Tips and Tricks for Aspiring Artists
by Jeff Meyer · 02/04/2009 (11:46 pm) · 17 comments
First off, I would like to introduce myself.
My name is Jeff Meyer. I am owner operater of Shin Studios LLC. Shin Studios provides web, graphic, and game design services. The intent of this blog is not for shameless self-promotion, rather for helpful advice and tips for upcoming artists that want to break into the industry.
You'll find a host of mini-tutorials on modeling and texturing as well as career specific advice that will help guide you on your path.
With that said, let's get started.
My name is Jeff Meyer. I am owner operater of Shin Studios LLC. Shin Studios provides web, graphic, and game design services. The intent of this blog is not for shameless self-promotion, rather for helpful advice and tips for upcoming artists that want to break into the industry.
You'll find a host of mini-tutorials on modeling and texturing as well as career specific advice that will help guide you on your path.
With that said, let's get started.
#2
Human male:
Human Female:
Front view Height Markers from top to bottom:
1. Top of head to chin
2. Nipple line
3. Belly button and top of hips
4. Bottom of pelvis / crotch
5. Slightly above knee
6. Middle of calves
7. Slightly above ankle
8. 1/2 head to bottom of foot
Front View Width Markers from top to bottom:
- Male: Shoulders are 2 head lengths wide
- Female: Shoulders are 2 head widths wide
- Nipples are inline vertically with the sides of the head
- Arm length is roughly 2 3/4 heads
- Inside calf muscle is lower that ouside calf
- Inside ankle extrusion is placed lower than the outside extrusion
- Hips are inline with base of arm
Side View Markers:
- Shoulders are inline with Buttocks and calves and heel
- Lower back receedes behind elbow when arms are down
- Lower back indent is slightly above belly button
- Crotch receedes behind thigh
- Toes extend slightly past bridge of nose
Facial notes:
- Head is 5 eye legths wide
- Top of ears inline with eye
- Bottom of ear inline with bottom of nose
- Side of mouth inline with middle of eyes
Bone and Muscle notes:
- Pectorals wrap over the bicep into the shoulder under the deltoid
- Outer forearm wraps around and over the upper arm
- The sternocleidomastoid (neck muscles) is almost always visible
- The clavicle is almost always visible
Questions or comments?
Contact me: jeff@shinstudios.net
02/05/2009 (2:17 am)
Mini-Tut : ProportionsHuman male:
Human Female:Front view Height Markers from top to bottom:
1. Top of head to chin
2. Nipple line
3. Belly button and top of hips
4. Bottom of pelvis / crotch
5. Slightly above knee
6. Middle of calves
7. Slightly above ankle
8. 1/2 head to bottom of foot
Front View Width Markers from top to bottom:
- Male: Shoulders are 2 head lengths wide
- Female: Shoulders are 2 head widths wide
- Nipples are inline vertically with the sides of the head
- Arm length is roughly 2 3/4 heads
- Inside calf muscle is lower that ouside calf
- Inside ankle extrusion is placed lower than the outside extrusion
- Hips are inline with base of arm
Side View Markers:
- Shoulders are inline with Buttocks and calves and heel
- Lower back receedes behind elbow when arms are down
- Lower back indent is slightly above belly button
- Crotch receedes behind thigh
- Toes extend slightly past bridge of nose
Facial notes:
- Head is 5 eye legths wide
- Top of ears inline with eye
- Bottom of ear inline with bottom of nose
- Side of mouth inline with middle of eyes
Bone and Muscle notes:
- Pectorals wrap over the bicep into the shoulder under the deltoid
- Outer forearm wraps around and over the upper arm
- The sternocleidomastoid (neck muscles) is almost always visible
- The clavicle is almost always visible
Questions or comments?
Contact me: jeff@shinstudios.net
#3
02/05/2009 (5:44 am)
Thank you. This is very helpful advice and knowledge. Look forward to more. 
#4
02/05/2009 (7:52 am)
Very good resource, well written and very informative. 
#5
02/05/2009 (7:56 am)
Great post, especially about the idea of getting people to use Edge Loops more, people simply do not harp on this method enough. Edge loops are very awesome not just for skinning the mesh to the rig, but also make it so stupidly easy to add or take away detail from the mesh because you just remove the ring or loop.
#6
02/05/2009 (11:53 am)
very informative 
#8
In this tutorial I will show you how to get photo-realistic texturing for your models in a 3ds max to photoshop workflow without the need for Zbrush's projection master.
