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Copyright 2007 CG Toolkit
All rights reserved.
Copyright: No part of this publication may be reproduced in any way, stored in a retrieval system of any type, or transmitted by any means or media, elec-
tronic or mechanical, including, but not limited to, photocopy, recording, or scanning, without prior permission in writing from CG Toolkit.
Publisher:
CG Toolkit
www.cgtoolkit.com
Karim Biri , Oleg Alexander , Filipe da Silva Lopes , Kursad Karatas , Glen Southern
ISBN: 0-9768003-4-9
Trademarks: All brand names and product names mentioned in this book are trademarks or service marks of their respective companies. Any omission or
misuse (of any kind) of service marks or trademarks should not be regarded as intent on the property of others. The publisher recognizes and respects allmarks used by companies, manufacturers, and developers as a means to distinguish their products.
Limits of Liability and Disclaimer of Warranty: The authors and publisher of this book have used their best efforts in preparing the book and the programs
contained in it. These efforts include the development, research and testing of the theories and programs to determine their effectiveness. The author and
publisher make no warranty of any kind, expressed or implied, with regard to these programs or the documentations contained in this book.
The authors and publisher shall not be liable in the event of incidental or consequential damages in connection with, or arising out of, the furnishing, per-
formance or use of the programs, associated instructions, and/or claims of productivity gains.
Credits,
Authors:
Karim Biri , Oleg Alexander , Filipe da Silva Lopes , Kursad Karatas , Glen Southern , Jasen Strong
Publishing director:
Karim Biri
Editor:
Tony Barbieri
Read proofing:
Judi Du Rand , Emma Clifton
Layout:
Damla Elmasli , Karim Biri
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01ConceptPart
01 _Creation
02 _The Cha
02.1. _Re
02.2. _Stin
02.3. _Ga 02.4. _Ga
02.5. _Pi
02.6. _Fle
02.7. _Am
The Art of 3d Toons
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6
Picture 01 _8
Picture 01 _8
01 _Creation Process
From Paper to Scan to Flash
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Picture 01 _2
At this stage I draw on the cheapest paper that I could find.Normally 3 holed punched paper and placed into a 3 ringbinder. I don't care for the expensive stuff cause I feel at asubconscious level you might not draw as plentiful and carefree. Also I like to draw (in the beginning of a project) in a sortof busy environment like the subway or restaurant; Peopl e haveeven seen me draw while walking from place to place. Thankthe artistic gods that I haven't bumped into anything yet. WhenI start to find something in the page after I have gone throughmany pages of scribbles (that shouldn't be seen by the public)I start to get more serious and scan the image into Photoshopthen block out shapes and use the liquid tool to morph things
into a more dynamic pose or experiment with proportions.Then I print that out & draw more so that it is clear, eventuallyI'll end up with a single lined image. I convert that into AdobeStreamline to remove all the chunky bits, then copy & paste intoFlash for a color bath.
1 _Where do you find inspiration for the poses? Where do youstart ?
Normally I have a character colored & approved by higherpowers before moving onto the next stage of drawing variousposes. To stay on model, I print out several onion skinneddrawings to constantly look back at, so I don't drift too far fromthe original approved version. This is when I do the side ofcharacter back, various expressions and so on.
2 _How did u arrive at these forms and shapes?
I normally try to work shapes that are universally most people. For example the owl was in the realm oproportions 2-3 heads high. The bean shape is alwayplay around with. Contrast in huge shapes and smalleis a classic approach to creating interest & appeal.
3 _How do u give your creatures personality?
When doing multiple drawings for production use, I jusnormal things that are expected such as happy, sad, etc. On initial pitching for movies & shows I normahave too much time to mess around so that is where be better to tell a story with a single image, using p
interacting with another character.
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8
02 _The Characters
2.01 _Regis the bat
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02. 2 _Stinson the bird
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02.3 _Gary the elephant
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02.4 _Ga ston the creature
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02.5 _Pi the owl
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02.6 _Fletcher the rabbit
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02.7 _Amanda the spider
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02Modell ingPart
The Art of 3d Toons
01 _ Regis Pa
02_ Stinson P
03_ Gary Pa
04_ Gaston
05_ Pi Part
06_ Amanda
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Picture
Picture
In Maya, ensure Modelingis shown in the dialog box aleft of the screen. Goto polygonprimitive> cubeto creatcube to begin modeling. In the main window use shashade alland ensure wireframe on shaded is switch Using split polygon (Alt + X) run three splits horizontallway around the cube. Then run two more vertically, oto back and one left to right.
Go tovertex mode (right click and choose vertex). Usi(W). Tweak the mesh into a rough pear s hape which is tbody. This can be done quickly with a Loop Splitif avFor this model I used Connect poly shape(a plug-in) to ga mirrored half of the mesh. Delete the left hand the mesh and call connect poly shapeand select th`connect poly shape`.
SOME COMMENTS FROM THE MODELER.......(GLENSOUTHERN)
THE GREAT THING ABOUT DOING THEMODELING FOR THIS PROJECTWASTHATI WASWORKINGFROMARANGEOFCREATUREIMAGESINAHUGEVARIETYOFPOSES. VERYOFTENFORAMODELINGPROJECTOFTHISNATUREI WOULDWORKWITHASETOFREFERENCESTHATWOULDINCLUDEAFRONT, SIDE, TOPVIEWANDASUPPORTINGSKETCH. THESEREFERENCESCANBEPLACED INTHEDIFFERENTVIEWPORTS INMAYAANDUSEDASATEMPLATETOMODELOVER. THISCANSOMETIMESLEADTOVERYFLATLOOKINGCOPIESOFTHE2D SKETCH. I MUCHPREFERTOMODELFREEFORMUSINGAMETHODCALLEDBOXMODELLINGANDBUILDTHECREATURESUPFROMSCRATCHUSINGTHEARTIST'SORIGINALDESIGNS. I FINDTHATTHISGIVESMEAVERYORGANICLOOKTOTHEMODELSANDALLOWSMEACERTAINAMOUNTOFCREATIVEFREEDOM.
THECHARACTERDESIGNWASSOSTRONGFOREACHOFTHESECREA-TURESTHATI FOUNDITVERYEASYTOMATCHTHEIRINDIVIDUALCHAR-ACTERISTICSIN3D. FOREXAMPLE, TOMODELTHEBIRDSWINGI COULDHAVEDRAWNTHEBASICWINGSHAPEINPHOTOSHOPANDUSEDITTOMODELANOUTLINE INMAYA. INSTEADI MODELLEDTHEENTIREWINGFROMASINGLEBOXWITHLITTLEMORETHANTHEEXTRUDECOMMANDANDSOMETWEAKING.TOUSEMAYAASMYCOREMODELLERI USEASELECTIONOFPLUG-INSANDSCRIPTSTOHELPME. THESEARE:
CONNECTPOLYSHAPE: MAINLYFORUSING THEMIRRORFUNCTIONHKMAGNET: A REPLACEMENT FOR SOFTMODIFICATION FOR PULLINGGEOMETRYINTOSHAPE.
I SETUPMYOWNMAYASHELFWHICHISSIMPLYANAREAWHEREICANKEEPALLTHETOOLSI USEREGULARLY INONEPLACE. I ADDEDBASICMAYA TOOLS LIKE EXTRUDE AND ALSO SOME USEFUL LITTLESCRIPTSLIKESPLITLOOP. TOMODELEFFECTIVELYINMAYAYOUACTU-ALLYNEEDAVERYSMALLAMOUNTOFTOOLSANDCOMMANDS.MAYAISVERYCUSTOMIZABLE .
THECOREOFMYTOOLSANDTECHNIQUESAREASFOLLOW:I VERYOFTENSTARTOUTWITHABASICCUBE. FORCREATURESI USECONNECTPOLYSHAPETOGIVEMEAMIRROREDHALFOFTHEMESHSOTHATI ONLYHAVETOWORKONONESIDE. TOADDGEOMETRYI USEMAINLYEXTRUDEANDSPLITPOLYGON. TOJOINITEMSTOGETHERI USETHECOMBINEFUNCTIONANDTHENMERGEVERTICES. TOSMOOTHOUTAREASOFAMESHI USEAVERAGEVERTICES
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Go back to a single view. It is important to give a model goodedge loops especially in areas that will move or crease a lotduring animation. Change the flow of the polygons around themouth using a combination of Split polygon, Merge verticesand by deleting unwanted edges. With a few commands youcan reshape the mouth into a ring or series of edge loops asshown.
To create an area where the eye will be, select a group offaces on the top of the head and Extrudetwice. Tweak thesenew faces into smooth rings as shown. You can select the facesand usePolygons>average verticeswhich smooths out parts ofthe mesh without adding geometry.To get a basic arm (Wing), select four faces on the side of thebody and Extrude out several times.
Switch back to the Quad vi ew. Now take some time and teak themodel until you have the shape shown. You can tweak faces,edges and vertices to your preference.
Select a face on the back of the head and do multiple extrudesfor the ear shape.Select the faces on the end of the Wing and keep extrudingoutwards. Angle these down at the end a little using Rotate onthem before extruding.
