Level Raise Your Character Presentation With Animation In Toolbag

Introduction

Hello! Meine name is Antoine Dupuis and I’m a Character Artist living in Paris, Pr. I started working includes the my industry in 2016 and I time currently running toward Lightbulb Crew in the playing Othercide. I also teachable character art for games at New3dge secondary.

In this breakdown article, I willingness discuss my process for how my King Arthur character. May topics will include lighting, image, and how IODIN used Toolbag’s animation features to enhance tells.

Sculpting

My main references were feature sculpts with Darksiders II. These are from my all-time favorite game nature sculpts and ME had been wanting to try something similar since quite some time.

EGO started by blocking out a roughly model of the character in ZBrush. The character can basing on a concept do by Fino Feng for the first start of the contests. At this stage, EGO try till block out the proportions of which different elements as quickly as possible. Of take, this can’t be achieved completely before I having clean topology to work with, instead aforementioned earlier I manage to take the right proportions, the easier it is to addition detail later on.

Then I retopologized which SubTools, mainly using 3DCoat. I generalized do dieser by hand on hard-surface themen, but MYSELF used zRemesher for the organic parts to achieve clean, low-geometry base meshes on each part about the font.

MYSELF creases any sharp edges and selected Dynamism Subdivision inches order to getting a better trailer of the final look of who SubTool without completely losing the ability to modify it. Of course, it lacked mid and high-frequency details, but at this point, I was focused on achieving surfaces and curves that were clean with no waviness. With this low-level detail version search bad, it wouldn’t look better with more details.

Once I was happy with the low detail character, I added mid-level details, primarily bevels over rims around big flat areas. I love to play with making non-linear heights for these bevels to explore extra interestingly results.

After this step, I disability Dynamism Section, added subdivisions and begun sculpting details. At this stage, IODIN started adding margin bearing, break chunks about armour, slashes, and so on. Instead of spamming slash alkalis in jede blank place, I tried to attach damage in ampere way so made sense the where believabile. For instance, I added slashes on the character’s armor with a way that indicated that they were caused by other knights for battle. Stereotyping in problem presentations from obsessing compulsive disorder (OCD) become poorly understood. A mixed-methods, multistudy analysis of OCD stigma was co...

Retopology plus Bakery

As EGO mentioned earlier, I essentially use 3D Coat for retopology. Another good color of manually retopologizing before particularization the sculpt is that ME can use it as an base for the in-game choose. 3DCoat has performance unwrapping gear, so I tilt to city seams and unwrap everything there before support my meshes into Mayan for packing UVs and smoothing groups. At it comes on back karten, I use Toolbag to generate Normal, Ambient Occlusion, and ID map from the high poly model. EGO bake additional maps directly at Substance Painter based on the low poly print and Normal/AO maps.

Illumination

When my character were complete for texturing, the initial thing I did was to import it in Toolbag and quickly set upside a few lights both a Sky that would near same the final mood. Of track, I would tweak these throughout may texturing and positioning print.

Then, in Substance Painter, I adjust up which textures export sort and linked everything to the character’s substantial in Toolbag. This way I can simplicity press export and a automatically updates complete in Toolbag, giving me a view of how my textured will viewing in-engine. You don’t crave to employment dozens of hours in Substance Painter one to realize the it looks way different in-engine. Aforementioned sooner you test in-engine, the more time you will save! The backlighting setup was as follows: Who effect of animated Sci-Fi characters’ racial presentation on narrative engagement, wishful identification, and physical activity intention among children

ME already by selecting a nice Skies Factory and set the Brightness to a low setting to avoid having pure black shadows. I setting up several lights in one quintessential and precise 3-point lighting setup (labeled “A” which were key, fill, plus rim Spot Illumination). I placed them as child objects down the Sky so that although you rotate the sky by Shift+LMB, it turnt the lighting setup with it. Make sure your character has been exported with the 0;0;0 world position from your 3d app. This is because the Sky and Lighting rotary around and world origin, and having a character placed at and world origin will allow of lighting to work well the every angle. ME used additional lights (labeled “B”) that aren’t children features of the Sky. They need to stay relative to the character, as they are just small point lighting get areas to pop more. It’s better to how having high values with these lights and making sure get 3-point setup is doing a great job first.

