Research
For this year’s character creation, we have to create our 3D character/creature. For this character creation assignment, we have to design our creature by blocking it first, using either Blender or Zbrush. We also have to sculpt our character, retypologize it with the use of Blender, and UV map our mesh, adding texture by using Substance Painter as well as posing our character. This subject also includes importing your model into Unreal Engine, where we have to create our backgrounds for our creatures.
In week 1, I mainly focused on finding different references and resources for creating my creature. I gained my inspiration from the use of Pinterest. Pinterest gives a wide range of likes and interests, especially with art. When searching on Pinterest, my main objective was to find images of folklore and mythological creatures. Here are some examples.
For references, I was mainly inspired by a Greek mythical creature called a Satyr. Satyrs were animalistic hybrids who were half human and half goat. Connected with the god of festivities called Dionysus and Pan, the god of winds. Known to be Faun spirits. I loved the idea of a creature that has various characteristics of different parts of the animal/human anatomy. Same as Griffins, who are portrayed as half lion and half eagle.
Before creating my character/creature, I must understand the different approaches to creating a creature, for example, the choice of design, whether I want my creature to have wings or a tail, etc., and why this creature has these characteristics. What are they used for? The character also needs to meet the requirements of the script. Therefore, in week 1, I decided to create a short synopsis for my character. For the synopsis, I decided to use some mythological folklore stories for guidance as well as inspiration, such as the Puca. The Puca is a creature known to shapeshift into different beings. Originated in Ireland.
Character Synopsis: Hello Lamb
The Hello Lamb is a being who lives in Shirakami Sanchi, a Japanese forest located in East Asia. She lives in a cave where she reveals herself during the day, though she doesn’t like to be seen. Hello Lamb is a unique-looking creature. She has a lamb’s face with a human’s body, a pair of eagle wings so she can fly to see the clouds and a fox’s tail. She is a nurturing being who likes her own space, as she is quite shy and scared of human beings. Though she tends to get lonely. She loves to eat plants as she is a friendly herbivore who doesn’t like to eat meat or flesh.
Monster Theory
On week 2, I decided to do my own research into Monster Theory. Monster Theory is all about beasts, demons, and freaks, who symbolise expressions of cultural unease. Shaping a collective behaviour. Some examples of monsters include Dracula, Frankenstein, Chupacabra, dragon, witch, Medusa, ogre, and many more.
Monsters are creatures that are often seen as being dangerous, strange-looking, and aggressive with grotesque features. Often seen as the villains of the story. However, there have been others that go against the theory, such as Beauty and the Beast. Where the beast, Prince Adam, is seen to be this horrible, fierce, furry creature who lives in a castle who is turned to be this sweet-hearted soul who falls in love with Belle, the protagonist of the story.
Character Blocking/Sculpting Pipeline
On Week 3, I invested my time researching the basics of blocking and sculpting a character, whether on Zbrush or Blender. What I learnt when blocking your meshes is that you must start with low-poly shapes/meshes and make sure the shapes that you use are in simple forms with primitive geometry. You would also need to use symmetry to ensure your character proportions are equally balanced. For blocking, you must focus on the main parts of the body in a general shape with a simplistic form whilst using reference for inspiration.
For reference, I used these images that I found on Pinterest that demonstrate the human anatomy and the sheep’s anatomy. I also used Pinterest to also find some concept art designs.
In the second stage of blocking your character, I learnt that when you block your character, you must shape your character in the right size and sculpt it based on silhouette and shape, examining the body from all sides. Making sure the body is equally proportioned and that it has no uneven meshes, or the character could potentially look lopsided. This might depend on the character, as your character might have different asymmetrical features.
After this, you add detail by joining your meshes. Remeshing your blockout and adding layers and smoothness to form/shape the body whilst using symmetry.
Typology
In Week 5 we mostly focused on retypology and how to retypologize your character. For retypology, I used reference images for demonstration and for help/guidance by searching typology examples of faces and animals.
Background Reference
For my background, I used images that represent Japanese forests and whimsical environments.
Reflection
Character Concept Art Designs
On week 1 of character creation, I decided to create 3 different character designs. My main objective at the time was to create a horror-themed hybrid character. For the first design, however, I started off with a simplistic, angelic look. Nothing that is too detailed nor complex. I wanted to make this character look innocent and pure, with human-like hands. I made a decision that this character could have huge eagle wings with little horns and an outfit dated in the 1950s. A fox’s tail, having two cute pigtails whilst wearing a pair of Mary Janes.
