Week 6 – Character Design and Model – Advanced Experimental Animation Unit

Unit 2.1 Advanced and Experimental 3D Computer Animation Techniques – Project 1, week 6.

Character Design Preproduction

Figure 1. Character Mood Board – Secondary Research.

*Figure 2.* Character Models and Rig – Secondary Research.

Figure 3. Low Poly Quadruped Models – Secondary Research.

Figure 4. Reference for dog run cycle (Daemon3d, 2018).

I decided to choose a bull dog as the character for my animation. The reason for this choice is to subvert the associations with adult bull dogs with the animation’s theme: fear in new experiences when young.

Stylised style- cartoony appearance. mention. as well as colour scheme.

Character Design

Character Profile

Name: Luna

Gender: Female

Age: 4 months

Weight: 29 lbs

Species: Canine

Breed: Boxer

Design

*Figure 5.* Early sketches of character.

*Figure 6*. Side and front view for modelling.

Character Modelling

Canine Anatomy Shape and Movement Notes

Shape According to canine anatomy, the front torso should be wider to accommodate the ribs. Then smaller around the waist, just before the legs, with a lot of muscle and stretching skin than connects to the legs. There should be shapes of ‘shoulder’ that move more than the main body above both sets of legs.

See the source image — *Figure 8.* Source: (Pinterest, n.d [1]).

*Figure 9.* (Micheau, Hoa and Boroffka, 2022).

Character Design Notes

Large head, eyes, nose and thick legs to make the appearance appropriate for the character’s age and for my visual theme so far. I added a bulky torso and a thinner backside to contrast, as well as clear body shape curves. This should make a sufficient design, fit for my purpose.

Modelling

Figure 10. Modelling reference (Velazquez, 2017).

I used the video above to help with the modelling process.

*Figure 11*. Modelling start, main body.

*Figure 13.* Paw model. Three toes, slightly slanted.

I made an area fit for the eyes, and extruded inwards to add another section to work with. Then followed the YouTube tutorial about how to make the around the eyeball area, ensuring that I had the correct amount of edge loops, so that I can attach this part to the main body later. I made the around the eye area with a pipe polygon mesh and moved it around the eye accordingly. When that was done, I extruded another edge loop, and attached it to the holes I made in the dog’s body mesh.

Figure 15. Creating around eye mesh with reference (Ogli, 2019).

*Figure 16.* Then I deleted these faces and attached the around eye mesh that I made earlier.

*Figure 18.* Skin in-between leg and body.

I bevelled a few edges between the back leg and lower spine. Then by extruding these edges, the result is the stretch skin part that is usually on the dogs body in this area (see image above).

I did not include the inner mouth models, I deemed that they were not necessary as I should not need to open the mouth at all.

Eyeball

I used this very helpful video as reference to model and texture the eyes. The method seemed very professional, also, I was very happy with the appearance of the outcome.

Figure 22. Eye ball model and texture reference (Cheparev, 2021).

While the eyeball could have been modelled very simply with only a sphere and texture, I wanted to learn a more professional method to modelling the eyeball. What it is that is necessary to include. The video reference above models the eyeball, iris, lens and sclera. The sclera will be a shiny, transparent layer surrounding the eye. This will provide the necessary sheen.

*Figure 24.* My eyeball model. Pupil is empty of mesh.

*Figure 25.* Inner lens is positioned as an inside to the pupil. This makes it more realistic considering way the light works with the eye due to the lens.

Reference for eyeball part materials: (Anatomy – Eyeball, n.d.)

*Figure 26.* Finished, smoothed eye model.

I used the sculpting tools to smooth out the facial geometry and create the eye shape. Once the eye modelling was complete according to the reference tutorial, I realised that the iris was too small. A dog’s iris is normally larger than humans. Therefore, I remade the eyeball in order to increase the size of the iris, and yet I kept the previous attempt in order to compare the two.

*Figure 27.* (Anatomy Of A Dogs Eye, n.d.).

Further Model Edits

*Figure 27.* Added more edge loops to fit smoothed mode.

Character Model Silhouettes

UVs

I had no trouble deciding where the Uv cuts should go as I am quite experienced with Uving. I implemented the ‘3D cut and sew’ tool while using object symmetry which was a quick method that I had no trouble with.

*Figure 31.* Using symmetry tool for UVs.

I used the ‘UV symmetrize’ tool for the first time, this shortened the time it took to make the UVs drastically. Although, it required some time to understand and get used to, this was the perfect tool for my model’s Uvs. The tutorial reference for this method was figure 33.

Figure 33. Reference (FlippedNormals, 2018).

Texturing

Reference for eyes. (I used this to help make art eye concept).

*Figure 34*. Reference to think about the eye from an art concept perspective (Canine Eye Notes pt 1 by TamberElla on DeviantArt, n.d.).

*Figure 35*. Reference image for dogs eye. I like the idea of having a light eye colour (GettyImages, n.d.).

I used Substance Painter to create my texture maps. This allowed me to accurately see how the textures look on the model in real time and adjust them appropriately. Additionally, Substance Painter automatically produced the various maps I needed.

Rough Notes

Texturing: I thought about making xgen hair on the puppy character, however, I want to reduce rendering time as much as possible. I already have enough strain on my computer because of the xgen grass and all of the environment models. However, I will produce the illusion of hair using substance painter, brushes on the software and grooming directional hair lines. There is one thing I wanted to add to the character which may increase the strain on the computer and rendering time- an n-cloth ribbon instead of a leash. This should exaggerate the puppy’s movements since it will be moving about as much as body using the follow-through animation principle.