Let's begin:
Load your unwrapped model in max
Tip: Avoid Mirroring seams that should blend together. Unlike this example, the feet and hands should not be stacked unless the character was to have a long sleeve shirt or some other kind of natural seam at the wrist and ankle.
Tools->Render UVW Template->2048x2048
Click Render UV Template
Save as JPG - > Highest Quality
Open Rendered Template in Photoshop
Drag Background Layer to "New Layer"
Invert Colors with Control+I
Change Blend Mode to Multiply
Delete old background layer
Create a new layer and place beneath the template.
Note: The template will always be above all layers created.
Save file as .PSD.
Go back to MAX, open material editor. Hotkey M.
Select a new Standard material.
Apply the PSD to the diffuse->Bitmap.
Make sure "Show in Viewport" for this material and every other material we create.
Apply to mesh.
This will allows us to feed the PSD file directly into MAx. Any information saved in photoshop will update inside of MAX. However, you will need to pan or move the viewport to see the update.
Gather reference images from all possible angles of the body of the same model if possible. Front, back, side, inner arm, inner thigh, beneath chin, and every over inner portion of the extremities.
http://3d.sk is a great resource.
Let's start with the chest.
Apply a front view image to a new Standard material diffuse.
Under Bitmap Parameters - Crop the image to the areas we want to project.
Make sure "apply" is checked.
Create a new plane, drag it out to about the same dimensions of our crop on the image.
Apply the texture material.
Move the plane in front of the model and change the opacity to about 70.
Now, we are going to transform the plane to match the the mesh. Set the Length and Height segments of the plane to 8 x 8.
Convert the plane to editable poly.
Next, go into vertex sub object mode, Hotkey 1.
Line up the land marks. I prefer to grab each row of verts starting with the bottom, then work my up each row placing them to the correct verticle postion.
From there, grab each row and scale them into postion. Then move them horizontally to line up.
You want to leave a little skin texture to extend past the edges of the mesh.
...continued
02/06/2009 (1:09 am)
Mini-Tut : Projection Texturing Part 1In this tutorial I will show you how to get photo-realistic texturing for your models in a 3ds max to photoshop workflow without the need for Zbrush's projection master.
Let's begin:
Load your unwrapped model in max
Tip: Avoid Mirroring seams that should blend together. Unlike this example, the feet and hands should not be stacked unless the character was to have a long sleeve shirt or some other kind of natural seam at the wrist and ankle.
Tools->Render UVW Template->2048x2048
Click Render UV Template
Save as JPG - > Highest Quality
Open Rendered Template in Photoshop
Drag Background Layer to "New Layer"
Invert Colors with Control+I
Change Blend Mode to Multiply
Delete old background layer
Create a new layer and place beneath the template.
Note: The template will always be above all layers created.
Save file as .PSD.
Go back to MAX, open material editor. Hotkey M.
Select a new Standard material.
Apply the PSD to the diffuse->Bitmap.
Make sure "Show in Viewport" for this material and every other material we create.
Apply to mesh.
This will allows us to feed the PSD file directly into MAx. Any information saved in photoshop will update inside of MAX. However, you will need to pan or move the viewport to see the update.
Gather reference images from all possible angles of the body of the same model if possible. Front, back, side, inner arm, inner thigh, beneath chin, and every over inner portion of the extremities.
http://3d.sk is a great resource.
Let's start with the chest.
Apply a front view image to a new Standard material diffuse.
Under Bitmap Parameters - Crop the image to the areas we want to project.
Make sure "apply" is checked.
Create a new plane, drag it out to about the same dimensions of our crop on the image.
Apply the texture material.
Move the plane in front of the model and change the opacity to about 70.
Now, we are going to transform the plane to match the the mesh. Set the Length and Height segments of the plane to 8 x 8.
Convert the plane to editable poly.
Next, go into vertex sub object mode, Hotkey 1.
Line up the land marks. I prefer to grab each row of verts starting with the bottom, then work my up each row placing them to the correct verticle postion.
From there, grab each row and scale them into postion. Then move them horizontally to line up.
You want to leave a little skin texture to extend past the edges of the mesh....continued
#9
Now we are ready to project the texture.
Select the character mesh.
Apply a "projection" modifier.
A blue cage will surround the mesh.
Now we are going to render to texture. Be sure to set the renderer to default scanline if it isn't already by pressing f10 and scolling down to the assign renderer. If it looks ok, then close that and press 'zero' to bring up the render to texture dialogue.
First off, set your output path to where you want to save the file.
Under render setting drop down, use 3dsmax.no.advancedlighting.
Objects to bake should be your mesh.
Padding should be at 2. You can play with this later to allow for more room at the edges of the map.
