How to retopologize a full character
How to retopologize a full character
CG Persia
Duration 5h Project Files Included MP4
Info:
From Start To Finish
With almost 5 hours of high-quality training, you?ll learn how to retopologize a full character from start to finish. We cover how to prepare your model in ZBrush, block out the most important loops and how to connect everything up. This exact method has been used for retopo of characters like the Xenomorph from Alien Covenant, and many more.
For All 3D Software
Follow along in your favourite 3D software, like Blender, 3ds Max and Modo! While we?re using Maya 2018, the principles are exactly the same in all other tools. As long as you know how your retopology tool works, you should be able to follow along with no problem, using your preferred 3D package!
Learn How to Retopo for Film
This technique for retopology has been developed while working in the film industry, where the topology requirements are intense! Once you know this method, you?ll be able to retopologize your own characters time and time again. It?s a formula which can be repeated on any character, regardless of style and complexity.
Professional UV Layout
Learn how to quickly and efficiently UV map a full character, which not only has no stretching, but also will be ready for texturing in Mari. By the time we?re done, the character has a very practical UDIM layout, perfect for Mari. You?ll also learn how to copy UVs from one model to another, like the teeth and claws.
How to Retopologize a Full Character
How to Retopologize a Full Character
With almost 5 hours of high-quality training, you’ll learn how to retopologize a full character from start to finish. We cover how to prepare your model in ZBrush, block out the most important loops and how to connect everything up This exact method has been used for retopo of characters like the Xenomorph from Alien Covenant, and many more.
FOR ALL 3D SOFTWARE
Follow along in your favorite 3D software, like Blender, 3ds Max and Modo! While we’re using Maya 2018, the principles are exactly the same in all other tools. As long as you know how your retopology tool works, you should be able to follow along with no problem, using your preferred 3D package!
LEARN HOW TO RETOPO FOR FILM
This technique for retopology has been developed while working in the film industry, where the topology requirements are intense! Once you know this method, you’ll be able to retopologize your own characters time and time again. It’s a formula which can be repeated on any character, regardless of style and complexity.
PROFESSIONAL UV LAYOUT
Learn how to quickly and efficiently UV map a full character, which not only has no stretching, but also will be ready for texturing in Mari. By the time we’re done, the character has a very practical UDIM layout, perfect for Mari. You’ll also learn how to copy UVs from one model to another, like the teeth and claws.
LEVEL: INTERMEDIATE/ADVANCED
This tutorial is made for people with an intermediate understanding of how 3D software works – and who wants to take their work to the next level. While all the steps are shown, it’s expected that you know Maya (or your preferred 3D software) works.
This is a personal license as stated on the FlippedNormals licensing page.
How to Retopologize a Full Character
How to Retopologize a Full Character
How to Retopologize a Full Character
With almost 5 hours of high-quality training, you’ll learn how to retopologize a full character from start to finish. We cover how to prepare your model in ZBrush, block out the most important loops and how to connect everything up. This exact method has been used for retopo of characters like the Xenomorph from Alien Covenant, and many more.
For All 3D Software
Follow along in your favourite 3D software, like Blender, 3ds Max and Modo! While we’re using Maya 2018, the principles are exactly the same in all other tools. As long as you know how your retopology tool works, you should be able to follow along with no problem, using your preferred 3D package!
Learn How to Retopo for Film
This technique for retopology has been developed while working in the film industry, where the topology requirements are intense! Once you know this method, you’ll be able to retopologize your own characters time and time again. It’s a formula which can be repeated on any character, regardless of style and complexity.
Professional UV Layout
Learn how to quickly and efficiently UV map a full character, which not only has no stretching, but also will be ready for texturing in Mari. By the time we’re done, the character has a very practical UDIM layout, perfect for Mari. You’ll also learn how to copy UVs from one model to another, like the teeth and claws.