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Changing views constan tly helps to keep the form correcthe mesh to achieve the desired result.
Select a group of faces inside the ear shape and inwards. Use a combination of average vertices and tto get the ear shape.
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To create the toes select one of the faces at the end of the leg.Extrude outwards several times, each time adjustin g the size andposition of the face using Move, Rotate and Scale .
Do this twice to create the two toes shown.
Run a split down the center of each toes and turn it under thefoot before it goes up the body. This is because we want moregeometry in the toe area but not further up the leg and body.Use Average vertices to smooth out the toes a little. Tweak thetoes into the claw-like shape shown.
Check it in all angles. Tweak as needed.
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To help with creating the head shape create a(create>polygon primitive>sphere). Use Move, Scale anto get the sphere into the eye socket area. This acts asholder and allows you to model around it and get an eye shape. Pull the eye geometry up around the eyeand tweak the shape. Use Split polygonor Split loopmore edge loops where needed.
To create the wing, create a new model using create>primitives >plane . Using Split polygon, create more geomshape it into the basic bat wing shown.
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Picture 01 _45Picture 01 _45Picture 01 _45
Using soft modification pull the end of the wing out and intothe correct shape. I used 2D reference throughout this projectto refer to it as needed.
To create the fingers create a new cube (create>polygonprimitive> cube). Use Extrude then Move, Scale and Rotatetoshape a single finger. Copy this finger twice and arrange thefingers as shown. Delete the end polygons at the hand end ofthe fingers. Move the to be in line with the wing as shown.
Delete the relevant faces at the end of the wing then select thewing and th e fingers together. Use Polygons>combineto makethe objects into one object. Using Edit Polygons>Merge verticesattach each finger to the wing.
Tweak the overall shape to suit. Add more splits where thebones of the wing drop to the points. As this is a cartoon Batthe anatomy is not accurate so you need to build the wing asper the reference you are given.
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Move the wing into position next to the body. Select tand the wing and use Polygons>combine .
Using merge vertices attach the wing to the body.
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To create the tongue and teeth use a combination of the stepsdescribed already in the project. The teeth are created fromcubes, shaped by tweaking and moved into place inside themouth. The tongue is the same but needs more geometry as itneeds to be shaped more.
The mesh now needs to be refined with a combination oftweaking and adding splits. Try to keep the mesh 100% quads sothat you dont have to hunt down triangles at the end of theprocess.
Look at the model from the back and star t to get the areas likethe shoulder to be as close to the reference image as possible.Change from Single perspective view to Quad view over andover again.
Go back to the mouth area and use Polygons>Smooth on theteeth and tongue the increase the amount of polygons. Thenusing soft modification and tweaking you can get a verydetailed mouth area.
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At this stage you can turn off connect poly shape andthe mesh into a full symmetrical model. Use Polygongeometry.
Check it in Quad view.
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To smooth the mesh by adding more geometry use Editpolygons>smooth. You will now see a much higher resolutionversion of the Bat and it will be 4x the polygons.
And a final check of the full mesh.
Some final tweaking from the back.
Jasen Strong Gallery
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Starting in Maya create a basic cube Split the cube around the Tweak the shape of the cube into the barrel body of the bird Call the connect poly shape script and mirror the m
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Starting in Maya create a basic cube. Split the cube around thecentre axis, back to front. You can do this with a loop splitorby hand with thesplit polygon tool (CTRL + X)
Tweak the shape of the cube into the barrel body of the birdfrom the reference image. Stay in vertex mode and workaround the model getting a rough shape.
Switch to Quad View and check the shape from all angles. Selectfaces and move them as needed.
Select the faces that make up the entire left hand side (as youare looking at it) of the model. Delete these.
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Call the connect poly shapescript and mirror the mThis will need to be turned off and on during the mois fine to delete the left half on occasions and simply rescript.
Check the mesh from all sides and tweak if needed. Tras smooth a shape as possible with minimal polygons.
Using rotate position the top most face Each time you extrude Keep extruding up and around as shown Check the model in Quad View to ensure it is looking
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Using rotate, position the top most face. Each time you extrudea face you need to rotate the face a little more to form thecurve in the neck.
Keep extruding up and around as shown.
Rotate and Scaleas needed. As you come out at the front of the model decrease the size ofthe polygon face. This is where the beak tapers to the end.
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Check the model in Quad View to ensure it is lookingfrom all angles. Run a split vertically around the mshould run up the right hand side and up around the
Now spend some time in vertex mode tweaking the vertices. Get the overall shape to match the Bird referesmooth out the beak area.
Remove the connect poly shape half of the model and check Re-instate the mirrored half and pay particular attention to the Using the combination of Extrude then Move and Rota
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Remove the connect poly shape half of the model and checkaround for any odd vertices.
Re instate the mirrored half and pay particular attention to theshape of the beak. Make sure the profile matches the referenceas closely as possible at this stage.
Tweak the mesh ed ges where need ed . S el ec t fo ur fac es on the bottom /sid e of the bird s b ody. Extr ud ethese out to form the beginnings of the thigh.
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Using the combination of Extrude then Move and Rotathe leg and knee. You can extrude a full section then and split around the leg if this helps.
Switch back to perspective mode if needed and tweakinto the desired pose. If needed, use soft modification towhole leg.
Rotate and tweak the from face of the foot to make the next Tweak the shape of the foot to match the reference. Select a portion of the foot and use average vertices to
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extrusion more accurate.p
Select the faces on the underside of the foot and do a smallextrusion downwards. This will help to form the sole of the footand keep the shape. This now gives you a more geometry atthe front of the foot. Make sure you select it all for the nextextrusion.
Tweak and review.
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p gout the mesh. Do this a few times around the foot to gerounded look to the model.
Refine the shape of the beak more. Look at the model from the Select the group of faces shown. This area will become the eye Using a combination of tweakingand average vertice
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side to get the beak profile just right. socket.
Select the faces inside the beak and extrude downwards formingthe area for the tongue to sit. DO the same in the upper por tionof the beak to form the roof of the mouth.
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out the eye ring. Extrudeagain and make a raisedthe centre as shown
Tweak th e eye area to mat ch th e image.
Look back to your reference and then review the eye froml l
Place the teeth and tongue into the beak and take a look ath d l i i d T k h ll h d h
Make another set of teeth to use for the top of the beah b l d P i i h
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several angles. the model in perspective mode. Tweak the overall head shapeto suit. This is quite close to the desired look at this stage.
The tongue and teeth are another series of cubes adjusted tofit the model. Usingsoft modificat ionon the tongue, pulling it intothe curled shape shown in the image. Make one tooth first bycreating a cube and splitting polygons as needed. Then createand re-position new copies. This is best done in Quad viewsoyou can make minor adjustments as needed.
Continue matching the shape of the Birds head to the referenceimage.
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copy the bottom set or load up a new set. Position thebeak as shown.
Add more loops around the top of the head where tmeets the head. Adjust individual polygons to get a ridgmesh.
Continue extruding and create the structure of the wing. This isessentially the part of the wing that would contain the bones
The primary feathers on this bird will be geometry so we needto extrude the shape of each feather from the main wing
Using the Split polygontool cut more geometry into tto help define the feather shape Work along each fea
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essentially the part of the wing that would contain the bones. to extrude the shape of each feather from the main wingsection. Select a group of faces at the body end of the wingand extrude downwards. Tweak this into the feather shape.Carry on along the wing selecting every other face to givegaps between the feathers. Keep matching the geometry toyour reference.
Select all the faces that are on the lower side of the wingstructure so far. Extrud e these downward several times. Takesome time now using average verticesand tweaking to get thestructure of the wing accurate. The more accurate this portionis the better the wing will look. Use the images shown here andthe reference images to guide you.
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to help define the feather shape. Work along each feashape the wing as you go along. Use soft mod ificationeeded. Keep the triangles down to a minimum or haat all if possible.
Keep pulling back from the model and reviewing thshape of the wing against your reference image andthe body mesh.
Go back to the foot area and select faces on one side. Extrudeout to form the start of a talon or claw Move Rotate and
Use soft modification as needed to position the foot as a whole. Swi tch to the Quad view and check the overall shape.
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out to form the start of a talon or claw. Move, Rotate andScale as needed. Make the claw bulbous then taper of to apoint as shown.
Select the faces that form the claw then copy them. Createa copy and attach it to the foot. Tweak the foot to suit thereference.
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Some final details. Extrude out some tail feathers as shown. Thisimage show the smoothed version
Create some head feathers from a basic cube. Position them tosuit the reference
Check the entire mesh and the bird is complete.
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image show the smoothed version. suit the reference.
Look at the smooth verison and see if there are any issue inthe mesh that need to be rectified. If so, go back to the savedunsmoothed version and correct them.
Use differing views to get the feather positioned accurately.
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Draw the face out until the distance is roughly twheight.
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To start modeling the Elephant create a primitive Cube. UsingSplit Loop run a line of edges down the center of the cube.Delete the half on the left of the mesh. Using connect polyshape mirror the half cube across the axis as shown.