Projection mapping should be checked.
Click the Pick button and select the plane.
The cage will probably go crazy and become larger than the mesh. Use the Percent spinners under the Cage sub menu of the projection modeifier to match the mesh.
Now jump into a side view. With the projection modifier selected, drag select the enitre mesh. Now move the mesh to capture the plane we had created.
It may be hard to see, but the plane from the side view is green, placed just in front of the mesh. The cage is placed so that is surrounds or captures the plane.
Back to the Render to texture dialogue.
The map channels should be set fine as defaults are being used. If not, they should be 1.
Under output, add diffuse. Change the width and heigth to match your texture in photoshop. In this case it is 2048x2048.
Be sure to set the filename. I used the default name, but gave it a jpg format.
Now we are ready to roll. Click the render button. If MAX complains about a missing target map slot, continue anyways.
You should see a rendered image in the render preview. Ignore this, as this has lighting information. You can close that window.
Instead, we are going to our directory where we specified the output for the render. This is the REAL image we want.
Let's drop that in photoshop as a new layer for our texture.PSD.
Now, let's hide the Template layer and save the PSD.
Go back to max. Delete the proejction modifier and the plane we created. And let's see what we get.
Since the plane was inside of the cage the rays collided with the plane and mapped the texture. The red areas did not find a collision so they are indicated in red. We are going to fill in these remaing red areas with additional projections from various angles to give us a cohesive texture without seams.
...continued
02/06/2009 (1:34 am)
Mini-Tut : Projection Texturing Part 2Now we are ready to project the texture.
Select the character mesh.
Apply a "projection" modifier.
A blue cage will surround the mesh.
Now we are going to render to texture. Be sure to set the renderer to default scanline if it isn't already by pressing f10 and scolling down to the assign renderer. If it looks ok, then close that and press 'zero' to bring up the render to texture dialogue.
First off, set your output path to where you want to save the file.
Under render setting drop down, use 3dsmax.no.advancedlighting.
Objects to bake should be your mesh.
Padding should be at 2. You can play with this later to allow for more room at the edges of the map.
Projection mapping should be checked.
Click the Pick button and select the plane.
The cage will probably go crazy and become larger than the mesh. Use the Percent spinners under the Cage sub menu of the projection modeifier to match the mesh.
Now jump into a side view. With the projection modifier selected, drag select the enitre mesh. Now move the mesh to capture the plane we had created.
It may be hard to see, but the plane from the side view is green, placed just in front of the mesh. The cage is placed so that is surrounds or captures the plane.
Back to the Render to texture dialogue.
The map channels should be set fine as defaults are being used. If not, they should be 1.
Under output, add diffuse. Change the width and heigth to match your texture in photoshop. In this case it is 2048x2048.
Be sure to set the filename. I used the default name, but gave it a jpg format.
Now we are ready to roll. Click the render button. If MAX complains about a missing target map slot, continue anyways.
You should see a rendered image in the render preview. Ignore this, as this has lighting information. You can close that window.
Instead, we are going to our directory where we specified the output for the render. This is the REAL image we want.
Let's drop that in photoshop as a new layer for our texture.PSD.
Now, let's hide the Template layer and save the PSD.
Go back to max. Delete the proejction modifier and the plane we created. And let's see what we get.
Since the plane was inside of the cage the rays collided with the plane and mapped the texture. The red areas did not find a collision so they are indicated in red. We are going to fill in these remaing red areas with additional projections from various angles to give us a cohesive texture without seams.
...continued
#10
Create a new standard material and assign it another image from a side view.
We are doing the exact same setup as the first projection by creating a plane to hold our texture we want to project.
In the front view, move the plane so it is in front of the mesh while looking at it in the side view.
Again, we are going to add the segments we need to properly transform the plane to match the landmarks of our previous projection by converting the plane to editable poly and moving and scaling the verts to match.
I find it useful to hide the polygons that overlap the plane. In this case, the arm is overlapping the plane making it difficult to line up the plane.
With the character mesh selected remove the unwrap modifier and go to to the polygon subobject level. Select the arm and click hide selected. Don't forget to UNHIDE these polygons before we render to texture however!
This is the result after lining up the texture.
Now, let's unhide the polygons.
Apply the unrwrap modifier again and apply a projection modifier.
Now, render to texture. Hotkey 'zero'.
The previous settings should all be saved in the dialgue box.
Click on the "pick" button under the projection mapping section.
Select the plane.
Again, use the Percent spinner on the projection modifier to reduce the cage to match the mesh.
Now, we want to move the cage to capture the texture on the plane properly.
Be sure to save the new texture as a different filename.
