I also approached the fur on the character in a more stylized fashion (rather than using hair cards or Xgen). Face and Furīecause the Viking concept was more on the realistic side of the spectrum, Hannah and I did extra work on the character’s face to stylize it further. You can learn typical workflows and anatomy on platforms like YouTube and Gumroad, but discussing project-specific techniques for a particular type of hair (as an example) can only be done when you have direct access to a mentor/instructor. I found this background useful for a number of reasons.įor one, it gave me more opportunities to ask Hannah informed questions pertaining to my specific character and get responses only possible in a closed environment like a class, rather than spend time on generic knowledge you can get outside of class. These really helped me learn a typical ZBrush pipeline and basic anatomy before getting into the CGMA course.
Audify tutorial full#
In 2019, I took a full stylized character and hard surface tutorial by Matt Thorup (aka the RedBeard) and an anatomy tutorial by Rafael Grassetti. I’d say my ZBrush workflow is nothing out of the ordinary: low res blockout – high res dynamesh sculpt – retopology (typically in Maya) – high res projection onto the retopologized mesh – finish high res sculpt on retopologized mesh. Looking to transform a 2D concept into a 3D character? Check out Stylized Characters in 3D taught by Hannah Kang. The character was just detailed enough that it would pose a challenge, but still doable if I pushed myself and made the most of class.
It was beautiful, it was complex, and it had a back view, which really helped out. The moment I saw the design, I instantly knew I had to give it a shot. So in week 2, when we were supposed to start blocking the concept of our choosing, I instead continued my search and stumbled upon Viking Warrior by Kim Sunhong on ArtStation. I was paying a premium for this course and had this valuable opportunity to get one on one time with an industry professional, so I wanted to challenge myself and give it my all. To be honest, none of the initial concepts I brought to class hit the nail for me. These requirements include points such as “does the concept have hard surface elements?” and “is this concept going to challenge me in a way that I haven’t been pushed before?”, etc. In an attempt to make the most out of each character I tackle, I made a small list of guidelines that the concept I choose should meet. At first, the Viking concept was not actually part of my selection. Our first week’s assignment was to come up with a handful of concepts to sculpt. I recently finished a remote freelance contract as a Junior Character Artist with Stalwart Games, a game studio in LA, so I’ve been focused on personal projects these days to grow my portfolio and skillsets. I was lucky enough to contribute to Blue Sky Studios’ 2017 film Ferdinand as a Stereoscopic Technical Assistant. I spent a little bit of time freelancing in feature animation and advertising post-graduation. I started learning 3D at Rochester Institute of Technology, where I earned my BFA in Film and Animation (focusing on 3D Animation). I make stylized characters and props for games and animation. Hi! My name is James and I’m a 3D Character Artist from South Korea. Don’t miss this high-level breakdown of James’s process, including: 3D Artist James Hyun already has a solid foundation when it came to creating stylized 3D characters, but he wanted to push his craft under expert mentorship.
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