. O)en t'e C'annel Control !indo! %" $oin$ to 5indo! L General Editors L C'annel
Control. As "o* can see in Figure 15.2a+ t'e !indo! is e)t" %eca*se !e don-t 'a#e
an"t'in$ selected.
Figure 15.2. Mo:e all the =asic transfor%ation attri=utes to the
(on@+ea=le list.
[View full size image]
Select all t'e fin$er icons for %ot' 'ands+ incl*din$ t'e t'*%s and t'e )al area.
T'ese !ill %e a*toaticall" loaded into t'e C'annel Control !indo! =Figure 15.2=>.
Yo* are no! in t'e Ke"a%le ta% of C'annel Control. T'is tells "o* t'at t'e attri%*tes on
t'e left can 'a#e &e"fraes a))lied to t'e. t'e ones on t'e ri$'t cannot.
()T*
5'ic'e#er o%1ect "o* selected last !ill %e t'e ain one #isi%le in t'e
C'annel Control !indo!+ so don-t !orr" if t'e !indo! loo&s different
fro Fi$*re B@.?%.
As deonstrated in Figure 15.2c+ select all t'e rotate+ scale+ translate+ and
#isi%ilit" attri%*tes in t'e Ke"a%le list on t'e left.
4. Notice t'at t'e Mo#e LL %*tton is no! ena%led. clic& on t'is no! to o#e t'e
selected attri%*tes across to t'e Non/Ke"a%le list on t'e ri$'t+ lea#in$ onl" t'e ones !e
!ant a#aila%le to aniate =Figure 15.2d>.
Alt'o*$' "o*-#e no! ens*red t'at &e"s can no lon$er %e set on t'e fin$er icons- ain
attri%*tes+ t'e" can %e selected and o#ed+ rotated+ or e#en scaled+ !'ic' !e don-t
!ant to occ*r. 5e need to loc& t'ese attri%*tes so t'at t'eir #al*es cannot %e altered.
1. Clic& on t'e Loc&ed ta%. t'e !indo! !ill c'an$e to s'o! !'at is c*rrentl"
loc&ed in t'e left )anel+ and *nloc&ed in t'e ri$'t )anel =Figure 15.3+ to)>. At
)resent+ not'in$ is loc&ed.
2
.
Scroll do!n t'e Non/Loc&ed list on t'e ri$'t and select t'e translate+ rotate+ scale+
and #isi%ilit" attri%*tes.
Figure 15.3. ,ock all the translate1 rotate1 scale and
:isi=ilit attri=utes.
T!P
9oldin$ Ctrl6Cd lets "o* to select *lti)le attri%*tes.
3. No! t'e TT Mo#e %*tton is ena%led. Clic& on it to o#e t'ose selected
attri%*tes across to t'e Loc&ed list =Figure 15.3+ %otto>.
T!P
Yo* can also loc& attri%*tes directl" in t'e C'annel :o2 if t'e" are &e"a%le.
Si)l" ri$'t/clic& on t'e attri%*tes "o* !is' to loc&+ and select Loc& Selected.
So t'e 'and icons are loc&ed+ and onl" t'e attri%*tes t'at control t'e fin$ers are
a#aila%le to %e aniated. Let-s no! clean *) t'e rest of t'e 'and.
Select %ot' t'e )al icons a$ain and )ress t'e U) Arro! &e"+ !'ic' !ill select t'e
$ro*)s a%o#e t'ese icons in t'e 'ierarc'". Alt'o*$' t'ese are not #isi%le+ t'e aniator co*ld
7*ite easil" select t'e and )ro%a%l" aniate t'e. 5e need to loc& all t'e attri%*tes as
!ell as a&e t'e all non&e"a%le.
In t'e Ke"a%le ta% of t'e C'annel Control !indo!+ a&e s*re all t'e attri%*tes are
o#ed across to t'e Non/Ke"a%le side.
S!itc' to t'e Loc&ed ta%+ and o#e t'e translate+ rotate+ and scale attri%*tes across
so t'at t'e" are loc&ed.
Yo* !ill notice t'at !e oitted t'e #isi%ilit" attri%*te in t'e )recedin$ ste)s. T'is is
%eca*se+ *nli&e !it' t'e ot'er fin$er icons+ t'e #isi%ilit" icon controls t'is attri%*te.
Loc&in$ t'e #isi%ilit" attri%*te 'ere !o*ld loc& it in its c*rrent state+ so t'e #isi%ilit" icon
!o*ld 'a#e no effect.
T!P
Yo* can 7*ic&l" see if a #isi%ilit" attri%*te is connected to t'e #isi%ilit" icon %"
loo&in$ in t'e C'annel :o2. If t'e attri%*te is colored "ello!+ it 'as an
incoin$ connection.
No! t'at !e &no! 'o! t'e C'annel Control !indo! o)erates+ !e can start to !or& on a
lar$er scale. Let-s start !it' all t'e icons !'ose o#eent is %ased onl" on rotations.
1 Select t'e control 'andles t'at allo! "o* to aniate s'o*lders+ el%o!s+ and !rists on
%ot' t'e left and ri$'t sides.
2 Ma&e t'e translate+ scale+ and #isi%ilit" attri%*tes all non&e"a%le+ and loc& t'e in t'e
Loc&ed ta%. =In t'is case+ !e can loc& t'e #isi%ilit" attri%*te %eca*se it isn-t directl" controlled
%" t'e #isi%ilit" icon.>
3 Select t'e !aist control icon+ t'e nec& rotation icon+ and all t'ree s)ine icons and
a&e t'e non&e"a%le. Loc& t'e translate+ scale+ and #isi%ilit" attri%*tes.
Note t'at !e 'a#e to do t'ese se)aratel" fro t'e ars %eca*se t'e" are
different o%1ect t")es.
Ne2t+ !e !ill loo& at t'e icons t'at translate onl".
1. Select %ot' ar IK controllers and all fo*r el%o! and &nee )osition icons.
2. Add to t'is selection %ot' %reast icons and t'e ain c'est $ro*)1*st select t'e
'andle in %et!een eac' %reast icon. =Needless to sa"+ "o* can s&i) t'is ste) for
Grae.>
3. 5e aren-t finis'ed "et. Also incl*de in t'is selection t'e ain 'ead icon+ %ot' e"e
icons+ and t'e ain e"e $ro*).
4. Finall"+ add all fi#e of Kila-s 'air control 'andles and t'e t!o cla#icle controllers.
5. No! a&e all t'e rotation+ scale+ and #isi%ilit" icons non&e"a%le and loc& t'e.
For t'e last $ro*)+ !e 1*st need to loc& and a&e non&e"a%le t'e scale attri%*tes+
since !e need to aniate t'e translations and rotations.
1 Select %ot' feet and t'e ain root control.
2 Ma&e t'e non&e"a%le+ and loc& t'e scale attri%*tes.
3 T'e #isi%ilit" icon controls t'e #isi%ilit" attri%*tes on t'ese icons+ so "o* can-t loc&
t'e. %*t do set t'e to %e non&e"a%le.
T'at-s it. t'e ain ri$ is cleaned *) nicel". No! !e need to $o in and loc& t'e
controls t'at are not iediatel" #isi%le.
1 Usin$ t'e O*tliner+ select t'e 9eadRotation and 9airS!in$ $ro*)s t'at e2ist 1*st a%o#e
t'e 'air and 'ead controllers in t'e 'ierarc'". If "o* are !or&in$ on Grae at t'is )oint+ select
t'e 5in$Controls $ro*)+ too.
2 Add to t'is selection t'e Kila;isi%ilit" =Figure 15.4> icon.
Figure 15.4. Select the 'airS;ing1 'ead&otation1 and
+ilaCisi=ilit o=Aects in the )utliner.
3. In t'e C'annel Control !indo!+ a&e all t'e translate+ rotate+ scale+ and #isi%ilit"
attri%*tes non&e"a%le+ and loc& all t'e sae attri%*tes e2ce)t #isi%ilit".
T!P
If "o* &no! t'e e2act nae of an o%1ect or series of o%1ects+ "o* can *se t'e
selection field on t'e stat*s line to select t'e+ rat'er t'an 'a#in$ to tra!l
t'ro*$' t'e O*tliner. And !'en "o* need to select a n*%er of o%1ects !'ose
naes are alost t'e sae+ "o* can *se !ildcards( Si)l"
enter U:oneU in t'e selection field+ and an"t'in$ !it' :one in its nae !ill
%e selected.
For t'e ne2t ste)+ let-s tr" selectin$ *sin$ t'e selection field rat'er t'an t'e O*tliner.
1. In t'e selection field on t'e stat*s line+ t")e in 9air9el)er =Figure 15.5>. T'is
selects t'e locator !e created to 'el) *s control t'e 'air-s o#eent.
Figure 15.5. Make Huicker selections using the selection "eld
on the status line.
No! loc& and a&e non&e"a%le all t'e ain translate+ rotate+ scale+ and #isi%ilit"
attri%*tes.
5e don-t directl" ani)*late t'e IK 'andles in t'e scene+ so !e can safel" loc& t'ese.
First select t'e all %" $oin$ to Edit L Select All :" T")e L IK 9andles. Ma&e e#er"t'in$
non&e"a%le+ %*t onl" loc& t'e ain translate+ rotate+ scale+ and #isi%ilit" attri%*tes.
Finall"+ t'ere are t!o 1oints t'at 'a#e e#aded *s so far. T'ese e2ist at t'e end of t'e
control ars and are called LKCon5rist and RKCon5rist. Li&e t'e IK 'andles+ t'ese 1oints are
not aniated directl". instead+ !e *se t'e LKCon9and and RKCon9and 1oints to aniate
t'e. T'erefore "o* can safel" a&e all attri%*tes of t'ese 1oints non&e"a%le+ and loc& t'e
ain translate+ rotate+ scale+ and #isi%ilit" attri%*tes.
()T*
If "o* 'a#en-t done so alread"+ no! is a $ood tie to 8ero off t'ose rotation
#al*es lin$erin$ on t'e Rotate Y attri%*te on t'e c'aracter-s feet. T'is
additional clean/*) !ill a&e t'e ri$ e#en %etter for an aniator to !or&
!it'.
Yo*r ri$ s'o*ld no! %e ta)er )roof. 'a#in$ a#aila%le onl" t'e attri%*tes t'at s'o*ld %e
aniated !ill a#oid f*t*re )ro%les !it' t'e ri$.
C'ec& to a&e s*re "o* 'a#e not issed an" controllers+ #isi%le or ot'er!ise+ %efore "o*
contin*e. It-s %est to do t'is first in t'e O*tliner %eca*se eac' o%1ect !ill %e clearl" listed.
In addition+ $o t'ro*$' eac' icon in t'e #ie! )anel+ since t'is is 'o!
t'e aniator !ill interact !it' t'e c'aracter.
Character
Sets
O*r ri$s are is clean and tid" no! and can %e aniated easil" =and safel">%*t t'e"-re still
7*ite co)le2 in constr*ction and don-t allo! for an" 7*ic& and con#enient !a" to access
t'e c'aracter as a !'ole. 5'at !e can do no! is define a series of character sets for t'e
c'aracters. A c'aracter set stores all t'e attri%*tes associated !it' t'e c'aracter-s
aniation in one central )lace. T'e aniator can t'en access t'ese attri%*tes 7*ic&l" and
easil" in order to edit t'e c'aracter as a !'ole.
Anot'er %enefit of c'aracter sets is t'at "o* can *se t'e in con1*nction !it' t'e Tra2
Editor =5indo! L Aniation Editors L Tra2 Editor> to store t'e aniation data in clips.
T'ese can t'en %e e2)orted and stored for f*t*re *se+ e#en on ot'er c'aracters. Yo*-ll
find ore disc*ssion of t'e Tra2 Editor in C'a)ter BA+ 4Aniatin$ for Gaes.4
In addition to t'e ain c'aracter set+ "o* can 'a#e s*%c'aracter sets t'at lie %eneat' t'e
ain one. T'ese are *sef*l !'en "o* need to di#ide *) "o*r c'aracter. For o*r Kila and
Grae c'aracters+ !e-ll set *) a s*%c'aracter set for t'e *))er %od" aniation and
anot'er for t'e lo!er %od" aniation. 5e can t'en e2)ort and i)ort aniation onto
t'ese s*%c'aracter sets se)aratel"+ ena%lin$ t'e i2in$ and atc'in$ of #ario*s
aniations to create ne! ones. 5e can e#en 'a#e anot'er se)arate s*%c'aracter set for
Grae-s !in$s.
So let-s first create t'e ain c'aracter set for Kila.
1. Go to C'aracter L Create C'aracter Set and o)en t'e o)tions seen in Figure
15.6. T'is is !'ere "o* !ill $i#e t'e c'aracter set a nae and as& Ma"a to
incl*de soe attri%*tes in its initial creation.
Figure 15.6. Create Character Set ;indo;
1 Nae t'e c'aracter set KilaKCS to indicate t'at it %elon$s to Kila and t'at it-s a
c'aracter set+ 1*st in case ore t'an one c'aracter is i)orted into t'e scene. In t'e
C'aracter Set Attri%*tes+ ena%le t'e Fro C'annel :o2 ite.
2 5e !ant t'is ain c'aracter set to 'old all t'e facial aniation+ so %efore !e create it+
select t'e ain 'ead icon. In t'e C'annel :o2+ select all t'e attri%*tes associated !it' facial
aniation.
()T*
If "o* are *sin$ t'e %lend s'a)e #ersion of t'e c'aracter+ 'i$'li$'t all t'e
attri%*tes on t'e %lend s'a)e node.
4. 5'en e#er"t'in$ is selected+ clic& on Create C'aracter Set. In t'e %otto/ri$'t
corner of t'e !indo!+ %elo! t'e Tie Slider controls+ "o* !ill see t'at t'e c'aracter set
'as also %een acti#ated =Figure 15.7>.
Figure 15.7. The +ilaNCS character set is acti:e.
Yo* !ill also notice t'at for t'e selected o%1ects+ t'e nae KilaKCS !ill a))ear *nder t'e
In)*ts section in t'e C'annel :o2. T'is is to indicate t'at t'e c'aracter set is connected
to t'e o%1ect-s attri%*tes.
No! !e need to add t'e e"es to t'is c'aracter set as )art of t'e facial aniation.
1 Select eac' e"e icon and t'en t'e ain e"e controller $ro*).
2 Select all t'e translate attri%*tes in t'e C'annel :o2.
3 Go to C'aracter L Add to C'aracter Set+ and t'e selected attri%*tes !ill %e
added.
5e no! 'a#e o*r ain c'aracter and it 'olds all t'e rele#ant attri%*tes t'at can 'a#e
aniation a))lied. Let-s no! create t'e t!o s*%c'aracter sets+ !'ic' !ill 'old all t'e
attri%*tes for t'e *))er and lo!er %od".
1. Go to C'aracter L Create S*%c'aracter Set and o)en t'e o)tions. As "o* can see
in Figure 15.8+ t'e" are identical to t'e ones for t'e ain c'aracter set.
Figure 15.8. Create a su=character set for the upper =od.
