Overview

The following is a list of exercises we recommend for Organic Modelling fans, each getting progressively more complex. However, the complexity is not in learning the tools, instead it will be in testing your skills in observation, analysis and application.

Exercise 1006: Model a Hand

• Task: Model and UV your hand (and wrist) in a neutral pose.
• Learning Outcome: Modelling tools, clean topology and edge flow suitable for animation. Clean and well organised UVs
• Tip: Use your own hand as reference. Measure your fingers and thubs, work to scale.
• Deliverable: Greyscale model turntable, close up stills and contact sheet (references)

If you are new to Maya or 3D Modelling, you can check out our introductory courses here:

• Introduction to Maya 1001 – In this course, we’ll introduce you to Autodesk Maya, so you are confident using the application as you progress into different aspects of the 3D pipeline.
• Modelling Fundamentals 1001 -Through practical hands-on learning, we’ll cover a wide range of topics covering the asset modelling process to create a photoreal, pipeline-ready model.

Exercise 1007: Sculpt your Head

• Task: Using an application such as ZBrush or Mudbox, create a sculpt of your head from a sphere.
• Learning Outcome: Gaining an understanding of anatomy, shape and form.
• Tip: Use your own head as reference. Measure your fingers and thubs, work to scale. Feel your own face, grab a mirror. Practice on smaller forms first.
• Deliverable: Greyscale model turntable, close up stills and contact sheet (references)

…and you can check out our webinar of the topic here:

• Modelling a Digi-Double – Working from actor scan data is now a common task in the VFX and gaming industry. In this webinar, Christopher Antoniou will give you a quick but complete tour on how to go from a production-quality scan to a clean production-ready model.

Exercise 1008: Retopologise your Head

• Task: Retopologise your head sculpt and create a topology suitable for rigging and animation and UVs suitable for texturing and groom. Apply your high res sculpt details to your topology mesh as a displacement map.
• Learning Outcome: Creating animation friendly edge flow and topolopy.
• Tip: Study the wrinkles, skeleton and muscles of your own face.
• Deliverable: Greyscale model turntable, close up stills and contact sheet (references)

Exercise 1009: Sculpt and Retopologise a Body

• Task: Create the full body to go with your head and hand model. This includes a sculpt, topology model and UVs.
• Learning Outcome: Create animation friendly topology for your body and UVs suitable for texturing and groom.
• Tip: Test your mesh for deformation as you go. Add a basic rig to do this.
• Deliverable: Greyscale model turntable, close up stills and contact sheet (references)

Although on the cartoony side of things, if you’d like a breakdown of creating a character using Maya and ZBrush, you can check out our course on the topic here:

• Character Modelling for Feature Animation 1001 – This on-demand course will introduce you to character modelling techniques to create a production-ready asset for Feature Animation.

…and you can check out our webinar of the topic here:

• Modelling a Digi-Double – Working from actor scan data is now a common task in the VFX and gaming industry. In this webinar, Christopher Antoniou will give you a quick but complete tour on how to go from a production-quality scan to a clean production-ready model.

Exercise 1010: Model a Costume

• Task: Model the costume for your character. The model should be simulation friendly. This could be a standard everyday costume or a superhero costume, or anything else. But it has to be realistic.
• Learning Outcome: Create simulation friendly topology. Gain an understanding of real-world tailoring process (pattern making).
• Tip: Test your mesh for deformation as you go. Run a quick sim to see how things react.
• Deliverable: Greyscale model turntable, close up stills and contact sheet (references)

Exercise 1011: Sculpt and Retopologise an Animal

• Task: Model a real-world creature. This includes creating the sculpt, topology and UVs fit for rigging, animation and surfacing. You should apply your high res details as displacement to your topology model.
• Learning Outcome: Gain an understanding of animal anatomy and ability to create topology and UVs fit for rigging, animation and surfacing.
• Tip: Don’t just look at animal anatomy, study it thoroughly.
• Deliverable: Greyscale model turntable, close up stills and contact sheet (references)

Check out this fantastic frog by Gabriel Lebel Bernier:

…and here is a great breakdown of creating creatures by Nicolas Morel:

• Modelling Creatures – CAVE Academy aare very excited to host Nicolas MOREL to discuss his approach to modelling amazing creatures. Nicolas will discuss the importance of gathering reference, analysing and understanding anatomy, and the tools and workflows he employs to create realistic and fantastical creatures.

Exercise 1012: Sculpt and Retopologise a Fantasy Creature

• Task: From a 2D concept (not your own), model a fantasy creature. This includes creating the sculpt, topology and UVs fit for rigging, animation and surfacing. You should apply your high res details as displacement to your topology model.
• Learning Outcome: Ability to use real-world animal anatomy to create a fantasy creature, and ability to create topology and UVs fit for rigging, animation and surfacing.
• Tip: Animal and real-world reference is still key. Don’t forgot to look at the world around you. Even your cat and dog or hamster can help inform your decision making process.
• Deliverable: Greyscale model turntable, close up stills and contact sheet (references)

Here is an amazing example by Satoshi Takazawa: