Issue058 June2010

Interview IlyaNedyal

TheGallery AdamSkutt,AliChenari, YiminZhang &more! ProjectOverview “JudgeDeath” by PetrNasirov FREE–InsideLook! DigitalArtMasters: Volume4 ProjectOverview by WeiyeYin

-FreeEnvironmentLighting ArtistScene&Textures -FreeRiggingScenes -FreeMudboxBaseMesh

SculptingaFemaleCharacter Thismonth WayneRobson sculptsanobesewomaninthesecondpart in our MudboxFemaleCharacterCreation tutorial series. RigCreation Chapter threeof our IntroductiontoRigging tutorial series for3dsmax& Mayawill showhowtocreatetherigforyourcharacter. NEW!!IndoorEnvironmentLighting:Sunset/Sunrise Movingindoors ViktorFretyán , Jamiecardoso , LucianoIurino and Fredi Voss will kickstart thisallnewEnvironmentLightingtutorial series.


Editorial Hello everybody and welcome to the 58th issue of 3DCreative

Contents What’s in this month? IlyaNedyal Self-taught 3d artist TheGallery 10 of the Best 3D Artworks NEW!! StylizedToonAnimal Chapter 1: Concept and Modeling Mudbox Female Character Creation Chapter 2: Obese IntroductiontoRigging Chapter 3: Rig Creation - Part 1 “JudgeDeath” Project Overview by Petr Nasirov “Fly Together” Digital Art Masters: Volume 4 – Free Chapter NEW!! Indoor Lighting Series for 3ds Max MR & V-Ray, Maya & Cinema 4D Aboutus 3DTotal.com Ltd Information & Contacts


ThisMonthweFeature: AlexanderSchumann IndunilRanwake



Interview IlyaNedyal

Interview IlyaNedyal

TsvetomirGeorgiev MaartenVerho ve FedericoScarbini AliChenari RudolfHerzog

TheGallery AdamSkutt,AliChenari, YiminZhang &more! ProjectOverview “JudgeDeath” by PetrNasirov FREE–InsideLook! DigitalArtMasters: Volume4ProjectOverview by WeiyeYin

Having landing his first professional job and the young age of 17, self- taught3dartist IlyaNedyal takes timeaway fromworkingonone ofCrytek’s future release to chat with us in our latest3DCreative interview. 006

TheGallery AdamSkutt,AliChenari, YiminZhang &more! ProjectOverview “JudgeDeath” by PetrNasirov FREE–InsideLook! DigitalArtMasters: Volume4ProjectOverview by WeiyeYin

YiminZhang AdamSkutt XuFei

magazine. This month we are very excited to launch 3DCreative in a great new format that offers an abundance of new features that we hope you all enjoy. Among the new features are video’s that can be viewed directly on the page and an

-FreeEnvironmentLighting ArtistScene&Textures -FreeRiggingmodel -FreeMudboxBaseMesh


-FreeEnvironmentLighting ArtistScene&Textures -FreeRiggingmodel -FreeMudboxBaseMesh

SculptingaFemaleCharacter Thismonth WayneRobson sculptsanobesewomaninthesecondpartin our MudboxFemaleCharacterCreation tutorialseries. RigCreation Chapterthreeofour IntroductiontoRigging tutorialseriesfor3dsmax& Mayawillshowaboutcreatingyourrigforyourcharacter. NEW!!IndoorEnvironmentLighting:Sunset/Sunrise Movingindoors ViktorFretyán , Jamiecardoso , LucianoIurino and Fredi Voss willkickstartthisallnewEnvironmentLightingtutorialseries.


The aim of these tutorials is to provide an efficient andmethodicalapproach to creating AnimalandHumanStylizedCartoon characters.These tutorialswill give a detailed explanation of how to create your character from the concept stage through to themodeling, posing and texturing.The first three chapters of the serieswillbe focussed on creating an animal characterwith the second three focussed on the human character.

SculptingaFemaleCharacter Thismonth WayneRobson sculptsanobesewomaninthesecondpartin our MudboxFemaleCharacterCreation tutorialseries. RigCreation Chapterthreeofour IntroductiontoRigging tutorialseriesfor3dsmax& Mayawillshowaboutcreatingyourrigforyourcharacter. NEW!!IndoorEnvironmentLighting:Sunset/Sunrise Movingindoors ViktorFretyán , Jamiecardoso , LucianoIurino and Fredi Voss willkickstartthisallnewEnvironmentLightingtutorialseries.


““Ilandedmyfirstjobin thegameindustrydoing cinematicvehiclemodels forGhostRecon2.””

Chapter1| AprilIssue056 Planning yourRig Chapter2|MayIssue057 Knowing yourTools Chapter3|ThisIssue RigCreation –Part 1 Chapter4|NextIssue RigCreation –Part 2 Chapter5|AugustIssue060 FacialRigging Chapter6|SeptemberIssue061 Scripting


Animal Chapter1| ThisIssue Concept&Modeling Chapter5|NextIssue Modeling&Posing

easy to use interface that makes page navigation much easier and smoother. We are always trying to improve 3DCreative magazine so get in touch with me at simon@3dtotal.com to let me know what you think. As if this wasn’t enough to get excited about, we have some new tutorials for you this month including an amazing new environment lighting series. The last issue featured the last chapter in our outdoor lighting series and this month we move on to an indoor scene. This series will be concentrating on the way natural and artificial light can be created for an amazing indoor scene that was created for us by Viktor Fretyán . For this new series we invite back some familiar faces and warmly welcome some great new artists. The series will be handled in four different pieces of software, Viktor Fretyán will be using 3DS Max and V-Ray, Jamie Cardoso 3DS Max and Mental ray, Luciano Iurino Maya and Mental Ray and Fredi Voss will be using Cinema 4D. Our second new tutorial series starting this month is How to Stylize and Model Toon animals and People. The series starts by looking at creating a cartoon animal with Jose Alves da Silva . Jose shows us in great detail how he makes his superb boxing kangaroo and this month talks us through the concept and modeling stages. If you are interested in creating cartoon animals this tutorial is a must! If rigging and animation is more of your thing you will be pleased to hear that this month we continue our rigging series by Richard Kazuo and Danilo Pinheiro in Maya and Luis San Juan Pallares for 3DS Max. This month also see’s the next instalment of Female Character Creation tutorials by Wayne Robson . This month Wayne talks us through creating the head of an obese lady in a classical style. Make sure you keep your eyes out for the excellent video’s that Wayne has prepared to show how to create parts of the sculpt, this month they appear directly in the text as we make the most of the new magazine format.

