FVA 362 Character Modeling and Animation
Fall 2009: Tuesdays & Thursdays: 1:30 – 4:15 pm
Phillip Fine Arts Building Room 129
Six hours per week. Prerequisite: FVA 261 or FVA 260. In depth study of character modeling and
set-up techniques, with an emphasis on the concepts of skeletons, inverse kinematics, constraints,
deformation, and motion controls. Additionally, advanced rendering, surfacing, and compositing are
explored.
Instructor:
Eric Kunzendorf
Office: 119B
Phillips
Ext: xt7653
ekunzen@ju.edu
Course Description:
This course will cover the fundamentals of designing, modeling, texture
mapping and articulating characters to be used in an animation
environment. Prerequisite: FVA 261 Basic Computer Animation In this
class, you will wear four hats in the production pipeline: Character
designer, modeler, texture painter and Character Technical
Director(TD).
Objectives:
1.) Students will identify the different areas in a character production
pipeline so that they may troubleshoot their designs to fit within the
production pipeline more efficiently
2.) Students will create rigged and articulated characters that will be
ready to animate
3.) Students will animate the characters they create using the highest
level of craftsmanship possible.
Class:
Maya is a very big program capable of creating almost anything that
you can dream up… however… with all that power comes a pretty
steep learning curve. I will devote a large portion of the class to “hands
on” time so that you may practice the day’s lesson and work on current
assignments. However this is hardly enough time to gain a good
understanding of all the tools and their functions so I will expect all
students to put in a minimum of 4-5 hrs a week on assignments.
Rigging is a problem-solving discipline requiring the Rigger/TD to
develop/discover new methods on a character-by-character basis.
Attendance Policy:
We will cover a lot of material in each class, therefore, missing any one
class will be harmful. If you miss a class you will still be expected to find
out and learn what was taught in that class. You will also be expected to
complete any homework that was assigned during the class you miss.
Furthermore, you should find out what you missed from your
classmates; the instructor will not teach the class twice!
As per the school policy, missing four classes (the equivalent of two full
weeks) will result in you receiving an “F” for the class. If a student leaves
early or comes in late they will be given a half absence for the day. More
importantly, you will not receive credit for any critiques or reviews we
have on that day.
Class Reading:
There are two main reading sources in this class:
Mastering Maya 2009 ©2009 Wiley retail. Amazon has it for less. I
lecture/demo with the expectation that you have completed these
readings. They will enhance and accelerate your understanding of the
material covered in class.
I will also be providing some Quicktime movies covering various aspects
of character rigging. These will be made available on the server and are
designed to supplement but in NO WAY REPLACE the classroom
demonstrations. I provide them mostly as a reminder for when you rig
your own characters.
FVA 362 Character Modeling and Animation
Fall 2009
E. Kunzendorf
1
I will almost certainly give you other handouts. These handouts are
important. Do not lose them; you will need to use them outside of
class to complete your assignments. What I will cover in class will be
complicated; you will need this reference. Keep in mind, however, that
are not substitutes for the information I teach in class.
Grading:
Students will be graded based on the following 4 criteria:
1. Weekly Progress/Attendance
10%
2. Modeling Projects
50%
3. Final Assignment
30%
1.) Weekly Progress – Practically every week, I will assign something for
you to do for the following week. If you successfully complete the
assignment, I will put a √+ in my book, which means you get full credit
for that week. A √- means that you did not do the assignment to the best
of your ability, so you only get half credit. A ÿ means you did nothing
OR that you came in late that day. But more important than the grade:
if you don’t bring in what is assigned, you will have nothing to use for
that day’s work.
• This is figured on a straight fractional grade: credits completed
divided by credits possible equals your grade for this section.
2.) Generic Character Assignments – We will use generic characters
both as a rigging examples and as animation demos. I will give you the
models; you will rig, weight and animate them.
• 1 grade point for the first generic character rigged and
weighted in class. The aesthetics of the deformations as well as
the completeness of the controls are the factors used here.
• 2 grade points for the second generic character rigged and
weighted outside of class. Because you are doing it outside
class, it will count more.
• 1 grade point for one of these characters animated.