2. First t")e in t'e nae U))er:od" and set S*%c'aracter Set Attri%*tes to All
Ke"a%le. Ma&in$ s*re "o* 'a#e not'in$ selected in t'e scene+ clic& on A))l".
=Yo* !ant to lea#e t'is c'aracter set e)t" for no! %eca*se "o*-re $oin$ to
create t'e lo!er %od" set directl" after t'is.>
3. T")e t'e nae Lo!er:od" into t'e Nae field and+ *sin$ t'e sae settin$s as for
U))er:od"+ clic& on A))l". Close t'e !indo! !'en "o*-re done.
4. :eca*se t'ese are s*%c'aracters+ t'e" !ill not %e acti#ated+ so no! !e need to
acti#ate t'e U))er:od" set. Yo* can do t'is in eit'er of t!o !a"s(
1. Clic& on t'e red do!n arro! to t'e ri$'t of t'e Tie Slider+ !'ere
KilaKCS is c*rrentl" dis)la"ed as t'e acti#e c'aracter set. T'en select t'e
a))ro)riate s*%c'aracter set fro t'e en*.
2. Go to C'aracter L Set C*rrent C'aracter Set KilaKCS L U))er:od".
No! all "o* need to do is add all t'e *))er %od" icons- attri%*tes to t'e
s*%c'aracter. Yo* !ill !or& "o*r !a" t'ro*$' eac' of t'e *))er %od" icons+ t'e
s)ine 1oints+ cla#icles+ ars+ 'ands+ 'air+ nec&+ and 'ead.
1. First select an icon and t'en 'i$'li$'t all its attri%*tes in t'e C'annel :o2.
()T*
5'en !or&in$ on t'e 'ead+ i$nore t'e facial aniation attri%*tes "o*
alread" assi$ned. Also i$nore all t'e i&:lend attri%*tes %eca*se t'ese
control t'e a%ilit" to s!itc' %et!een IK and FK. If "o* add t'ese to t'e
c'aracter set+ t'e" !on-t !or&.
1 Go to C'aracter L Add to C'aracter Set+ and t'e attri%*tes are added.
2 Finall"+ s!itc' to t'e Lo!er:od" s*%c'aracter set and add to it t'e 5aistKControl+
RootKControl+ %ot' &nee controllers+ and foot icon attri%*tes. Ree%er to i$nore t'e
i&:lend attri%*tes.
T'e ain c'aracter sets are no! set *) and can %e *sed to safel" store and transfer
aniation %et!een c'aracters.
At t'is )oint "o* i$'t !ant to store t'e defa*lt )ose so "o* can 7*ic&l" $et %ac& to it. In
doin$ t'is+ "o* !ill $et "o*r first taste of aniation %" settin$ a &e"frae. 5it' ost
$ae en$ines+ t'e first frae =or in soe cases frae /B> 'as to %e t'e c'aracter in t'is
defa*lt )ose. No! t'at !e 'a#e t'e c'aracter sets+ !e can do t'is 7*ic&l".
1. Eit'er select t'e KilaKCS c'aracter set in t'e O*tliner+ or $o to C'aracter L
Select C'aracter Set Node L KilaKCS.
2. T'en+ a&in$ s*re t'e Tie Slider is set to G+ ri$'t/clic& in t'e C'annel :o2 and
select Ke" All.
3. ,o t'e sae for t'e U))er:od" and Lo!er:od" s*%c'aracter sets+ and "o*-re done.
Sa#e t'is final scene as KilaKFinal.%.
If "o* 'a#en-t alread"+ clean *) Grae-s scene and ri$. T'en create c'aracter sets for 'i
siilar to t'ose "o*-#e done for Kila. Sa#e 'is scene as GraeKFinal.%.
()T*
No! t'at %ot' c'aracters are tr*l" co)lete$eoetr"+ LO,s+ ri$$in$+
aniation set*)+ %indin$and 'a#e %een finali8ed and cleaned *)+ I recoend
a&in$ one last c'ec&+ if "o* 'a#e t'e tie a#aila%le. It-s not i)ossi%le t'at
"o*r c'aracters i$'t %enefit fro f*rt'er !or& on t'e te2t*res or t'e
!ei$'tin$.
Su%%ar

Con$rat*lationsJ :ot' c'aracters are no! read" to %e )assed on to t'e aniators or to
%e aniated %" "o*. Yo* 'a#e s*ccessf*ll" desi$ned+ odeled+ o)tii8ed+ te2t*red+
LO,ed+ and ri$$ed Kila and Grae. T'is final c'a)ter in t'e c'aracters- creation s'o!ed
"o* 'o! to clean *) t'e scene and )re)are t'e ri$ to %e aniated safel"+ as !ell as 'o!
to add t'e ca)a%ilit" to 7*ic&l" e2)ort and i)ort aniation onto t'e c'aracter.
T'ere-s one final c'a)ter for "o* to !or& t'ro*$'. No! t'at t'e c'aracters are
co)letel" odeled+ ri$$ed+ and o)tii8ed+ "o*-re read" to st*d" t'e tec'ni7*es for
aniation in $aes.
Chapter 16. Ani%ating for
$a%es
CD Files
KilaK5al&.%
KilaKFinal.%
GraeK5al&.%
GraeKFinal.%
C*%eKE2a)le.%
Kila:od".t$a
Kila9air.t$a
Kila9ead.t$a
Grae:od".t$a
GraeMisc.t$a
Grae5in$.t$a
Grae:od"K:*).t$a
GraeMiscK:*).t$a
Grae:od"KS)ec.t$a
GraeMiscKS)ec.t$a
in )ovies directory8
Kila5al&KGaeCa.o# Grae5al&KGaeCa.o# Kila5al&KPers).o#
Grae5al&KPers).o# ANIMATION IS TRULY MAGICAL( :ein$ a%le to a&e an inaniate
o%1ect o#e and
s'o! eotion is a )o!erf*l s&ill. T'ere are an" as)ects of aniation+ eno*$' to fill
a %oo& in itself. in t'is c'a)ter !e !ill foc*s on real/tie aniation and t'e #ario*s
as)ects of its creation+ !it' t'e $oal of %rin$in$ o*r Kila and Grae c'aracters to life.
Once !e 'a#e esta%lis'ed a fe! $ro*nd r*les+ I !ill deonstrate 'o! to $enerate a
%asic !al& c"cle.
()T*
If "o* !o*ld li&e to learn ore a%o*t t'e %asic )rinci)les of aniation+
an" 'el)f*l %oo&s are recoended in A))endi2 :+ 4Reference and
F*rt'er Readin$.4
To )re)are for aniation+ "o* *st &no! e#er"t'in$ "o*r c'aracter !ill do and 'o! t'e"
s'o*ld do it. Yo*r lead aniator !ill !or& closel" !it' t'e desi$ner on t'e )ro1ect to
co)ile an aniation list t'at !ill t'en %e )assed to "o*.
In C'a)ter B+ !e introd*ced soe of t'e desi$n eleents associated !it' o*r c'aracters.
Yo* read a %rief %ac&$ro*nd stor" t'at 'el)ed to )ortra" t'e c'aracters- )ersonalities+
and %asic inforation in t'e for of %ios offered ore insi$'t into !'o t'e" are and !'".
All t'is c'aracter inforation !ill no! 'el) *s decide 'o! Kila and Grae !ill !al&. 5e
&no! Kila is a dancer+ so !e can en'ance 'er feinine !al&+ addin$ a %it ore s!a" to
'er 'i)s and $i#in$ 'er a se2ier loo&. Grae+ on t'e ot'er 'and+ is a colossal %east. !e
!ant to feel t'e )o!er %e'ind eac' )*r)osef*l ste) as 'e l*%ers aro*nd.
5it' t'ese ideas of 'o! t'e c'aracters !ill o#e and interact !it' t'e $ae !orld+ "o*
can t'en $o on to $at'er soe reference aterial. More t'an li&el" t'is !ill %e in t'e for
of o#ies =,;,s+ #ideos do!nloaded fro t'e Internet+ or soet'in$ "o* 'a#e filed
"o*rself>. Once "o* 'a#e a solid idea of t'e o#eents re7*ired+ "o* and "o*r tea can
disc*ss 'o! t'e" !ill %e i)leented into t'e $ae en$ine and !'at tec'ni7*es !ill %e
*sed to sa#e eor".
Ani%ation
)pti%i?ation
As "o* are no! !ell a!are+ in e#er" as)ect of real/tie art!or& "o* 'a#e to &ee) !it'in
s)ecified %o*ndaries+ and t'e sae a))lies to aniation. If "o*r c'aracter can )erfor a
'*ndred o#es+ all t'ese !ill 'a#e to %e stored in eor". Add to t'is t'e aniations for
all of t'e non)la"er c'aracters+ )l*s scenic aniation+ and "o*r allotted c'*n& of t'e
eor" is soon $one.
Restrictin$ t'e n*%er of aniations *sed isn-t t'e %est a))roac' for toda"-s $aes. in/
$ae aniation is a '*$e dra! t'ese da"s+ and #ariet" is t'e &e" to a&in$ "o*r
c'aracters interestin$ and %elie#a%le. Instead+ "o* can e2)lore t'e follo!in$ o)tions for
sa#in$ )rocessin$ )o!er.
Mirroring
Ani%ations
Norall"+ if "o* !anted "o*r c'aracter to %e a%le to ste) left as !ell as ri$'t+ "o* !o*ld
'a#e to create t!o se)arate aniations+ %ot' of !'ic' !o*ld %e stored in eor". S*c'
do*%lin$/*) on so *c' of t'e aniation data can soon reac' t'e liits of "o*r
reso*rces. One !a" to reo#e t'e need for irrored #ersions is to see if t'e
)ro$raers on "o*r tea can do t'e irrorin$ in t'e $ae en$ine. =:" t'is I ean
irrorin$ onl" t'e 1oints- rotation and translation #al*es. irrorin$ t'e !'ole s&eleton
!o*ld also fli) t'e c'aracter es'.>
9a#in$ t'is as)ect of aniation 'andled in t'e $ae en$ine can c*t alost in 'alf t'e
ao*nt of data %ein$ stored+ lea#in$ "o* roo for ore aniations.
Di:iding
Ani%ations
Anot'er !a" to red*ce t'e eor" cons*ed %" aniations+ !it'o*t losin$ an" of t'e
aniation+ is to di#ide t'e *). Sa" "o*r c'aracter is r*nnin$+ !'ic' is one aniation.
T'en s'e needs to 'old a #ariet" of !ea)ons+ sa" fi#e. In all+ "o* 'a#e si2 se)arate
r*nnin$ aniations.
5'at "o* can do is di#ide t'e into *))er/and lo!er/%od" o#eents. T'e 'i)s and le$s
fro t'e )riar" r*n aniation co*ld also %e *sed !it' t'e *))er %od" aniation fro
eac' of t'e si2 #ariations.
Storin$ *))er and lo!er %od" data !ill itself sa#e a lot of eor". If "o* can+ "o*
co*ld e#en di#ide t'e aniations f*rt'er+ into indi#id*al li%s%*t t'is can lead to a
red*ction in t'e 7*alit" of t'e aniation.
As al!a"s+ tal& t'ese o)tions o#er !it' "o*r ana$er. i)leentin$ t'is tec'ni7*e into
t'e $ae en$ine can %e a %i$ 1o%.
Skeleton and Ani%ation
Sharing
For $aes in !'ic' "o* 'a#e an" c'aracters t'at )otentiall" !ill do t'e sae
t'in$s+ "o* can create one set of $eneric aniations t'at can %e a))lied to all. In t'is
case+ it-s !ise to *se t'e sae s&eleton str*ct*re in order to aintain t'e correct
otion+ %*t sli$'t #ariations in si8e and )ro)ortions can also !or&.
T'is s'arin$ tec'ni7*e is )artic*larl" *sef*l on ore $eneric+ non)la"er c'aracter
aniationsci#ilians+ for e2a)le!'ere t'e re)eated *se of t'e sae aniation is not
o%#io*s.
Ani%ation
Categories
Real/tie aniation is 'andled differentl" fro %i$/screen aniation. To a&e t'e
$ae tr*l" interacti#e+ eac' aniation 'as to %e 'andled se)aratel"+ so t'at t'e correct
one can r*n !'en t'e )la"er re7*ests it.
In all+ real/tie aniation can %e se)arated into t'e fi#e )rinci)al cate$ories
disc*ssed in t'is section. Eac' aniation "o* create !ill fit into one of t'ese
cate$ories.
!dle and Fidget
Ani%ations
5'en t'e )la"er sto)s controllin$ t'e c'aracter+ it !ill %e$in to c"cle randol" t'ro*$'
#ario*s aniations. If+ for e2a)le+ t'e c'aracter is standin$ still+ a defa*lt %reat'in$
aniation !ill )la"+ in !'ic' t'e s'o*lders and c'est rise and fall and t'e ars s!in$
sli$'tl"t'is is t'e idle animation. Once t'is 'as )la"ed for a !'ile+ anot'er aniation !ill
randol" &ic& in. t'is co*ld in#ol#e t'e c'aracter-s loo&in$ aro*nd ailessl"+ ta))in$ a
toe+ or )ic&in$ t'eir nose. t'e intent is to $i#e t'e #ariet" and soe feelin$ of life.
T'ese #ariants are &no! as %dget animations. :ot' idle and fid$et aniations need to %e
loo)ed or c"cled and so co*ld also coe *nder t'e ne2t cate$or"+ cycle animations.
Ccle
Ani%ations
Alost all t'e aniations in#ol#in$ t'e c'aracter-s )'"sical o#eent =e2ce)t idle or
fid$et aniations+ !'ere t'e c'aracter is standin$ still> !ill %e %ased on a sin$le
se7*ence+ loo)in$. A !al& c"cle is a $ood e2a)le of a c"cle aniation. t'is %e$ins at
t'e crosso#er )oint of t'e aniation =t'e sta$e !'en t'e le$s cross o#er fro t'e side
#ie!> and ends in t'e sae )lace. T'e aniation can %e loo)ed sealessl"+ $i#in$ t'e
i)ression t'at t'e c'aracter can !al& contin*o*sl".
Four@Stage
Ani%ations
T'e fo*r/sta$e aniation can also %e descri%ed as a Mo#e In+ 9old+ C"cle+ and Mo#e O*t
se7*ence. T'is se7*ence can %e *sed !'en t'e c'aracter needs to c'an$e states
te)oraril". sa" cli%in$ a ladder+ for instance.
For t'e Mo#e In+ "o* need a startin$ aniation !'ere t'e c'aracter $ra%s 'old of t'e
ladder and o#es into a )ose !'ere t'e" can ascend or descend it easil". T'e 9old is
t'is )ose 'eld !'ile t'e )la"er decides !'at t'e" !ant to do. t'is 9old can %e classed
as an idle aniation and so co*ld )ossi%l" 'a#e ot'er idle or fid$et aniations
%ranc'in$ fro it.
Ne2t "o* 'a#e t'e C"cle. In t'e ladder/cli%in$ e2a)le+ t'e C"cle !o*ld %e a s'ort
se7*ence in#ol#in$ t'e c'aracter cli%in$ *) or do!n t'e ladder. T'is !o*ld t'en %e
loo)ed for t'e d*ration of t'e o#eent.