Chapter6|AugustIssue060 Texturing Human Chapter4| SeptemberIssue061 Concept&Modeling Chapter5|OctoberIssue062 Modeling&Posing -FreeBaseMesh 090 Chapter6|NovemberIssue063 Texturing

Chapter1|MayIssue056 Gaunt /Old Chapter2| ThisIssue Obese

Chapter3|NextIssue ExtremePiercings&Tattoos Chapter4| AugustIssue060 Zombie Chapter5|SeptemberIssue061 Vampire Chapter6|OctoberIssue062 Werewolf

Welcome toMudbox female character creationwithWayneRobson.This serieswillbe providing a comprehensive guide to sculpting female characters usingMudbox.WayneRobsonwill talkus through identifying the characteristics that definewhat is unique in each of our female characters, andwill then giveadvice about sculpting these usingmany of the features that areavailablewhen usingMudbox. The aim of these tutorials is to show and explainhow youmight tackle rigging your 3D character for animation.These tutorialswill givehelp andadvice tonovices andexperts who are looking tobuild on their rigging skills orapproach rigging for the first time. The series givesadetailed step by step guideas to how to approach rigging but also shows us how to tackle commonproblemsand issues that regularly occureven in a professional environment.The artistswill be reflectingonworking in the industry aswell as talkingus through their individual approaches to creating the best rigspossible. 096

-FreeScene&Textures Thisdownloadincludes theartistfinalsceneset up+textures full-colour, full-page images,but eachartist hasgivenadetaileddescription, in their ownwords,of the rationprocessbehind eachpieceofpublishedartwork.And they’vedone itespecially for thisbook! Thisbook ismore than just anartwork book.Notonlydoes it feature With the releaseof3DTotal’s latestbook, DigitalArtMasters:Volume 4 ,wehave someexclusivechapters foryou... Here you can seeBelarusianCharacter ModelerPetrNasirovexplainthe proess usedof createhis prizewinning comic character image “JudgeDeath”...


Thismonthwe feature: “FlyTogether” byWeiyeYin

Thisdownloadincludes -FreeModel -FreeSceneFiles


“WhenIsawJudge DeathIinstantly thought, “Iwantto modelthischaracter” becausehelooked interesting,unusual andfun.”


This five part serieswill focuson the topicof settingup a varietyof lighting rigs that reflectnatural lighting at different times of theday and manmade interior lighting.Each of the chapterswill use the same base scene as a starting point, andwill show a step by step guide to finding a lighting and rendering solution that best reflects the desired lighting situation. The tutorialswill explain the type of lights usedandhow to setup the parameters alongwith talkingabout thedifferentmethodsof tackling the subject.Themanipulation of texturesmayalso be covered in order to turn a daylight scene into night scene for example, aswell as a look at someusefulpostproduction techniques inPhotoshop in order to enhance a final still.

Chapter1|ThisIssue Sunset /Sunrise Chapter2| JulyIssue059 BroadDaylight Chapter3|AugustIssue060

ArtificialLight -Bright overhead light atnight Chapter4|SeptemberIssue061 ArtificialLight (Night-Time) -Mood Lighting (Low-Level -Romantic)

Chapter5|OctoberIssue062 TV-Lit (Night-Time)withLow-Level Lighting Editor Simon Morse Lead Designer Chris Perrins

Layout Layla Khani Matt Lewis Marketing Claire Hughes

content Simon Morse Tom Greenway Richard Tilbury Chris Perrins

Proofing Jo Hargreaves

Free Stuff! Wherever you see this symbol, click it to download resources, extras & even movies!

This month’s making of is by Petr Nasirov . Petr talks us through making his excellent Comicon competition entry Judge Death. We also feature an interview with Ilya Nedyal a props and accessories for the games industry expert. He tells us how he found his way in to the industry at a young age and talks to us about his ideal project. We also have an amazing gallery section featuring work from Tsvetomir Georgiev , Federico Scarbini , Rudolf Herzog , Adam Skutt and a host of other excellent artists for your enjoyment. We hope you have fun with the new look magazine and don’t forget to let us know what you think.




Contributors Contributingartists Every month artists from around the world contribute to 3DCreative, and you can find out a little more about them right here! If you’d like to get involved in 3DCreative magazine, please contact: simon@3dtotal.com

Viktor Fretyan

Viktor Fretyan is an architect working on his diploma project whilst working as a freelancer. Viktor is doing mostly

architectural renders and has never really tried out at any other fields of 3d yet. Viktor also has a passion for movies and maybe at some point will try working on VFX. http://radicjoe.cgsociety.org/gallery/ radicjoe@yahoo.com

Chapter 1 of our new Environment Indoor Lighting tutorial series with a great lineup of talented artists: Jamie cardoso ( 3ds Max + MR ), Viktor Fretyán ( 3ds Max + Vray ), Luciano Iurino ( Maya ) and Fredi Voss ( Cinema 4D ).

