Game Development Reference
In-Depth Information
create a character in 3D effectively without visualizing it first in 2D—on paper.
But overwhelmingly, the students who build the best models are working
from of a well-designed character style sheet. In studios this is especially the
case since a character design on paper is much quicker and much cheaper to
create, approve, or send back for revision than one created in 3D.
This doesn't mean that character modelers are necessarily good character
designers, or the other way around. Some of the best characters developed in
class have been designed by one student and modeled by another; however,
the language of visual communication has been that character style sheet.
Considerations of Style Sheets
The best style sheets will often begin on graph paper. This is because having the
front and side views match up exactly is key. When the bottom of the nose is at
the exact same height in both images, when the polygons that define that area
are being constructed, the two images will help inform how those polygons
will need to be assembled. Conversely, if any area of the face is slightly off,
referencing the image can be murderously confusing in the modeling process.
However, just drawing the two images (front and side) lined up is just half
the battle. After scanning in the image, be sure to use Photoshop's guides to
assure that the image is still lined up. Get in close, very close, and make sure
that the nose; eyes; tops and bottoms of ears; tops, middle, and bottom of
lips; knees; crotch; and armpits are lined up correctly. A few extra minutes in
Photoshop will save hours modeling. For further details on this preparation
process see Appendix C, “Preparing Character Style Sheets.”
Arm position is often a contentious issue in the 3D community. Some people
insist on modeling characters in the T pose (arms straight out). The reason for
this often has to do with rigging and skinning. It is definitely easier to skin an
arm pit when it is easily seen because the arms are at the side of the body. Here's
the reason I prefer not to use this: put your arm straight out and with the other
arm feel what occurs at the top of your shoulder (your deltoid). There is a lot of
compression of that muscle and indeed the entire shoulder deforms with a big
bulge of muscle there. However, this bulge of muscle disappears when your arm
is returned to your side. Modeling a character with arms outstretched then leaves
the modeler with an impossible choice—either model the shoulder incorrectly
when it is outstretched, or be left with a bulbous shoulder that is incorrect
once the character is rigged, skinned, and the arm is back at the side. You have
probably seen this sort of 3D character that seems to be in a perpetual shrug;
I prefer to model characters with their arms either at their side or at a 45-degree
angle to their body. Yes, it does make skinning the armpit a bit more difficult
since there are a lot of polygons next to each other, but since skinning tools
have become more effective this is not as big a deal as it once was. The benefit
is that this allows the shoulders to be modeled in the form that they usually are
in—down and relaxed with the deltoids not compressed and balled up.
