
Master retopology for game characters by shaping symmetry, adding geometry to protruding areas, bridging polygons, and refining triangles for clean, efficient topology.
Master retopology for armor in a low poly workflow by optimizing triangles and edge loops, detaching the arm for easier hand topology, and preparing for baking textures and future animations.
Fix the finger by adjusting points and fitting each finger for hand topology. Create clean low-poly geometry by bridging and collapsing edges, then bake textures and normal maps for animation.
Demonstrate a high poly to low poly workflow using decimated meshes and export textures with metallic roughness and normal maps for use in Marmoset and Unreal Engine.
Instructor Info
Nikolay Naydenov is a Senior Character Artist currently working in Gameloft. Nikolay always had deep interest in art. In his spare time he was either reading a book or scribbling on a notebook ever since he was a child. He has been in the game industry since 2007 and had worked in many projects. The project that he is most proud of is the game titled March of Empires. He loves his job as a character artist especially when he is given freedom to do his own concepting and ideas. His advice for everyone just starting out is to spend lots of time learning software programs, be efficient and fast, and also spend many hours learning the anatomy, studying faces, and muscles underneath the skin. As every profession, to be good at something, you have to practice a lot. He recommends students to always look for improvement and never settle. He believes good things require sacrifice of time and other pleasures and this can turn your passion into a profession.
Course Info
In this course, we will make a high resolution character that we sculpted in Zbrush ready for production. First, we will start by exporting the high poly parts using the decimation master tool in Zbrush. Then we will import them in 3ds Max and start making the low poly by retopologizing the decimated meshes. We will learn how to retopologize, make the most out of our forms and follow the silhouette with fewer polygons. Then we will make the UV coordinates for our low poly in 3ds Max with little help from Zbrush. After that, we will bake the textures from high to the low poly using Substance Painter. Then we will continue in Substance Painter to make the texture. You will learn how to create realistic painted metal, scales, dirt and more. We will make our textures super detailed using various layering techniques and strategic hand painting. We will even go through the process of creating emissive materials to further enhance our model. We will present our model using Substance Painter's Iray Render and then later on put it inside Marmoset to create a turntable video that will allow us to display our model in the best possible light. At the end, our amazing model will be ready for animation and game engine.