06/Jan/2018 – 15/Jan/2018 – Technical and Artistry
I’ve been tasked with modeling Reymond. Below are the references that I was working from, from Andrew’s drawings and some of my own sketches from before Christmas. I had painted Reymond as a towering tree but Mike pointed out that Reymond’s framing would be completely changed with this, changing the comedic audience eye level in the animatic. I’ve therefore resized Reymond’s model to be more at an eye level with Nami and Púca.
Andrew’s drawings of Reymond from the animatic.
I haven’t modeled any facial topology since first year so I started by looking back on my research from back then.
My previous research on head modeling: link
The topology reference from hippydrome came in the most useful:
I choose to start with topology in Maya instead of organic sculpting. I drew out where I thought the edge-flow would be based on the reference from hippydrome. I tried duplicating this by moving edgeloops on a box at first but then I just found it easier to trace my drawing with the quad draw tool. This made a flat plane of facial topology which I then pushed, pulled and pinched with the Maya sculpting tools until it looked like my drawing. I tried to make him chiseled like in the sketch by pinching the topology closer together in places but I hope this doesn’t cause any problems with the facial blend shapes and rig.
Work in progress of Maya sculpting:
Reymond progress turnaround closeup:
Reymond closeup with mesh:
Reymond progress turnaround:
I still need to add more hanging moss on Reymond’s branches and I’m going to experiment between Substance Painter or sculpted displacement maps to create his clumped moss.
I tried to create Reymond’s UVs in as automated a way as possible, as in my previous blog post rendering a tree. The unfold and layout tools have been working a lot better in Maya 2017 than they have before. I wonder if this is because I spent time using the mesh cleanup tool?