Luciano Iurino

Fredi Voß

Started back in 1994 with 3d Studio on MS- Dos as a modeller/ texture artist. In 2001 he co-founded PM Studios (an Italian

Living and working as a fine artist and 3D freelancer in Germany, Fredi – a.k.a. rollmops – can often be found on the

videogame developer) with some friends, and still works for it as the lead 3D artist. He also works as a freelancer for different magazines, web-portals, GFX and videogame companies, and recently he left the 3ds Max environment to move on to XSI. http://www.pmstudios.it | iuri@pmstudios.it

various web communities, where he has also won several awards. His client list includes Audi and Siemens, and he also has as Animago Award and a Fine Art degree under his belt!

http://fredivoss.cgsociety.org/gallery/ vuuxx@gmx.de

Jose Alves da Silva Jose Alves da Silva

Wayne Robson

is a freelance digital artist who has taught Mudbox around the world and has been asked to lecture at the Vienna science

has been working in the 3D field for over 15 years. Jose started working mainly in Architectural visualization. Jose works as a full time

academy. He is the programmer behind ‘MudWalker’ and the mental ray shader for vector displacement using Mudbox maps. currently he’s works as a CGI supervisor for Project 2813. He owns Mudbox Hub and PsychoCore Software. www.dashdotslash.net wayne@dashdotslash.net

freelancer dedicated to character creation and illustration. This has given Jose the opportunity to work on some spectacular projects in the feature film, advertising and gaming industries. http://josealvessilva.daportfolio.com/ joalvessilva@netcabo.pt





Danilo Pinheiro

Luis San JuanPallares

Danilo Pinheiro is a Brazilian with a Physics degree from UFMG. He worked for 5 years as a 3D generalist in films,

My name is Luis San Juan, I am a

freelancer with over 9 years CG experience.

I have worked as a character setup

advertising, arts, HQ, video clips, TV series, etc. After that, he is working as a Character TD, because he enjoys solving problems.

supervisor and created tools for the studios I worked at, such as Nexus Productions, Keytoon Animation Studios, Ilion Animation Studios and the Mill.

http://nilouco.blogspot.com nilouco@gmail.com

http://www.luis-sanjuan.com luis@luis-sanjuan.com

Richard Maegaki Born in Brazil, Richard Maegaki studied at Melies School of Cinema and Animation where he discovered a passion for rigging.

Petr Nasirov Petr is a 24 years old character artist from Minsk, Belarus. Petr has been working in the game development industry

After a brief time at Casablanca Animation as a Character Rigger, Richard was hired at Vetor Zero/Lobo and is working there as a Lead Character TD since 2007.

for more than 5 years. Currently Petr is a Lead Character Artist at the Steel Monkeys Company. Petr started learning 3D at school and later his passion became his work. Petr learns something new with each character. http://www.5k3d.com 5k@tut.by

http://riggerman.animationblogspot.com/ richardyzo@gmail.com

WouldYouLike toContribute to 3DCreativeor 2DArtistMagazine?

We are always looking for tutorial artists, gallery submissions, potential interviewees, ‘making of’ writers, and more. For more information, please send a link to your portfolio, or send examples, to: simon@3dtotal.com




: volume 4

Buy the book to see just how they create their incredible imagery! Maciej Kuciara | Daarken| Marek Denko Kekai Kotaki | Andrew Hickinbottom Marek Okoń Hardback - 21.6cm x 27.9cm in size 288 Full Colour Premium Paper Pages ISBN: 978-0-240-52171-8 Features 50 of the finest digital 2d and 3d artists working in the indusrty today, from the likes of: Loïc e338 Zimmermann | James Paick Craig Sellars | Jelmer Boskma “Digital Art Masters is getting better and better at showcasing some of today’s best digital artists. The way the book shows the processes of achieving great pictures provides a good opportunity to learn from these artists, and keeps you challenged in your own Art.” Raphael Lacoste | www.raphael-lacoste.com/

for more products in our range visit http://www.3dtotal.com/shop

““I landedmy first job in the game industrydoing cinematicvehiclemodels forGhostRecon2.””

Having landing his first professional job and the young age of 17, self-taught 3d artist Ilya Nedyal takes time away from working on one of Crytek’s future release to chat with us in our latest 3DCreative interview.

IlyaNedyal Interview Interviewwith IlyaNedyal

Hi Ilya, could you introduce yourself to our readers and tell us at what moment in your life did you start taking notice of 3D and realize that’s what you wanted to do for a career? Hello everybody, my name is Ilya Nedyal and currently I’m working as a freelance 3D artist. My passion for 3D started at a very early age, I was around 15 when I started doing models for GTA3 and UT2003. At the age of 17, I landed my first job in the game industry doing cinematic vehicle models for Ghost Recon 2.

Wow that’s very impressive to be working on such a big game at only the age of 17. What sort of training, schooling did you have to get you to that point? I’m all self-taught :) I started reading books about 3Ds Max, I found it very very interesting at the time. So basically the books were my

starting point, and then I moved into models and more professional work.

Before becoming a freelance artist, you previously worked for Streamline Studios (which closed in 2009), as well as several other companies. Out of these which would you feel




Interview IlyaNedyal

has been, in terms of experience, the most beneficial to your development as an artist? In my experience, working for SLS has been the most beneficial. They were doing lots of next-gen props, and it’s was back then when the entire “Next-Gen” thing happened for me. Ok cool so what’s been the most constructive piece of advice you’ve been given? I don’t remember any specific piece of advice, but with each new model, I’m learning something new and gaining experience. Having several well know games titles under your belt, from the likes of Unreal Tournament, Terminator Salvation and Saints Row, which has been the most challenging? The most challenging title was Unreal Tournament. It was the first project when I needed to make not only Low-poly models, but also a completely detailed Hi-poly model for normal map baking. It took me some time to figure it all out. But in the end it was a start up project for all the models I did after it. If there was one project you could have worked on, what would it have been? And how would you have added your stamp to it? If you would have asked me the same question a few months ago I would said working for




IlyaNedyal Interview Crytek and working on their awesome looking games. But I’m already working for them so I would have to say a Metal Gear franchise. I really like their graphics style, and I think I could contribute to them with a few awesome vehicles or robots. Over the many years I’ve been doing interviews I don’t think I’ve seen so many incredibly detailed models in one person’s portfolio as I have in yours. What kind of programs do you use in creating them and how long on average would you spend on a model? I’ve spent a lot of time on my portfolio, doing renders of all the models I did in past. It took me around 3-4 months to render all the images. I’m using 3Ds Max for hard-surface modeling and ZBrush for detailing things. In general for detailed Hi-Poly model it takes me around a week of work, and then 2-3 days for Low-Poly, UVWS and baking.