Then click "render".
Remember, the render window shows the texture with lighting information. We do not want that image. We want the file that is automatically saved in our output directory.
Let's put that into photoshop as a new layer in our texture.PSD.
02/06/2009 (2:11 am)
Mini-Tut: Projection Texturing Part 3Create a new standard material and assign it another image from a side view.
We are doing the exact same setup as the first projection by creating a plane to hold our texture we want to project.
In the front view, move the plane so it is in front of the mesh while looking at it in the side view.
Again, we are going to add the segments we need to properly transform the plane to match the landmarks of our previous projection by converting the plane to editable poly and moving and scaling the verts to match.
I find it useful to hide the polygons that overlap the plane. In this case, the arm is overlapping the plane making it difficult to line up the plane.
With the character mesh selected remove the unwrap modifier and go to to the polygon subobject level. Select the arm and click hide selected. Don't forget to UNHIDE these polygons before we render to texture however!
This is the result after lining up the texture.
Now, let's unhide the polygons.
Apply the unrwrap modifier again and apply a projection modifier.
Now, render to texture. Hotkey 'zero'.
The previous settings should all be saved in the dialgue box.
Click on the "pick" button under the projection mapping section.
Select the plane.
Again, use the Percent spinner on the projection modifier to reduce the cage to match the mesh.
Now, we want to move the cage to capture the texture on the plane properly.
Be sure to save the new texture as a different filename.
Then click "render".
Remember, the render window shows the texture with lighting information. We do not want that image. We want the file that is automatically saved in our output directory.
Let's put that into photoshop as a new layer in our texture.PSD.
#11
Alright, so now the fun begins. We will be using the clone, stamp, and healing brushes within photoshop to blend our projections together.
You should memorize the following hotkeys for photoshop:
L = Lasso tool (polygon lasso works much better in this case)
J = healing brush
S = clone stamp (Alt + left click designates a target source)
[ = reduce brush size
] = increase brush size
Z = zoom (alt + Z to zoom out)
To demostrate our work area, I'll show you the polygons that we want to keep.
I have selected the areas in red as the areas that were facing the projection in a way to obtain the detail we want. When you look at the actual image rendered there are other polygons that have the projection applied, however they are better served with another projection from a better angle.
Therefore, we are going to remove the texture we do not need and blend the two projections together.
Let's select the areas we want to keep on our new layer. Then, inverse the selection and delete the rest. We should keep enough space to allow for a good blend with our first projection.
Reducing the opacity of your working layer can help guide the selection.
"Control + shift + I" to inverse the selection.
Delete.
Control + D to deselect our cutout area.
Hide the template layer and let's begin the blend.
Be sure to save your file before you begin.
Use the erase tool to soften the border using a brush with hardness set to 0.
Then merge the two layer so you can use the clone and healing brushes.
I use the clone stamp and healing brush to blend in the edges.
Save the file and jump back into max.
By repeating this process on all angles of the model, you can achieve photo-realism for your character textures. The quality of your work really depends on the source images you use for the projections and your skill in blending the projections within photoshop.
02/06/2009 (3:10 am)
Mini-Tut: Projection Texturing Part 3Alright, so now the fun begins. We will be using the clone, stamp, and healing brushes within photoshop to blend our projections together.
You should memorize the following hotkeys for photoshop:
L = Lasso tool (polygon lasso works much better in this case)
J = healing brush
S = clone stamp (Alt + left click designates a target source)
[ = reduce brush size
] = increase brush size
Z = zoom (alt + Z to zoom out)
To demostrate our work area, I'll show you the polygons that we want to keep.
I have selected the areas in red as the areas that were facing the projection in a way to obtain the detail we want. When you look at the actual image rendered there are other polygons that have the projection applied, however they are better served with another projection from a better angle.
Therefore, we are going to remove the texture we do not need and blend the two projections together.
Let's select the areas we want to keep on our new layer. Then, inverse the selection and delete the rest. We should keep enough space to allow for a good blend with our first projection.
Reducing the opacity of your working layer can help guide the selection.
"Control + shift + I" to inverse the selection.
Delete.
Control + D to deselect our cutout area.
Hide the template layer and let's begin the blend.
Be sure to save your file before you begin.
Use the erase tool to soften the border using a brush with hardness set to 0.
Then merge the two layer so you can use the clone and healing brushes.
I use the clone stamp and healing brush to blend in the edges.
Save the file and jump back into max.
By repeating this process on all angles of the model, you can achieve photo-realism for your character textures. The quality of your work really depends on the source images you use for the projections and your skill in blending the projections within photoshop.
