Tony Jung Creating a Character
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1. Finishing up the body portion of the character. Lower abs, some fatty obliques, and lower back. 2. Building arm.
I like to model the upper body separately from the head. It is the way I like to work, others might like to continue on from the neck on down, but like with the ear I prefer to concentrate solely on the task at hand. This went by pretty quick. I look over some anatomy references I have on hand and I pretty much have an idea of how I want the upper body to look like. Big over developed pecks, big lats and back muscles, and so on. Most of the stuff here is pretty self-explanatory.
I am finishing things off with the ear. 1. I start off with adding edges so I will have enough definition to form the shape of the ear. I also start things off by creating a pole-type topology for the ear. I connect and then rotate the newly-created ring. 2.
This part went by pretty quickly. I decided to give some flesh color to the character and model the cornea. I like to model the cornea, because one, I can spot if I made a mistake with the eye lids; two, to spot if I framed the eye incorrectly, sometimes you might not notice after the fact, that the your eyes come out looking cross-eyed. You can contribute this to bad framing.
The technique I am doing here is something new I have recently started with. In this case I am using the topology brush to create new geometry. The topology brush is such a great tool, and it has multiple usage. it is a powerful tool, yet it remains so easy to use. My background is strongly from an illustrative side so I LOVE this tool, because I can quickly sketch in new geometry or fix certain areas in my mesh, without being destructive to my mesh. I give props to Dave Cardwell from Weta for the idea, but my hat goes off to the Nevercenter guys for bringing to reality this great revolutionary tool, while keeping it simple for users.
Okay, now for the nose. I do not model the nose until about now. The reason is because, the nose is a b*tch to model.
1. Needs more upper body, so I extrude a select path down and tweak the shape out. 2. In this series of images, what I am doing is to work in some topology. What I have currently, only goes in 2 direction, but I need my topology also going in a 3rd direction.
Okay, 1. Now that I got a nice simple topology laid out for the head, I want to work on the neck. 2.
Okay, Here we start with the basis of shaping our form. I am working on creating a male humanoid. 1. The first thing is of course to start with something.
The foot is a tricky thing. The construction isn't all that hard, but making it work and be believable is. The foot needs to have a sense of weight, stability and strength.
The lower body is pretty easy and quick to build. There really isn't many complex shapes, its actually simple when you break it down. Formulating the muscle shapes for the lower body and legs are really about edge flow redirection, by connecting, creating or spinning edges. The trick lies in knowing how to tweak the shapes out from the edge flow. For this you really need to have a trained eye as well as refer to good anatomy material.
Making the hand. I want to make a big hand for the brute, about the size of the forearm. Modeling a hand I have found over time becoming easier and easier, which is kind of funny since it was always the one thing that was difficult for me as an traditional artist, but because of 3D modeling it has helped me with sketching and drawing hands. 1. I start by just form the basic shape I want for the hand. I extrude the boundary edge of the wrist and then I create some additional segments.