Interview IlyaNedyal

You’re not only a remarkable modeler but also a dab hand at texturing, but which area do you find the most challenging and why? For me the most challenging part is to make a “clean”, “new” texture look good. For me damaged and old textures are always easy, there is always something you can add to the texture. But with a clean texture it’s sometimes hard, they always look too clean. So which has been the most challenging project you’ve had to created textures for? The most challenging, hmmm… To be honest I have been busy modelling stuff and not texturing

It was a pleasure to answer your questions. I would say if it wasn’t for computers, I would still be doing something related to art. Maybe a concept artist, I was learning art before, until I got my first PC.

it, but of the textures I made so far, I can’t clearly say which was the most challenging. They all have been on about the same level. Having to sit all day in front of the computer screen is hard on your eyes as well as your back, so occasionally we here in the office would take time out and play a bit of table tennis. What sort of things do you do to help break up the day? Mostly it’s just food or drinks breaks, which I take quiet often. Well it has been a really pleasure chatting with you today, and I wish you all the best for the future. I would like to wrap this interview up with on last question if I may. If it wasn’t for computers what do you think you would have been doing at this present time in your life?

IlyaNedyal For more work by this artist please visit http://www.ilyanedyal.com/index.html

or contact them at inedyal@gmail.com Interviewed By : Chris Perrins





116 U

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3D image created in modo by Luxology. Credit: Gelmi 3D image created in modo by Luxology. Credit: G lmi For more informati n, visit modo3D.com


Join the people behind the pixels in the world capital of digital imagination.

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French Roast © 2009 Fabrice O. Joubert, The Pumpkin Factory; Touch the Invisibles © 2009 Junji Watanabe, PRESTO Japan Science & Technology Agency

The 37th International Conference and Exhibition on Computer Graphics and Interactive Techniques

Los Angeles Convention Center Los Angeles, California USA

Art Gallery • Art Papers • Birds of a Feather • Computer Animation Festival • Courses • Emerging Technologies Exhibition • Exhibitor Tech Talks • Featured Speakers • Game Papers • International Resources • Job Fair • Panels Posters • Research Challenge • SIGGRAPH Dailies! • Talks • Technical Papers • The Studio



FOR COMPLETE DETAILS: www.siggraph.org/s2010

This Month we Feature: Alexander Schumann Indunil Ranwake Tsvetomir Georgiev Maarten Verhoeven Federico Scarbini Ali Chenari Rudolf Herzog

Yimin Zhang Adam Skutt Xu Fei

TheGallery 10of theBest

GorillaKing Maarten Verhoeven http://mutte.cgsociety.org/ darth_mutte@yahoo.com

Zombies Tsvetomir Georgiev psychoart123@abv.bg




VinDiesel Federico Scarbini http://www.federicoscarbini.com fede@federicoscarbini.com

Mursi Tribesman Adam Skutt http://adamskutt.carbonmade.com adamskutt@hotmail.com

Frenzy Alexander Schumann http://www.alexanderschumann.info a-schumann@gmx.de

Image Title Artist Name Website Address eMail Address

Image Title Artist Name Website Address eMail Address

Section8_001 Yimin Zhang http://zym1983811.blog.sohu.com/ zym1983811@sohu.com

10of theBest TheGallery

Image Title Artist Name Website Address eMail Address

Image Title Artist Name Website Address eMail Address

Incubator Indunil Ranwake www.cgbulbs.com indunil@cgbulbs.com

cartoonsnail Ali Chenari http://alichenari.cgsociety.org/gallery/ chenari.cartoon@gmail.com




EnjoymentOfMusic Xu Fei xufei8109@126.com

Fisherman’s Bastion Rudolf Herzog rudy@rochr.com

This five part series will focus on the topic of setting up a variety of lighting rigs that reflect natural lighting at different times of the day and manmade interior lighting. Each of the chapters will use the same base scene as a starting point, and will show a step by step guide to finding a lighting and rendering solution that best reflects the desired lighting situation. The tutorials will explain the type of lights used and how to set up the parameters along with talking about the different methods of tackling the subject. The manipulation of textures may also be covered in order to turn a daylight scene into night scene for example, as well as a look at some useful post production techniques in Photoshop in order to enhance a final still. Follow This month our artists will show you how to turn our seemingly boring scene into a truly atmospheric environment with the first chapter covering Sunset / Sunrise.

So if your interested in seeing the first chapter of this amazing series, please flip to the back of this magazine and enjoy.

3dsmax + Mental Ray | Page 102 3dsmax + V-Ray | Page 120 Cinema 4D | Page 148 Maya + Mental Ray | Page 154

The aim of these tutorials is to provide an efficient and methodical approach to creating Animal and Human Stylized Cartoon characters. These tutorials will give a detailed explanation of how to create your character from the concept stage through to the modeling, posing and texturing. The first three chapters of the series will be focussed on creating an animal character with the second three focussed on the human character.