#12
So you've already started your journey and you feel like you've gotten nowhere and you can't find the magic key to open doors for you. What do you do? Listen up.
First off, there is no magic key. You MUST prove you are valuable, not hope someone will take a risk on you.
If you are just starting out you need to get educated. College helps, but a strong portfolio will blow away a college grad with a weak showing. Your own dedication to self improvement will become an ongoing theme in your journey so you better start now. Ask for training materials for holidays and birthdays if you can't afford it. Borrow some of your friends stuff. The time and money you spend on your education is an investment that will pay you back.
Experience is also important. How do I get experience when no one will hire me? Garage games and mod teams are always looking for artists. Also, keep an eye on Craigslist in their gigs and creative sections for some jobs you feel comfortable with. When bidding on projects, bid your skill set very cheap to win some work.
When your portfolio is strong, you should pick up some real work through freelancing or start apply for jobs at small companies. Tailor your resume for that field. The HR department at your studio of choice isn't going to care that you worked at Taco Bell for 3 years. Leave that stuff out. Instead, mention the related projects you worked on as relevant experience.
When looking for jobs, you may need to jump out of your field. Yeah, you want to make games...ok, but you might have to work for another industry in order to become legit as an artist first. If you live in an area that has studios, becoming a tester can be an open door to the position you really want. It doesn't pay well, but it is an opportunity to network you with the right people.
If you don't live in an area that has studios, again, you may need to jump into another industry in order to get your wings and the money you need to transistion to another area. There is alot to be said for ambition and going for it, yet there is also alot to be said about the success of making wise decisions from a planned course of action. I left college before graduating to move out of state to where I thought the opportunity would be. Then, worked day and night creating content for my portfolio. When I went venturing for a job with a studio I found opportunity in a completely different field right back where I started. It was a waste of time to move without a job already lined up. So take your blinders off to what else you can do with your skills.
Once you find a job or get a few projects under your belt you need to network and expand. You should be building you skill set at all times and updating that portfolio. Got the modeling and texturing down? Great, learn how to render in Mental Ray or Brazil. If you have been working freelance for awile and finding success, consider registering a business. If you have been working your "stepping stone" job for awhile, consider applying at larger studios or at an actual game studio. Also, conventions and events are an excellent way to network when you can be of value on a project.
Now, as a freelancer you may wonder how you can drum up business and how can you find new jobs. Really, it's all about your dedication. The jobs won't come to you until you have some clients under your belt that have been refering people to you. So, always maintain professional on the jobs you get and ask them to refer more business your way. You really have to toot your own horn and make some noise to get heard. So, getting the word out that you are available for work and what you can do. This can be in the form of web posts or contacting businesses that can benefit from your services, then setting up a meeting.
If you feel your skill sets aren't getting you enough work, you should consider adding more. If you can work magic in photoshop, maybe a little html would help you to create websites. If you are great in 3DS max, maybe a little flash would help you make web based games. By diversifying your skill sets you can appeal to a broader market.
When you are first starting out, it is all about survival and growth. Let's put this into an overiew:
1. Learn and Practice
2. Find and take small gigs, indie dev, skill related jobs
3. Work freelance / entry job
4. Move up to higher level jobs
Simple enough? Yet past step 4 you should be able to call your own shots and do books, training materials, or work on high scale projects.
02/06/2009 (5:25 am)
The Path of the Noob: I want to get into games, now what?So you've already started your journey and you feel like you've gotten nowhere and you can't find the magic key to open doors for you. What do you do? Listen up.
First off, there is no magic key. You MUST prove you are valuable, not hope someone will take a risk on you.
If you are just starting out you need to get educated. College helps, but a strong portfolio will blow away a college grad with a weak showing. Your own dedication to self improvement will become an ongoing theme in your journey so you better start now. Ask for training materials for holidays and birthdays if you can't afford it. Borrow some of your friends stuff. The time and money you spend on your education is an investment that will pay you back.
Experience is also important. How do I get experience when no one will hire me? Garage games and mod teams are always looking for artists. Also, keep an eye on Craigslist in their gigs and creative sections for some jobs you feel comfortable with. When bidding on projects, bid your skill set very cheap to win some work.
When your portfolio is strong, you should pick up some real work through freelancing or start apply for jobs at small companies. Tailor your resume for that field. The HR department at your studio of choice isn't going to care that you worked at Taco Bell for 3 years. Leave that stuff out. Instead, mention the related projects you worked on as relevant experience.