Select the face at the front of the cube and extrude it outwards.This will form the bulk of the torso.
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g
Using either average vertices or by tweaking individuaround the cube off as shown.
Check from all angles as shown. Remove the mirrored half if needed and refine the leg shape.Pay special attention to the rear leg and begin to form the
Look at the model from all sides in several views to gfor the silhouette.
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Select two faces on the underside of the mesh. One is to becomethe front leg and the other the rear leg. Extrude these facesdown into the shape shown.
basic shape.
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Carry on tweaking the mesh as needed.
Keep reviewing from all angles and tweak as needed. To create the Elephants head, select the faces at the front ofthe model and extrude it out. Tweak the points to get a bulkyh h S l t th h l h d d t t it li htl
Look at the model from all sides in several views to gfor the silhouette.
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shape as shown. Select the whole head and rotate it slightlyforward.
Remove the mirror if needed and tweak.
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The next step is to create a trunk and mouth. Select tharea as shown and extrude inwards. Tweak as shown
Select the front faces on the trunk and extrude out furtherusing move and rotate after each extrude.
Keep selecting the front faces and extruding outwards. Go backto vertices mode and tweak as needed.
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Look at the model from all angles including top down to get therequired shape for the trunk. To aid with UV mapping the trun kwill be created straight instead of hanging down.
Tweak the shape of the head a l ittle as the trun k gets larger.
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As the trunk reaches full length begin to scale the facwith each extrusion.
The overall trunk should look like this image with indentationsalong the length.
Now to add some details to the top of the head extrude a bump(or small hump) above the eye area. This can be smoothed outbut the effect is to raise the geometry on each side of the head
To create an eye, select the faces where the eye nbe and extrude inwards. Tweak point by point afteextrusion and ensure that you give yourself enough ed
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but the effect is to raise the geometry on each side of the headso dont flatten it out too much with smooth.
Where needed use rotate to shape the trunk as shown. Look at the shape of the head from a few angles to get thecore shape right.
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extrusion and ensure that you give yourself enough edto sculpt the eyelids.
Keep reviewing your work from multiple angles in peand quad views.
Next add some detail to the feet. Start with the rear foot. Now select a face at the bottom side of the foot and out a toe nail. It may take 5 or 6 extrusions to do itof minor tweaking
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Now to start adding details. Select a loop of faces as shown andsplit them. This will give more geometry at the corner of theeye and b e helpful later.
Selectively split polygons to give more geometry as shown.
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of minor tweaking.
Do this to create all the toes on the foot. Then using AVertices and tweaking to sculpt the foot into the shape.
If you wish to see a smooth version create a smoothed proxy. Repeat the entire process for the front foot or if you wish selectthe front foot and copy it whole. Paste it back in and add it tothe mesh after removing the old foot. Use Combine to join them
Now work around the whole mesh and selectively add gwith either spilt polygon or extrude if needed. Tweakgo.
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the mesh after removing the old foot. Use Combine to join themback again.
Check the who le mesh wi th the rear foot added . Make sure that the shape o f the front and rear legs matchyour concept. Although there is very little difference in bonesstructure the two legs are very unique and need to be correctagainst the concept.
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go.
The ears are created from a single cube that is extrudedand sculpted. Extrude outwards and pull the geometry intothe shape shown. Keep refining and splitting until you have a
Delete the faces on the head where the ear will be placed.Select the Elephant and the ear and Combine them.
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p p g p g ycurved shape.
Use scale if needed on portions of the mesh. Remove the faceson the end that will be attached to the Elephants head.Move the new ear into place at the side of the head.
Tweak the ear and head as shown.
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Change the shading to smooth shade no wire frame. This willhelp you to iron out any issues in the mesh.
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Refine the overall look once the ear is attached.
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Use a smooth proxy to look at the mesh as a whole.
Jasen Strong Gallery
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04 _Gaston Part
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We start with a primitive Cube. Delete the selected face. Extrude and scale a couple of times to get a rough tohead shape
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Select the front face. Now select the top face and extrude it along the y-axis
Select the side face between the head and torso. This is thebase
Keep extruding.
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Extrude and tweak further for a nicer looking arm. Add new edges on the front of the face. We will needfor eye sockets and the mouth cavity.
Add new detail to the corner of the mouth. Also add a newedgeloop that cuts through the eye socket. And tweak it to makeit rounder.
Select the faces at the bottom of the torso. This is the basecharacter`s leg.
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Goto quad view to review your model. Extrude and scale down. Keep extruding until you have a leg that has both bottupper parts .
Get back to the leg and add new edge loops to make theleghave rounder adding volume. Extrude new faces from theankle
Tweak new vertices to give the belly and leg a rounderform.
Turn your camera to the front and add more detafrontside of t he ear.
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Add a new edge loop that starts from the belly area to thefoot.
Add new edge loops on the side of the head. Select newfaces and extrud e them to create the ear.
Now you need to add more detail around the eyes. Acreate a sphere and place it properly in the eye sockThis is important to create good looking eye socket aneye lids
Add more edge loops to create more details at the backof the head.
Tweak th e ex tr uded fa ce s fo r r ig ht fo rm . C reat e f inge rs by ex tr ud ing fa ces from t he pa lm of th
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Picture 04 _33
Picture 04 _34
Picture 04 _35
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Select the faces around the elbow and extrude them. Review the hand model for edge loop inconsistencies.Because hands have alot of moving parts. Wrong edgecan be a big problem for riggers and animators.
Enable proportional modelling tool and move the verticesaround the corner of the mouth inward to make it closerto the character design.
Mirror y ou r model to review general for m. Du pl ic ate and mirror the botto m teeth set. We wcopiedset for upper teeth. Tweak them so they do not look thAlso upper teeth will generally have a bigger look then
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Picture 04 _41
Picture 04 _42
Picture 04 _43
Picture 04 _44
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Add more edge loops to create more details at the backof the head.
Create a new set of teeth from cubes. Do not place themevenly. Make sure they have slightly different rotation anglesto make them look more organic.
Edi t t he gums to to f it o nto t he t ee th s et s.
Jasen Strong GallerySmooth subdive it. Select the eye balls and smooth subdivide them
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Picture 04 _49
Picture 04 _50
Picture 04 _51
Select the teeth and gums then smooth subdivide them.
05 _Pi Part
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We start with a cube. After creating the cube delete the facethat is on the x axis of the scene.
Select the top face and start extruding. Mirror your model.
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Picture 05 _1 Picture 05 _3
Picture 05 _2 Picture 05 _4
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Rotate your camera. Extrude until you have a rough vase shape. Add one edge loop that cuts through the side of the mAnd apply average vertices to smooth it down little bit.
Now rotate your perspect ive v iew as in the picture . Se lect the faces at the bot tom of torso. Extrude them. Now we can start adding the claw. Select the face at bottom of the leg that is facing front.
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Picture 05 _9 Picture 05 _11
Picture 05 _10 Picture 05 _12
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Delete one half. We are now working on the leg. Extrude and tweak a couple of times until you have of an 'S'.
Now merge the vertices. Tweak the details around the cl aw and toes to give it a look.
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Picture 05 _17 Picture 05 _19
Picture 05 _18 Picture 05 _20
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Now add more edges to the sides and edge loops to thetop of the toes.
Mirror your model to check out the general volumeof your model.
Tweak the vertices to get a curved shape. Start adding edge loops and more details until you havenough faces that you can use for the bases of Selectfaces that look down and start extruding them one byto create the basic shapes of the feathers. We are foc
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Picture 05 _25 Picture 05 _27
Picture 05 _26 Picture 05 _28
Picture
Now we will start working on the wings by adding a planethathas 3 sections.
Select all the faces and extrude the basic wings shape.
Picture
Add Edge loops that cut through the thin side of the w
We now start working on the beak. Create a rough beakshape from a primitve cube. For the nose hole add more edgeloops and extrude inward.
Add more detail around the mouth. These parts needto have a solid feeling to make the beak look like a hardersurface than the rest of the body. Sharper edges will help.
Mirror the model.
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Picture 05 _33
Picture 05 _35
Picture 05 _34
Picture 05 _36
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Again create a primite cube and extrude a couple of timesto create a tongue shape.
Now you will attach the beak to the head. The beak not need to be merged with the model at this point.
Select the faces on the side of the head and extrude them oneby one to get the feathers on the side.
Turn your view and move down the back of the torso. Selectthe faces and extrude them for the tail.
Create a sphere primitive and put them into the eye so
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Picture 05 _41
Picture 05 _42
Picture 05 _43
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Do the same steps for the feather on top of i ts head. Make sure i t i s not blocky looking, and i t has nice taperedfeel.
Before final smoothing make sure that all the objects thto be attached to the body are merged properly wings.
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Start with a cube and delete the face that is closest to the originof the scene
Select the front faces and start extruding.
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Picture 07 _1 Picture 07 _3
Picture 07 _2 Picture 07 _4
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Mirror it. Check out the below picture to see how it should look from side.The loops are parallel to eachother.