Animal Chapter 1 | This Issue Concept & Modeling Chapter 2 |Next Issue Posing & Texturing

Chapter 3 | August Issue 060 Materials & Lighting Human Chapter 4 | September Issue 061 Concept & Modeling Chapter 5 |October Issue 062 Posing & Texturing

Chapter 6 |November Issue 063 Materials & Lighting

HowtoStylize andModel ‘ToonAnimals’ Chapter 1 -Concept HowtoStylize and

Model ‘ToonAnimals’ Chapter 1 - Concept Software Used: 3ds Max & ZBrush Introduction I am really glad to be invited to create this tutorial. Cartoon characters are by far my favorite subject, so it is a pleasure to write this for you. More than writing a step by step tutorial my objective is to teach you a process in which you can contribute with your own creativity and customize the character to your liking. After finishing this tutorial you should be ready to create your own characters. It would be easier to supply you with a front and side view to use as a modeling reference, but I am not going to do that. We will start with an idea of a character and develop it along the way. Today’s tools allow us to explore and study our concept whilst modeling and we are going to take advantage of that. We will be sketching in 3D and my favorite tool for that is ZBrush.

will start by creating a very simple mesh with a topological base that will allow us to develop the model without a lot of trouble. For that we have to predict some of the pitfalls that we might face. We have to study our subject a bit before starting in order to understand its anatomy and particular features, which should be present in the base mesh.

characteristics: it hops around, uses its tail for support, has funny proportions and is known for its boxing skills. As I had never modeled a kangaroo, the first step was to gather some information about it. I have searched the internet for kangaroo’s photos, drawings and skeletons. Then I have started to draw some kangaroos while using the photos for reference. It is the best way to understand their anatomy, because you have to think about it while drawing, and the more you draw the more you know the subject. Sketching the subject’s skeleton is also a great way to understand its structure. If your objective is to rig and animate the character, sketching the skeleton is a must. ( Fig.B ) Kangaroos have got very powerful legs, with massive thighs, long leg bones and big feet. Most of their body mass is on the lower part of the body. Their arms look quite feeble, but the shoulder area is stronger and projected forward. The snout is long as well as their ears. The tail is thick and a lot of the time is used for support, such as when they are fighting and thrust their feet forward while standing on their tails! ( Fig.C ) It is very important to be aware of these characteristics because they define the animal. Our challenge is to turn this charming animal into a cartoon.

But that doesn’t mean that we will pick up a sphere and model the full character from it. We

For our animal character I have picked the kangaroo. ( Fig.A ) It’s an animal with unique




Chapter 1 -Concept HowtoStylize andModel ‘ToonAnimals’

What is aCartoon? What makes an animal character a cartoon rather than realistic? Stylization – Cartoons are simple and clear in form with an immediately recognizable silhouette. The introduction of clear geometric shapes and sharp angles versus curved lines are part of the cartoon language. Also, complex forms like hair and fur tend to be reduced to masses or shapes (Warner Brothers cartoons are a great example of this). Exaggeration – Extreme deformations or caricature contribute to stylization and humor, as well as to defining the personality of the character. We all know the stereotypes of the big headed scientist and the broad shouldered warrior. Humor – I would say humor is what differentiates cartoons from action comics. Light humor, nonsense or sarcasm are all part of the cartoon universe. All dictionary definitions that I have found for “cartoon” mention humor as a defining characteristic.

Human characteristics - In cartoons we expect the character to inherit human characteristics, not only in terms of expression but also in their anatomy. Sometimes parts of the animal anatomy are fully altered, for example making both eyes face forward when the animal has eyes on the side of its head or giving human hands to mice and ducks, like Walt Disney did. Color code – Cartoons’ color code is usually very direct and saturated. These are characteristics that made the process of inking and coloring in traditional animation a lot easier, as each frame had to be painted individually and it is a lot more difficult to keep color and form consistency with multiple color gradients.

to the viewer by the silhouette and the attitude, pose and facial expression. Make your character alive! Tutorial I have created a first character sketch to give me a reference through the modeling process ( Fig.D ), but it will be adjusted along the way in order to meet all the criteria defined above. In this first chapter we will start by modeling the character starting in 3DS Max and continuing the exploration of form in ZBrush, trying to achieve the Stylization, Exaggeration and Human characteristics. We will start by creating a low polygon mesh in 3DSMax using a box and polygon modeling tools.

Attitude – Any character without personality is a dead character. His personality is transmitted




HowtoStylize andModel ‘ToonAnimals’ Chapter 1 -Concept

Creating the Box ( Fig.01 ) -Open 3DSMax

Shaping 1 ( Fig.04 ) -Choose the Front view (press F). -In the Edit Poly modifier pick the Vertex sub- object mode. -Using a selection window, choose the vertexes on the right side of the box and move them in order to create a rough silhouette of a trunk and a head. By using a selection window you make sure that you are selecting the vertexes on the front and the ones on the back simultaneously. Shaping 2 ( Fig.05 ) -Choose an Orthographic View (press U) -By dragging the Mouse with the middle button and pressing Alt you can orbit around your model. By dragging with the middle mouse button you can pan. -Make sure you have the Orbit mode changed to Orbit Sub Object, this way you will always orbit around the area you are working on. -Pick a comfortable point of view and keep shaping the vertexes as in the figure, in order to create a rounder head and body. -Use the “World” Reference Coordinate System to move the vertexes. It will be easier to understand how you are moving them in space. If it gets confusing move the vertexes along one axis at a time, by dragging over the X, Y or Z axis on the coordinate system. -Keep orbiting the model while shifting the vertexes to have a clear understanding of the overall form.

you use an arbitrary scale you will have to rely on the comparison between different objects to check if they are correct in size. In this case we will be modeling a kangaroo so I have decided to start with a height of 2 meters. Symmetry Modifier ( Fig.02 ) -Under Modify in the Command Panel pick the Symmetry Modifier. -Make sure it mirror is along the X Axis. With the Symmetry Modifier we will only have to model half of the kangaroo, as everything we do in one half will be replicated to the other. I prefer to have the Symmetry modifier applied from the start as it allows us to check the volume of the full character as we model. Edit Poly ( Fig.03 ) -From the Modifiers list pick Edit Poly. -Drag “Edit Poly” down so that it is placed between the Box and Symmetry modifiers. -Make sure the “Show end result toggle” is ON. This allows us to change a modifier in the middle of the stack but to see the result of the full stack. If it was OFF we wouldn’t be able to see the result of the symmetry modifier.