Finall"+ !e 'a#e t'e Mo#e O*t+ !'ic' is si)l" t'e c'aracter lea#in$ t'e ladder and
ret*rnin$ to t'e defa*lt idle aniation or rest )ose.
#lending
Ani%ations
:lendin$ aniations are *sed to transition t'e c'aracter soot'l" fro one aniation
state to anot'erfor e2a)le+ fro !al&in$ to r*nnin$. S!itc'in$ fro one aniation
directl" to anot'er can ca*se t'e c'aracter to st*tter or to 1*) o%#io*sl"%lendin$
aniations are interediate aniations t'at ta&e t'e c'aracter soot'l" and sealessl"
fro t'e !al& to t'e r*n. T'ese aniations can e#en %e ta&en a ste) f*rt'er so t'at "o*
'a#e different aniations %ased on !'ic' foot t'e c'aracter is c*rrentl" on !'en
tri$$ered to c'an$e to a different aniation.
5it' t'e e2ce)tion of a1or c'an$e/of/#en*e actions s*c' as t'e ladder cli%in$
e2a)le+ %lendin$ aniations are rarel" *sed in $aes. :lendin$ is *s*all" 'andled %"
t'e $ae en$ine+ !'ic' t!eens t'e )osition of t'e c'aracter in a frae of 'is c*rrent
aniation to t'e ne!l" called aniation. O%#io*sl"+ t!eenin$ isn-t t'e ost #is*all"
a))ealin$ or acc*rate sol*tion+ %*t it is fast. and if t'e )ro$raer is !illin$ to t!ea& t'e
)araeters a %it+ it can 'a#e a 7*ite )assa%le res*lt.
Custo%
Ani%ations
T'ese are si)le aniations t'at are s)ecific to a c'aracter or to t'e $ae itself. C*sto
aniations can incl*de t'in$s s*c' as o)eratin$ a co)*ter or transforin$ into a %east+
%*t t'e" are not t'e noral set of aniations *sed %" t'e a1orit" of in/$ae
c'aracters.
Cine%atic
Ani%ations
More and ore $aes are rel"in$ on cineatic aniationsreal/tie c*t scenesto 'el)
t'e stor" )ro$ress. T'ese are scenes )la"ed *sin$ t'e act*al $ae en$ine rat'er t'an
s'o!in$ a )rerendered o#ie. T'is et'od is %eneficial %eca*se it can 'el) &ee) t'e
flo! of t'e $ae intact. T'ese 4scri)ted4 e#ents *s*all" in#ol#e an aniated scene
%ein$ )la"ed !'en tri$$ered in t'e $ae.
The Ani%ation
,ist
Most of t'e aniations "o* create !ill rel" 'ea#il" on aniations "o*-#e created
)re#io*sl". T'erefore+ it-s i)ortant to follo! t'e str*ct*re of t'e animation list,
!'ic' "o*r lead aniator and )ro1ect desi$ner !ill 'a#e co)iled in ad#ance.
Yo* !o*ld t'in& a list containin$ t'e aniations a c'aracter )erfors in a $ae !o*ld %e
)rett" strai$'tfor!ard. T'e" !al&+ r*n+ 1*)+ a"%e 'a#e soe fi$'t o#es or s'oot a
$*n. In act*al fact+ 'o!e#er+ a lot ore aniations t'an t'ese e2)licit ones are in#ol#ed
in $ettin$ "o*r c'aracters to o#e+ ost of !'ic' "o* a" not e#en reali8e are se)arate
aniations.
T'e aniation list !ill tell "o* !'at o#eents are re7*ired+ %*t not 'o! t'e c'aracter
!ill )erfor t'e. A !al& c"cle+ for e2a)le+ can %e one of t'e ost diffic*lt aniations
to create %eca*se it can %e inter)reted in an" n*%er of !a"seac' )erson 'as t'eir o!n
!a" of !al&in$. So creatin$ a *ni7*e aniation t'at also 'as to loo) is tric&". Since ost
aniations are %ased *)on it+ t'e #er" first )ose t'at needs to %e defined is t'e rest
pose.
De"ning the &est
Pose
5it' an" t'ird/)erson/)ers)ecti#e $ae+ t'e ain c'aracter 'as to %e interestin$ e#en
!'en t'e )la"er is not controllin$ 'i. Loo& at an" $ae "o* )la"+ and !'en "o*-re not
controllin$ t'e c'aracter+ 'e !ill first ado)t t'e idle aniation %efore loo)in$ t'ro*$'
an" fid$et aniations 'e 'as. :efore t'ese aniations can %e created+ a rest pose
needs to %e defined.
It-s i)ortant to loc& t'e rest )ose earl" on+ since c'an$in$ it later !ill in#ol#e alterin$
an" of t'e aniations %ased on it. For e2a)le+ consider a cro*c'in$ )osition. T'e
aniation !o*ld start !it' t'e c'aracter in t'e rest )ose and end in t'e cro*c' )osition+
!'ic' can %e classed as anot'er rest )ose. T'en !'en t'e c'aracter stands a$ain+ t'e
rest )ose is !'ere t'e aniation !o*ld end. So alterin$ t'e rest )ose !o*ld also ean
editin$ all t'ese ot'er aniations.
Initiall"+ t'e rest )ose need onl" %e a sin$le frae+ 1*st one )ose. At t'is sta$e "o*
don-t need an" aniation+ %eca*se t'is is t'e )ose *sed as t'e startin$ )oint for an"
ot'ers.
Yo* a" find t'at "o* !ill need a n*%er of rest )oses+ eac' de)endin$ on t'e
c'aracter-s state of 'ealt' or c*rrent ood. For Kila+ !e i$'t 'a#e t'e follo!in$ =t'e
first t'ree are ill*strated in Figure 16.1>(
T'e defa*lt )ost*re *sed in $ae( rela2ed "et d"naic+ andost i)ortant of allin
&ee)in$ !it' 'er )ersonalit". Also+ don-t 'a#e t'e feet too far a)art+ or it !ill %e diffic*lt to
$et ot'er aniations %ac& into t'is )ose.
A )ost*re to indicate !'en s'e is lo! on 'ealt'.
A fi$'t stance. Kila !ill *se 'and/to/'and co%at to defend 'erself.
;ario*s !ea)ons+ ran$in$ fro a etal )ost to a ac'ine $*n+ !ill %e
a#aila%le to Kila. To a#oid 'a#in$ a different rest )ose for e#er" !ea)on+ "o* co*ld
create t'e sae rest )ose for !ea)ons t'at are 'eld !it' one 'and+ li&e a )istol or
U8i. E#en t'e defa*lt )ose co*ld %e *sed for t'ese stances.
Figure 16.1. *-a%ples of rest poses
T!P
Tr" #ie!in$ "o*r c'aracter fro an in/$ae #ie!. T'is !ill 'el) "o* to see if
certain )oses or aniations+ incl*din$ t'e rest )ose+ read !ell at t'at distance.
It a" %e t'at "o* 'a#e %een too s*%tle+ in !'ic' case "o* !ill need to
e2a$$erate t'e )ose ore.
5it' t'e rest )ose=s> defined and si$ned off %" "o*r ana$er+ "o* can t'en )roceed to
$enerate all t'e aniations t'at %e$in or end in t'is )ose. T'e idle aniations+ for
e2a)le+ all need to start and end in t'e sae )lace so t'at t'e" can flo! into eac' ot'er
soot'l".
Ta&e a $ood loo& at "o*r co)lete aniations list and a&e s*re "o* &no! !'ic' ones
need to %e done first. :efore !e loo& at creatin$ an aniation in Ma"a+ let-s e2aine
soe of t'e )ro$ra-s aniation tools.
Ani%ation
Tools
T'ere are an" !a"s to )rod*ce and control aniation in Ma"a =in fact+ !'ole %oo&s are
!ritten a%o*t t'e>+ so !e-ll 1*st loo& at t'e ain aniation controls.
Ani%ation
Controls
At t'e %otto of t'e Ma"a *ser interface are #ario*s aniation controls. t'ese can %e
seen in Figure 16.2.
[View full size image]
Figure 16.2. Maa>s ani%ation controls
Let-s first loo& at t'e Tie Slider. T'is %ar s'o!s t'e ran$e of fraes "o* are
c*rrentl" !or&in$ on. Clic&in$ an"!'ere in 'ere !it' t'e left o*se %*tton !ill
'i$'li$'t t'e selected frae !it' a %lac& %o2 and *)date t'e #ie! to s'o! t'at
frae of t'e aniation.
T!P
Clic&in$ !it' t'e iddle o*se %*tton in t'e Tie Slider !ill select t'at frae
%*t not *)date t'e tie in t'e #ie!s. T'is is 'and" if "o* !ant to 7*ic&l" co)"
t'e )ose fro one frae to anot'er. Yo* si)l" select t'e o%1ect !'ose &e"s
"o* !ant to co)"+ select t'e frae "o* !is' to co)" to !it' t'e iddle o*se
%*tton+ and t'en set a &e" on t'e o%1ect at t'is ne! frae.
Ri$'t/clic&in$ on t'e Tie Slider !ill o)en *) a ne! conte2t*al en* =Figure 16.30.
#hese options allow you to cut, copy, and paste selected keys, snap them to speci+c
times, and ad%ust the playback and range of the animation. We'll look at other conte)tual
menu items ,such as #angents and >layblast, which play a valuable role in
aniation> later in t'e c'a)ter.
Figure 16.3. The Ti%e Slider conte-tual %enu
T'e Ran$e Slider sets t'e c*rrent #isi%le ran$e in t'e Tie Slider. T'is is *sef*l if "o*
need to !or& on a s)ecific section of t'e aniation+ !'ile also aintainin$ t'e f*ll
aniation tieline.
Settin$ #al*es for t'e Aniation Start Tie and Aniation End Tie !ill set t'e
o#erall aniation-s tieline.
Yo* can *se t'e Pla"%ac& Start Tie and Pla"%ac& End Tie to an*all" set t'e Ran$e
Slider. To interacti#el" edit t'e Ran$e Slider+ *se t'e Ran$e Slider %ar. At eit'er end of
t'is %ar are t!o sall s7*ares. clic& and dra$ t'ese to s)ecif" t'e Tie Slider ran$e in
!'ic' "o* !ant to !or&.
T'e Pla"%ac& Controls are #er" *c' li&e a reote control+ allo!in$ "o* to )la" t'e
aniation+ ste) alon$ a frae at a tie+ or e#en o#e alon$ to t'e ne2t &e"frae.
No! t'at !e &no! 'o! to control tie in Ma"a+ let-s no! loo& at 'o! to set
&e"fraes.
Setting
+efra%es
5'en "o* set a keyframe, "o* are acti#el" storin$ t'at o%1ect-s attri%*te #al*es at t'at
s)ecific tie. Storin$ )artic*lar #al*es at s)ecific s)ots in t'e Tie Slider instr*cts
Ma"a to create t'e in/%et!een )ositions of t'ose #al*es t'at *ltiatel" )ro#ides t'e
ill*sion of o#eent.
()T*
Alt'o*$' t'e" are related+ settin$ a &e" is not t'e sae as settin$ a dri#en
&e". As "o* a" ree%er fro
C'a)ter B?
+ dri#en &e"s lin& one attri%*te to anot'er+ %*t are set at s)ecific attri%*te
#al*es+ not s)ecific fraes in t'e Tie Slider. Ordinar" &e"s are set at a s)ecific
frae+ storin$ t'e c*rrentl" selected attri%*tes at t'at tie.
5'en &e"s are set on an o%1ect+ t'e" s'o! *) in t'e Tie Slider as red lines =Figure
16.4+ to)>. Yo* can t'en interacti#el" edit t'ese &e"s+ o#in$ and scalin$ t'e in t'e
Tie Slider itself. To do t'is+ 'old do!n S'ift and dra$ o#er a selection in t'e Tie Slider.
Yo*r selection !ill %e ar&ed !it' a red %o2+ !it' arro!s at eit'er end and in t'e center
=Figure 16.4+ %otto>. Selectin$ t'e center arro! lets "o* dra$ t'e selection+ in effect
o#in$ t'e entire set of selected &e"s as a $ro*). Selectin$ and o#in$ one of t'e end
arro!s lets "o* scale t'e selected &e"s in t'at direction.
Figure 16.4. Working ;ith kes in the Ti%e Slider
So 'o! do !e create a &e"frae0 T'ere are a n*%er of !a"s to do t'is in Ma"a. 'ere
are t'e ost coon ones(
In t'e Aniation en* set+ $o to Aniate L Set Ke" ="o* can also access t'is tool
%" )ressin$ S>. :" defa*lt t'is !ill set a &e" on all t'e selected o%1ect-s &e"a%le
attri%*tes+ %*t it can %e confi$*red to !or& 'o!e#er "o* li&e+ *sin$ t'e o)tions seen
in Figure 16.5. T'e %est t'in$ to do is )la" aro*nd !it' t'is tool *ntil "o* find a
set*) t'at !or&s %est for "o*.
Figure 16.5. The Set +e options
In t'e C'annel :o2+ si)l" ri$'t/clic& on a sin$le attri%*te and c'oose Ke" Selected
to set a sin$le &e". Ke" All !ill set a &e" on all t'e &e"a%le attri%*tes of t'e o%1ect.
Mo#in$ a!a" fro t'e ain Ma"a UI+ "o* can also set &e"s in se#eral ot'er
!indo!s. For e2a)le+ in t'e Attri%*te Editor "o* can ri$'t/clic& on an attri%*te and select
Set Ke".
Yo* can also add &e"s to o%1ects in t'e Gra)' Editor and ,o)e S'eet+ %ot' of !'ic'
are disc*ssed ne2t.
The $raph
*ditor
Settin$ &e"s to o#e an o%1ect is onl" 'alf t'e 1o%. t'e ot'er 'alf is !or&in$ !it'
animation curves.
To $et fro one &e"frae to anot'er+ a c*r#e is dra!n %et!een t'e+ sort of li&e a )at'
to %e follo!ed %" t'e o%1ect-s attri%*tes. T'is is called interpolation, and it-s Ma"a-s !a"
of )redictin$ 'o! t'e o%1ect s'o*ld o#e fro one &e"frae to anot'er. T'e Gra)' Editor
allo!s "o* to edit not onl" t'e &e"s t'esel#es+ %*t also t'ese c*r#es. T'e tangents of a
c*r#e dictate t'e !a" t'e c*r#e enters and e2its a &e"frae. Editin$ t'ese tan$ents can
'a#e draatic res*lts on 'o! t'e aniation flo!s fro one &e"frae to t'e ne2t.
O)en *) t'e file C*%eKE2a)le.%. All of t'ese c*%es are identical and 'a#e e2actl" t'e
sae &e"s set on t'e at t'e sae ties. %*t !'en "o* )la" t'e aniation+ eac' one
o#es differentl". T'is is %eca*se eac' c*%e-s tan$ents are different.
O)en t'e Gra)' Editor %" $oin$ to 5indo! L Aniation Editors L Gra)' Editor. Yo*-ll see
t'e !indo! in Figure 16.6. ,&our 2raph 4ditor window may di1er slightly,
de)endin$ on t'e #ersion of Ma"a "o* are *sin$. All t'e %asic tools !ill still %e
)resent+ 'o!e#er.>
[View full size image]
Figure 16.6. The $raph *ditor
Let-s 'a#e a 7*ic& loo& at soe of t'e tools on t'e Gra)' Editor-s tool%ar.