When looking for jobs, you may need to jump out of your field. Yeah, you want to make games...ok, but you might have to work for another industry in order to become legit as an artist first. If you live in an area that has studios, becoming a tester can be an open door to the position you really want. It doesn't pay well, but it is an opportunity to network you with the right people.
If you don't live in an area that has studios, again, you may need to jump into another industry in order to get your wings and the money you need to transistion to another area. There is alot to be said for ambition and going for it, yet there is also alot to be said about the success of making wise decisions from a planned course of action. I left college before graduating to move out of state to where I thought the opportunity would be. Then, worked day and night creating content for my portfolio. When I went venturing for a job with a studio I found opportunity in a completely different field right back where I started. It was a waste of time to move without a job already lined up. So take your blinders off to what else you can do with your skills.
Once you find a job or get a few projects under your belt you need to network and expand. You should be building you skill set at all times and updating that portfolio. Got the modeling and texturing down? Great, learn how to render in Mental Ray or Brazil. If you have been working freelance for awile and finding success, consider registering a business. If you have been working your "stepping stone" job for awhile, consider applying at larger studios or at an actual game studio. Also, conventions and events are an excellent way to network when you can be of value on a project.
Now, as a freelancer you may wonder how you can drum up business and how can you find new jobs. Really, it's all about your dedication. The jobs won't come to you until you have some clients under your belt that have been refering people to you. So, always maintain professional on the jobs you get and ask them to refer more business your way. You really have to toot your own horn and make some noise to get heard. So, getting the word out that you are available for work and what you can do. This can be in the form of web posts or contacting businesses that can benefit from your services, then setting up a meeting.
If you feel your skill sets aren't getting you enough work, you should consider adding more. If you can work magic in photoshop, maybe a little html would help you to create websites. If you are great in 3DS max, maybe a little flash would help you make web based games. By diversifying your skill sets you can appeal to a broader market.
When you are first starting out, it is all about survival and growth. Let's put this into an overiew:
1. Learn and Practice
2. Find and take small gigs, indie dev, skill related jobs
3. Work freelance / entry job
4. Move up to higher level jobs
Simple enough? Yet past step 4 you should be able to call your own shots and do books, training materials, or work on high scale projects.
#13
Thanks :-)
12/21/2009 (5:26 am)
Hi Jeff, great tutorials here... Unfortunately the attached images are nomore online... noway you can publish them again on a free service like picasa or similar and update the MarkupLite code with the new images´urls?Thanks :-)
#14
03/22/2010 (7:48 am)
Thanks Giorgio. I have updated the hosting on the images. Should be fine now.
#15
The initial training tutorials are geared for bringing characters in-game starting from concept with sections for each phase of development on a single asset.
- prep concept art for reference
- modeling the base from reference
- high poly modeling
- texture mapping
- rigging
- animation
- export
Feedback on tutorial content is welcome and will definately be taken into consideration.
03/22/2010 (8:15 am)
Plans to launch a video-tutorial site for torque artists in addition to providing content for game developers are in the making.The initial training tutorials are geared for bringing characters in-game starting from concept with sections for each phase of development on a single asset.
- prep concept art for reference
- modeling the base from reference
- high poly modeling
- texture mapping
- rigging
- animation
- export
Feedback on tutorial content is welcome and will definately be taken into consideration.
#16
Trappings of freelancing
A promise to pay does not go very far with the electric company, nor should it secure a job when seeking freelance opportunites. There are safegaurds you can put in place to protect yourself from a non-paying client.
Require a deposit
No matter how small the job, request a percentage deposit or a flat deposit. By doing so, you can filter out potential clients that are only half-serious. It's a real shame when a client backs out half way through the project and leaves you empty handed. Avoid this altogether by defining a clear cut system for payment. You will begin X-task after recieveing Y-payment. No deposit, no design work.
You have already invested time into consultation discussing details of the project, so you are already owed money if you calculate an hourly rate. More on consultation in a bit...
For larger projects, you can break down the payments into installments or milestones. You will have a deadline for the design and they should have a deadline for payment.
For projects that require visualization, like a web design, be sure to get a deposit before handing over a concept. It is very easy for a client to take your design, then hand it to another designer as reference leaving you in the cold.
Also, at times it can be a chore to get the client to hand over files you need. Waiting on them to send over copy for a website or images or models can burn your time. If you have to get the job done before you can get paid and they are too broke to pay you, chances are they are going to stall on giving you what you need to finish the job. However when you have a deposit, then you are already taken care of for the time being.
Keeping consultation cost effective
With a new client you will make contact, build rapport, assess the need, provide a solution, pre-close, handle objections, then hopefully...close the sale and get the job.
