HAN SEUNG YEON

Hello, I’m Seungyeon Han.

My major is interior design. And I’ve mainly studied about architecture design.

When I was in college, happened to meet a program called MAX and got interested in 3D design. It was so amazing that you can make something looks existing real which is not real. I started studying CG after graduating from college. Unlike CAD and MAX, MAYA is surprisingly having many tools and interworking programs! I have to learn constantly, but I think it's more fun to study because the possibilities are endless.

1. Tibetan Girl

This is my second work. I'm mainly making super close-up shots with the goal of the look-deb part. I wanted to make an inanimate object with an angle as my first work and create a character that looks alive and flexible in shape.

While looking for a reference, I saw a picture and the child's soft yet sharp eyes and beautiful jewels caught my eye. The only tools I knew were MAYA and SUBSTANCE PAINTER, what I learned in my first work, but I wanted to challenge my limitations. I could learn a lot of observations and programs through this work.

From now on, I'm going to share with you the modeling and texture tips what I learned through this work.

Reference images

<Modeling Tips>

1) Face & Body Sculpting Tips Character modeling has the most important proportions. Rough modeling modifications in ZBRUSH → MAYA retopology → Detail expression in ZBRUSH

Face Sculpting Tips!Children have much bigger eyes, nose, and mouth than adults. And their skin’s should be smoother than adults. The skin around the eyes should be thinned out (thinner and thinner with the front of the eyes), and the rest should be thickened. Express skin details such as pimples and moles.

Body Sculpting Tips!I think it's important to set a certain age group before working on it. I made it by setting the age range as around 10 years old. Also, since It’s a girl, her pelvis should be bigger than her upper body.

2) Clothing & Scarf Sculpting Tips

MARVELOUS DESIGNER(Set a big frame)→ZBRUSH(Detailed expression)

Describing natural wrinkles from the beginning was too difficult for me as a beginner. So first, I pulled out the model with the big wrinkles through the MARVELOUS DESIGNER and took it to ZBRUSH to describe the small wrinkles. It's a good idea to think about cutting clothes before making them, sketch the structure roughly, and move on to the next step.

Scarf Sculpting Tips! Starting work from Importing the base model from the MARVELOUS DESIGNER rather than the face model you created for quick work. I worked with 3 fabrics, to describe for a scarf 1 for covering a head, 1 for around neck, and 1 for knot 2 fabrics. The fabric that wrapping around the head is cut into three pieces like a fork shape and sewed to make it round to wrap around the head. You must hold the cloth and tie the knot manually while keeping it simulated.(Using the pin tool) It's convenient to tie it at zero gravity. Once tied, use pin tools to shape it nicely. After that, adding details in ZBRUSH.

zbrush(body model Sculpting for clothing) → MAYA(rigging, pose animation) → MARVELOUS DESIGNER(clothing, cloth animation) → ZBRUSH(Add detail pleats)

3)Jewelry Modeling Tips

MAYA(Position the default shape)→ZBRUSH(add details)

After sculpting shapes from the basic shapes, adjust the degree of detail expression according to the importance shown in the shot. It's better to go in the rhythm and sculpting.

<Modeling Tips>

Textures that require detailed skin expression are from MARI, and the rest are from the tools you want! I learned the SUBSTANCE PAINTER from my previous work, so I used the basic tool as SUBSTANCE PAINTER and only used the skin expression in MARI. I think the skin is the most important texture, so I worked with only 8k of skin and 4k of the rest.

1) Skin Texturing tips

It is important to express skin characteristics according to race, age, and place of living.

Create an albedo map using texturing xyz. However, I didn’t have Asian children’s albedo image, so I expressed it by laying adult skin lightly underneath the image of the child and drawing details. I chose a girl from Tibet and Mongolia who is 9~10 years old. Children in this country noticed small freckles and blushing cheeks.

2) Clothes Texturing tips

First, using photoshop to make a pattern. And expressing with mask function.

Textures with various patterns or materials will be easy to color in a SUBSTANCE PAINTER, if you sort colors by colors with ID maps. Lay out a plain texture → Lay out a patterned texture and check the texture → Make a texture with something protruding

3) Jewelry texturing tips

Using sss texture. Adjust the emissive value if it needs to be brighter and more transparent than sss texture.

<Nhair, Xgen Tips>

1) Hair tips

Choose the location of hair part. ZBRUSH(group paint) → ZBRUSH(fibermesh, curve export) → MAYA(nhair)

2) Eyebrows, eyelashes, peach fuzz tips Using xgen The eyelashes and eyebrows are similar. Plant them one by one, groom them, and adjust the thickness and length with a mask.

Eyebrows tip! Copy the side where your eyebrows will stick and take it off. Eyebrows are more important to set a target than how they are made, but because they are Tibetan children, they are not managed type of light eyebrows. The Asian hair properties are thicker and shorter than Europeans on average.

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Eyelashes tip! Copy and extract the side where the eyelashes will stick. Generate with splines option. First, plant the guide one by one and adjust the length of the eyelashes. Next, adjust the direction of the guides in the shape of a fan in the top view, and curl the guide in the side view. And adjust the density and length with a mask. Finally, adjust it naturally with tools such as clumping, noise, and coll on the modify tab. (My work is an Asian child's eyelashes, so I curled them weakly according to their characteristics.)

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peach fuzz tip! Generate the fluffy part with a different groomable splines option from the previous two xgen. And use the tool on the grooming tab to express it. I shaped it according to the direction of the hair with the Length and pose tool. You just need to groom one side and flip it.

3)Accessory's thread xgen tip

Accessory's xgen- At first, I had no idea how to make it. After several attempts, I generated the spline option and twisted threads one by one with tools. In the case of the severely bent thread on the top, it was comfortable to render it with a "VRAY Curve render" after drawing a curve.

A thread inside and outside of the hat- I applied the previous knot expression method.

This is my first work, lock door.

One rainy day, I saw raindrops on the window on at the bus and wanted to try to make a piece with raindrops in it. And one picture just caught my eyes. I tried to express rusted iron doors and raindrops which had been tightly closed for a long time, and locks that had been affected by them.

Reference images

<Modeling Tips>

1) Iron door modeling tips

I used all the modeling with MAYA Sculpt tools, because I didn’t know about the ZBRUSH that time. For hard modeling with partially scarred parts, the sculpture tool seems to be faster and better, if you’re not used to ZBRUSH. For hard modeling with partially scarred parts, the sculpture tool seems to be faster and better, if you’re not used to ZBRUSH. First of all, make high polygon that your computer can handle it. After that, use the tools to pull and insert the details.

2)Raindrop modeling tips

I used the Maya script "water drop generator". In the script window that occurs after being applied from the python tab of the Mayan Script Editor, select the desired object in it and check mesh that and press “make” to create the droplet. After that, you can make it several times by size and adjust the number, location, etc.

<Texturing Tip>

Rusty Iron Door Texturing Tip!

It can be easily expressed using layers and masks in SUBSTANCE PAINTER. First of all, layer the rusted steel. Then it expresses the unpainted iron on the new layer and the blue painted iron on the other new layer. On the painted iron door layer, use a white mask to express the area where the paint is peeled off, and use a white mask to draw the rusted area with a black brush. In the next layer, you can adjust the ambient occlusion, the dirty value, and then you can express the place where the rainwater has passed in the new layer and the area where the rainwater is stagnant.

I'm still learning, but I hope my writing helps other rookies. Now I am working on a new piece and I want to share tips again when it's done! Thank you for reading my long article. Cheer up! everyone!