Check it out from the side view and make sure that tofthe mouth goes half way to the head.
First add edge loops to the mouth area. Now select the facesthat will the be the mouth opening and extrude them inward.Extrude and tweak until the shape of the mouth is satisfying.
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Picture 07 _9 Picture 07 _11
Picture 07 _10 Picture 07 _12
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Move the vertices at the corner of the mouth to make it abetterlooking mouth corner.
Now create edge loops that will split eye sockets frdirections. Select the neighbouring faces and extrude t
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Picture 07 _17 Picture 07 _19
Picture 07 _18 Picture 07 _20
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Select the faces on the front of the head and extrude them toform eye sockets.
Mirror and merge your model. Since the spider hasthe middle,. you need to have the both sides to be ablethose shapes properly.
Add more edge loops and use average vertices to smooth yourform. Make sure that the bases for the eye sockets are ascircular aspossible.
Now select the faces of the first group of the eye sockets andextrude them and tweak them until you have proper sockets.
Tweak the eye sockets in the middle.
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Picture 07 _25 Picture 07 _27
Picture 07 _26 Picture 07 _28
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Use average vertices to smooth the rest of your model. Apply similar steps to the front sockets to create holes be used to hold a round eye sphere.
Undo. Delete the other half of the model. You can make the last extrusion outward with this onthe eye is so small you can use it to as a replacemenfor a sphere.
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Picture 07 _33 Picture 07 _35
Picture 07 _34 Picture 07 _36
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Now create the eye sockets on the side by selecting andextruding faces.
Create sphere primitives for eyes and place themproperly in eye sockets.
Create a cube primitive and extrude multiple times and tweakuntil you have the shape of the insect legs. These legs arebulgey at the tips and thinner in the middles. Then smooth yourmodel.
Create smaller spikes to place them at the tip of the leg.You can use cube primitives or cylinder primitives for this task. Try to make sure that they have a sense of a claw.These spikes are used for grabbing all kinds of surface
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Picture 07 _41 Picture 07 _43
Picture 07 _42 Picture 07 _44
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Duplicate and place them at the tip. Make sure that they havedifferent scales and rotations.
They should have sllightly different scales and rotation for amore organic look. Delete the top faces that are facing toward the body from thelegs. Now use append polygon and vertex snapping to createmerging faces.
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Picture 07 _49 Picture 07 _51
Picture 07 _50 Picture 07 _52 Picture
Delete the corresponding faces from the body. Add new edgeloops to add more detail. Tweak the holes so that they arepretty close to the shape of the upper parts of the legs. Youneed to make sure that they have the same number of verticeson both sides. Otherwise you would create alot of unevenmerged parts and polygons which is undesired.
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03UVMappingPart
01 _UV Mapping
The Art of 3d Toons
01 _Uv Mapping
a Character in Maya
UV Mapping is the process of unwrapping a polygonal mesh in2D th t t t b t l li d Thi k f it
Picture 01 _2 4_Switch to the Front view and select the Owl. In thProjection Options, click P roject. The UVs in the UV Textushould now look like Figure 4. Now the Owl UVs are UV shell. (Picture 01_4)
Picture
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Picture 01 _1
2D space so that textures can be accurately applied. Think of itas a bear rug. The 3D bear has been unwrapped to lay flaton the ground.
UV Mapping used to be hard. But now, with the advent of theUnfold UVs tool in Maya 7, UV Mapping is easy! The following isa step by step breakdown of how to UV map a character inMaya.
1_In Maya 7, Open the file P i_Owl.mb. This is the character wewill be UV Mapping. (Picture 01_1)
2_ Go to Window > UV Texture Editor and select the Owl's mesh.As you can see, the UVs are a mess right now. But we'll soonfix that!
You can move around in the UV Texture Editor just like youwould in any Orthographic view. (Picture 01_2)
3_Before we can start using the Unfold UVs tool, we must firstcreate a single UV shell for the owl. We can use any of theprojection methods, except for the Automatic projection method.In this case, we will simply use Planar Mapping.
Go to Polygon UVs > Planar Mapping > Options. Change theMapping Direction to Camera. I recommend using this setting,because it will simply do a Planar projection from the camerayou are currently in. (Picture 01_3)
Picture 01 _3 5_Before we continue, let's apply a checker patternOwl. The checker pattern will be an important visual gdetermining the size of the UV shells relative to oneas well as identifying areas where there is significantstretching or overlapping UVs.
Switch to the Rendering menu set. Select the Owl andLighting/Shading > Assign New Material > Lambert.(Picture 01_5)
6_In the Attribute Editor that opens, click the checker to Colo r. (Picture 01_6)
7_In the Create Render Node window that opens, clickThis will create a File texture node and connect it to tattribute of the Lambert shader. (Picture 01_7)
8_In the Attribu te Editor, browse for the image called checkers.tif. (Picture 01_8)
Picture 01 _8
10_We are now ready to begin identifying the texture seamson the Owl. Just like clothes have seams, so do UV maps. Theseams for a character are typically hidden in the back of thehead and spine, as well as the back of the arms and legs. TheOwl is no different.
It is usually impossible to unwrap an entire character as oneUV shell several shells are required We will start by separating
Picture 01 _11
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Picture 01 _10
9_ Finally, go to the perspective view and press 6 (Texturemode). The gray checker pattern should now appear on theOwl.
I like to make my checkers gray because they show up betterin the UV Texture Editor. I also prefer using a file texture forthe checkers instead of the Maya procedural checkers. A filetexture usually looks much sharper in the hardware view.(Picture 01_9)
Picture 01 _9
UV shell-several shells are required. We will start by separatingthe Owl UVs into the main pieces, such as the head and torso,the wings, and the feet.
Right-click over the Owl and choose Edge. Shift select the edgesall the way around the base of the wing. (Picture 01_10)
11_Now, in the UV Texture Editor, click the Cut UVs button.(Picture 01_11)
12_Also check the View Texture Borders button. (Picture 01_12)
13_Now the seam shows up thicker on the Owl. (Picture 01_13)
Picture 01 _12
Picture
14_Repeat for the right wing. (Picture 01_14)
15_Cut the UVs around the feet. (Picture 01_15)
16_Now, let's separate the wings into two pieces-front and back.We will do this with the help of a very useful command: SelectContiguous Edges. Select an edge on the crest of the wing andchoose Edit Polygons > Selection > Select Contiguous Edges.I recommend creating a Shelf button for this command.(Picture 01_16)
Picture 01 16
Picture 01 _17 Picture 01 _18
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Picture 01 _16
17_All of the adjacent edges on the top of the wing will beselected. (Picture 01_17)
18_Using a combination of Shift selecting and deselecting, andSelect Contiguous Edges, select all the edges separating the frontof the wing from the back. Be sure to deselect any edges that
don't belong. Cut the UVs. (Picture 01_18)
Repeat for the right wing .19_Separate the little feathers on top of the Owls head.(Picture 01_19)
20_Similar to the win gs, separate the front of the feathers fromthe back. (Picture 01_20)
21_Separate the underside of both feet. (Picture 01_21)
Picture
22_Create seams on the back of the Owl, as shown in Figure22. (Picture 01_22)Do not select edges on the front of the Owl.
Picture 01 _22
Picture 01 _23 Picture
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23_Finally, create a seam under the Owl as shown inPicture 01_23
24_ We are now finally ready to use the Unfold UVs tool.Select the Owl in object mode. In the UV Texture Editor, choosePolygons > Unfold UVs (only available in Maya 7 and above).When the Unfold UVs operation is finished, your UVs should looksomething like Picture 01_24
As you can see, we still have a lot of work to do.
25_ Let's work with the main body shell for now. To select
UVs, right-click in the UV Texture Editor and choose UV frommarking menu. Select a few UVs on the body shell. Now, Ctrl-right-click and choose To Shell. This selects the entire body shell.We can now move it, rotate it, and scale it, using the W, E, andR hotkeys, respectively. (Picture 01_25)
26_Move the body shell out to the side somewhere. 26. Thebody shell is a b it lopsided right n ow. That is, more texture space(pixels) are being devoted to the left side than the rig ht side. Let'sfix that. (Picture 01_26)Rotate the body shell so that its center is as vertical as possible.Then, shift select all the center UVs.
Picture 01 _24
Picture
Picture 01 _29 Picture 01 _3133_ Now we're going to reproject the wings. Select a UVof the wings, Ctrl-right-click and choose To Shell. Arrafour different wing shells so that they are easy to selec(Picture 01_33)
Picture
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30_ Open the Unfold UVs option box and set the options to howthey appear in Picture 01_30. Hit apply.
Picture 01 _30
31_ Your body shell UVs should now look like Picture 01_31.Much better!
32_ Also, notice that the checkers are all approximately the samesize on the Owl. This means that there is not any significanttexture stretching on the Owl's body UV shell. (Picture 01_32)
Picture 01 _32
34_ Right-click in the UV Texture Editor and choose Facthe two shells that represent the fronts of the wings. Ffront view, do a Planar projection. Move the resulting to the side. (Picture 01_34)
Repeat for the back of the wings, but this time do aprojection from the back view.