-Set you scene units to Meters by going to the Customize menu, choosing Units Setup and picking “Metric” in the Display Unit Scale. -Go to the Command Panel and from the Standard Primitives click on the Box button. -In the Top view click and drag to create a box. -With the box selected go to the Command Panel and change the box’s dimensions to: length 0.65m, width 0.65m, height 2.0m. Use 1 segment for the length, 2 for the width and 8 for the height. I am using meters as units, but you can use any units you feel familiar with. It is important to be aware of the correct scale of the scene. This way when you have to build props you can think of the dimensions they have in real life. If




Chapter 1 -Concept HowtoStylize andModel ‘ToonAnimals’

Shaping 3 ( Fig.06 ) -From the Edit Poly modifier choose the Edge sub object. -Pick one of the horizontal edges near the center line (check figure) -Choose the Ring option for the edge selection -Click the Connect tool This will create an edge loop which will give us a better base to start extruding the arms and legs from. Shaping 4 ( Fig.07 ) -From the Edit Poly modifier choose the Vertex sub object mode. -Shift the vertexes in order to give more volume to the belly, flatten the chest and make the neck rounder. Try to place the vertexes in a position similar to the figure, but don’t worry too much about precision, later we will have the ability to reposition everything in ZBrush. Arms 1 ( Fig.08 ) -From the Edit Poly modifier choose the Polygon sub object mode. -Pick the polygon from which the arm should grow. -Click the Dialog Box near the Extrude tool. -In the Extrusion Height Field insert 0.9 meters.

Arms 2 ( Fig.09 ) -Turn on the Snap toggle (press S key) and make sure the snap3D is selected. -With a right click on the Snap Toggle button you can change the Snap Settings, make sure Vertex is ON, so that it will snap to the vertexes. -With the Polygon sub object mode selected

and with the axis gizmo limited to moving along the Z Axis (press F7 key), pick one of the lower vertexes in the “hand area” and drag it to the “armpit” vertex. This will keep the arm horizontal, which is easier to model. Arms 3 ( Fig.10 ) -From the Edit Poly modifier choose the Edge sub object mode. -Pick one of the edges along the arm. -From the Selection Tools press Ring and it will select all the edges along the arm. -Click the Connect tool dialog box and increase the number of segments to 3.




HowtoStylize andModel ‘ToonAnimals’ Chapter 1 -Concept

Arms 4 ( Fig.11 ) -From the Edit Poly modifier choose the Vertex sub object mode. -Move the edges in order to create a rough arm shape, placing the edges in the armpit, elbow and wrist area. Arms 5 ( Fig.12 ) -From the Edit Poly modifier choose the Edge sub object mode. -Select the arm edges, Ring Select and use Connect (with 1 segment) to create new edge loops near the joint areas. You can use the Slide parameter inside the Connect dialog box to place the edge near the joint. - Check the figure for the correct positioning of the edges. Arms 6 ( Fig.13 ) -From the Edit Poly modifier choose the Vertex sub object mode. -In Front View, move the vertexes of the arm in order to shape the forearm, shoulder, armpit. -Also extend the hand area a bit. Arms 7 ( Fig.14 ) -Change the view to Top and keep shaping the arm -You can alternate to Orthographic view and Orbit around the area to understand the volume in 3D. -You should define the arm shape and increase

the volume of the hands. We will start modeling the boxing gloves in the same mesh as the body. Hand 1 ( Fig.15 ) -Create 4 edge loops along the hand (with the Connect tool) -Select the faces at the tip of the hand.

-With the faces selected, pick Bend from the modifiers list. -Inside the Bend modifier pick X as the Bend Axis. -In the Bend sub objects pick Center. -Move the Center to the left and align it with the union with the hand. -Increase the Bend Angle to 196.

Hand 2 ( Fig.16 ) -Right Click on the Bend modifier. -Choose Collapse To.

-Choose “Yes” to collapse the stack. -Make sure “Show end result” is ON -Create an edge loop on the hand around the back of the hand.




Chapter 1 -Concept HowtoStylize andModel ‘ToonAnimals’

-Select the face from which we will extrude the thumb. -Pick the Extrude Tool Dialog Box and extrude about 0.13m to create the thumb.

Hand 3 ( Fig.17 ) -In Top View, select the thumb vertexes. -Pull them to the right.

-Using the “Border” sub object selection mode pick the open edge of the arm and glove. -Choose “Cap” from “Edit Borders” and the holes will be closed. Hand 6 ( Fig.20 ) -Extend the face on the front of the forearm and scale it down a bit. -With “Element” sub object selected pick the glove and place it correctly relative to the arm. Legs 1 ( Fig.21 ) -Create a vertical edge loop as indicated in the figure -In Edge sub object mode, Pick Create from “Edit Geometry” and click on the 2 vertexes in the figure, this will create an edge that separates the lower belly from the thigh. Legs 2 ( Fig.22 ) -Move the indicated vertexes forward to start creating the upper thigh. -Select the faces under the thigh.

forearm. -Pick “Detach” from “Edit Geometry” -Pick Detach to Element and press OK. Now the glove is separated from the arm. Hand 5 ( Fig.19 ) -Right Click on the Scale Button from the Tool bar and set the scale to 120% -Move the glove to separate it from the arm.