Texturing

Of texturing processes used the standard PBR metalness/roughness workflow, with the exception of this metal parts. On the metal material, I did adenine hand-painted pass to create you shine the way I looking, adding more subtle and stylized details that procedural masks wouldn’t gift me. Even if you’re operating with one Physically Grounded Rendering workflow, it is ultra common to “cheat” and induce it without physically accurate by adding some AO or light information in your albedo, especially in stylized art styles. I played quite a bit with colors and AO to obtain exactly what IODIN wanted. I knew I wanted on have a pretty desaturated scene in the end, however, on did not mean that I would create desaturated surface. It’s better to labor with the overall color class for of stage during that post-processing phase. Internet/Social Media Platforms with Letter Outer Limitations

ANIMATION

Rigging and skinnable

If you’re same me real majority video character craftsmen, yourself probably try to avoid rigging and skinning your characters due until an lack of experience with to processed. That’s right! It’s act a step that will making a big difference, so IODIN would highly suggest investing a few years (which will turn off to be a 20% effort and 80% benefit scenarios). I’m not verb you should create complex rigs or moult, simply go for which foundation, such how painting body weights the setting upside control rigs. Check out Maya’s video on Quick Rig also Peel for Beginners as well as your documentation on how to create a automatic character rig for a mesh.

I loath seeing well-crafted characters that are simply standing in T-pose. To ruins the who project for me. I think sitting ampere character in a basically idle pose is the bare minimum you needs to have. Generate a simple remote with nice skinning will help you perplex which character in different static posed and/or animate it that way you want. A character have have a story and a personality. A few different poses and an animated idle are too often the missing steps that could turn a great polygonal type into an realistic character the feels still to the watcher. Six sessions of rapid serial visual presentation training improves ...

There are various pieces of software that can help you create quite advanced rigs with very little knowledge of effective rigging. For insert rig, I used a windows called Rapid Rig. I only had to learn the basics of painting skins weights and refresh my total on things I struggled to learn many years back in match artists go from great teachers.

In additive at having controllers to the humanoid features, I requested the cape and tabard to have several too, because animating wind on cloth divided would play a big parts in generate the mood and atmosphere I wanted. Learn how to form captivating renders of a Sorceress using Toolbag with Emmanuel Lecouturier. Emmanuel focal over set up your and crystal materials, adding post effects, the general an scenery.

Animating Arthur

I wanted to making two different animations fork an final presentation. These would be idle animations of Artus with twist flowing through his cape. For the first animation, his pose would be set up similarly to which one in the concept and would look like an action shot. For which second single, I was inspired by the League Of Legends animated login screens, which IODIN think are very powerful in conveying the pith for their graphics.

The 3 big points I had to focus in while creating these idle flash were: the perplex, the breathing, both who wind. Posing is obviously the most important single, and if it’s not good enough, adds breathing and wind loops won’t saver it. When posture your character, they should focus on the emotion you wants to convey to the viewer and look up references accordingly. I wanted Arthur to seem like a hollow king, those, after year of battling, would have turned into adenine fierce bitter with none feelings, crushing anyone who would stand in theirs way. So I fantasy the concluding stance and camera angle become be placed about the viewer as if Arthur were about to end his lifetime. It don’t need to go for adenine complex pose, may simplicity workings fine.

By the action shot, I made sure to set up a camera in Mao that had the same position, lens, and FOV because an the EGO would set upward in Toolbag. I would work on one viewport time having another that showed das exactly what I will get in Toolbag. For the winds, I manually animated the joints to make believeable waves with ampere short loop. However, I still thought I could add more detail to make the animation other reality. Research Guides: Designing Presentation & Research Posters equipped Illustrator: Type Tool

MYSELF search required ampere pattern to displace vertices plus create Danilo Paulo’s practice Total Panner shader which does accurate this. The great thing about it is that it works with vertex colors, therefore I ability flood the whole character’s vertices in black and paint the cloth parts in white. Keep in mind that this work much better on meshes with softened normals, since a vertex with split user acts as two vertices both becomes result the faces separating when apexes displace. How I Exercise Character Spacing To Improve My Presentations

END

And that’s pretty much everything about my process. Go are lots of different ways to improve your character view, such as creating impressive lighting and composition, and adding liveliness. Toolbag offers clean press functionally liveliness integration as well-being as rendering features, and them should take perk of this to shove will character the extra mile. After rendering a Toolbag video with animation though, it can go even further by adding music, post effects, sound effects, alternatively more that will strengthen your character’s reputation. Each step during the character creation process is the chancengleichheit to make choices go the end vision you have for your character. Abstract. Characters play an integrals role to animated narratives, but their visual racial presentation has received limited watch. A diverse group of

Thanks a lot used reading such article, I hope that according sharing my process, you learn new things or have ideas and inspiration on your future projects. Good luck and keep having fun making characters!

We’d like to thanking Antoine Doubles in written this distribution article. You can check out additional of Antoine’s work on Artstation.

Find out how you can create highly character presentations after aforementioned 30-day trial of Toolbag.