35_ Scale the new wing UVs so that the checkapproximately the same size as they are on the body(Picture 01_35)
36_ Similarly to the wings, reproject the bottoms of the feet. First
separate the bottoms of the feet from the tops of the feet, sothey are easier to select. Then go to Face selection mode in theUV Texture Editor, select the faces for the bottoms of the feet anddo a Planar projection from the bottom view.
Rescale the feet UVs so that the checkers are approximately thesame size as they are on the body. (Picture 01_36)
Picture 01 _37 Picture
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y y ( )
Picture 01 _36
37_ Nowreproject the tops of the feet from the top view. Rescalethe UVs again to match the size of the checkers.(Picture 01_37)
38_ Following the procedure outlined in the last five steps,reproject the feathers on top of the Owl's head from the frontview and the back view. Rescale appropriately. (Picture 01_38)
39_ Arrange the UV shells roughly like Picture 01_39.
Picture 01 _3840_ We need to do one more thing before we will bto finalize our UV map-do a final Unfold UVs operation shell borders pinned.
Select all the UVs, Ctrl-right-cl ick and choose To Border. the final Unfold UVs operation with the same Options as(Picture 01_40)
41_ We are finally ready to move all the UV shells upper left quadrant and finalize our UV map. Luckily, thcommand in Maya that will help us do this quickly anLayout UVs.
Select the Owl in Object mode and, in the UV Textuchoose Polygons > Layout UVs > Options. Set the optionsthey are in Figure 41 and hit Apply. (Picture 01_41)
Picture 01 _4342_ All the UV shells should now fit neatly into the 0 to 1 texture
space. Feel free to press the Apply button several times-you willget different results every time. Find the layout you like!
When you are satisfied with the layout, select all the UVs andscale them down slightly. This way there will be a small borderbetween the edge of the texture map and the UV shells.(Picture 01_42)
45_ The UVs have now been exported to an i mage file
texturing process can begin. (Picture 01_45)
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Picture 01 _42
43_ We are finished UV Mapping! Take a final look at the Owl.Notice that all the checkers are square and approximatelythe same size. This means that this is a good UV map with nosignificant texture stretching.
Open the file owlUVs.ma to see the finished UVs on the Owl.(Picture 01_43)
44_ The last step in the UV mapping process is to export the UVsto an image file, so that textures could be painted underneaththe UVs in your favorite graphics application.
Select the Owl in Object mode. In the UV Texture editor, choosePolygons > UV Snapshot.
Set the Options to approximately as they appear in Picture01_44 depending on the setting you prefer, and hit OK.
Picture 01 _44
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04TexturingPart
01 _Regis 02 _Gary 03 _Pi Par04 _Oscar05 _Aman06 _Stinson07 _Gaston
The Art of 3D Toons
01 _Regis Part
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In Maya, select the body of the bat and go to Window>UVTextureEditorPicture 01.1 _1.
01.1 _Bat
Picture 01 1 3
In the Texture Editor, go to Polygons> UV Snapshot > bat_00002.
tif and Picture 01.1 _2 , Picture 01.1 _3.
The UV Snapshot is a command that creates an image of theUV Coordinates. Select the name and location for the file andset the resolution ( 2048x2048 ) and type of the image > Picture01.1 _4.
Open the file on Photoshop Picture 01.1 _5.
Double click on the Backgroun d layer. This will open ato change the name and other properties of the la"Ok". This will unlock the layer and let you modify thisPicture 01.1 _6 and Picture 01 .1 _7.
Picture
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Picture 01.1 _1
Picture 01.1 _2
Picture 01.1 _3
Picture 01.1 _4
Picture
Picture
Create a new layer below and fill it with gray ( #81817f ).
With the blending mode of the previous layer set to Multiply,photoshop makes all the white areas transparent, and that helpsa lot to know which part of the model you're painting
Use the opacity of the layer to make it more or less visible >Picture 01. 1 _9.
Picture 01.1 _10 With a smooth brush, paint a soft area around the e
nose with the same color you used in these areasPicture 01.1 _12 and Picture 01.1 _13.
Picture 01.1 _12
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Picture 01.1 _9
Paint the main areas of the body with the predominant color ofeach area. Remember to keep each area on a separate layer.On the bat, lets paint these parts with the following colors:lips - #6b6a69eyes and nose - #5c5b5atip of the wings - #575655ears - #d6b69cinside the mouth - #c79191front part of the wings - #b7b6b5Picture 01. 1 _10 Picture 01. 1 _11.
Picture 01.1 _11 Picture 01.1 _13
Picture 01.1 _16
Create a light gray ( #b7b6b5 ) shape covering the belly and
the area near the mouth and apply a dark gray ( #40403f )stroke effect on it > Picture 01.1 _16and Picture 01. 1 _17.
Picture 01.1 _18
Apply a strong gaussian blur on these layers > Picture 01.1 _18.
and Picture 01.1 _19.
Picture 01.1 _20
Apply the Pattern Overlay effect on the belly l ayer. Set t
mode to Color Burn. Select the clouds pattern. Change tand opacity as you wish > Picture 01.1 _20and Picture
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Picture 01.1 _17 Picture 01.1 _19 Picture 01.1 _21
Picture 01.1 _23 Picture 01.1 _25 Picture 01.1 _27
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Picture 01.1 _24 Picture 01.1 _26 Picture 01.1 _28
Select the layer with the tip of the wings and apply a Pattern
Overlay effect. Set the Blend mode to Soft Light. Select the metallandscape pattern >
Now create a new layer and paint the torso, ears and wings
areas with a solid col or. Set the fill of the layer to 0% an d applya Pattern Overlay effect on it. Set the Blend mode to Soft Light.Select the clouds pattern. Change the scale and opacity as youwish > Picture 01.1 _32and Picture 01.1 _33.
Picture 01.1 _33
Picture 01.2 _1
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Picture 01.1 _32
01. 2 _Bat Bump
The bump map is a black and white image that defines whicharea is raised and which is not.
We'll use the color map as base to create the bump map, so thebump effect matches the colo r. Open the col or file >Picture 01.2 _1.
Fill the background of the texture with a black color (#000000)> Picture 01.2 _2.
Some areas will not have a bump effect and, becausewe can remove the layers related to these areas.In this case we'll remove the face features and lips ( but basic color ), the inside part of the mouth, the light colowings and the basic color of the ear > Picture 01.2 _
Picture 01.2 _2
01.2 _5.
Use adjustment layers of levels to contrast each part of theimage to create the final bump texture. You can paint someareas to have a different result. In this case, some areas around
Picture 01.2 _5
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Picture 01.2 _6
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Picture 02.1 _1
02.1 _Elephant
In Maya, select the body of the elephant and go to Window>UVTexture Editor Picture 02.1 _1.
In the Texture Editor, go to Polygons > UV Snapsh ot >
Picture 02.1 _2.and Picture 02.1 _3.The UV Snapshot is a command that creates an image of theUV Coordinates. Select the name and location for the file and setthe resolution ( 2048x2048 ) and type of the image >Picture 02.1 _4.
Picture 02.1 _3
Open the file on Photoshop > Picture 02.1 _5.
Picture
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Picture 02.1 _2 Picture 02.1 _4
Double click on the Backgroun d layer. This will open ato change the name and other properties of the la"Ok". This will unlock the layer and let you modify thisPicture 02.1 _6.and Picture 02.1 _7
Picture
With the blending mode of the previous layer set to Multiply,
photoshop makes all the white areas transparent, and that helpsa lot to know which part of the model you're painting
Use the opacity of the layer to make it more or less visible >Picture 02.1 _9.
Picture 02.1 _9
Paint the main areas of the body. Use a dark blue ( #5e78a7
)to paint the legs, belly, tail and the tip of the trunk. Paint theinside part of the mouth with a light brown ( #af6c5f ). With adark brown ( #7a6d72 ), paint each nail > Picture 02.1 _10.andPicture 02.1 _11.
Picture 02.1 _11
With a darker blue ( #af6c5f ), paint the eye area
part above the head. Use the same color to paint the wrinkles on the trunk > Picture 02.1 _12and Picture 02
Picture 02.1 _13
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Picture 02.1 _10 Picture 02.1 _12 Picture 02.1 _14
Picture 02.1 _16 Picture 02.1 _18
Picture 02.1 _20
Apply the Pattern Overlay effect on the new layer. Set
mode to Soft Light. Select the clouds pattern. Change tand opacity as you wish Picture 02.1 _20and Picture
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Picture 02.1 _17 Picture 02.1 _19 Picture 02.1 _21
Picture 02.1 _24
Paint two dark blue ( #4d6492 )stripes on each ear and apink( #ffa4a8 )area on the front side of the ears. Create thiselement on separate layers to define diferent opacity values foreach part > Picture 02.1 _24.
Picture 02.1 _25 Picture 02.1 _27
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Apply the Pattern Overlay effect on the pin k area of the ear. Setthe Blend mode to Soft Light. Select the clouds pattern. Changethe scale and opacity as you wish > Picture 02.1 _25.