3.) Final Assignment – You will have at least two (more than likely 3)
characters (a generic thin character, a generic thick character and the
character created by you) that will be due in this class. The Thin
Character will be rigged and weighted early in the semester, the Thick
character will be customized rigged and weighted later and your
character will be finished at the end of the semester. These characters
result from the successful application of Weekly Progress and Quality of
Work, so if you lack in 1 of these other 2 you will lack on your final.
Your final assignment scoring will break down like this:
• 2 grade points for completing a modeled, rigged and texture
mapped character.
• 1 grade point for creating a compelling process book
documenting your creative efforts.
• 1 grade point for creating a compelling animation with your
character.
Class Time:
Class will be divided into two sections usually (but not always) delineated
by Tuesday and Thursday. The first section of that week is called the Art
Side, we will discuss the ”art” of character design. Those of you who are
facile draughtsmen will enjoy and excel at this part of the class. If your
drawing skills are not as developed, don’t worry! I expect you simply to
try your best.
During the other section, Tech Time, we will learn the technical side of
character design and set up. You will soon see that the art and technical
FVA 362 Character Modeling and Animation
Fall 2009
E. Kunzendorf
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sides blend together to allow you to create sophisticated characters.
Students with
Disabilities:
I warn you at the outset: character creation is very different from
animation, but learning to do it properly will allow you, as animators, to
be independent in pursuing your individual vision. It is technical and
will require your utmost concentration. Come rested and refreshed on
Tuesdays and Thursdays!
It is the responsibility of the student to notify the instructor at the first
class session of any disability which will make it difficult for the student
to participate fully in all class activities outlined in syllabus.
Required
Materials:
General and Drawing Supplies
- 2” Notebook or binder to keep all handouts (especially this one!).
- Sketch pad
- Graph Paper-Engineer’s Computational Pad is the best!
- Brush pens, pencils, Sharpies and Ball Point Pens to draw with.
- Glossy inkjet photo paper or Watercolor Paper
- Headphones or Earbuds
- Wacom Bamboo Tablet (NOT the fun).
One Method of External Storage in order of preference
- External Bus Powered USB Drive 250-320 GB
- Spindle of CD-Rs
Recommended
Websites:
There are many websites available these to help improve your skills as a
CG artist these are some of the better ones that I’ve found out there…
www.highend3d.com (great resource for CG artists)
www.vfxpro.com (latest news in the CG industry)
www.cgchannel.com (latest news in the CG industry)
www.cgtalk.com (Examples of character models and designs)
www.learning-maya.com/tutorials.php (great tutorials about all facets of
using Maya. Many dead links
cgchar.toonstruck.com/forum/index.php (Great source of info about
Character Animation)
www.rigging101.com Javier Solensona’s site. Deals primarily with
rigging
www.strutyourreel.com
Conceptual Artwork sites
www.conceptart.org-This site contains one of the great all-time
macquette building tutorials.
www.eatpoo.com
www.designstudiopress.com/forum/vbulletin/index.php
www.gfxartist.com
forums.sijun.com
FVA 362 Character Modeling and Animation
Fall 2009
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Class Calendar
This schedule represents the “best guess” of the instructor. The instructor reserves the
right to adjust this schedule, add or subtract assignments, change due dates and adjust
content of any and all work to be produced by the students depending on assessment of
those students before and during the course of the class.
Class
Lesson
Week 1
Objective: Students will identify the phases of character design as well as gain a rudimentary knowledge of Maya.
8/25
Introduction
Description
Art Side
Discuss the purpose and relevance of this class. Discuss syllabus.
The Character Design Pipeline. Handout Outline of Process.
Look at examples of character designs from CGTalk, Spiraloid
and Concept Design Forum. What is possible and what is not.
Developing the Character. The Character Brief. Law of Related
Shapes. Throwdown sheets. Silhouette drawing. Process Books:
KEEP EVERYTHING!!
Introduction to Maya interface. Overview of tools we will discuss
on Thursday.
Reading/Watching for Tuesday 9/3: abAutoRig documentation.
Homework for Tuesday 9/4: Create at least 3 good Throwdown
Sheets size: 11” x 14” minimum. Use one or more of the
techniques discussed in class.
8/27
“It’s a kind of MAGIC!”
TechTime!