[View full size image]
T'e first fe! %*ttons at t'e left end of t'e tool%ar are t'e &e" ani)*lation tools(
Mo:e (earest Picked +e. 5'en t'is tool is acti#e+ onl" t'e &e" nearest to t'e
c*rsor !ill o#e re$ardless of 'o! an" &e"s "o* select in t'e Gra)' Editor.
!nsert +es. 5it' t'is tool acti#e+ si)l" select t'e c*r#e !it' t'e left o*se
%*tton+ t'en clic& and dra$ !it' t'e iddle o*se %*tton *ntil "o* reac' t'e )lace !'ere
"o* !ant to insert a &e".
Add +es. T'is tool !or&s siilarl" to Insert Ke"s+ e2ce)t t'at clic&in$ !it' t'e
iddle o*se %*tton !ill dictate !'ere t'e ne! &e" is )laced. 9oldin$ t'e iddle %*tton
allo!s "o* to o#e t'e &e" aro*nd. it !ill not %e coitted to
t'e c*r#e *ntil "o* release t'e %*tton.
()T*
T'ere is an i)ortant difference %et!een t'e Insert Ke"s and Add Ke"s
tools( Insert Ke"s !ill add &e"s at t'e )osition in tie t'at "o* desi$nate+
%*t onl" on t'e e2istin$ #al*e c*r#e. Add Ke"s !ill add a &e" !'ere#er "o*
desi$nate+ %*t !ill not )reser#e t'e #al*e c*r#e.
Ne2t on t'e tool%ar are t'e t!o Stats in)*t %o2es. T'e first %o2 s'o!s "o* t'e frae
n*%er of t'e selected &e"+ and t'e ot'er %o2 s'o!s t'e &e"-s attri%*te #al*e. 5it' a
&e" selected+ "o* can t")e a%sol*te #al*es into t'ese in)*t %o2es to )lace t'e &e" in
an e2act )lace or tie.
T'e fi#e Tangent =uttons are =left to ri$'t> S)line+ Cla)ed+ Linear+ Flat+ and
Ste))ed. Clic&in$ on t'ese !ill a))l" a )artic*lar tan$ent to t'e !'ole c*r#e or to t'e
selected &e"s. Tan$ents are disc*ssed in a later section.
After t'e tan$ent %*ttons are t!o #uFer Cur:e %*ttons. T'e first one allo!s "o* to store
t'e c*rrent c*r#e in a %*ffer. Yo* can t'en a&e c'an$es+ ena%le ;ie! L S'o! :*ffer
C*r#es to dis)la" t'e %*ffered c*r#e in $ra"+ and co)are t'e ne! c*r#e !it' t'e
%*ffered c*r#e. If "o* !ant to re#ert %ac& to t'e stored c*r#e+ clic& on t'e second %*tton+
S;ap #uFer Cur:e.
Ne2t on t'e tool%ar are t!o tan$ent/editin$ tools. T'e first+ #reak Tangents+ lets "o*
edit t'e in and o*t tan$ents for eac' &e" indi#id*all". T'e 0nif Tangents %*tton !ill
fi2 t'is %rea&+ so if "o* ani)*late t'e in tan$ent of a c*r#e+ t'e o*t tan$ent !ill also
%e affected. All tan$ents are *nified %" defa*lt.
Ne2t to t'e t!o tan$ent/editin$ %*ttons are t'e Free Tangent Weight and ,ock
Tangent Weight %*ttons. :" defa*lt+ all c*r#es are created non!ei$'ted. t'is eans "o*
can onl" edit t'e tan$ents #erticall"t'e 'andles !ill onl" o#e *) and do!n+ )i#oted
aro*nd t'e &e". 5'en t'e tan$ents are !ei$'ted+ "o* 'a#e co)lete freedo o#er !'ere
t'e 'andles can %e )laced. t'at eans "o* can o#e t'e 'ori8ontall" as !ell as
#erticall"+ addin$ ore !ei$'t to eac' &e". To con#ert a non!ei$'ted c*r#e to a !ei$'ted
one+ select t'e attri%*te in t'e list on t'e left in t'e Gra)' Editor and $o to C*r#es L
5ei$'ted Tan$ents.
()T*
If "o* )refer+ "o* can c'an$e "o*r $eneral aniation )references to a&e
!ei$'ted tan$ents t'e defa*lt rat'er t'an non!ei$'ted.
No! t'at !e 'a#e an *nderstandin$ of soe of t'e Gra)' Editor-s tools+ let-s $et soe
e2)os*re to !or&in$ !it' aniation c*r#es and tan$ents. Yo* s'o*ld still 'a#e
C*%eKE2a)le.% o)en+ alon$ !it' t'e Gra)' Editor.
1. In Ma"a-s ain #ie!+ select t'e first c*%e+ naed C*%eKS)line.
Figure 16.7a s'o!s t'e Gra)' Editor !it' t'e selected c*%e listed on t'e left.
:elo! t'is is a list of all t'e c*%e-s attri%*tes t'at 'a#e aniation a))lied to t'e.
C*rrentl" onl" t'e Translate M attri%*te 'as aniation a))lied.
Figure 16.7. Spline1 Cla%p1 ,inear1 Flat1 and Stepped
tangents
[View full size image]
Creating a Walk
Ccle
In t'is section !e !ill )rod*ce a !al& c"cle for Kila. First !e !ill %loc& in t'e %asic
otion. once t'is is in )lace+ t'e aniation can %e easil" t!ea&ed and refined.
Since t'is is an in/$ae aniation+ it-s %est to e2a$$erate t'e o#eents sli$'tl" at t'e
%e$innin$. If t'e" loo& 4o#er t'e to)4 fro t'e $ae caera+ "o* can easil" red*ce t'e
e2a$$eration *sin$ t'e Gra)' Editor.
Scene
Preparation
5e !ill start %" )re)arin$ t'e scene+ $ettin$ it read" for aniation.
1. O)en t'e KilaKFinal.% file. =Yo* don-t need to *se t'e Rest Pose file 'ere
%eca*se t'e !al& c"cle !ill not %e$in or end in it.>
Ma&e s*re "o* 'a#e a &e" set on frae B+ storin$ t'e file-s %ase )ose. ,o t'is %"
selectin$ eac' c'aracter set =C'aracter L Select C'aracter Set Node>+ t'en ri$'t/
clic&in$ in t'e C'annel :o2 and selectin$ Ke" All.
()T*
,e)endin$ on 'o! "o*r $ae en$ine 'andles aniation data+ "o* a"
or a" not need to store t'is %ase )ose. 5'en t'e c'aracter aniation is
e2)orted+ "o* a" need t'e s&eleton to %e &e"ed in t'is %ind )ose at t'e
%e$innin$ of eac' aniation. It-s %est to disc*ss t'is !it' "o*r tea-s
tec'nical artist or lead )ro$raer to %e s*re.
2. Go to 5indo! L Settin$s6Preferences L Preferences and+ as s'o!n in Figure
16.11+ select Ke"s in t'e Cate$ories list.
Figure 16.11. Alter the default tangents in the Preferences
;indo;.
[View full size image]
3. Set %ot' ,efa*lt In Tan$ent and ,efa*lt O*t Tan$ent to Linear. E#er" ne! &e" "o*
create !ill no! 'a#e Linear tan$ents+ !'ic' !ill initiall" %e easier to !or& !it'. Yo* can
alter t'ese tan$ents a$ain later.
5'ile "o* !or& on t'ese ste)s+ "o* !ill aniate Kila )'"sicall" o#in$ for!ard. t'is !ill
'el) "o* #is*ali8e 'o! t'e !al& is s'a)in$ *). Yo* also need to see 'o! t'e aniation
loo)s+ as if s'e !ere !al&in$ in )lace. T'is is %eca*se+ once t'e !al& is co)lete+ "o* !ill
'a#e to reo#e an" for!ard otion+ as t'e $ae en$ine !ill i)leent t'at for "o*.
T!P
Soe aniators )refer to $o strai$'t in and create t'e aniation on t'e
s)ot+ !it'o*t t'e for!ard otion. I find it *sef*l to 'a#e %ot' #ersions at
'and 1*st in case I need to $enerate an aniated se7*ence in !'ic' t'e
c'aracter *st )'"sicall" !al& a distance. 5it' t'e for!ard otion incl*ded+
I don-t 'a#e to tr" and )*t it %ac& in+ !'ic' can a&e t'e feet a))ear to slide
if not done correctl".
To 'el) *s see %ot' #ersions+ !e can )arent a caera to a )oint at t'e c'aracter-s feet.
T'is eans t'e caera !ill o#e !it' t'e c'aracter+ $i#in$ t'e ill*sion of Kila !al&in$ in
)lace. 5e can loo& t'ro*$' a different caera to see 'er act*all" o#in$ alon$.
1. Ma&e s*re "o* are still on frae B+ and create a ne! Locator =Create L
Locator>.
2. Set t'e KilaK:aseS&el dis)la" la"er so "o* can see t'e 1oints. Select t'e+ and t'en
select t'e ain Root 1oint.
3. 9oldin$ S'iftNCtrl6Cd+ select t'e locator and a))l" a )oint constraint 1*st on t'e Y
a2is+ a&in$ s*re Maintain Offset is ena%led. =If for soe reason "o* can-t see t'e
locator+ c'ec& t'e #isi%ilit" in t'e )anel-s ;ie! en*. Or si)l" a&e t'e selections in
t'e O*tliner or 9")er$ra)'.>
No! as Kila o#es+ t'e locator !ill follo! %*t !ill sta" loc&ed to t'e floor.
4. In t'e side #ie!+ )osition Kila so "o* can see 'er le$s and !aist in t'e center of t'e
!indo!.
5. $o to ;ie! L Select Caera. 9oldin$ S'iftNCtrl6Cd+ select t'e locator and
)arent t'e caera to it %" )ressin$ P.
6. No! "o* need to set *) t'e Tie Slider to co#er t'e tie it !ill ta&e Kila to
)erfor a sin$le c"cle of 'er !al&. Set t'e start frae %ac& to G+ and t'e end frae
at 3?.
()T*
5'en creatin$ t'e !al&+ t'e first and last fraes *st %e t'e sae so t'at t'e
aniation loo)s. T'is !ill ca*se t'e aniation to )a*se sli$'tl" !'en )la"ed+ so
ree%er t'is !'en "o* )la" it %ac&+ or create a )la"%last t'at onl" r*ns *) to
frae 3B.
5e *se a )o!er/of/t!o ran$e =G to 3?> %eca*se it-s t'en easier to di#ide t'e
aniation into sta$es. For e2a)le+ t'e first and last )oses of t'e !al& are on
fraes G and 3?. t'ese &e" )oses are &no!n as 4e2trees.4 9alf!a"+ !e !o*ld
)lace a ne! )ose =!'en t'e le$s cross o#er t'e o))osite !a"> on frae BA. t'is
is &no!n as a 4%rea&do!n4 or 4)assin$ )osition.4 5e can t'en )lace additional
)oses called 4in/%et!eens4 on fraes D and ?I+ %efore %rea&in$ do!n t'e
aniation f*rt'er if !e need to. 5it' all t'e ain &e"s e#enl" s)aced+ t'e
aniation !ill )la" at a stead" )ace t'ro*$'o*t.
No! t'at !e 'a#e a locator actin$ as a %ase)oint for t'e c'aracter+ "o* can )arent ot'er
caeras to it in order to see t'e c'aracter c"clin$ fro ot'er an$les. 5it' t'e scene
read" no!+ !e can %e$in to aniate.
,egs and Waist. #locking )ut
Poses
T'e first ste) in creatin$ an" aniation is to %loc& o*t t'e ain )oses. T'ese are t'e
e2trees+ %rea&do!ns+ and an" in/%et!een )oses needed. T'is not onl" $i#es "o* a $ood
idea of 'o! t'e tiin$ feels as t'e c'aracter o#es+ %*t also 'o! eac' )ose loo&s.
:efore "o* do an"t'in$ else in Ma"a at t'is )oint+ $et o*t of "o*r seat and !al& aro*nd
t'e roo. O%ser#e !'ere "o*r !aist and feet are at certain sta$es in "o*r !al&. See 'o!
t'e" rotate+ !'at s)eed t'e" o#e. 5'en do "o*r 'i)s di)0 If "o* are a ale aniatin$
Kila+ tr" to iitate a feinine !al&. It-s one t'in$ to !atc' soeone else !al&in$%*t to
)'"sicall" do it "o*rself !ill $i#e "o* insi$'t for a))l"in$ it to "o*r c'aracter. Tr" to do
t'is for all "o*r aniation !or&. don-t %e afraid of loo&in$ sill"in t'e lon$ r*n+ "o*r
aniation !ill %e %etter for it.
1. Let-s create o*r first e2tree. 5it' "o*r o!n !al& fres' in "o*r ind+ o#e alon$
to frae G+ s!itc' to t'e side #ie!+ and )osition Kila-s feet to atc' t'e crosso#er
)oint in t'e !al& =Figure 16.12=>.
Figure 16.12. Fro% the side :ie;1 =lock in the =asic leg poses.
Mo#e t'e ri$'t foot *) sli$'tl" and rotate it so it is tilted for!ard. Mo#e t'e 'i)s
do!n and for!ard+ too.
Set a &e" on t'e translate and rotate attri%*tes for t'e icons of %ot' feet and
RootKControl.
Norall" !e !o*ld no! )lace t'e second e2tree on frae 3?+ t'en t'e
%rea&do!n at frae BA+ and so on. 9o!e#er+ since o*r c'aracter is o#in$
for!ard+ it a&es sense to )lace eac' )ose as !e coe to it in t'e tieline.
T'is !ill allo! *s to see !'ere t'e 'i)s and feet s'o*ld %e )laced on t'e
s*%se7*ent )oses.
2. Mo#e alon$ to frae D and create t'e second )ose. Mo#e t'e ri$'t foot for!ard *ntil
it is 1*st a%o*t to )lant itself+ )ose t'e left foot so it-s 1*st a%o*t to lea#e t'e floor+ and
o#e t'e 'i)s for!ard+ &ee)in$ t'e in %et!een %ot' feet at all ties =Figure
16.12c>.
Set a &e" to store t'is )ose.
3. No! !e coe to !'at !o*ld %e t'e %rea&do!n and t'e ne2t crosso#er. Mo#e alon$
to frae BA and tr" "o*r %est to re)licate t'e )ose on frae G =Figure 16.12d>+ %*t
on t'e o))osite feet. Set a &e" to store it.
4. No! add t'e second in/%et!een. T'e left foot needs to )lant+ so o#e to frae ?I
and do "o*r %est to re)licate t'e )ose on frae D+ a$ain on t'e o))osite feet =Figure
16.12e>.