-Create an edge loop in the middle of the thumb. -Shape the vertexes to create a larger thumb slightly bent. Hand 4 ( Fig.18 ) -Pull the thumb vertexes down in order to make the thumb to look more natural. -Create an edge loop around the forearm. -Select the faces of the hand and half of the




HowtoStylize andModel ‘ToonAnimals’ Chapter 1 -Concept

Legs 3 ( Fig.23 ) -Use the Extrude dialog box in Face sub object mode, and use a value of about 0.30m -In Vertex sub object mode, reshape the thigh as shown in the figure. Legs 4 ( Fig.24 ) -Create another edge loop which splits the thigh vertically (check figure) -Reposition the new vertexes in order to shape the thigh section in a sort of chamfered rectangle. This will give us a good section to keep extruding the leg. Legs 5 ( Fig.25 ) -Extrude the leg section about 0.60 m. -Create 2 edge loops around the leg. -Shift the top edge loop up to create the knee area. -Shift the lower edge loop down.

-Press F3 to view the model in Wireframe. -Turn on Snap (press S). Change the Snap to 2.5 Mode (Left Click on the Snap button and pick the 2.5 option). This way the vertexes will only move parallel to the screen space. -Align all the vertexes on both sides of the leg by dragging them to the nearest vertex.

With the vertexes aligned, when we use a selection window we will be sure to be selecting the vertexes on both sides of the leg.

Legs 7 ( Fig.27 ) -Press F3 again to go back to shaded mode. -Keep the Orthographic view from the Right.

Legs 6 ( Fig.26 ) -Choose an Orthographic view from the Right.




Chapter 1 -Concept HowtoStylize andModel ‘ToonAnimals’

Legs 9 ( Fig.29 ) -With the section still selected rotate it in order to be vertical. -Scale the section non uniformly along the world Z axis until all the edges are parallel. -Extrude the section once again. Legs 10 ( Fig.30 ) -Shape the vertexes at the tip of the foot in order to make it wider and flatter. -Connect the edges of the wider face at the tip of the foot using the Connect dialog box. -Use 2 connecting segments and a pinch value of 30.

-With a window selection pick the vertexes and shape the thigh, knee and leg (like figure). -Change the view to Front. -Shape the thigh and leg from the front (like figure). Legs 8 ( Fig.28 ) -Select the lower vertexes of the leg. -Rotate the selection, in order to prepare for the extrusion of the feet. -Select the faces of the section and extrude the feet. -Choose the Right viewport and move the section up.

-Select the edges marked on the figure and pick the Remove option from “Edit Edges”, this will allow us to extrude the 3 fingers simultaneously. Legs 11 ( Fig.31 ) -Select the 3 polygons from which we will extrude the fingers. -Use the Extrude dialog box from “Edit Polygons”, make sure that the Extrusion Type is “By Polygon”. Use an extrusion value of about 0.13m . -Select each polygon at the finger tip and spread them apart.

Legs 12 ( Fig.32 ) -Create 2 edge loops along the fingers. -Create an extra edge loop at the ankle

-Recreate the edges we had removed before. -With one of these new edges selected, use the Ring option, followed by Connect. This will create a new edge loop that will split the fingers horizontally.




HowtoStylize andModel ‘ToonAnimals’ Chapter 1 -Concept

Legs 13 ( Fig.33 ) -Start shaping the vertexes of the foot in order to make the fingers rounder. You can try to make the final position in your model resemble the figure, but it is not mandatory, everything will be reshaped in ZBrush later. I have presented different points of view so that you can follow it better. It is also helpful to momentarily disable the symmetry modifier so that you have a clearer view of the inner side of the foot. Don’t forget to use the Edge Constraint (under Edit Geometry>Constraints>Edge) if you wish to move vertexes along the edges. Head 1 ( Fig.34 ) We will now start creating a base shape for the head. Our main concern will be to create a workable geometry in the area of the snout, ears and eyes.

-Select the 2 polygons in the middle of the face. -Use the Extrude Dialog Box and insert a value

of 0,40m (don’t forget to set the extrusion type back to “Group” or it will extrude each face individually). Head 2 ( Fig.35 ) -Create one edge loop horizontally across the snout, and 2 edge loops horizontally across the

top half of the face. -Create 2 edge loops along the snout.

Head 3 ( Fig.36 ) -Select the polygons on the top of the head (see figure) and extrude them 0.50 m. -Create a horizontal edge loop that splits the ears. Head 4 ( Fig.37 ) We will start shaping the head freely: -Move the vertexes to shape the snout to resemble the initial sketch roughly. There aren’t a lot of tricks here, just moving the vertexes in space and orbiting around the volume to check the volume. TIP: In Orthographic View only move the vertexes along one of the axis (X, Y or Z) at a time, it is easier not to get lost in space. :). Use the Constraints inside “Edit Geometry” to limit the vertex movement along the edges or in the same plane of the surrounding faces.




Chapter 1 -Concept HowtoStylize andModel ‘ToonAnimals’

Head 5 ( Fig.38 ) -Keep shaping the head, making the cheeks rounder. -Move the vertexes in the eye area, creating a rough round shape. Use the Face Constraint inside Edit Geometry to move the eye contour vertexes on the same plane. -Move the vertexes of the ears to shape them correctly. Head 6 ( Fig.39 ) -Always moving the vertexes, on the back of the head, make it rounder and the ears thinner. -Make two new edge loops along the ears. Select the vertexes of the ears and rotate them slightly outwards. -Move the vertexes on the back of the ears to make them rounder. Head 7 ( Fig.40 ) -Select the vertexes of the neck and scale them on the X and Y plane to increase its thickness. -Select all the vertexes of the head and pull it up and slightly forward to make the neck longer. -Scale the vertexes at the base of the neck a little bit more to make it thicker in this area. -Pull the vertexes of the area where the head meets the neck a little bit back so that the back of the head is more in tune with the neck. Head 8 ( Fig.41 ) -Select the polygon in the nose area and extrude it about 0.07m. -The nose might split as we extrude the polygon, if it is facing outwards. If that happens, select

exception of the edge at the mirror plane. -Use the Chamfer dialog box and insert a Chamfer amount of about 0,02m to make the nose “round”.