Rigging basics. Abstraction of animation controls. Using
abAutoRig.mel. Create proxy skeleton. Importance of proper
joint places.
Reading/Watching: 00_RiggingIntro.mov through
03_ReplaceWires.mov.
Homework for Thursday 9/3: A rig for example character. All
controls created and wires replaced. Successful completion of this
evolution will constitute the FASTEST any group of students I
have taught have produced a rigged character.
Week 2
Objective: Students formulate a clear direction on their character design and create a rig for the generic character.
9/1
Action Sketching
Art Side
Review Throwdowns. Refining the thumbnails. Scanning
sketches and refining in Photoshop. Action Sketching. What will
your character do? How will the arms, back and legs move? What
facial expressions will your character have? Capture this in
drawings. Pose Drawings. Centerline. Curved Action Lines.
Work on drawings in class, time permitting.
Homework for Tuesday 9/8: Create at least two 8.5” x 11”
Action Drawings.
FVA 362 Character Modeling and Animation
Fall 2009
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9/3
Weighting I
TechTime!
Adding advanced options to the rig. Creating sets for deformers
and for controls. Create a full body blendShape. Skinning the
model. Painting weights. What makes for a well-weighted rig.
Creating the Weighting Dance using FreakOut.mel.
Reading/Watching: Aaron Holley’s skinning movies.
Homework for 9/10: Progress on weighting character model.
Week 3
Objective: Students will apply anatomical information to the design of their characters and will have created a fully
functional rig and deformed character to animate.
9/8
Structure and Attitude
Art Side
Anatomy. Structure below the surface and how it relates to the
final model. Using reference for bone and muscle structure. Why
this is important to 3D modeling and rigging professionals.
Sources of animal and biped anatomy. The Attitude drawing.
Once you are familiar with how the internal structure works,
combine all of what you know in an Attitude drawing that will
form a central part of your Presentation Drawing.
Homework: for Tuesday 9/15: One 8.5” x 11” Attitude drawing.
9/10
Weighting II
TechTime!
Implementing A.H.’s weighting strategies
Homework for 9/17: Fully weighted Generic Character.
Week 4
9/15
Objective: Students will create a schematic drawing and will identify its place in the modeling process. We will
learn to customize the model using Maya’s modeling tools and Mudbox.
Its All About Presentation
Art Side
Assignment: The Presentation Drawing. Scanning the Image and
applying color in Photoshop. Structure drawing: adding
anatomy/bone/muscle detail to the action and attitude drawing.
Homework for next week 9/22: Front, Side and top view of your
character.
Assignment # 1 due in ONE week (Week 5): Create a
Presentation Drawing NO SMALLER than 13” x 19”.
9/17
Customizing the Thick
Model.
TechTime!
Second character rigging assignment reviewing what you have
learned about using abAutoRig. . Customizing the Thick model
using Maya’s modeling tools and symmetry. Move into Mudbox,
time permitting.
Reading: Chapter 3 of Mastering Maya 2009
Homework 9/24: Base mesh for Thick model.
FVA 362 Character Modeling and Animation
Fall 2009
E. Kunzendorf
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Week 5
9/22
Objective: Students will begin the process of building the digital maquette in Mudbox and begin to use the cylinder
method to sculpt their characters.
Schematics
Art Side
Scanning and placing character schematic drawing. Customizing
models in Mudbox. Mudbox Tools and Methodology. Importing.
Layers. Subdividing. Placing schematic (Front, Side and Top
views into Mudbox).
Critique: Assignment #1: Presentation Drawing.
9/24
Customizing Thick
Model/Begin Character
Modeling
TechTime!
Check Maya customizations. Work on customizing in Mudbox.
Begin cylinder technique of character modeling in Maya.
Read Joan of Arc tutorial- Sculpting the body.
Week 6
For next Thursday 10/15: Your character body finished
Students will critique their Presentation Drawings. They will compare and contrast the two different means of using
Mudbox to create characters.
9/29
The Digital Maquette
Art Side
Sculpting from scratch in Mudbox. View Video: The Digital
Maquette by Zac Petrock. Begin Maquette assignment.
10/1
Creating Base Meshes in
Maya pt. 1
TechTime!
Work on Character Base Meshes.