Contains
Software Used
Chapter List
Level: Intermediate/Advanced
This tutorial is made for people with an intermediate understanding of how 3D software works – and who wants to take their work to the next level. While all the steps are shown, it’s expected that you know Maya (or your preferred 3D software) works.
More Training
Want to learn how to sculpt this character? We cover the entire process in Concept Sculpting for Film and Games.
Reviews
Some good stuff in here but sadly to say i watched this countless times and restarted my project 5 times just to make the hand successful. And i have finally given up. I admit im new and im clearly not grasping the finer points of closing loops when connecting things up. But im just disappointed there wasnt more material explicitly showing how to troubleshoot problems. Pretty discouraging this material wasnt able to help.
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If you’ve watched a lot of flipped normal videos as I have, you’re very familiar with the spiel that the two hosts go through with a video like this. They cover all the same points and repeat them more or less throughout the video.
This video is interesting to watch the process, but I wish it went more into the technique and offered advice on troubleshooting areas.
You often hear things about hiding issues in areas where the model doesn’t deform like in the head or the back of the ears, etc, but you never see them actually do this or even make suggestions on how to manipulate the edge flows to push those problem areas around.
Much of the video is just stressing on using reference, taking things slowly, how easy of a process it is except when it isn’t, a disdain towards trying to achieve perfect topology (and rightly so) and to steal or re-use assets so you don’t have to actually retopologize them like hands and ears.
I think one of my big issues with this video is that it seemed obvious that they were using reference from a previous recording in which they did this video, so some of the trickier areas or decisions you might have to make they just breeze through because they’re replicating what they know they did before in the trial run. This may not be true, but it feels that way.
Overall I enjoy this product, but feel it is way overpriced for what it is.
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I enjoyed this! I’ve been throwing it on in the background while doing a few of my first full-body retopo tasks, and it’s been fairly helpful. It’s good to hear ‘start simple and work up,’ but being shown just how to do this really helps guide the process. The UV help was definitely and unexpected perk, as well as doing retopo on small, repeatable objects and making it work without pulling your hair out. It’s also nice to have the perspective of “this is being done to serve a purpose” rather than drowning in some internet guy’s OCD on having the perfect retopo.
Nifty perks:
– A quick discussion on an approach to clean UVs and UV layout, which I didn’t realize would help me.
– A focus on loops that deform, where topology matters, and where it doesn’t matter
– Preparing for retopo to make your life easier down the line
– How to work back and forth between Zbrush and your other 3d software
– A focus on getting the job done rather than all the technicality and nuance
– A technique on getting big parts of the body to connect up to big parts of the mesh to other big parts, and an implied way of sending new loops around that won’t cause you pain.
– A frank discussion on Maya’s shortcomings. I’m more of a zbrush and blender guy – but it’s nice to know that I’m doing the same thing in blender as I would in Maya, and Maya isn’t just ‘better’ for the job, and I don’t need fancy tools to get this done.
Minor gripes:
– Reducing topology techniques. EG – a 5>2 technique to get you out of a bind. https://topologyguides.com/loop-reduction
– Maya only files for reference – it’d be nice to have an FBX kicking around of the retopologized object to take a look at and steal from.
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Great value. Videos are very informative and entertaining to watch; useful for both a beginner just starting to retopology or as a refresher on key concepts to think about when retopologizing. Only complaint is the only files provided are maya and zbrush files, fbx or obj(s) of the finished model would have been useful for those not using maya and/or zbrush as I would have liked to view the finished model as a reference for good humanoid topology
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Great content for anyone heading into the territory of character modelling. You will learn the proper workflow to deal with the retopology of any kind of organic form.
You can probably remove the “Level: Intermediate/Advanced” information in the description since I doubt that anyone would jump into retopology without doing some basic modelling first. The information in the tutorial is enough to easily follow up [regardless of your level] since you have provided us with all the necessary files.