the edge nearer the symmetry plane, and pull it to the other side of the mirror, the vertexes will weld automatically. -Select the edges at the tip of the nose with the




HowtoStylize andModel ‘ToonAnimals’ Chapter 1 -Concept

Head 9 ( Fig.42 ) -Select the 2 polygons that define the eyes. -Click the Inset dialog box and insert an Inset Amount of about 0,016m. -Create a new edge loop at the brow area. Head 10 ( Fig.43 ) -Select the polygons of the brow area and pull it forward and slightly upwards. -Move the vertexes to shape the area around the eye and cheeks (Please check the figure). Head 11 ( Fig.44 ) -Select the polygons under the snout (as in the figure).

-Extrude the polygons about 0.07m. -In a Side view move the vertexes to create the mouth. Head 12 ( Fig.45 ) -Select the polygon at the front of the mouth. -Extrude it about 0,07m. -Create an edge loop around the lip area (check figure).

Head 13 ( Fig.46 ) -Move the vertexes according to the figure to define the mouth area.




Chapter 1 -Concept HowtoStylize andModel ‘ToonAnimals’

Head 14 ( Fig.47 ) -Select the inner polygons of the ears. -Use the Inset Dialog box with an Inset amount of about 0,02m. -Push the vertexes inside the ears inward to create a cavity. Arms 1 ( Fig.48 ) -Create one horizontal edge loop above the shoulder line. -Create another horizontal edge loop along the length of the arms. -Extend the length of the forearm and bicep area in order to make the arm more proportional with the character. Arms 2 ( Fig.49 ) -Move the vertexes of the shoulder area to create the rough form of a deltoid. -You can also move the vertexes of the bicep area to shape it. Arms 3 ( Fig.50 ) -Create 2 edge loops in the arm and forearm areas. -Move the vertexes in order to roughly shape the bicep, triceps, elbow and forearm. Body 1 ( Fig.51 ) -Create one edge loop in the neck area, 2 edge loops around the belly area and another at the

groin area. When creating the edge loop at the groin area, as there is a triangle you will have to manually create the edge splitting the triangle. -Move the vertexes so that the edges form the pectoral muscles. -Scale down the vertexes of the neck area slightly, so that the neck describes a slight curve between the head and the shoulders. Body 2 ( Fig.52 ) -Move the vertexes at the belly area to make it rounder.




HowtoStylize andModel ‘ToonAnimals’ Chapter 1 -Concept

Body 3 ( Fig.53 ) -Create one edge loop at the thigh. -Create 2 edge loops at the leg and feet. -Move the vertexes to shape the heel and make the thighs bigger. In ZBrush we will have to continue fixing these proportions, later. Gloves1 ( Fig.54 ) -Select the glove element and scale it up a bit. -Create 2 edge loops along the sides of the glove. -Create 2 edge loops along the gloves. Gloves3 ( Fig.56 ) -Create edge loops at the wrist, connection of the thumb with the hand and tip of the thumb. The objective of these loops is to keep these areas in place when we subdivide them later in ZBrush. -Scale up the vertexes at the wrist area of the glove to define it. Tail1 ( Fig.57 ) -Select the polygons at the lower back of the model. -Use the Extrude dialog box, with an Extrusion Height of about 2.50m. Gloves2 ( Fig.55 ) -Move the vertexes of the glove to create a rounded volume.




Chapter 1 -Concept HowtoStylize andModel ‘ToonAnimals’

As the polygons are facing outwards you will notice that they will split as they extrude. We will move the end vertexes towards the mirror plane to weld together the 2 extrusions. Tail2 ( Fig.58 ) -Move the vertexes at the tip of the tail towards the symmetry plane and cross the vertexes to the other side of the plane. The Symmetry modifier will weld the vertexes. -Move or Scale the vertexes at the tip of the tail to make it smaller. -Move the vertexes that connect the tail to the body to make the tail profile rounder. Tail3 ( Fig.59 ) -Move the vertexes on the tip of the tail down until they touch the floor. -Create 2 edge loops along the tail, one at the tail origin and another in the middle of the tail. You can make these edge loops by using the Quick Slice tool inside the Edit Poly Modifier. Use the Side View viewport, select the tail polygons, choose Quick slice and click above and below the tail, a clean cut will be made on the surface. -Rotate and scale the 2 edge loops created on the tail to position it as shown in the figure. Tail4 ( Fig.60 ) -Create more edge loops along the tail in order to have an even distribution. -Move the edge loops to have a nice curve on the tail. -Create some more edge loops in order to

keep the whole mesh more even in terms of subdivision (legs, feet, abdomen). -Select all polygons. -Click the Auto Smooth button inside the Smoothing Groups with a value of 90. -Right Click on the Symmetry modifier and pick Collapse All to reduce the mesh to an editable poly. -After collapsing, confirm that the mesh pivot is at the center of the mesh and at the coordinates 0.0.0. It is not strictly necessary, but a very good habit when modeling symmetrical meshes. Material IDs ( Fig.61 ) Now we will separate the mesh in different material Ids. This will allow us to import the model into ZBrush and separate it in poly groups automatically.

-Create a new Multi/Sub-Object material. -Click the “Set Number” button and set the number of materials to 20. -By clicking on the color swatch at the right of the material attribute a random color to each material. This will help you to identify the assigned Material Ids. -Select the Polygon sub-objects referring to each different anatomical part of the character. Please follow the figure, be careful to separate the mouth from the head, the thumb from




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