Week 7
10/6
Objectives: Students will finish modeling the body of their 3D characters and make significant progress on their
digital maquettes.
Art Side
Roughing in the Body
Working from base meshes in Mudbox. Review of hi res sculpting
in production. Retopologizing. Mudbox toolset. Layers.
10/8
Base Mesh Modeling
TechTime!
Finish cylinder style body for character.
Begin Head Modeling
Week 8
10/13
Objectives: Students will finish modeling the head of their 3D characters and make significant progress on their
maquettes.
Adding details to the
maquette.
Art Side
Adding detail to the maquette. Pattern stamping.
Scratching patterns into the sculpture. Knocking back
unwanted detail. Work on maquettes. Work on 3D
model, time permitting. Review midterm progress.
DUE IN TWO WEEKS 10/30: Finished, textured
digital maquettes.
10/15
Head Modeling
TechTime!
Work on the head of the base mesh.
Homework for Thursday 10/25: Weighting Dance
should be completed and deformations should be finished
for 2nd character
FVA 362 Character Modeling and Animation
Fall 2009
E. Kunzendorf
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Week 9
10/20
Objectives: Students will exhibit a high degree of craftsmanship in their finished maquettes and begin to texture map
their 3D models.
Art Side
Baking and Painting
Baking maps from digital Maquettes. Displacement vs normal
Maquettes
mapping.
DUE IN NEXT WEEK 10/30: Finished, textured
maquettes.
10/22
Week 10
10/27
10/29
Week 11
UV Mapping:
TechTime!
Attach head to body. Begin UV mapping. Link to texture
painting in Mudbox.
Objectives: Students will paint texture maps on their individual characters while learning to create UVs on their
characters.
Art Side
Painting Texture Maps
Critique of Maquettes. Texture Map painting strategies in
Mudbox. Adjusting them in Photoshop. Watch internet videos of
projection painting in Mudbox. Assign final assignment: DVD
with Turntable animations and walks.
UV Mapping part two.
TechTime!
Finish body UV mapping. Begin rigging of your character. Finish
it by next Thursday.
Objectives: Students will customize their characters in Mudbox and begin weighting their characters for animations.
11/3
Customizing Character in
Mudbox
Art Side
Exporting Body geo mesh as Obj. Importing model to Mudbox.
Adding details and texture maps in Mudbox.
11/5
Work Day
TechTime!
Skinning and Weighting your character. Review for final four
weeks. Work on individual characters.
Week 12
Objectives: Students will create walk cycles with their two best characters as well as work on face rigs.
11/10
Walk Cycles with
Characters.
11/12
Individual Rigging Issues
Week 13
11/17
Creating walk cycles with characters you have rigged. Rendering
animation review.
Art Side
Animation Work Day.
For Tuesday 11/20: Walk cycleReview facial rigging. Individual
Rigging Issues on a character by character basis. Work on Rigs
and animation as needed.
Objectives: Students will place lights in their scenes and test render using Maya Software and Mental Ray
Renderers
Lighting for animation
Art Side
Three point lighting. Key Light. Fill Light. Back Light. Kicker
lights. Test rendering. Rendering using Maya software.
Rendering Using Mental Ray. Continue working on Final
Animation exercises.
You should be ready to render your final animations when you
get back from Thanksgiving.
11/19
Rendering
FVA 362 Character Modeling and Animation
Art Side
Setting up your final renders. Setting Render presets. Rendering.
Editing Renders in Final Cut. Burning to DVDs. GarageBand.
Fall 2009
E. Kunzendorf
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Week 14
11/24
Objectives: Students will finish animating and begin their final renders. Students will edit their work in Final Cut.
TechTime!
Workshop
Work on Rendering issues. Work on animations if necessary.
Final Assignment Due NEXT WEEK!
11/26
THANKSGIVING
Week 15
Get ready for final push!
Objectives: Students will hand in final animations, source files and process books on their characters.
12/1
Animation Editing
Students will work on editing their final animations and burn
them to DVD.
12/3
Work on Final DVD
Work day
12/7
Final Critque
Critique Final Projects Exact date To Be Announced. Turn in
final DVD containing all work. Document your work.
Finals
12/11
FVA 362 Character Modeling and Animation
Fall 2009
E. Kunzendorf
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