If this process takes 4 hours of phone calls and meetings, yet the job is only a 2 hour job, then you aren't making much progress by charging for only the 2 hours of design work. If they are constantly calling you or dragging on your time, ask them to shoot you an email. If that is not an option, factor in the consultation time into your bid.
The Revision Loop
At times a client may become a compulsive "shopper" with your designs. They may like the look, but want a different color after the 10th change you made to it at their request. There are a few things at work here. One, they could be a control freak and not allow any creative expression. Or two, they just aren't satisfied and do not know how to jazz it up so they are happy with it. Finally, you may have put the wrong telephone number on the piece or some other oversight.
First off, proof your work and view every little detail before sending it out. That will take care of errors.
Second, add a little more than expected to "sell" the design. You don't have to go overboard, but putting some polish on it will keep them from wanting to change it too much.
Finally, if they are just ultra picky and want to change every little thing then it is time to charge more. Granted on some changes, like something simple or something your fault, you should not charge. However, if they want to change the color of something 20 times then it's time to tell them "ok, I can change that for you. It will take me X amount of time and will cost Y amount of dollars more." Also, if they change something after the fact, like a new company logo in mid development. Time to charge.
Usually, the extra cost will make them think twice about how important the change is. Other times they will just accept, and you start getting paid for the extra work.
Sending the source
So the job is done and it's time to collect. First, you have to send off the stuff. Or, do you?
I can't stress this enough, never send off the final piece without being paid first. With exception, such as a client you've done work for a few times. Even then, it's best to keep a system in place.
For a model, you can send screenshots. Once you are paid, you can send the asset.
For animation, you can send video.
For a web design, you can host the site yourself as a sub-domain on your site then transfer to their hosting account.
Anything you send, watermark it with a transparent overlay of some kind. Your name or a logo or picture of your dog...doesn't matter. Watermark your work.
Once you get paid, they get the final. If something happens to come up with the final, then you can make changes...again, the revision loop comes into play.
When your clients realize you value your work, they will too.
03/22/2010 (9:33 am)
Protect Your AssetsTrappings of freelancing
A promise to pay does not go very far with the electric company, nor should it secure a job when seeking freelance opportunites. There are safegaurds you can put in place to protect yourself from a non-paying client.
Require a deposit
No matter how small the job, request a percentage deposit or a flat deposit. By doing so, you can filter out potential clients that are only half-serious. It's a real shame when a client backs out half way through the project and leaves you empty handed. Avoid this altogether by defining a clear cut system for payment. You will begin X-task after recieveing Y-payment. No deposit, no design work.
You have already invested time into consultation discussing details of the project, so you are already owed money if you calculate an hourly rate. More on consultation in a bit...
For larger projects, you can break down the payments into installments or milestones. You will have a deadline for the design and they should have a deadline for payment.
For projects that require visualization, like a web design, be sure to get a deposit before handing over a concept. It is very easy for a client to take your design, then hand it to another designer as reference leaving you in the cold.
Also, at times it can be a chore to get the client to hand over files you need. Waiting on them to send over copy for a website or images or models can burn your time. If you have to get the job done before you can get paid and they are too broke to pay you, chances are they are going to stall on giving you what you need to finish the job. However when you have a deposit, then you are already taken care of for the time being.
Keeping consultation cost effective
With a new client you will make contact, build rapport, assess the need, provide a solution, pre-close, handle objections, then hopefully...close the sale and get the job.
If this process takes 4 hours of phone calls and meetings, yet the job is only a 2 hour job, then you aren't making much progress by charging for only the 2 hours of design work. If they are constantly calling you or dragging on your time, ask them to shoot you an email. If that is not an option, factor in the consultation time into your bid.
The Revision Loop
At times a client may become a compulsive "shopper" with your designs. They may like the look, but want a different color after the 10th change you made to it at their request. There are a few things at work here. One, they could be a control freak and not allow any creative expression. Or two, they just aren't satisfied and do not know how to jazz it up so they are happy with it. Finally, you may have put the wrong telephone number on the piece or some other oversight.
First off, proof your work and view every little detail before sending it out. That will take care of errors.
Second, add a little more than expected to "sell" the design. You don't have to go overboard, but putting some polish on it will keep them from wanting to change it too much.
Finally, if they are just ultra picky and want to change every little thing then it is time to charge more. Granted on some changes, like something simple or something your fault, you should not charge. However, if they want to change the color of something 20 times then it's time to tell them "ok, I can change that for you. It will take me X amount of time and will cost Y amount of dollars more." Also, if they change something after the fact, like a new company logo in mid development. Time to charge.