Animation notes: The types of animation that I plan for my character are hardly difficult or complicated, however, they prioritize expression of personality and purpose. Additionally, I will be focussing on transitioning between animations smoothly.

Texture Maps: (There are more, but I included only these since there is not much to show with the others).

I utilised this reference to aid me in understanding how hair is textured in Substance Painter. I began replicating this method to view the results on my character model.

Figure 38. Substance Painter hair reference (Shaw, 2020).

*Figure 39*. Mass producing hair texture, in Substance Painter, with figure 38 as a tutorial reference.

The figure 39 was using the method mentioned previously, using the reference video. I did not like how I could not customise the direction of the hairs. This was not suitable for me to use, however, I did take inspiration form the method. By painting two layers with hair brushes, and varying the colours to a shade lighter and darker than the base colour, I produced a professional looking result.

*Figure 40*. I added hair directional line guides so that I would follow these as I added the hair.

Figure 42. What the added materials looked like when material was applied.

As you can see in figure 42, the definition that the geometry allowed varied limitations. Unfortunately, the nose seemed to be lacking in divisions enough to add proper detail. With enough clean up and coverup, this should be fine. I do not want to spend more time on this part of the project. So that I do not loose time in other areas.

Adjustments

Eyeball Texturing (using photoshop as shown in the technical tutorial video above).

I initially tried to make the eyeball look as it does in my colour design sheet with dark blue instead of the white area. Since when you look at dogs, the tend to only have a dark colour around their iris, considering how much space the iris takes up. However I decided to change this once I saw how it looked rendered.

Adjusted the shading- increased. Eyeball experiment and adjustment.

Gradient of Shading

I think I should increase the shading gradient on the dog’s body texture. Especially under the head, neck, the ears, around the mouth and around the eyes should be darkened. The experiment with the eyes failed, I will revert to the white eyeball instead of blue.

I initially tried to use the ‘advanced skeleton’ plugin to drastically decrease the rigging time, however, when I tried to generate the rig after placing the joints from the imported quadruped, this step didn’t work. Therefore, I built the rig manually from scratch. At the least, this was a valuable learning experience that taught me how to rig a quadruped.

Ribbon

I intend to add a ribbon to my character in place of a leash. Also, if I make it with n-cloth, this will emphasis the erratic puppy’s movements since the ribbon will be waving about. on the other hand, the fact that I will be using n-cloth will increase the rendering time.

Rough Notes:

Playblast: silk pre-set material is too stretchy, although I like the vast movements that it produces. The ribbon doesn’t stay to the side of the dogs body. I believe, that if I add a point constraint to the ribbon at the knot point, the constraint would be to the world and not the body. I will have to check on that.

T-shirt pre-set material is not much better. Slightly less movement that silk.

Because the ribbon seems too stretchy, I though about deleting some edge loops around the neck area. I can’t scale the ribbon in any more than I already have, therefore, this is the only option. Nevertheless, this may not affect the elasticity at all, instead this may only create a less defined shape.

Character to Environment Scaling

Play Blasts of this Weeks Development so Far

Figure 47. Dog asset development progress.

Other References

References

Cheparev, A., 2021. 3D Modeling an Eye in Maya – Texturing in Photoshop. Available at: <https://www.youtube.com/watch?v=X8kiB3ZDvUA> [Accessed 26 March 2022].

Daemon3d, 2018. Stylized puppy. Available at: <https://www.youtube.com/watch?v=1gKZ5pC09ZM> [Accessed 26 March 2022].

FlippedNormals, 2018. UV Tools You Didn’t Know in Maya 2018. Available at: <https://www.youtube.com/watch?v=WGiVzueGc3Y> [Accessed 26 March 2022].

GettyImages, n.d. [image] Available at: <https://www.gettyimages.co.uk/photos/dog-eye-close-up> [Accessed 26 March 2022].

Micheau, A., Hoa, D. and Boroffka, S., 2022. Dog – General anatomy (Illustrations). vet-Anatomy, [online] Available at: <https://doi.org/10.37019/vet-anatomy/398378> [Accessed 19 March 2022].

Ogli, I., 2019. 3D Modeling Tutorial -Modeling a stylized Character head ready for Animation in Maya 2022. Available at: <http://(An English bulldog’s skeletal and superficial muscle system study I did! Plus a digital painting of the entire dog. | Dog anatomy, English bulldog, Anatomy, n.d.)> [Accessed 26 March 2022].

Pinterest. n.d. [1] Anatomy Of A Dogs Eye. [online] Available at: <https://www.pinterest.co.uk/pin/431008626822075044/> [Accessed 12 March 2022].

Pinterest. n.d. [2] Canine Eye Notes pt 1 by TamberElla on DeviantArt. [online] Available at: <https://www.pinterest.co.uk/pin/25051341667600641/?mt=login> [Accessed 26 March 2022].

Rodsncones.blogspot.com. n.d. Anatomy – Eyeball. [online] Available at: <http://rodsncones.blogspot.com/2014/05/anatomy-eyeball.html> [Accessed 12 March 2022].

Pawlina, W. and Ross, M., 2006. Histology: A Text and Atlas – With Correlated Cell and Molecular Biology. 5th ed. USA: Lippincott Williams & Wilkins.

Shaw, N., 2020. How to Texture Hair in Substance Painter. Available at: <https://www.youtube.com/watch?v=-dRjb_-LpCg> [Accessed 26 March 2022].

Velazquez, C., 2017. Dog Modeling tutorial pt.3 [Maya 2017]. Available at: <https://www.youtube.com/watch?v=Nl7a5w2x9GI> [Accessed 26 February 2022].