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Great tutorial; most of the time you get boring voices and boring scripts on paid tutorials, but with this one you feel like your just chatting with a couple of goofy friends while they guide you through the retopo process. im glad for my purchase and would recommend it to anyone who’s feeling confused about starting or learning why retopology matters. one thing i would have loved to be explained tho is where should i use a 5 to 3 pole terminations, or how to move poles around, but i guess that’s for an advanced retopo tutorial.
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Well-spent money. Videos are not only informative, but also fun to watch and re-watch.
I find it extremely hard to learn when your tutor is dull and boring as freezing hell, so the “fun” part is pretty important to me.
No magical “perfect-topology-100%right-for-any-case” formula inside, but that’s just how life is, I guess. Instead, this tutorial made me more confident about working with retopology in general, and UV chapters seemed as a very nice bonus – I have never ever used UV-editor in Maya before, and now I know how that powerful tool works.
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I’m so glad i came across Flipped Normals, it was fun to learn as well as informative and I’m happy to have my mind blown on a quick way to retopologize characters. I highly recommend this tutorial especially for beginners.
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Great tutorial for people who started using Maya in the production pipeline.
Easy to understand (frustrating when you suck->me) but you can easily understand the steps and how to make a good retopo for your characters.
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Sculpting & Texturing: Stylized Character in 3D
Manuel Sitompul shared the breakdown of a stylized character based on Jake Wyatt‘s comics: sculpting the body, modeling clothes, retopo, and texturing.
Motivation
The journey started when I participated in a competition hosted by Yekaterina Bourykina. The challenge was to create a hand-painted character bust, with the prize being a mentorship. I ended up winning the competition and gaining tons of experience in hand-painting!
The 3D character bust I started my hand-painting journey with:
Thoughts & Goals
After the 3D bust was received so well, I wanted to set the bar higher and create a full character. I’m a big fan of Jake Wyatt and his Necropolis comic, so I decided to create the protagonist from the comic.
The biggest thing I wanted to nail in this project was the emotion. The girl is an incredibly ferocious character filled with rage, which she eventually demonstrates by slaughtering a bunch of bad guys. Those kinds of emotions aren’t easy to translate into a 3D model, but I took it as a challenge.
The reference board for Jake Wyatt’s character from Necropolis:
Sculpting the Character
I started the character by creating a blockout in ZBrush. Creating quick blobs in the shape of a human allowed me to establish the anatomy and style pretty quickly.
Basic blockout I made in ZBrush:
I continued by Dynameshing the blockout and refining the basic shapes of the body. Adding muscular detail wasn’t a priority because it was not yet determined where the clothing pieces would cover up the body. Additionally, using a hand-painted workflow allowed me to work less detailed because the sculpt would only be used for a diffuse bake, which I could simply paint over.
Dynameshing and smoothing the blockout to create a simple mannequin:
While sculpting the face, it was very helpful to have some additional features in place, such as eyebrows, eyelashes, and hair. For the hair, I used a haircurves brush, edited by Chris Whitaker and called makkon_haircurves_03. The eyelashes and other pieces of special geometry were simply modeled in Maya and put in ZBrush. I advise anyone who is new to sculpting: if there’s any task that seems easier in your preferred modeling software, it’s probably worth it.
Using makkon_haircurves_03 to create the hair strands and modeling the eyelashes in Maya:
The girl from the comic has very dynamic and wrinkled clothing, so it took me some experimentation to figure out how to approach this problem. I started by creating a simple dress in Marvelous Designer, which allows me to create realistic creases in the clothing.
Experimenting in Marvelous Designer to create clothing:
In the end, I decided to manually sculpt all the clothing except the skirt. In this case, I liked the amount of control I had by sculpting the folds by hand. Even though it isn’t as realistic as a Marvelous Designer simulation, I could get away with it because of the hand-painted nature of the project.
Using ZBrush to create the clothes was incredibly easy, I simply took the base body, masked it, and used Subtool > Extract with a subtle Thickness. I continued by using the Standard brush to paint some folds.