T!P
An eas" !a" to do t'is is to *se t'e iddle o*se %*tton to $o to
frae ?I. Line *) one of t'e feet on to) of t'e o))osite one in t'e
#ie!+ and set a &e" 1*st on t'e one "o* o#ed. Left/clic& to o#e
%ac& to t'e reference frae+ t'en re)eat on t'e ot'er foot and t'e
root. T'e )oses !ill %e nearl" identicall" irrored in 1*st a fe!
seconds+ !it' no $*ess!or&.
5. T'e )ose in frae 3? =o*r second e2tree> needs to %e t'e sae as frae G so t'at
it can s*ccessf*ll" c"cle =Figure 16.12f>. To 7*ic&l" acco)lis' t'is+ si)l" co)" t'e
&e"s fro frae G to frae 3? and t'en ad1*st t'e M translation.
No! !e !ill clean *) t'e RootKControls &e"s a littleit-s i)ortant to &ee) "o*r
aniation clean+ reo#in$ an" *n*sed &e"fraes.
1 Select t'e RootKControl and o)en t'e Gra)' Editor.
2 ,elete all t'e &e"s+ e2ce)t t'e first and last ones on t'e Translate M c*r#e. Yo* !ant
its M translation to %e a contin*o*s strai$'t line+ as it is in Figure 16.13. T'is !ill allo! t'e
c'aracter to o#e for!ard soot'l". an" e2tra &e"s i$'t ca*se 'er to )a*se as s'e ste)s.
Figure 16.13. *nsure that the &ootNControl>s Translate M
cur:e onl has kes at either end.
[View full size image]
3. Reo#in$ t'ese &e"s a" ean "o* 'a#e to $o %ac& and t!ea& soe of "o*r
)oses+ so $o %ac& and do t'at no! %efore !e contin*e.
Fro t'e side+ t'e !al& is s'a)in$ *) nicel". %*t !'at a%o*t t'e front0 As s'o!n in
Figure 16.14a+ %" s!itc'in$ to t'e front #ie! !e can see t'at 'er le$s are too far
a)art. In a ore feinine !al&+ t'e feet tend to cross in front of eac' ot'er+ alost as if
s'e is !al&in$ on a ti$'tro)e.
Figure 16.14. AdAust the feet so her legs are not too far apart.
1. Select t'e LeftFoot icon and+ in t'e Gra)' Editor+ 'i$'li$'t 1*st its Translate F
attri%*te =Figure 16.15+ to)>.
Figure 16.15. *dit the Translate J kes to =ring the feet in.
[View full size image]
2. No! select all t'e &e"s e2ce)t t'e one t'at lies on frae B+ and o#e t'e do!n
=Figure 16.15+ %otto>. T'is s'o*ld also %rin$ t'e foot in to!ard t'e center in t'e
#ie! )anel+ as seen in Figure 16.14=.
Mo#e t'e &e"s do!n to a%o*t G.B3D and a&e a note of t'e #al*e.
3. No! a))l" t'is sae tec'ni7*e to t'e Ri$'tFoot icon. Edit its Translate F attri%*te %"
o#in$ t'e &e"s to a #al*e of G.B3D =Figure 16.16+ %otto>. T'is %rin$s t'e foot in
t'e o))osite !a" =refer %ac& to Figure 16.14c>.
Figure 16.16. *dit the Translate J kes to =ring the feet in.
[View full size image]
T'e )ro%le !e 'a#e no! is t'at t'e feet !ill $o t'ro*$' t'e le$s as t'e" )ass %". 5e
can fi2 t'is easil" in t'e Gra)' Editor. 5e &no! t'at fraes G and 3? are t'e sae.
t'ese are t'e crosso#er fraes for t'e ri$'t foot+ so !e need to edit %ot'.
Select fraes G and 3? in t'e Gra)' Editor and o#e t'e %ot' do!n+ to a #al*e of
aro*nd G.GC@. T'is s'o*ld o#e t'e foot %ac& o*t in t'e ain #ie! )anel =Figure 16.14d>.
Select t'e LeftFoot icon and o#e its &e" to !'ere t'e crosso#er e2ists =frae BA>
o*t to aro*nd G.GC@.
5e 'a#e no! %loc&ed in t'e aniation for t'e !aist and le$s. Yo* a" need to )la" t'e
aniation t'ro*$'+ or create a )la"%last+ to c'ec& 'o! s'e loo&s fro t'e side a$ain
%efore !e )roceed(
Alterin$ t'e feet )ositions )ro%a%l" eans t'e 'i)s are no! too lo!. if t'is is t'e
case+ select t'e RootKControl-s Translate Y &e"s and o#e t'e *) sli$'tl".
Ma&e ot'er final ad1*stents to t'e %asic )oses and tiin$ as needed+ %*t
&ee) t'e &e"s at t'e ties alread" s)ecified( fraes G+ D+ BA+ ?I+ and 3?.
,egs and Waist.
&e"ne%ent
5it' t'e )oses esta%lis'ed+ !e can no! refine t'e %asic aniation+ $i#in$ Kila a
soot' and realistic !al& c"cle %" addin$ e2tra &e"s and )oses.
Mo#in$ alon$ t'e tieline+ t'e first t'in$ !e can !or& on is t'e !a" t'e feet )lant after
eac' ste). At t'e oent+ t'e" don-t s)end eno*$' tie on t'e $ro*nd+ $i#in$ t'e
i)ression t'at s'e is floatin$ alon$ and 'as no !ei$'t.
1. 5or&in$ on t'e left foot first+ o#e t'e &e"s set at frae D to frae BG. T'is !ill
&ee) t'e foot $ro*nded for lon$er.
Yo* can *se an" et'od "o* li&e to o#e t'e &e"s( in t'e Gra)' Editor+ in t'e
,o)e S'eet+ or %" si)l" 'i$'li$'tin$ t'e and o#in$ t'e in t'e Tie Slider.
2. Mo#e alon$ to frae 3?. T'en select frae ?D !it' "o*r iddle o*se %*tton and
set a &e" at t'is frae. Yo*-#e 1*st co)ied t'e )ose fro frae 3?+ essentiall" o#in$
t'e &e"s %ac&. 5e need to &ee) t'e &e"s at frae 3? %eca*se it is t'e #er" end of t'e
aniation.
3. To ac'ie#e t'e sae res*lts for t'e ri$'t foot+ o#e t'e &e"s set at BA %ac& to B?
and o#e t'e &e"s at ?I *) to ?A.
No! t'at t'e feet 'a#e c'an$ed+ "o* !ill also need to alter t'e 'i)s. Yo* !ant t'e to
dro) 1*st as eac' foot )lants on t'e floor and ta&es t'e !ei$'t.
1. Select t'e RootKControl icon+ and select 1*st t'e Translate Y attri%*te in t'e Gra)'
Editor. Yo* !ill see t'e c*r#e for t'e Y translation+ as deonstrated in Figure
16.17a.
Figure 16.17. AdAusting the hips> Y translation
[View full size image]
2. 5e no! !ant to offset t'e 'i)s- di) so it 'a))ens !'en t'e foot )lants. Select all
t'e &e"s e2ce)t for t'e one at frae B+ and o#e t'e alon$ t'e tieline *ntil t'e
t!o lo!er &e"s+ !'ic' c*rrentl" lie on fraes D and ?I+ lie on fraes B@ and3B
=Figure 16.17=>.
3. Yo* !ill no! need to set ne! start and end &e"s+ or t'e aniation !ill not loo). Mo#e
alon$ to frae 3? and set a &e" on 1*st t'e Y translation. T'is !ill store its c*rrent #al*e
and aintain t'e c*r#e-s c*rrent s'a)e.
4. To create t'e sealess loo)+ "o* !ill co)" t'is e2act &e" to frae G.
Select frae G *sin$ t'e iddle o*se %*tton+ and set anot'er &e" on t'e
Y
translation.
5. Clean *) t'e c*r#e %" deletin$ an" &e"s after frae 3? =Figure 16.17c>.
6. Flatten t'e tan$ents on t'e iddle t'ree &e"s onl"+ %" selectin$ t'e and
clic&in$ on t'e Flat Tan$ent %*tton.
Yo*r ne! c*r#e s'o*ld rese%le t'at in Figure 16.17d.
5e 'a#e no! soot'ed o*t t'e !aist-s aniation+ so let-s do t'e sae on t'e feet.
1. Select t'e ri$'t foot. In t'e Gra)' Editor+ flatten all t'e tan$ents %" clic&in$ on t'e
Flat Tan$ent %*tton =Figure 16.18+ %otto>. T'is !ill initiall" soften all t'e aniation
on t'e foot.
[View full size image]
Figure 16.18. Flatten all the tangents on the right foot.
2. No! select onl" Translate Y. As "o* can see in Figure 16.19+ to)+ on frae D t'ere is
a &e" t'at %rea&s *) t'e nice arc %et!een fraes G and B?. If "o* )la" t'e aniation+
"o*-ll )ro%a%l" notice t'at t'is ca*ses t'e foot to )a*se 1*st %efore it is )lanted on t'e
floor. 5e !ant to reo#e t'is so t'e foot can flo! freel".
Figure 16.19. &e%o:e the e-tra ke in the Y translation.
[View full size image]
Select t'e &e" at frae D and delete it+ !'ic' !ill $i#e "o* t'e cleaned/*) c*r#e in
Figure 16.19+ %otto.
3. T'e sae correction can %e done on t'e M translation+ e2ce)t t'at t'e &e" "o* !ant
to reo#e lies on t'e #er" first and last fraes. Instead of deletin$ t'is one+ !e si)l"
select t'e &e"s and clic& on t'e Linear Tan$ent %*tton+ strai$'tenin$ o*t t'e c*r#es so
t'at t'e" r*n in a ore linear fas'ion =Figure 16.2<>.
Figure 16.2<. Make the "rst and last kes> tangents linear.
[View full size image]
4. No! select t'e left foot and follo! t'e sae )roced*re. Yo* !ant to reo#e t'e e2tra
&e" fro t'e Y translation. For t'e M translation+ t'is tie t'e &e" !e
re7*ire is in t'e iddle of t'e c*r#e+ eanin$ !e can si)l" select it and delete it =
Figure 16.21
>.
[View full size image]
Figure 16.21. )n the left foot1 ou can si%pl delete the e-tra
ke on the M translation.
5e still 'a#e !or& to do on t'e feet+ %*t t'at s'o*ld !ait *ntil after !e !or& on t'e
'i)s. 5e-ll do t'ese no! %eca*se t'eir )ositions co*ld affect t'e feet-s aniation later
on.
5e are no! $oin$ to add a %it of !ei$'t to Kila as s'e o#es. To do t'is+ !e !ill s'ift
'er 'i)s o#er t'e foot t'at is c*rrentl" on t'e floor and ta&in$ all 'er !ei$'t.
1. S!itc' to t'e front #ie! first. 5'ile on frae G+ o#e t'e RootKControl o#er 'er left
foot *sin$ 1*st t'e F translation. Use a sall #al*e of aro*nd G.GB@+ t'is !ill also $i#e 'er
'i)s a s*%tle s!a" as s'e o#es =Figure 16.22>.
Figure 16.22. Mo:e the &ootNControl o:er her left foot.
5'en "o*-re done+ set a &e" on 1*st t'e Translate F attri%*te.
2. No! o#e to frae BA and set t'e sae #al*e+ %*t t'is tie a&e it ne$ati#e(
G.GB@. T'en set anot'er &e".
1 Set a &e" on frae 3?. set t'is one to %e t'e sae as t'e ori$inal #al*e+ !'ic' !as
G.GB@.
2 No! loo& in t'e Gra)' Editor and a&e s*re "o* 'a#e &e"s onl" on fraes G+ BA+ and
3? of t'e F translation. Reo#e an" &e"s t'at lie in %et!een.
3 Finall"+ flatten all t'e tan$ents on t'e c*r#e+ to soot' o*t t'e s!a" of t'e 'i)s.
No! !e !ill $i#e 'er a little !i$$le as s'e !al&s+ %" aniatin$ t'e !aist controller. T'e
first t'in$ !e !ill alter is t'e ao*nt of tilt on 'er 'i)s. 5'en one of 'er feet is )laced
on t'e floor+ it-s ta&in$ all t'e !ei$'t of 'er %od"+ so 'er 'i)s !ill tilt a!a" fro t'at le$.
1. Startin$ on frae G+ rotate t'e 5aistKControl aro*nd t'e M a2is *ntil "o* reac' a
#al*e of aro*nd C. T'e 'i)s s'o*ld tilt li&e t'ose in Figure 16.23+ iddle.
Figure 16.23. Tilt the hips around the M a-is.
Set a &e" on 1*st t'e Rotate M attri%*te on %ot' fraes G and 3?.
Mo#e alon$ to frae BA and set t'e M rotation to C+ tiltin$ 'er 'i)s in t'e o))osite
direction =Figure 16.23+ ri$'t>. Set anot'er &e".
Go to t'e Gra)' Editor and a&e all of t'e Rotate M c*r#e-s tan$ents Flat to
soften t'eir o#eent.
5'en !oen !al&+ t'eir 'i)s- o#eent is in relation to t'e )laceent of t'eir feet. T'e
'i) doesn-t %e$in to tilt in t'e o))osite direction *ntil t'e foot 'as %een )laced+ %eca*se
it-s t'e s'ift in !ei$'t t'at strai$'tens t'e le$ o*t. t'is t'en forces t'e 'i) to tilt a!a"
fro it. 5e need to insert a fe! ore &e"s to i)leent t'is detail.
1 Mo#e alon$ to frae BB in t'e Tie Slider and set a &e" on t'e Rotate M attri%*te.
Follo! t'at !it' anot'er &e" )laced at frae ?C. Yo* are addin$ &e"s 'ere %eca*se t'ese are
t'e fraes 1*st %efore eac' foot )lants.
2 No!+ *sin$ t'e Gra)' Editor+ edit t'e &e"s so t'at t'e 'i)s don-t tilt iediatel". Set
t'e &e" at frae BB to B.C+ and t'e &e" at frae ?C to B.C.
As deonstrated in Figure 16.24+ t'e 'i)s !ill %e$in to $rad*all" tilt *ntil t'e"
reac' frae B?+ t'e )oint !'ere t'e foot connects !it' t'e floor. T'en t'e"-ll tilt
ore 7*ic&l" %efore o#in$ $rad*all" a$ain o#er to!ard t'e ot'er foot.
Figure 16.24. *dit the WaistNControl>s M rotation to %ake the hips
tilt correctl.
[View full size image]
No! t'at !e 'a#e t'e 'i)s- tilt+ !e can i)leent a sli$'t rotation to a&e t'e 'i)s
o#e for!ard !it' eac' le$.-
Mo#e alon$ to t'e first frae !'ere t'e ri$'t le$ is a%o*t to )lant. t'is s'o*ld %e
aro*nd frae BG. Set t'e 5aistKControl-s Rotate Y attri%*te to BG+ and set a &e" on it.
Mo#e alon$ *ntil t'e left le$ is in t'e sae )osition. t'is s'o*ld %e at frae ?A. Set
t'e Y rotation to BG and set anot'er &e".
Mo#e alon$ to frae 3?+ and set t'e Y rotation to G so t'at it-s t'e sae as on frae
G. Set anot'er &e".
No! o)en t'e Gra)' Editor so !e can see t'e c*r#e =Figure 16.26+ to)>. Yo*
Figure 16.25. Add rotation to the hips around the Y a-is.