Usually, the extra cost will make them think twice about how important the change is. Other times they will just accept, and you start getting paid for the extra work.
Sending the source
So the job is done and it's time to collect. First, you have to send off the stuff. Or, do you?
I can't stress this enough, never send off the final piece without being paid first. With exception, such as a client you've done work for a few times. Even then, it's best to keep a system in place.
For a model, you can send screenshots. Once you are paid, you can send the asset.
For animation, you can send video.
For a web design, you can host the site yourself as a sub-domain on your site then transfer to their hosting account.
Anything you send, watermark it with a transparent overlay of some kind. Your name or a logo or picture of your dog...doesn't matter. Watermark your work.
Once you get paid, they get the final. If something happens to come up with the final, then you can make changes...again, the revision loop comes into play.
When your clients realize you value your work, they will too.
#17
05/12/2010 (1:38 am)
Awesome post, you really provided some thoughtful insight to young devs like myself (just starting bachelor's degree), and I really enjoyed that projection mapping tut as I just got my character in-game, and hadnt textured him yet...I will try this method and see how I fare! 
Jeff Meyer
When seeking a job in the industry, employers are looking for value. Their creative budgets dictate the salary of their employees and the skill of the employees dictates the profits for the business. When working for a company you are a human asset, an investment they are hoping to turn a profit on. Therefore, in order to ensure success in the industry you must be able to demonstrate how you will bring a profit to the company. This is accomplished with your portfolio. Your portfolio is the most integral part of building a relationship with a prospective client or employer. In general, game companies are looking for the following:
- Knowledge of tools -
You may be an ace on maya, yet never modeled in 3Ds or lightwave. However, if you demonstrate the core skill sets companies will be more open to cross training in another package. This includes low poly modeling, high poly modeling, edge loop modeling, organic modeling, and non-organic modeling. If you know how to model in one package the difference in another package is only a matter of understanding the mechanics of the application and becoming familar with the user interface.
* For low poly modeling you want to demonstrate intelligent optimization. The key is to allow the rendering engine to lessen the load in the rendering engine while maintaing a high quality of visual appeal. Therfore, showing when to add detail with geometry and when to add detail with texture demonstrates your knowledge of optimzation. You can accomplish this by texturing fingers instead of modeling them or by using normal maps.
* High poly modeling shows the ability to create highly detailed models for normal map generation. This technique is being used to provide high visual appeal on low level geometry. It also shows attention to detail and is important when creating still renders or renders not processed in-game.
* Edge loop modeling is further optimzation, but in the arena of animation. You may not want to get into animation, however you will still need knowledge of how a poor edge flow can cause havoc for animators.
* Organic and non-organic modeling. Yes you want to show characters, yet you also want to show knowledge of mechanical objects. The tool sets used are much different and show your range of ability. In this area, spline and nurbs modeling is demonstrated.
- Creativity -
Dull and lifeless models will not catch attention. In texturing you want to catch attention with your color pallet and show a variety of textures that comprise the model. When modeling, creating an intricate knecklace, tatoo, bracelet, or weapon can add more depth. Again, you must know when to texture and when to use geometry to express these details.
- Range -
The ability to create almost anything is valuable. If your portfolio only consists of human characters, you may find that someone with slightly less character modeling skill wins the bid due to their ability to model animals, cars, weapons, and whatever else is thrown their way. Therefore, it's good to know character modeling and to have your strenths however it is better to show that you have a wide range of ability. Therefore, they will be able to use you on more than one project. Throw in a mix of male, human, animal, weapon, vehicle, and buildings to show your range in modeling. When texturing, show a range in materials. This is also important when seeking work. With diversity you can step outside of the confines of game design to work on projects for other industry with demands for 3D.
Being able to emulate a style is a valuable asset. Showing nothing but manga-style shows you can do that particular style but it also labels you as a 1 trick pony. However, showing your own developed style can show a strong creative side.
- Character -
When modeling a character, show the personality. Pose accordingly and use expression on the face. If your character is tough, give them a scar or a "I've just been beating people up all day" look to them. A guy with big muscles doesn't say anything about personality or being tough. He could be a complete push over. In fact, showing the contrast of a big muscle bound guy smiling and huggin a teddy bear in glee is a good way to convey personality. A lifeless, dull look will not show emotion or character. What the character wears and how its worn can also show personality.
There are other aspects that employers are seeking such as experience, reliability, meeting deadlines, and problem solving.
I wanted to go over these topics generally, as the tutorials I provide will go further in depth with greater insight.
In closing, you should always strive to impove. When you stop learning, you immediately put a cap on your income potential.