Now create a new layer and paint the torso, ears and headareas with a solid color. Set the fill of the layer to 0% and appl ya Pattern Overlay effect on it. Set the Blend mode to Soft Light.Select the clouds pattern. Change the scale and opacity as youwish > Picture 02.1 _26and Picture 02.1 _27
Right click on the layer and select "Group into New SmartObject" > Picture 02.1 _28.
Apply a gaussian blur filter on the result layer > Picture 02.1_29.
Picture 02.1 _26 Picture 02.1 _28
Picture 02.2 _1 Picture 02.2 _3 Desaturate the layers to have a PB image. You can d o entire image ( go to Image>Mode>Grayscale ) or layer-( press Ctrl+Shit+U to desaturate the layer ) > Picture 02
Picture 02.2 _5
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Picture 02.2 _2Picture 02.2 _4 Picture
03 _Owl Part
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In Maya, select the body of the owl and go to Window>UVTexture Editor > Picture 03.1 _1.
Picture 03.1 _1
03.1 _Owl
Picture 03.1 _3
On the Texture Editor, go to Polygo ns> UV Sna pshot >Picture 03.1 _2and Picture 03.1 _3.
The UV Snapshot is a command that creates an image of theUV Coordinates. Select the name and location for the file and setthe resolution ( 2048x2048 ) and type of the image >Picture 03.1 _4.
Picture
Open the file in Photoshop > Picture 03.1 _5.
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Picture 03.1 _2 Picture 03.1 _4 Picture
Create a new layer below and fill it with a middle brown (#73665b )
Whith the blending mode of the previous layer set to Multiply,photoshop makes all the white areas transparent, and that helpsa lot to know which part of the model you're painting
Use the opacity of the layer to make it more or less visible >Picture 03.1 _9.
Picture 03.1 _9
Picture 03.1 _10 Select a very dark brown ( #4b4340 ) and paint taround the eyes, nose and the "hair". Use a very ligh
tone to paint the area below the eyes > Picture 03.1 _1
Picture 03.1 _13
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Start by painting a darker area on the back. Use a darkbrown color ( #645b58 )> Picture 03.1 _10and Picture 03.1 _11.
With a yellow color ( #cebd1e ), paint the belly an d face. Createa new layer and paint a small area on the belly with a lightred ( #c78897 )and adjust the opacity to have a very subtleresult > Picture 03.1 _12.
Picture 03.1 _11 Picture 03.1 _14
Picture 03.1 _16 Picture 03.1 _18 Apply the Pattern Overlay effect on the legs layer. Set tmode to Soft Light. Select the metal landscape pattern
the scale and opacity as you wish Picture 03.1 _20andPicture 03.1 _21.
Picture 03.1 _20
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Picture 03.1 _17 Picture 03.1 _19 Picture 03.1 _21
03.2 _Owl Beak
Picture 03.2 _1 Picture 03.3 _3
Picture 03.2 _5
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Picture 03.2 _2 Picture 03.4 _4
Picture 03.2 _6
Picture 03.2 _9 Picture 03.2 _11 Picture 03.2 _13
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Picture 03.2 _10 Picture 03.2 _12 Picture 03.2 _14
Picture 03.3 _1 Picture 03.3 _3 Desaturate the layers to have a PB image. You can d o entire image ( go to Image>Mode>G rayscale ) or layer-b
press Ctrl+Shit+U to desaturate the layer ) > Picture 03.3
Use adjustment layers of levels to contrast each parimage to create the final bump texture > Picture 03.3 _
Picture 03.3 _5
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A thing that makes the bump map creation easiest is the numberof layers. Merge the layers you created for some areas. Youmay use the shortcut Ctrl+E to merge layers > Picture 03.3 _4.
Picture 03.3 _2
Picture 03.3 _4 Picture
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Picture 04.1 _1
04.1 _Rhino
Picture 04.1 _3
In Maya, selec the body of the rhino and go to Window>UVTexture Editor > Picture 04.1 _1.
In the Texture Editor, go to Polygons > UV Snapsh ot >Picture 04.1 _2and Picture 04.1 _3.
The UV Snapshot is a command that creates an image of theUV Coordinates. Select the name and location for the file and setthe resolution ( 2048x2048 ) and type of the Picture 04.1 _4.
Open the file on Photoshop > Picture 04.1 _5.
Double click on the Backgroun d layer. This will open ato change the name and other properties of the la"Ok". This will unlock the layer and let you modify thisPicture 04.1 _6and Picture 04.1 _7
Picture 04.1 _5
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Picture 04.1 _2 Picture 04.1 _4 Picture
Create a new layer below and fill it with a very desaturatedblue color ( #8a8fa2 ).
With the blending mode of the previous layer set to Multiply,photoshop makes all the white areas transparent, and that helpsa lot to know which part of the model you're painting.
Use the opacity of the layer to make it more or less visible >Picture 04.1 _9.
Picture 04.1 _9
Picture 041 _10 Paint the nails with a very dark blue ( #434654 )>Picture 04.1 _12and Picture 041 _13.
Picture 04.1 _12
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Paint the main areas of the body with the predominant color ofeach area. Remember to keep each area on a separate layer.Paint the legs and feet with a dark desaturated blue ( #5b6072). Select a lighter tone of this color ( #62677b )and paint theeyes area and nose. Use an even lighter tone ( #6e748a )topaint the tip of the tail and the inside part of the ears. Use alight violet ( #ad9bae )to paint the belly. With a darker tone ofthis violet ( #695e6f )paint the lips and the inside part of themouth > Picture 04.1 _10 and Picture 04.1 _11.
Picture 04.1 _11 Picture 04.1 _13
Apply the Pattern Overlay effect on the horn layer. Set the Blendmode to Color Dodge. Select the cloud s pattern. Change the scale
and opacity as you wish > Picture 041 _16and Picture 04.1 _17.
On the base of the horn and above the lips, paint a smootharea with a dark and desaturated blue ( #777d93 )> Picture
04.1 _18and Picture 04.1 _19.
Picture 041 _16 Picture 04.1 _18
Select a very bright blue ( #c0c3cd ) and paint taround the nostril > Picture 04.1 _20
With a dark blue, paint the area on the rhino's back.layer opacity to adjust the final result > Picture 04.1 _2
Picture 04.1 _20
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Picture 04.1 _17 Picture 04.1 _19 Picture 04.1 _21
Picture 04.1 _24 Picture 04.1 _26
Open the blending options of the ears layer and apply theGradient Overlay effect. Set the first color to a dark blue
( #3d3a52 )and the second to a light blue ( #c9c6d8 )>Picture 04.1 _24and Picture 04.1 _25.
Still on the Layer Style window, add the Inner Glow effect. Setthe Blend mode to normal. Select a solid color ( #5d5875 )and
add some noise to it > Picture 041 _26and Picture 04.1 _27
Picture 04.1 _28
Using a light blue color ( #a2a6b5 )paint the area arears > Picture 04.1 _28.
With a dark blue color ( #64697d )paint the tip of > Picture 04.1 _29. Apply the Pattern Overlay effect on layer. Apply the Pattern Overlay effect on the belly laye
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Picture 04.1 _25 Picture 04.1 _27 Picture 04.1 _29
04.2 _Rhino Bump
The bump map is a black and white image that defines wicharea is raised and wich is not.
Picture 04.2 _1
We'll use the color map as our base to create the bump map,so the bump effect matches the c olor. Open the col or file >
Picture 04.2 _1.Fill the background of the texture with a black color( #000000 )> Picture 04.2 _2.
Some areas will not have our bump effect and, because of that,we can remove the layers related to these areas.
In this case we'll remove the inside part of the mouth, the headdetails ( eyes, nostrils etc... ), the tail and the pink part of thebelly> Picture 04.2 _3.
Picture
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Picture 04.2 _2
Picture 04.2 _3
One thing that makes the bump map creation easiest is thenumber of layers. Merge the layers you created for someareas. You may use the shortcut Ctrl+E to merge layers >Picture 04.2 _4.
Desaturate the layers to have a grayscale image. You can doit on the entire image ( go to Image>Mode>Grayscale ) or layer-by-layer ( press Ctrl+Shit+U to desaturate the layer ) > Picture04.2 _5.
Picture 04.2 _5
05 _Amanda Part
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Picture 05.1 _1
05.1 _Spider
Picture 05.1 _3
In Maya, select the body of the spider and go to Window>UVTexture Editor > Picture 05.1 _1.
In the Texture Editor, go to Polygons > UV Snapsh ot >Picture 05.1 _2.and Picture 05.1 _3.
The UV Snapshot is a command that creates an image of theUV Coordinates. Select the name and location for the file and setthe resolution ( 2048x2048 ) and type of the image >Picture 05.1 _4.
Open the file on Photoshop > Picture 05.1 _5.
Double click on the Backgroun d layer. This will open ato change the name and other properties of the la"Ok". This will unlock the layer and let you modify thisPicture 05.1 _6.and Picture 05.1 _7.
Picture
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Picture 05.1 _2 Picture 05.1 _4 Picture
With the blending mode of the previous layer set to Multiply,photoshop makes all the white areas transparent, and that helps
a lot to know wich part of the model you're painting.Use the opacity of the layer to make it more or less visible >Picture 05.1 _9.
Picture 05.1 _9
Start by painting a darker area on the back part of the rabbit.Use a dark brown color ( #573f42 ) > Picture 05.1 _10 and
Picture 05.1 _11.
Picture 05.1 _11
Select a dark red tone ( #72172d )and paint the wiretop of the head and on the back of the spider > Picture
and Picture 05.1 _13.
Picture 05.1 _13
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Picture 05.1 _10 Picture 05.1 _12 Picture 05.1 _14
Picture 05.1 _17 Picture 05.1 _19
Select the dark brown tone again ( #5c4448 ) and paint thearea around each eye. With a light red tone ( #a55b66 ), paint
the four reliefs near the eyes > Picture 05.1 _16andPicture 05.1 _17.
Paint the lips with a purple tone( #895d6e )and the inside partof the mouth with a dark purple tone ( #67384b ) >
Picture 05.1 _18.and Picture 05.1 _19.
Picture 05.1 _21
Select a very dark brown color ( #302224 )and painof the legs > Picture 05.1 _20.and Picture 05.1 _21.
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Picture 05.1 _18 Picture 05.1 _20 Picture 05.1 _22
Picture 05.1 _25 Picture 05.1 _27
Select a very dark brown ( #573f42 )and paint some of thedivisions > Picture 05.1 _24and Picture 05.1 _25.
Paint some other divisions with a lighter brown ( #63585a ).
Leave some divisions without painting so it will have the samecolor as the rest of the body > Picture 05.1 _26 and Picture 05.1_27.Select the lips layer and apply a Inner Glow effect. Change the
Picture 05.1 _29
blend mode to normal and set the solid color to a dar( #734e5c ). On the same layer, apply a pattern overlaSet the blend mode to Soft Light and select the wrinkles> Picture 05.1 _28 , Picture 05.1 _29 and Picture 05.1 _30
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Picture 06.1 _26 Picture 05.1 _28 Picture 05.1 _30
05.2 _Spider Bump
Picture 05.2 _1
The bump map is a black and white image that defines whicharea is raised and which is not.
We'll use the color map as a base to create the bump map, sothe bump effect matches the col or. Open the col or file >Picture 05.2 _1.
Fill the background of the texture with a black color( #000000 )> Picture 05.2 _2.
Some areas will not have bump effect and, because of that, wecan remove the layers related to these areas.
In this case we'll keep the main color with the pattern, the lipsand face details > Picture 05.2 _3.
Picture
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Picture 05.2 _2
Picture 05.2 _3
A thing that makes the bump map creation easiest is the numberof layers. Merge the layers you created for some areas. Youmay use the shortcut Ctrl+E to merge layers > Picture 05.2 _4.
Desaturate the layers to have a PB image. You can do it on theentire image ( go to Image>Mode> Grayscale ) or layer-by-layer (press Ctrl+Shit+U to desaturate the layer ) > Picture 05.2 _5.
Use adjustment layers of the levels effect to contrast each partof the image to create the final bump texture > Picture 05.2_6.
Picture 05.2 _5
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In Maya, select the body of the tucan and go to Window>UVTexture Editor Picture 06.1 _1.
06 . 1
Picture 06.1 _1
Picture 06.1 _3 Open the file on Photoshop Picture 06.1 _5.
Picture
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In the Texture Editor, go to Polygon s> UV Sna pshotPicture 06.1 _2. , 06.1 _3.
Picture 06.1 _2
The UV Snapshot is a command that creates an image of theUV Coordinates. Select the name and location for the file and setthe resolution ( 2048x2048 ) and type of the imagePicture 06.1 _4.
Picture 06.1 _4
Double click on the B ackground layer. This will open ato change the name and other properties of the la"Ok". This will unlock the layer and let you modify this Picture 06.1 _6. , Picture 06.1 _7.
Picture
Create a new layer below and fill it with a light red color (#d93a1f ).
With the blending mode of the previous layer set to Multiply,photoshop makes all the white areas transparent, and that helpsa lot to know which part of the model you're painting
Use the opacity of the layer to make it more or less visiblePicture 0 6.1 _9.
Picture 06.1 _9
Picture 06.1 _10 Paint the legs with a even darker red ( # 950b0b)Picture 06.1 _12. , Picture 06.1 _13.
Picture
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Start by painting a darker area on the back part of the tucan.Use a darker red ( #b90b0b ) Picture 06.1 _10. , Picture 06.1 _11.
Picture 06.1 _11
Picture
Picture 06.1 _16 Picture 06.1 _18 Picture
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Select a yellow tone ( #e2c30b ) and paint the feet and thebegining of the legs. Use a darker tone ( #ac933a ) to paint thebottom part of the feet Picture 06.1 _17. , Picture 06.1 _18.
Picture 06.1 _17
Use a dark red ( #b41710 ) to paint the top front part of thewings Picture 06.1 _19. , Picture 06.1 _20.
Picture 06.1 _19
Create some yellow ( #ba8b40 ) stripes on the wings Picture 06.1 _21. , Picture 06.1 _22.
Picture
Picture 06.1 _24 Picture 06.1 _26 On the beak layer, apply a pattern overlay effect. Set tmode to Screen and select the clouds pattern Picture Picture 06.1 _2 9.
Picture
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Select the layer you painted the area over the beak and applyan Inner Glow effect. Change the blend mode to normal and setthe solid color to black ( #0000 00 ). On the same layer, apply apattern overlay effect. Set the blend mode to Normal and selectthe wrinkles pattern Picture 06.1 _25. , Picture 06.1 _26. , Picture06.1 _27.
Picture 06.1 _25
Picture 06.1 _27 Picture
Now create a new layer and paint the torso and wing areaswith a solid color. Set the fill of the layer to 0% and apply aPattern Overlay effect on it. Set the Blend mode to Soft Light.
Select the clouds pattern. Change the scale and opacity as youwish Picture 06.1 _32. , Picture 06.1 _33.
Picture 06.1 _32
06.2 _Bump
The bump map is a black and white image that defines which
area is raised and which is not.
We'll use the color map as a base to create the bump map, sothe bump effect matches the col or. Open the col or filePicture 06.2 _01.
Picture 06.2 _01
Some areas will not have a bump effect and, becausewe can remove the layers related to these areas.
In this case we'll remove the feet and the yellow paleg, the eye area and the brown area near the bea06.2 _03.
Picture
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Picture 06.1 _33
Fill the background of the texture with a black color (#000000)Picture 06.2 _02.
Picture 062 _02
Fill the background of the texture with a black color Picture 06.2 _04.
Picture
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In Maya, select the body of the Gaston and go to Window>UVTexture EditorPicture 07.1 _1.
07.1
Picture 07.1 _3 Picture 0
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In the Texture Editor, go to Polygon s> UV Sna pshotPicture 07.1 _2. , Picture 07.1 _3.
Picture 07.1 _2
The UV Snapshot is a command that creates an image of theUV Coordinates. Select the name and location for the file and setthe resolution ( 2048x2048 ) and type of the imagePicture 07.1 _4.
Picture 07.1 _4
Open the file in PhotoshopPictu re 07.1 _5.
Double click on the Backgroun d layer. This will open ato change the name and other properties of the la"Ok". This will unlock the layer and let you modify this Picture 07.1 _6. , Picture 07.1 _7.
Picture 0
Create a new layer below and fill it with an orange color (#a79473 ).
With the blending mode of the previous layer set to Multiply,photoshop makes all the white areas transparent, and that helpsa lot to know which part of the model you're painting
Use the opacity of the layer to make it more or less visiblePicture 07.1 _9.
Picture 07.1 _9
Picture 07.1 _10 Paint the main areas of the body with the predominaof each area. Remember to keep each area on a layer. Paint the area around the eyes with a dark blu
#233e52 ), the lips with a little darker tone ( #2a4050 ), tpart of the mouth with a dark purple ( #92586c ), a lig( #ceb792 )on the hand nails and a dark brown ( #45the feet nails Picture 07.1 _12. , Pic ture 07.1 _13.
Picture 0
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Start by painting a darker area on the back part of the body.Use a desaturated blue ( #606c70 )Picture 07.1 _10. , Picture 07.1_11.
Picture 07.1 _11
Picture 0
On each stain, apply a pattern overlay effect with the blendmode set to multiply and with the wrinkles patternPicture 07.1 _16. , Picture 07.1 _17.
Picture 07.1 _16
Duplicate each stain layer and apply a gaussian blur on itPicture 07.1 _18. , Picture 07.1 _19.
Picture 07.1 _18
Paint the belly area with a light beige ( #d7bd91 ). Uselighter tone( #f8e3c1 )to paint the area near the mouredish tone ( #d79891 )to paint the bottom part of the
Picture 07.1 _20 , Picture 07.1 _21.