For the second character design, however, I wanted my character to have the same sort of look from the first character I made, but she could look more demonic by having blood splatters all over her body, in a torn dress, with a lion’s tail, holding a butcher’s knife. I also thought it would be a good idea for her to have an extra demonic eye at the middle of her forehead.
The 3rd design I aimed for a terrifying look by making my character have a huge, gaping mouth with shark-like teeth and legs of a sheep/goat. Purposely making her horns longer and sharp. I also wanted my character to have her intestines coming out of her body to make her look unappealing with her ribs showing in her half-torn dress.
In Week 2, I showed my concept designs I made, and my lecturer said that the first design was the best choice as it was more simple and appealing. Having less harsh detail, as my last two character designs had too much detail. Making them look confusing and hard to analyse.
Blocking Stage
Week 3 of character creation, I had to block my character’s body first by using spheres. When applying the spheres to Blender, I used the grab tool with the mirror modifier to symmetrise and to form the shape of the body. When making the ears of my character, I had to use a cube mesh and apply a subdivision surface modifier to it for it to look smooth while shaping the ears using the grab tool. Whilst creating my character’s pigtails, I first had to sculpt one sphere and duplicate it multiple times to form a braid. Using images of braids for reference.
I then had to join all spheres to make 1 whole braid. For the hands, I used a video from a creator called Keelan Jonn, a TikToker who is specialised in Blender and 3D art.
Link – https://www.tiktok.com/@keelanjon/video/7285703263473782048?is_from_webapp=1&sender_device=pc&web_id=7417984308105463328
After blocking out my character’s body, I decided to block out my character’s clothing and extra details, such as the bow and wings. For the skirt I used a sphere mesh, removed the bottom half of the sphere, and extruded it, whilst using the grab tool to form the skirt to my liking. I also decided not to do the character’s ruffled headpiece as I thought it would be unnecessary to do as the whole design of the character was perfect without it.
Sculpting Stage
In week 4, I mainly focused on sculpting my character. I started with the body first. For the ears I decided to go for a different design than the ears I did for the blocking stage, as I thought they looked too floppy. When doing the creature’s body, however, I was unable to remewsh my arms to my body, as it would make my fingers all webbed, so I decided to stick with separating two meshes for now and focus on the clothing and accessories.
For the accessories, I had to redo my meshes, and I had to sculpt them again to my liking. For the wings, however, I had to add an extra mesh that wasn’t sculpted, as it had turned my wings webbed if I had merged them together as I applied remesh. For the skirt’s ruffles, I used this video from a creator called OceanOrbs, who is based on TikTok, that demonstrates how to create ruffles using a plane mesh.
Link – https://www.tiktok.com/@oceanorbs/video/7071187990764342574?is_from_webapp=1&sender_device=pc&web_id=7417984308105463328
Retypology Stage – Common Issues
On week 5 of Character Creation, I focused on my character’s retypology. To retypologize my character, I had to use a plane mesh and add a shrinkwrap modifier to it to make it stick to my character’s face and body.
I started off by doing the head first, down to the legs and hands. While I was retopologizing my character, I came across some issues with the typology that I had to fix later after I retypologized the whole body. The common issue that I had was the hands and tail, as the typology wasn’t accurate and well proportioned.
This was an issue I had when adding subdivision surface to my modified plane, as it made my typology way off due to the amount of vertices and edges that was applied as it was too much. Making the face of the character look unseen when the viewport is zoomed out.
Finish/Fixed Typology
This is my fixed typologized object, which I added seams to before UV wrapping my object. After retypologising my character, I had to recreate my creature’s clothing and its accessories, such as the hair, skirt and wings.
Texturing and UV Mapping Stage
These are some UV-mapped accessories that I did in class.
Hair UV Map
This is the UV mapped hair I did in class that I had to restyle last week. I thought this was much better as it made the character look more compelling.
Skirt UV Map
Top (Bib) UV map
Horns UV Map
Wings UV Map
After UV mapping my objects, I had transferred my creature design to Substance Painter, where I applied my textures to my character. I also created a top for my character throughout the retopology week to complete my character’s look, as well as adding eyelashes to my character so she could look more feminine same as eye colour.
Unreal Engine Background Process
In week 9 of Character Creation, I decided to design my character’s background by using my synopsis as a guide so I can recreate my character’s location. I did this by creating a landscape first and then adding my props to my background. I would then sculpt my landscape by using the layers brush, smoothing brush, and texture brush to make the landscape look authentic.
Post Editing/Final Stage
When editing the image of my character, I used a software called Express Adobe, using their adjustments tab to control the image’s colour, contrast, and brightness.
My Final Result