!ant t'e t!o iddle &e"s to r*n soot'l"+ %*t %eca*se t'is aniation loo)s "o*
!ant to &ee) t'e first and last &e"s as t'e" are. If t'eir tan$ents !ere set to
Soot'+ it !o*ld ca*se t'e aniation on t'e 'i)s to )a*se as it reac'es t'e end of
t'e c"cle.
Figure 16.26. Flatten the tangents on Aust the t;o %iddle kes.
[View full size image]
So select t'e iddle t!o &e"s and a&e t'eir tan$ents Flat+ )rod*cin$ a
soot'er c*r#e li&e t'at in Figure 16.26+ iddle.
Finall"+ "o* need to a&e s*re t'is c*r#e loo)s correctl". Loo&in$ at its c*rrent
)at'+ t'e tan$ents are s'allo!er at t'e %e$innin$ t'an t'e" are at t'e endt'e
start and end &e"s need to %e *)dated so t'e aniation !ill r*n soot'l". O*r
aniation-s id)oint is at frae BA+ %*t !e offset t'e aniation %" t!o fraes. so
t'e ne! id)oint is BD.
5. Mo#e alon$ to frae BD. 5it' "o*r iddle o*se %*tton+ select fraes G and 3? and
set a &e" on t'e Rotate Y attri%*te. T'e c*r#e is no! correctl" %alanced+ a&in$ for a
%etter loo) =Figure 16.26+ %otto>.
T'e a1orit" of t'e 'i) !or& is co)lete. So !e can no! ret*rn to t'e feet and finis'
t'e. 5e-ll *se t'e :allKRotate control !e added to t'e ri$+ so as eac' foot o#es %ac&+
Kila !ill e#ent*all" end *) on 1*st t'e %all of 'er foot.
Use t'e $ridline as a floor ar&er+ and o#e alon$ t'e tieline *ntil t'e left foot starts
to )reat*rel" lea#e t'e floor. T'is s'o*ld %e aro*nd frae I.
T'is ar&s !'ere t'e %all of t'e foot s'o*ld start to rotate+ so o#e %ac& to frae 3.
Set a &e" on t'e :allKRotate attri%*te+ storin$ t'e #al*e of G on t'is frae.
No! o#e alon$ to !'ere t'e foot does lea#e t'e floor. t'is s'o*ld %e at frae BG
=Figure 16.27+ left>. Set t'e :allKRotate attri%*te to I@+ !'ic' !ill )lant t'e %all of t'e foot
%ac& on t'e $ro*nd =Figure 16.27+ ri$'t>. Set a &e".
Figure 16.27. Add ani%ation to the #allN&otate attri=ute.
Set t'e :allKRotate attri%*te %ac& to G !'ere t'e foot 'as f*ll" left t'e floor+ !'ic'
s'o*ld %e aro*nd frae BA. Set a &e" 'ere+ too+ effecti#el" reo#in$ t'e rotation aro*nd t'e
%all of t'e foot.
No! re)eat t'e )roced*re on t'e ri$'t foot. Set t'e :allKRotate attri%*te to G
on fraes BE and 3?+ and t'en )lant t'e %all of t'e foot on frae ?A !it' a
#al*e of /I@.
6. All t'at reains is to flatten t'e tan$ents on %ot' :allKRotate attri%*tes+ to
soot' o*t t'e aniation.
No! "o* 'a#e all t'e %asic &e"s in )lace for Kila-s lo!er %od". Go t'ro*$' t'e aniation
a$ain+ ad1*stin$ it in t'e Gra)' Editor *ntil "o* are 'a))" !it' t'e !al&in$ o#eent of
'er le$s. 9ere are a fe! t'in$s to loo& o*t for(
It a" %e t'at t'e feet raise too 'i$' off t'e $ro*nd+ a&in$ 'er loo& li&e s'e is
!al&in$ in !ater. If need %e+ si)l" o#e t'e 'i$'est Y translation &e"s for t'e feet do!n
sli$'tl".
Yo* a" !ant to add a sli$'t t!ist to t'e feet as t'e" coe for!ard. ,o t'is %"
)lacin$ &e"s on t'e M rotation of t'e feet.
Yo* can also ad1*st t'e &nee )ositions+ )ointin$ 'er &nees in!ard as s'e !al&s.
Pla" t'ro*$' t'e lo!er %od" aniation a fe! ties+ and a"%e e#en $enerate a
)la"%last to see 'o! it r*ns in real tie. Once "o* are co)letel" 'a))" !it' it+ !e !ill
contin*e on to t'e torso.
Torso
Ani%ation
T'e aniation in Kila-s le$s and 'i)s !ill $*ide t'e o#eent of t'e rest of 'er
%od". To add o#eent to 'er torso+ !e onl" need to aniate t'e ain s)ine
controls.
To a&e s*re !e 'a#e co)lete control o#er t'e aniation+ !e !ill aniate one
attri%*te at a tie+ %*t to s)eed t'in$s *) !e can aniate all t'ree s)ine 1oints
to$et'er+ $i#in$ 'er %ac& a soot'+ $rad*al arc as it o#es.
5e !ill %e$in !it' t'e Rotate Y attri%*te+ a&in$ 'er torso t!ist sli$'tl" !it' eac' ste).
As "o* !al&+ "o*r *))er %od" tends to irror t'e lo!er %od"-s actions. T'at is+ !'en
"o*r ri$'t le$ is o*t in front+ it-s t'e left ar t'at is in front. As t'e ar o#es to t'e
front+ t'e torso t!ists+ %rin$in$ t'e related s'o*lder o*t !it' t'e ar. T'is is t'e
o#eent !e !ill no! add into Kila.
1. Select all t'ree s)ine controls. At frae G+ neit'er le$ is o*t in front+ so !e !ill &ee)
t'e torso-s rotations at G. T'is is t'e crosso#er )oint in t'e aniation.
Set a &e" on t'e Y rotation on fraes G and 3? on all s)ine controls. T'ese
fraes need to 'old t'e sae )ose.
2. Mo#e alon$ t'e Tie Slider *ntil t'e ri$'t le$ is as far for!ard as it can $o. t'is
s'o*ld 'a))en on frae D.
Usin$ 1*st t'e Y rotation+ t!ist t'e torso so t'at t'e left s'o*lder o#es for!ard.
In)*ttin$ a #al*e of ? directl" into t'e C'annel :o2 !ill affect all t'ree
s)ine controls and s'o*ld %e s*fficient. !e don-t !ant t'e torso o#eent to %e too
draatic. Set a &e" !'en "o*-re finis'ed !it' t'e rotation.
3. Mo#e alon$ *ntil t'e left le$ is all t'e !a" for!ard. t'is s'o*ld %e on frae ?I. Set a
#al*e of ? in t'e Rotate Y attri%*te+ and set anot'er &e".
()T*
5e *se t'e sae #al*es on %ot' sides so t'at Kila-s !al& is e#en. If one
side o#ed ore t'an t'e ot'er+ s'e i$'t 'a#e a li) or soe ot'er
*nnat*ral o#eent. In soe )arts of t'e $ae t'is !ill %e !'at "o*
!ant. for instance+ !'en s'e is in1*red.
4. 5it' all t'e ain &e"s a))lied+ $o into t'e Gra)' Editor. Flatten t'e tan$ents on t'e
ne! &e"s+ %*t lea#e t'e first and last ones Linear. As "o* can see in Figure 16.28+ "o*
can !or& on all t'ree attri%*tes at once.
Figure 16.28. Ani%ate the spine>s &otate Y attri=utes1 then Gatten
the t;o central tangents.
[View full size image]
Kila-s torso !ill no! t!ist sli$'tl" as s'e !al&s.
To 'el) s'o! t'e !ei$'t %e'ind eac' ste)+ !e can *se %ot' t'e M and F rotations to di)
and tilt t'e *))er %od". As eac' foot )lants on t'e $ro*nd+ t'e 'i) tilts a!a" fro it. t'is
also ca*ses t'e %od" to tilt. Gra#it" and oent* t'en a&e t'e !ei$'t of 'er *))er
%od" di) sli$'tl" %efore catc'in$ *) !it' t'e rest of t'e %od".
()T*
5'en "o*-re creatin$ a !al& c"cle+ as a $eneral r*le t'e s'o*lders s'o*ld
tilt o))osite to t'e 'i)s. So !'en t'e left 'i) is raised+ t'e left s'o*lder is
di))ed.
Let-s i)leent t'e M rotation first.
1. Yo* s'o*ld still 'a#e all t'ree s)ine controls selected. if not+ select t'e all a$ain
and s!itc' to t'e front #ie!.
Unli&e t'e Y rotation+ t'e s'o*lders need to %e tilted !'en t'e le$s are at t'eir
crosso#er )oint+ !'ic' is at fraes G+ BA+ and 3?. On frae G+ set t'e Rotate M
attri%*tes to B.@+ tiltin$ t'e s'o*lders to 'er left+ as seen in Figure 16.29=. Set a
&e" to store t'is at fraes G and 3?.
2. Yo* no! !ant t'e s'o*lders to tilt to 'er ri$'t =Figure 16.29d>+ so o#e alon$ to
frae BA and set a #al*e of B.@. Set a &e".
3. Finall"+ soot' t'e &e"s o*t in t'e Gra)' Editor %" a&in$ all t'e tan$ents Flat
=Figure 16.3<>.
Figure 16.29. 0se the M rotation to tilt the shoulders at fra%es
<1 161 and 32.
Figure 16.3<. Flatten the tangents on the M rotations to
s%ooth out the ani%ations.
[View full size image]
T'e final torso attri%*te to aniate is t'e F rotation. Alt'o*$' t'is !ill $i#e a for!ard di)
to 'er !al&+ )laceent of t'ese &e"s is different fro t'e M rotation. T'is is %eca*se t'e
di) needs to start 1*st after t'e foot 'as )lanted and t'en rise at t'e crosso#er )oint+
%efore di))in$ a$ain !'en t'e ne2t foot $oes do!n.
1. S!itc' to t'e side #ie! and+ !it' all t'e s)ine controls selected once a$ain+ o#e
to frae G. As seen in Figure 16.31=+ set t'e F rotation to ?+ !'ic' s'o*ld $i#e a
s*%tle di). Set a &e" on fraes G+ BA+ and 3?.
Figure 16.31. !%ple%ent the for;ard dip = ani%ating the J
rotation.
1 Mo#e alon$ to frae D and set t'e Rotate F attri%*te to G.C =Figure 16.31d>. In t'is
instance !e don-t irror t'e first #al*e %eca*se t'at !o*ld ca*se 'er to %end too far
%ac&!ard. Set a &e" on fraes D and ?I.
2 Flatten t'e tan$ents in t'e Gra)' Editor. Yo*r c*r#es s'o*ld no! rese%le
t'ose in
Figure 16.32
.
Figure 16.32. Set all the J rotations> tangents to Gat in the $raph
*ditor.
[View full size image]
T'e torso area is co)lete. Loo&in$ at Kila-s !al& fro t'e front+ s'e s!a"s 7*ite a lot.
T'is co*ld !or& !ell for a c'aracter !it' real 4attit*de+4 %*t for Kila !e !ant to cal t'is
do!n a %it. 5e !ant 'er 'ead to %e alost stationar" as 'er 'i)s s!a" fro side to side.
5e can fi2 t'is easil" %" aniatin$ t'e Rotate M attri%*te on t'e ain RootKControl. =If
"o* li&e t'e attit*de and !ant to &ee) t'e e2a$$erated s!a"+ "o* can s&i) t'is ste). or
"o* co*ld red*ce t'e ao*nt t'at !e-re $oin$ to edit t'e aniation+ to $i#e 'er e#en less
of a s!a".>
1. S!itc' to t'e front #ie! and a&e s*re "o* 'a#e t'e $rid #isi%le. As "o* can see
in Figure 16.33a+ on frae G Kila-s 'ead is o#er to t'e left of t'e ain $ridline. 5e
!ant 'er 'ead to sta" ore central to t'at line.
Figure 16.33. 0se the &ootNContr1l to co%pensate for the
%o:e%ent in her upper =od.
2. Select t'e RootKControl+ and rotate aro*nd t'e M a2is *ntil 'er 'ead lines *) !it'
t'e $ridline =Figure 16.33=>. Use t'e )art in 'er 'air as a $*ide.
3. No! set &e"s on t'e Rotate M attri%*te on frae G and frae 3?.
4. Mo#e alon$ to frae BA =Figure 16.33c>+ and a$ain rotate t'e RootKControl+
t'is tie %ac&!ard so 'er 'ead sta"s fi2ed to t'e line =
Figure 16.33d
>. Set a &e".
5. Flatten all t'e tan$ents in t'e Gra)' Editor.
()T*
Yo* co*ld+ if "o* !ant a ore )recise o#eent+ a))l" t'e sae #al*e to
RootKControl-s Rotate M attri%*te in fraes G and BA. 1*st ree%er to a&e
t'e one in frae BA a ne$ati#e n*%er.
T'e torso o#eent is no! co)lete. After t'e rest of t'e aniation is a))lied+ "o* can
loo& at t'e c'aracter-s !al& as a !'ole+ seein$ 'o! e#er"t'in$ !or&s to$et'er. At t'at
sta$e "o* can )la" aro*nd !it' t'e &e"s for t'e torso *ntil "o* $et t'e aniation 1*st
ri$'t.
Ar% and Cla:icle
Ani%ation
Aniatin$ t'e torso 'el)ed s'o! *s !'ere t'e s'o*lders !ill %e at s)ecific ties in t'e
!al& c"cle. 5it' t'ose &e"s in )lace+ !e can %e$in !or& on 'er ars.
At )resent+ Kila loo&s li&e s'e is s'r*$$in$ 'er s'o*lders a little+ so let-s %e$in %"
aniatin$ t'e cla#icle controls and red*cin$ t'is s'r*$. Select %ot' cla#icle controls and
o#e t'e do!n sli$'tl"+ as s'o!n in Figure 16.34 on t'e ri$'t. T'en set a &e" on
1*st t'e Y a2is+ on fraes G and 3?.
Figure 16.34. ,o;er the cla:icle controls.
T'at co*ld %e all t'at-s needed for t'e cla#icles+ %*t feel free to add soe sli$'t
aniation to t'e M and Y translations to $i#e t'e s'o*lders soe o#eenta sli$'t
%o*nce !it' eac' ste).
No! let-s t*rn o*r attention to t'e ars. First )re)are t'e scene %" *sin$ t'e #isi%ilit"
controller to 'ide all t'e icons e2ce)t for t'ose on t'e left side. Yo* !ill %e !or&in$ in
%ot' t'e side and )ers)ecti#e #ie!s+ so in eac' one-s ;ie! en* a&e onl" )ol"$ons
and 'andles acti#e. T'is !ill 'ide all t'e ot'er icons !e don-t need at )resent.