Picture 0
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Picture 07.1 _17 Picture 07.1 _19
Picture 0
Use the same dark brown color( #6b6459 )to paint the legsand feet Picture 07.1 _24 , Picture 07.1 _25.
Picture 07.1 _24
Paint the inside part of the ears with a red tone ( #964e59)Picture 07.1 _26 , Picture 07.1 _27.
Picture 07.1 _26
In the area around the eyes, paint the area near with a black color ( #000000 )and some details aroeyes with a lighter blue ( #344e60 )and with the Do
Picture 07.1 _28.Picture 0
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Picture 07.1 _25 Picture 07.1 _27On the hands nails l ayer, apply an Outer Glow effectblend mode to normal and set the solid color to a dar( #4c463d )Picture 07.1 _29. , Picture 07.1 _30.
On the hand nails l ayer, apply an Outer Gl ow effect. Set theblend mode to normal and set the solid color to a very darkbrown ( #24221e )Picture 07.1 _31. , Pic ture 07.1 _32.
Picture 07.1 _31
Select the layer of the inside part of the mouth, apply an InnerGlow effect. Set the blend mode to normal and set the solid colorto a dark blue ( #2d4252 )Picture 07.1 _33. , Picture 07.1 _34.
Picture 071 _33
Open the blending options of the lips layer and apply tGlow effect. Set the blend mode to normal and the soto a dark blue ( #1d394b ). Still on the Layer Style wind
the Pattern Overlay. Set the Blend mode to Soft Light athe wrinkles pattern Picture 07.1 _35. , Picture 07.1 _36. 07.1 _37.
Picture 0
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Picture 07.1 _32 Picture 07.1 _34
Picture 0
Picture 07.1 _39 Fill the background of the texture with a black color (#000000)07.2 _02.
Picture 07.2 _02
A thing that makes the bump map creation easiest is theof layers. Merge the layers you created for some armay use the shortcut Ctrl+E to merge layers 07.2 _04.
Picture 0
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07.2 _Bump
The bump map is a black and white image that defines whicharea is raised and which is not.
We'll use the color map as a base to create the bump map, sothe bump effect matches the col or. Open the colo r file08.2 _01.
Picture 07.2 _01
Some areas will not have a bump effect and, because of that,we can remove the layers related to these areas.
In this case we'll remove the blue back area, the belly colors,the dark brown area on the legs and feet, the inside part ofthe mouth and nails 07.2 _03.
Picture 07.2 _02
Desaturate the layers to have a grayscale image. Youit on the entire image ( go to Image>Mode>Grayscale ) oby-layer ( press Ctrl+Shit+U to desaturate the layer ) 07
Picture 0
05
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05RiggingPart
00 _Introdu
01 _Preparin
02 _Placing
03 _Control
04 _Spine Ri
05 _Tail Rig
06 _Leg Rig
07 _Foot Rig
08 _Arm Rig
09 _Hand R
10 _Connectio
11 _Body Skin
12 _Addional
13 _Facial Rig
The Art of 3d Toons
00 _INTRODUCTION
The job of a 3d animator wouldn't be possible without priorstudy of the characteristics that will form part of the characterand of course the relative setup for the animation. Preparinga character setup for animation is the role of a charactersetup artist, also named a "Rigger" or Character/Creature TD(Technical Director).
As a Rigger, it's important to work very closely with the modelersto check the correct number of edge loops in critical junctionsand to make the applicable changes for deformations to work
CHARACTER SETUP PROCESS ROLE
When we create an animation system for a geometric modelwe can subdivide the process into three main sections: Rigging,Enveloping, Muscles and Dynamics.
- Rigging:Rigging is the part of the character setup where the bonesare placed in a hierarchy of skeletal formations and throughcreating mathematical rules, the skeleton will be constrained towork together with a list of objects called "animation controls".
Picture 00 _2
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and to make the applicable changes for deformations to workproperly on the geometry of the character.
In this chapter the main problematic variables in the d evelopmentof a character setup will be analyzed, as well as method s whichmay alleviate these problems, and allow for a way in whichto acquire greater versatility in adapting to different types ofextreme positions.
This will include making the rig more robust as well as ensuringthat all the module pieces work fine and connect properly.
THE GOAL
In 99% of situations an animator would like to be free of limitationand restriction, work with simplified controls (as few as possible),fully scalable characters in the world space and a body whichcan fully squash and stretch (sometimes this capricious boywants it all and will never use the thousand controls that hehas demanded before).
The animator should never have to go deep inside Maya'sHypergraph or a particular hidden menu for animation, the rigmust be simple to use and fast.
Obviously you need to reach that goal :)One word: versatility!
- Enveloping:The enveloping the part of a character's setup where the firstbase pass of geometry deformations are created based on theanimation system which is created in the Rigging stage.
- Muscle, Dynamics and Cloth:This section deals with finalizing the character , adding moredeformation passes, dynamics simul ations ( e.g. fur, hairs, capes and
accessories), writing some Mel scripts and custom tools to assistanimators (e.g. character selection interface, managing, importand export of animations motion file and pipeline procedures).
In large productions these roles are often dealt with by morethan one person, each separately taking care of each processin order to obtain high quality animation.
WORK FLOW PLANNING
Setting the work flow is more useful than estimated. I often usethe Hotbox to switch between tools and to switch off a fewunnecessary items (e.g. help bar and status line) as this increasesyour working time.
This you a bigger viewport size and your mind is focused onyour rig.
Another preferred suggestion is to set the Maya Project folderbefore starting anything.
This option allows you to keep everything in the right place,scene files, reference images, Mel script files, weight maps,documentations. (Picture 00 _1)
How to set a project in Maya
In the Menu:
File ---> Project ---> New (than fill the name box andyour location path) ---> Accept;
or to Set a Project:
File ---> Project ---> Set (and choose the path)(Picture 3-3b)
Picture
Picture 00 _4 common suffixes for each component used:
GEO for geometry;
GRP for group;LOC for locators;JNT for joint,etc...
for example: GA00_body_GEO (Gaston character body geometry)or GA00_R_foot_JNT ( Gaston character right foot joint).(Picture 00_5)
Picture 00 _5
this may seem dull in the beginning but it's fundamenta
CUSTOM SHELVES
A great help for a rigger is the possibility of placing yorigging process scripts into the Custom Shelf toolbar findividual use.
To do so, select the Mel script line and with MMB hedrag in your custom shelf toolb ar, and the second time change the icon of the brand new button. (Picture 00_
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NAMING CONVENTIONS
Naming conventions is the basis of a good clean and fast rig:) Every geometry, group, control or locator must be namedcorrectly if you want to find it each time.
I usually place a short prefix based on the name of the characterand a number before everything in my rig (a number if thereis more than one of the same character in the scene) then thename of the object and a suffix of three letters so that I canremember the type:
character prefix _ side _ object name _ object type
I recommend that you use a very short name for your object,but not too short such as "ff_ff_rt_ctl" .
Naming conventions for the character prefix used in this book:
BT00 = BAT Character;
BD00 = Bird Character;EL00 = Elephant Character;GA00 = Gaston Character;OW00 = Pi_Owl Character;RA00 = Rabbit Character;RH00 = Rhino Character;SP00 = Spider Character;
To do this:double click on the name of your geometry in the channel box(top on the right) and rename it.
Or you can automatically add a prefix for all selected objects ifyou press the space bar to use the Hotbox and then.
Modify ---> Prefix Hierarchy Names ---> than enter a prefixwith underscore and press ok (Picture 00_6)
Picture 00 _6
Picture
SPACE AND COORDINATE SYSTEM AXIS
In Maya we are able to transform an object (geomelocator and so on) mainly in translation, rotation, and saxis X Y Z.
There are different ways to move and rotate an objeLocal Space transformations or World Space transfobased on a Euler angles theory.
An objects movement or rotation in world space transfmeans that it is relative and aligned at the world (x y ) coordinate system otherwise in local space transformaxis's are aligned to the axis of the object. (Picture 00_
Gimbal Lock
Gimbal Lock is an issue that occurs when two rotation axis' are
pointing in the same direction, making it impossible to direct asrequired.
Important notice! To solve this problem within animation, choosetwo axis' and ignore the third. (Picture 00_10)
Picture 00 _10
Picture 00 _11OUTLINER AND HYPERGRAPH
The Outliner is a window (or a panel) with a full list oobject, node, animation curve or other aspects, all whichcomponents of the scene.The Hypergraph is very useful in order to see the conwithin the input and output between nodes.These windows are fundamental for a character rigge
To Open :Window --> Hypergraph or O utliner. (Picture 00_13)
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Pivot
Another important aspect is the "pivot" that defines the centerpoint (in most instances) for transformation.In Maya you can change the pivot point to where you wantit to be, using the Euler world coordinate system. This is reallyuseful during the rigging process (see rigging process section).
Select an object and press "e" to enter into the translate tool(transformation), press "insert", the shape of the manipulatorwill change and this will allow for movement of the pivot pointanywhere! To exit out of th