Duration 8h 30m MP4

Title: Game Art Institute – Character Creation For Games with Adam Skutt Week 1 – 3

Info:

Curriculum

Assignment #1

Heroic male, age 25 – 40 for example. (topic of character can be discussed, must be humanoid)

Create a hero worthy character from the chest up. This character should be in the realm of characterized

realism. Think Marv, from Sin City. Learn to make choices that help sell the characters personality and

purpose.

For the first project I will go over gathering reference material, establishing a concept/plan of action and

high poly modeling techniques in Zbrush Maya.

Week 1 Demonstrate head sculpting techniques: primary, secondary and tertiary details

Week 2 critique and more demo for high poly clothing and costume elements creation.

Week 3 final critique of high poly model

Assignment #2

Creating a low poly mesh for next gen assets.

Week 4: Using Maya I will demonstrate and discuss optimal topology flow for realistic facial deformations for in game and cinematic characters. Several different topology approaches will be discussed and the pros/cons behind each. Furthermore, students will be shown how to approach topology for clothing, with and without, wrinkle maps and to lessen texture distortion from deformation.

Assignment #3

Creating optimized uvs

Week 5: We will start by creating uvs for the head, and discussing pros and cons of shared uvs within a production pipeline. Later in the lesson I will demonstrate my approach to laying out proper uvs for clothing and costume and elements, and share uv tips and tricks I’ve learned throughout my career.

Assignment #4

Texturing painting and material setup

Week 6: I will go over and demonstrate several methods for painting the head, and then expand on my preferred technique using Mudbox, substance painter and photoshop.

Week 7: Finalize texture creation for heads, and continue on with costume and clothing elements.

Week 8: Review of final textures. Begin discussion of material setup within marmoset and the dreaded video game hair cards. (we will discuss hair card techniques, although the final look depends highly on what game engine and tech is being used.)

Assignment #5

The goal of this assignment is to produce the best possible presentation of the realtime model you have created during this course. We will discuss lighting and composition, material and texture tweaking and low poly adjustments to really nail final silhouette.

持续时间 8 小时 30 m MP4

标题︰ 游戏艺术学院 — — 亚当 Skutt 周 1 — — 3 的游戏的人物塑造

信息︰

课程

作业 #1

英雄男，年龄 25-40 为例。（字符的话题可以讨论，必须是仿人）

创建一个英雄值得从胸口上的字符。此字符应该是领域的特点

现实主义。想马维，从罪恶之城。学习如何做出选择帮助卖出人物的个性和

目的。

我会去收集参考资料的第一个项目，建立一个概念行动计划和

高保利建模技术在 Zbrush 玛雅。

第 1 周展示头雕刻技术︰ 初等、 中等和高等教育的详细信息

2 周批判和高聚服装和服装元素创造更多演示。

3 周最后的高聚模型的批评

作业 #2

创建下一代资产低多边形网格。

周 4︰ 使用玛雅我将展示和讨论在游戏和电影人物现实面部变形拓扑优化流程。方法将讨论的几个不同拓扑和每一个背后的优缺点。此外，学生将显示如何对待用于服装、 拓扑和无，不起皱地图，减少纹理扭曲变形。

作业 #3

创建优化的乌布苏

第五周︰ 我们将首先创建乌布苏头，并讨论共享 uvs 生产管道内的利与弊。在后面的课我展示布置适当 uvs 服装和服装的元素，我的方法，分享 uv 提示和技巧我学会了在我的职业生涯。

作业 #4

纹理绘画和材料安装

周 6︰ 我将复习和展示了绘画的头几个方法，然后展开我使用 Mudbox、 物质画家和 photoshop 的首选技术。

7 周︰ 完成纹理创建为元首，并继续对服装和服饰元素。

8 周︰ 审查的最后的纹理。开始讨论材料安装在狨猴和可怕的视频游戏的头发卡内。（虽然最后看高度依赖于正在使用什么游戏引擎和技术，我们将讨论头发卡技术。）

作业 #5

这项任务的目标是产生最佳可能实时模型，在此过程中创建的演示文稿。我们将讨论照明和组成、 材料及纹理调整和低聚的调整，以真正钉最后剪影。