In a %asic !al& c"cle+ t'e ars tend to irror t'e le$s- o#eent+ so !'en t'e left le$ is
for!ard+ t'e ri$'t ar is also. 5e-re $oin$ to concentrate on creatin$ a f*ll s!in$ of 'er
left ar+ *sin$ t'e FK controls. E)lo"in$ for!ard &ineatics !ill $i#e a %etter si*lation
of a s!in$in$ ar %eca*se it-s a rotational/%ased o#eent. If !e *sed IK+ t'e !rist
!o*ld follo! a linear )at' %et!een eac' &e" set+ !'ic' !o*ld %e diffic*lt to aniate and
!o*ld loo& *nnat*ral in t'e end.
:eca*se t'e aniation starts at a crosso#er )oint+ !e !ill start t'is s!in$ at frae D+
!'ere Kila-s ri$'t foot is for!ard+ and end it at frae ?I !'ere 'er ri$'t foot is %e'ind
'er.
1. Mo#e alon$ to frae D. As deonstrated in Figures 16.35= and 16.35e+ rotate 1*st
t'e left s'o*lder+ o#in$ it for!ard sli$'tl". T'en set a &e" on all t'e rotation attri%*tes.
Figure 16.35. Start = rotating the shoulder at fra%es 8 and
24
.
2. Mo#e on to frae ?I. 9ere+ rotate t'e s'o*lder a$ain+ o#in$ it %ac&!ard t'is tie
=Figures 16.35c and 16.35f>. Set a &e" on t'e rotations.
T'e ain s!in$ is in )lace+ so !e can *se t'e ar-s )ose in %et!een t'ese t!o &e"s+
!'ic' is a crosso#er )oint+ to define t'e first and last &e"s for t'e aniation.
1 Mo#e to frae BA+ !'ic' is t'e )oint of t'e second crosso#er. Clic& on frae G !it'
"o*r iddle o*se %*tton+ and set a &e" on all t'e rotation attri%*tes of t'e s'o*lder.
2 Clic& on frae 3? !it' t'e iddle o*se %*tton and set anot'er &e" 'ere.
3 Finall"+ $o to t'e Gra)' Editor and flatten all t'e tan$ents on 1*st t'e iddle &e"s.
5it' t'e %asic o#eent for t'e ar in )lace+ ne2t *) are t'e el%o! and !rist
t'e el%o! aniation+ a&in$ t'e ar a))ear to o#e freel".
1. Mo#e alon$ to frae BB+ !'ic' is 1*st after t'e s'o*lder 'as reac'ed its first &e".
Rotate t'e el%o!+ 1*st aro*nd t'e Y a2is. T'is is deonstrated in Figure 16.36+ left.
Set a &e" on t'e Rotate Y attri%*te.
Figure 16.36. Pose the el=o; at fra%es 11 and 27.
2. Mo#e to frae ?C+ and rotate t'e el%o! %ac& so t'at t'e ar is alost strai$'t+ as in
Figure 16.36+ ri$'t. Set anot'er &e" on t'e Y rotation.
T'e %asic s!in$ is in+ %*t !e can no lon$er *se frae BA as o*r iddle )oint of
reference to 'el) *s on fraes G and 3?. Instead+ !e need to !or& o*t !'ere t'e ne!
iddle )ose !ill %e.
3. Co*nt t'e n*%er of fraes %et!een t'e last &e" created =at frae ?C> and t'e final
frae =frae 3?>. T'ere are fi#e.
4. No! select frae ?C and o#e %ac& fi#e fraes to frae ??. T'is is t'e frae
!'ere t'e el%o! s'o*ld %e as it-s rotatin$ %ac&.
5. Use t'e iddle o*se %*tton to select frae 3?+ and set a &e" on t'e Y a2is.
,o t'e sae on frae G.
6. Flatten t'e tan$ents on t'e t!o iddle &e"s to soot' o*t t'e aniation.
For t'e !rist+ follo! t'e sae )roced*re as for t'e el%o!+ to $i#e it a %it of s!in$.
1. Start %" o#in$ alon$ to frae BB. t'en )ose and set a &e" on t'e 'and
=Figure 16.37+ left>.
Figure 16.37. +e the hand>s pose at fra%es 11 and 27.
Mo#e on to frae ?C+ and )ose and &e" t'e 'and =Figure 16.37+ ri$'t>.
Usin$ t'e et'od !e e)lo"ed for t'e el%o!+ !or& o*t t'e frae for t'e iddle )ose
t'at t'e 'and s'o*ld %e in for fraes G and 3?. Yo* s'o*ld land on frae ??.
5it' t'e iddle o*se %*tton+ select frae 3?+ and set a &e" on all t'e 'and-s
rotations. ,o t'e sae at frae G.
Flatten t'e tan$ents on %ot' t'e iddle &e"s.
s!in$ for!ard and %ac&!ard+ t'e" )a*se sli$'tl" 1*st %efore t'e" c'an$e direction. 5e
!ill no! i)leent t'is into t'e s'o*lder. "o* can t'en a))l" t'e sae )roced*re on
t'e rest of t'e ar.
1. Select t'e s'o*lder and o)en *) t'e Gra)' Editor. As "o* can see in Figure
16.38a+ t'e c*r#es are nice and soot'.
Figure 16.38. Add e-tra kes to %ake the ar% pause
slightl =efore it changes direction in its s;ing.
[View full size image]
&unning in
Place
5'en t'e aniation for Kila is )la"ed in/$ae+ it-s t'e $ae code t'at !ill act*all"
ca*se 'er to o#e. So !e no! need to alter o*r aniation+ reo#in$ 'er for!ard
o#eent. =If "o* aniated t'e c'aracter !it'o*t t'is for!ard o#eent+ "o* can s&i)
t'is section.>
Norall"+ reo#in$ t'e for!ard o#eent !o*ld in#ol#e editin$ t'e RootKControl and
%ot' foot controls- Translate M attri%*tes+ !or&in$ o*t !'ere t'e" s'o*ld %e at s)ecific
tiesas "o* can ia$ine+ t'is can %e a #er" diffic*lt and tie/cons*in$ tas&. To a&e
t'is *c' easier+ I 'a#e s*))lied a scri)t on t'e GC,M s'elf called Spot. As lon$ as "o*
'a#e follo!ed t'e sae nain$ con#entions I 'a#e *sed d*rin$ t'e creation of t'e ri$+
t'is scri)t !ill )*ll t'e aniation %ac& for "o*.
()T*
If "o* are *sin$ a different ri$ or if "o*r naes are different+ "o* can
si)l" renae t'e ain controls to RootKControl+ LeftFoot+ and Ri$'tFoot+
and t'e scri)t !ill !or&. 5'en "o*-re done !it' t'is tas&+ "o* can c'an$e
t'e naes %ac& to t'e ones "o* )refer.
All t'e S)ot scri)t does is !or& o*t t'e distance of eac' foot fro t'e 'i)s on eac'
&e"frae. T'e &e"s are t'en )*lled %ac& !'ile aintainin$ t'is offset. Yo* can do t'is
1*st as easil" *sin$ t'e Gra)' Editor+ %*t it !ill ta&e a !'ile lon$er to co)lete.
Once "o*-#e r*n t'e scri)t+ all "o* need to do is a&e s*re t'e first and last &e"s =G and
3?> are e2actl" t'e sae+ to ens*re t'at t'e loo) is sealess.
Yo* can see %ot' Kila and Grae-s !al& c"cles %" loadin$ t'e files KilaK5al&.% and
GraeK5al&.% fro t'e C,. Yo* !ill also find a selection of O*ic&Tie o#ies in t'is
c'a)ter-s Mo#ies director"+ s'o!in$ %ot' c'aracters !al&in$ fro different #ie!s.
Ani%ation
Archi:e
Kee)in$ all "o*r )re#io*s aniation !or&s in an arc'i#e !ill add efficienc" to all "o*r
aniation )ro1ects. T'ese arc'i#es can t'en %e called *)on !'en needed+ )otentiall"
sa#in$ "o* da"s of !or&.
:eca*se !e 'a#e %*ilt c'aracter sets into o*r c'aracters =see C'a)ter B@>+ !e can *se
t'ese to e2)ort t'e aniation data and i)ort ot'er aniations onto t'e Kila and Grae
c'aracters. 5e do t'is *sin$ t'e Tra2 Editor.
T'e Tra2 Editor is a fantastic tool for ani)*latin$ e2istin$ aniations. Eac' aniation is
stored as a cli)+ !'ic' can t'en %e i)orted onto a c'aracter to create !'ole se7*ences
of aniation. Yo* can e#en ani)*late t'e tiin$+ %lend aniations+ and !or& on to) of
eac' cli) to add i)ro#eents to t'e e2istin$ aniation.
As "o* can see in Figure 16.39+ t'e Tra2 Editor 'as %een draaticall" i)ro#ed in t'e
transition fro Ma"a @ to Ma"a A. In t'is section !e !ill foc*s ore on t'e Ma"a A
#ersion %eca*se it is t'e ost c*rrent+ %*t ost of t'e %asic )rinci)les reain t'e sae
for %ot' #ersions.
Figure 16.39. The Maa 5 Tra- *ditor DleftE and the i%pro:ed Maa 6
:ersion DrightE
[View full size image]
No! t'at !e 'a#e t'e !al& c"cle co)leted+ !e can create a cli). T'is ta&es all t'e
aniation data associated !it' t'e selected c'aracter set=s> and )laces it into a sin$le
node. T'is node can t'en %e !or&ed on or e#en e2)orted as a se)arate file to %e *sed on
a se)arate c'aracter. Note+ 'o!e#er+ t'at "o* *st %e *sin$ t'e f*ll #ersion of Ma"a to
e2)ort a cli). t'e Personal Learnin$ Edition does not s*))ort t'is feat*re.
Let-s first loo& at creatin$ and e2)ortin$ a cli).
1. O)en t'e Tra2 Editor %" $oin$ to 5indo! L Aniation Editors L Tra2 Editor.
2
.
First select t'e c'aracter set %" $oin$ to C'aracter L Select C'aracter Set Node L
KilaKCS. =If "o* are *sin$ Ma"a @+ t'e c'aracter sets in t'e scene !ill alread" %e loaded
into t'e Tra2 Editor.>
3. Load t'e c'aracter set into t'e Tra2 Editor %" clic&in$ on t'e Load Selected
C'aracter %*tton =t'is is t'e se#ent' %*tton fro t'e left on t'e Tra2 Editor tool%ar>.
T'e Tra2 Editor !ill no! 'a#e t'e c*rrent c'aracter acti#e. it s'o*ld loo& li&e
Figure 16.39. Notice t'at t'e s*%sets are also %ro*$'t into t'e Editor.
4. T'ere are t!o !a"s to create a cli). T'e first and 7*ic&est !a" is to clic& on t'e
Create Cli) %*tton+ !'ic' is t'e first one on t'e tool%ar. T'is !ill create a cli) for eac'
c'aracter set =t'e ain set and %ot' s*%sets> *sin$ t'e c*rrent settin$s.
If "o* !ant to confi$*re t'e settin$s %efore "o* create t'e cli)+ 'o!e#er+ $o to t'e
Create L Cli) and o)en t'e o)tions =Figure 16.4<>.
5. In t'e o)tions+ call t'e cli) Kila5al&+ s)ecif" t'at t'e Tie Ran$e !ill %e
dictated %" t'e Aniation C*r#e+ and a&e s*re to ena%le Incl*de
S*%c'aracters in Cli). Clic& on A))l"+ and t'ree ne! cli)s !ill %e created
=Figure 16.41>.
Figure 16.4<. )ptions for creating a clip
Figure 16.41. Three clips are created1 one for each
character set.
It-s a $ood idea to renae eac' of t'ese cli)s to atc' t'e aniation it storessi)l"
do*%le/clic& t'e cli)-s nae in t'e Tra2 Editor. For e2a)le+ renae Kila5al&B to Kila5al&KL:
for t'e lo!er %od" aniation. If t'is cli) is e2)orted later+ )eo)le !ill %e a%le to tell !'at it is.
To no! e2)ort all t'e cli)s to$et'er+ select t'e ain Kila5al& cli) %" clic&in$ directl"
on it in t'e Tra2 Editor. t'en select File L E2)ort Cli) in t'e Tra2 Editor. :eca*se "o* selected
t'e ain c'aracter set to e2)ort fro+ all t'ree cli)s !ill %e e2)orted and stored.
5it' t'e aniation safel" stored+ "o* can no! i)ort it %ac& onto "o*r c'aracter. To do
t'is+ si)l" select t'e c'aracter onto !'ic' "o* !ant to i)ort t'e cli)s+ and $o to File L
I)ort Cli) to C'aracters.
5e 'a#e %arel" scratc'ed t'e s*rface of !'at is a #er" )o!erf*l tool in Ma"a+ %*t %"
del#in$ dee)er into t'e Tra2 Editor !e i$'t find o*rsel#es in a !'ole different %oo&. If
"o* intend to do a lot of aniation !or&+ I recoend "o* s)end soe tie !it' t'e Tra2
Editor to see !'at it 'as to offer.
Su%%ar

For t'e final c'a)ter in t'is %oo& !e 'a#e disc*ssed soe of t'e f*ndaentals of real/
tie aniation. 5e 'a#e also e2)lored Ma"a-s aniation en#ironent and its tools. !e
learned 'o! to create a si)le !al& c"cle.
Yo* no! 'a#e t'e %asic &no!led$e needed to tac&le alost an" aniation sent "o*r !a"+
as !ell as t'e %readt' of &no!led$e to ta&e on nearl" an" tas& in $ae c'aracter
creation.
Appendi- A. (or%al Mapping in
Maa
A TEC9NIOUE USE, in an" of toda"-s $aes is normal mapping. T'is is a et'od of
a&in$ a lo!/)ol"$on o%1ect or c'aracter a))ear to 'a#e ore s*rface detail t'an it
act*all" 'as+ %" collectin$ intricate li$'tin$ detail fro a 'i$'/)ol"$on #ersion and
a))l"in$ it to t'e norals of t'e lo! one. &ormals are t'e #ectors =direction> a s*rface is
facin$.
Act*all" an a))lication of %*) a))in$+ noral a))in$ also !or&s fro a %ita)
ia$e. Noral a)s are different fro %*) a)s+ 'o!e#er+ in ters of t'e inforation
t'e" store. :*) a)s !or& off a $ra"scale ia$e t'at onl" re$isters c'an$es in 'ei$'t.
a noral a) *ses an RG: ia$e+ !'ic' contains eno*$' inforation to store not onl"
'ei$'t %*t direction as !ell.
Red is t'e direction across t'e o%1ect+ fro left to ri$'t. Green $oes fro to) to %otto+
and t'e ao*nt of %l*e dictates t'e 'ei$'t. T'e stron$er t'e color+ t'e ore t'at noral
faces in t'at s)ecific direction.
Noral a)s are %ecoin$ a &e" )art of $ae de#elo)ent+ so it-s i)ortant to
'a#e soe e2)erience !it' creatin$ t'e in Ma"a.
Sste%
&eHuire%ents
To $enerate a noral a)+ "o* 'a#e to %e r*nnin$ Ma"a A or later. T'is #ersion 'as all
t'e a))ro)riate tools t'at allo! "o* to $enerate and a))l" noral a)s.