The process of creating clothes:
Various stages I went through while creating the sculpt:
Retopologizing the Character
When the sculpt was finished, it was time to create a low-poly version which I could bake the sculpt on. I merged all my subtools with Merge > Merge Visible. Unfortunately, Maya doesn’t like a 12 million poly mesh, so I had to decimate the mesh using Decimation Master to lower the polycount a bit.
When the decimated model was in Maya, I made the object live and used Quad Draw to draw the faces on the mesh. I used this technique to retopologize the entire character. I ended up connecting a lot of the clothing to the skin, which would help me skin the character more easily, and result in fewer artifacts in animation.
The final topology of the character:
Texturing the Character
I started this project to build some experience in hand-painted textures. Just like for my last hand-painted project, I used 3D Coat because of its dynamic link with Photoshop. Not only is this great because painting in Photoshop is so versatile, but 3D Coat also allows me to make projections of the 3D model, which I can paint over in Photoshop.
For this project, I decided on diffuse-only textures, which means the final product will not interact with lighting in any way. This means all the shadows, reflections and highlights must be painted by hand.
To start off, I wanted to create some base colors and basic lighting. I imported my model into Substance Painter and baked the high-poly model on the low-poly. I continued by using an incredible smart-material called SoMuchDiffuse, which took the high-poly sculpted data and baked material information down into a single diffuse texture. Using this tool, I added base colors and gradients for every part of the character.
The base character texture generated with the use of SoMuchDiffuse:
This is where the hand-painting starts. I continued by exporting the new diffuse texture and importing it into 3D Coat. My painting process is very straight-forward: my main focus is always to add more definition and highlight to the areas that I want the viewer to focus on, which is the face in this case. I started by painting lighter values fading from the middle of the face, which gives the face more depth. Additionally, I tried painting a lot of different hues in the face such as reds, greens, and blues. I treat this process no different than painting a character in a 2D illustration.
Using the base made in Substance Painter to hand-paint over in 3D Coat:
The eyes, in particular, were fun to make! The vertex in the center of the eyeball is going inwards to create a parallax effect. Additionally, there’s a separate mesh for the cornea, on which I painted the eyes’ reflection. Because there’s a distance between the reflection and the pupil now, the eyes have much more depth.
The cornea is a separate mesh from the eyeball itself, adding depth to the eye:
I couldn’t call the textures finished until the character was fully rigged and posed. For example, changing the position of the arms can create new shadows and creases which I need to hand-paint. I proceeded to create a basic skeleton for the character and a few bones for the facial expression.
The skeleton of the character:
Settling on a pose and the facial expression took a while. Eventually, I settled on a specific panel from the comic (Chapter 01, page 10), where the girl held a simple but strong pose. When all the posing was done, I could paint the shadows and ambient occlusion, because I finally knew which side of the limbs would face outwards and which parts would collide.
The textures before the posing was done, and the textures after I painted according to the pose:
Environment
I think an important part of selling your character is the presentation. You can spend hundreds of hours on a project, but if you don’t present it right, people will miss out on what you made. For this project, I cared a lot about emotion and immersion in character, so I tried to take that into account when presenting. Adding a simple pedestal wouldn’t be very immersive, so I decided to create a small animated forest environment around the girl.
The process of building the natural environment:
Retrospective
I have never done a hand-painting project of this scale, and it’s safe to say it was quite a challenge. Getting all the materials to feel coherent while keeping the hand-painted details consistent in the character and environment was something that took me a lot of iterations.
However, the biggest challenge was the face. The character is supposed to be an incredibly angry and fierce young woman. Yet at the same time, I needed to sculpt her in a neutral pose so the character could be used in possible future scenes where she is conveying different emotions. In retrospect, I would’ve sculpted the character with an angry expression immediately, so I didn’t have to wait until rigging to get the feeling of the scene. I could always resculpt the face if I need new expressions.
Afterword
If you got this far, thank you for reading! I hope this inspires you to make something new!
You can find me on Artstation and Twitter. Feel free to send me a message if you have any questions!
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