T'ere-s a )l*$/in a#aila%le for )re#io*s #ersions of Ma"a+ called Ra",is)lace+ t'at !ill
$enerate noral a) data !it'in Ma"a+ %*t it-s a %it *nsta%le. T'ere are also standalone
*tilities fro t'e a1or card an*fact*rers t'at )rocess t'e 'i$'/)ol"$on odel data to
)rod*ce t'e noral a) data. :*t Ma"a A is t'e first in/soft!are i)leentation of
noral a))in$.
In addition+ "o*r #ideo card *st %e a%le to s*))ort noral a)s. Ma"a !ill $enerate t'e
data re$ardless of "o*r $ra)'ics card-s a%ilities+ %*t !it'o*t t'e )ro)er #ideo card+ "o*
!on-t %e a%le to *se Ma"a-s 9i$' O*alit" Interacti#e Render o)tion to #ie! t'e a)s.
$enerating a (or%al
Map
First "o* need to $et Ma"a set *) for $eneratin$ noral a)s.
Go to 5indo! L Settin$s6Preferences L Pl*$/in Mana$er. Yo* !ill see t'e Pl*$/in Mana$er
s'o!n in Figure A.1. T'is is !'ere "o* control t'e )l*$/ins t'at are loaded into eor".
5or& "o*r !a" do!n t'e list *ntil "o* reac' t'e )l*$/in called TransferS*rfaceInfo.ll.
C'ec& t'e %o2es for 4loaded4 and 4a*to load4. t'e )l*$/in !ill %e a*toaticall" loaded t'e
ne2t tie "o* %oot *) Ma"a.
Figure A.1. The Plug@in Manager
5it' t'is )l*$/in ena%led+ "o* can *se t'e Transfer S*rface Inforation tool fo*nd in t'e
Li$'tin$6S'adin$ en*. 5e !ill co#er t'is s'ortl".
To $enerate a noral a)+ "o* need to create t!o o%1ects(
A 'i$'er/resol*tion es'+ fro !'ic' "o* !ill e2tract t'e noral a)
inforation
A lo!er/resol*tion odel+ to !'ic' "o* !ill a))l" t'e noral a)
1. Create t'e first of t!o )ol"$on )lanes. Go to Create Pol"$on Priiti#es L Plane. Set
%ot' S*%di#isions Alon$ 5idt' and S*%di#isions Alon$ 9ei$'t to ?G. T'is !ill $i#e "o* t'e
'i$'/resol*tion es' to !or& !it' =Figure A.2+ to)>.
Figure A.2. Create the "rst1 high@resolution polgon plane and
gi:e it so%e detail.
2. Call t'is ne! )lane 9i$'Res. T'en o#e it across in t'e F a2is and edit it+
raisin$ t'e #ertices as s'o!n in Figure A.2+ %otto+ to $i#e it soe detail. Yo*
1*st need soet'in$ si)le for t'is e2a)le. !e are onl" *sin$ t'e $eoetr" to
deonstrate 'o! noral a)s !or&.
3. Create a second )ol"$on )lane+ settin$ S*%di#isions Alon$ 5idt' and
S*%di#isions Alon$ 9ei$'t to B. T'is !ill %e t'e lo!/resol*tion )lane+ to !'ic'
t'e noral a) !ill %e a))lied. Call t'is )lane Lo!Res.
4
.
,elete t'e 'istor" on %ot' )lanes.
Yo* no! 'a#e "o*r %asic odels =Figure A.3>. O*r ai is to $et t'e sae detail into t'e
lo!er/resol*tion odel t'at !e 'a#e in t'e 'i$'er/resol*tion one.
Figure A.3. The high@resolution and lo;@resolution %odels
:efore !e can $enerate t'e noral a)+ %ot' sets of $eoetr" *st e2ist in t'e sae
)lace. T'is is so t'at Ma"a &no!s !'ic' o%1ect t'e norals !ill %e $enerated fro as
!ell as !'at U;s to fit into on t'e lo!er/resol*tion es'.
Select t'e 9i$'Res odel+ and set t'e Translate F attri%*te %ac& to G.
Usin$ t'e O*tliner+ select t'e 9i$'Res odel. T'en+ 'oldin$ S'ift+ select t'e
Lo!Res odel.
S!itc' to t'e Renderin$ en* set+ and $o to Li$'tin$6S'adin$ L Transfer S*rface
Inforation. O)en t'e o)tions =Figure A.4>.
Figure A.4. Transfer Surface !nfor%ation options
T'e Transfer S*rface Inforation tool !ill transfer s*rface inforation fro a
odel to an ia$e file. 5e can *se it to $enerate o*r noral a).
4. Under Tar$et O)tions+ set Transfer to e2)ort t'e Tan$ent S)ace Norals. T'ese
norals are e#al*ated locall" and can %e rotated to )oint in t'e direction of t'e )ol"$on.
O%1ect S)ace norals al!a"s )oint t'e sae direction+ so t'e" are no $ood for
definin$ o*r a). =Ma&e s*re to cons*lt "o*r lead )ro$raer on !'ic' coordinate
s"ste to *se. t'ere are soe a))ro)riate *ses for o%1ect s)ace norals.>
5. T'e Ma) 5idt' and Ma) 9ei$'t #al*es define t'e si8e of t'e %ita) ia$e.
?@A2?@A is fine for t'is e2a)le.
6. S)ecif" a filenae and location+ and t'e forat for t'e ia$e to %e e2)orted.
7. Set S'adin$ Net!or& to 4Preser#e c*rrent s'adin$ net!or&.4 Yo* !ill need to edit t'e
s'ader !'en "o* a))l" t'e noral a)+ so t'ere is no )oint in creatin$ ne! ones.
8. No! set t'e Al$orit' O)tions(
Set Searc' Met'od to 4Use o*terost intersection.4 T'is controls 'o! eac'
o%1ect-s intersections are 'andled.
Set Searc' ,e)t' to ?. T'is s)ecifies t'e fart'est distance to !'ic' t'e
al$orit' !ill $o to loo& for t'ese intersections.
9. Clic& on :a&e and Close+ and t'e noral a) !ill %e $enerated.
Yo*r res*ltin$ noral a) !ill loo& li&e t'e one in Figure A.5+ alt'o*$' it !ill %e
)redoinantl" in %l*e and not $ra"scale.
Figure A.5. The nor%al %ap
T'e noral a) is no! e2)orted. 5e can a))l" it to t'e lo!er/resol*tion odel and #ie!
it interacti#el" in Ma"a.
Cie;ing (or%al
Maps
5e can no! create a ne! s'ader t'at !e !ill a))l" to t'e lo!/resol*tion )ol"$on
)lane.
1 Start %" o#in$ t'e 9i$'Res )lane across a$ain in t'e F a2is+ so t'at "o* can see
eac' odel se)aratel".
2 In 9")ers'ade+ create a ne! La%ert aterial and call t'is NorS'ader. A))l" it to
t'e Lo!Res )lane.
5'en "o* created t'e noral a)+ Ma"a also created a ne! te2t*re file node
)ointin$ to it. Yo* can see t'is in t'e 9")ers'ade Te2t*res ta% and in Figure
A.6. 5e no! !ant to connect t'is to o*r ne! La%ert s'ader.
Figure A.6. Maa also creates a "le node pointing to the nor%al
%ap.
3. O)en t'e Connection Editor =5indo! L General Editors L Connection Editor>+
and load t'e te2t*re node+ !'ic' s'o*ld %e called fileB+ into t'e O*t)*ts
section. Load t'e NorS'ader into t'e In)*ts section.
4. As deonstrated in Figure A.7+ connect t'e O*t Color attri%*te of t'e fileB node
to t'e Noral Caera attri%*te of t'e NorS'ader node.
Figure A.7. Connect the )ut Color attri=ute to the (or%al
Ca%era attri=ute.
5. No! t'e aterial is set *). all !e need to do is confi$*re t'e #ie! so t'at !e can
see t'e noral a). Go to t'e #ie!-s S'adin$ en* and t*rn on 9i$'
O*alit" Renderin$+ Soot' S'ade All+ and 9ard!are Te2t*rin$.
Figure A.8. Con"gure the :ie; panel so ;e can :ie; our nor%al
%ap.
No! "o* !ill see t'e noral a) a))lied to t'e $eoetr". As "o* can see in Figure A.9+
%otto+ t'is !or&s 7*ite !ell and $i#es t'e flat )lane t'e ill*sion of detail. Ne2t let-s see
'o! it reacts to li$'t.
In t'e #ie!-s Li$'tin$ en*+ acti#ate Use Selected Li$'ts. T'e $eoetr" !ill $o %lac&
%eca*se t'ere are c*rrentl" no li$'ts in t'e scene.
Create a ne! Point Li$'t %" $oin$ to Create L Li$'ts L Point Li$'t.
Mo#e t'is ne! li$'t aro*nd+ and "o*-ll notice t'at %ot' o%1ects- s*rfaces react to it as if
t'e" 'ad t'e sae to)olo$". "et t'ere is a difference of CED faces =Figure A.1<>.
Figure A.1<. #oth o=Aects react the sa%e to the light as it %o:es
around the scene.
Figure A.9. The nor%al %ap is no; :isi=le in the :ie;.
T'e onl" dra!%ac& to noral a)s =as !it' %*) a)s> is t'at t'e" don-t )'"sicall" alter
t'e $eoetr"+ so !'en t'e )lane is #ie!ed fro t'e side+ as in Figure A.11+ t'e ill*sion
is s'attered.
Figure A.11. When not :ie;ed directl1 the nor%al %ap does not
;ork as ;ell
Appendi- #. &eference and
Further &eading
Contained in t'is section are a n*%er of %oo&s and 5e% sites t'at are #al*a%le
so*rces of reference. I 'a#e incl*ded a descri)tion for an" of t'e. t'e" are all
!ort' "o*r tie to e2)lore.
Anato%
#ooks
/natomy for the /rtist+ Sara' Si%let and <o'n ,a#is =,K P*%lis'in$+ ?GGB>
T'is is a a$nificent %oo&+ feat*rin$ ore t'an ?@G )'oto$ra)'s and BGG
dra!in$s de)ictin$ t'e '*an %od" in #ario*s )oses+ !'ile foc*sin$ in on
#ario*s )arts in detail.
0ow to =raw )anga8 3odies F /natomy+ Societ" for t'e St*d" of Man$a
Tec'ni7*es =Gra)'ic/s'a P*%lis'in$+ ?GG?>
T'is %oo& teac'es "o* 'o! to dra! c'aracters in t'e an$a st"le+ %*t it does so
*sin$ soe of t'e %est and ost *sef*l ill*strations I 'a#e fo*nd. Not onl" are
t'ese ia$es clean and !ell dra!n+ t'e" also e2aine )arts of t'e %od" fro
different an$les and )oses.
=ynamic /natomy+ :*rne 9o$art' =5atson/G*)till P*%lications+ ?GG3>
9o$art' 'as a *ni7*e st"le of dra!in$+ one t'at deonstrates )artic*larl" !ell
t'e s*rface feat*res of *sc*lat*re for fi$*res in otion.
0uman /natomy for /rtists8 #he :lements of 'orm+ Eliot Goldfin$er =O2ford
Uni#ersit" Press USA+ BEEB>
If "o*-re loo&in$ for an anatoical reference !it' a edical e)'asis+ t'is is it.
Goldfin$er-s %oo& e2aines e#er" *scle in t'e %od" indi#id*all"+ co#erin$
str*ct*re+ f*nction+ and relation to t'e %od" as a !'ole.
Strength #raining /natomy+ Frederic ,ela#ier =9*an Kinetics P*%lis'ers+
?GGB>
Strength #raining /natomy !as created as a $*ide for !ei$'t lifters to s'o!
e2actl" 'o! certain e2ercises !ere affectin$ *scle s'a)es and str*ct*res. For
artists+ t'e %oo& is an e2cellent #is*al c*e for 'o! *scles !or& in relation to
eac' ot'er and 'o! t'eir s'a)es c'an$e in different circ*stances.
3ridgman4s Complete *uide to =rawing from "ife+ Geor$e :rid$an =Sterlin$
P*%lis'in$+ ?GG3>
:rid$an-s a))roac' to dra!in$ foc*ses on str*ct*re+ %od" ec'anics+ and
r'"t' lines.
Cyclopedia /natomicae+ G"or$" Fe'er and Andras S8*n"o$'" =:lac& ,o$ and
Le#ent'al P*%lis'ers+ BEEE>
Containin$ )encil dra!in$s of '*an and anial %ones and *scles+ t'is is
one of t'e reference %oo&s of c'oice for creat*re T,s.
Ani%ation
#ooks
#he /nimator4s Survival Kit+ Ric'ard 5illias =Fa%er and Fa%er+ ?GG?>
;eteran aniator Ric'ard 5illias 'as !ritten a #erita%le %i%le for t'e as)irin$
aniator. It co#ers e#er" as)ect of aniation and is *sef*l for %ot' traditional
and co)*ter aniators.
#each ,ourself 3ody "anguage+ Gordon R. 5ain!ri$'t =9odder V
Sto*$'ton Ed*cational ,i#ision+ BEEE>
$ot e)actly an animation book, but having knowledge on why we do what we do
is essential to any animator.
#he /rtists Complete *uide to 'acial :9pressions+ Gar" Fai$in =5atson/G*)till
P*%lications+ BEEG>
T'is is an e2'a*sti#e reference $*ide to facial e2)ressions and t'e )s"c'olo$"
%e'ind t'e.
Cartoon /nimation+ Preston :lair =5alter Foster P*%lis'in$+ BEE@>
Good s*))leental aniation %oo& fro one of t'e traditional asters+ t'is
%oo& is c'oc& f*ll of aniation %rea&do!ns+ %ot' '*an and anial.
0ow to =raw /nimation+ C'risto)'er 9art =5atson/G*)till P*%lications+
BEEC>
#he 0uman 'igure in )otion+ Ead!eard M*"%rid$e =,o#er P*%lications+
BEDE>
!!!.conce)tart.or$
!!!.c$c'at.co
!!!.c$tal&.co
'tt)(66c$c'ar.toonstr*c&.co6for*6inde2.)') is a c'aracter aniation
for* t'at e#ol#ed fro t'e ori$inal CGC9AR ailin$ list.
Maa
Sites
T'ere is an enoro*s Ma"a co*nit" a#aila%le online+ !'ere "o*-ll find e2cellent
t*torials+ scri)ts+ and )l*$/ins a#aila%le for free. 9ere are 1*st a fe! sites I find *sef*l.
!!!.'i$'end3d.co
!!!.learnin$/a"a.co
!!!.si)l"a"a.co
!!!.8oorender.co
!!!.di$ital/t*tors.co
!!!.3dcafe.co
!!!.3dl*#r.co
$raphics
Ta=lets
As entioned in C'a)ter E+ $ra)'ics ta%lets are t'e onl" !a" to create )rofessional ?,
art!or& on "o*r 'oe PC =alon$ !it' a decent ?, $ra)'ics a))lication+ of co*rse>.
5aco =!!!.!aco.co> does a nice ran$e of $ra)'ics ta%lets t'at offer 'i$'/
7*alit" res*lts+ alt'o*$' t'e" can %e e2)ensi#e.
Nisis =!!!.nisis.co> 'as a ore afforda%le ran$e of )rod*cts for t'ose on a strict
%*d$et.