This lecture is about the characters and aspects that you surprisingly need to pay attention to. Originally, we should delve into the details, but I feel that we need to cover this first. In terms of design, there are some fundamental aspects we should address, and I think it would be beneficial to talk about basic coloring as well. This part is something that other lectures or instructors typically do not cover. It might also be a bit challenging. The practical skills you usually learn when you enter a game company are often things you have never heard of before, but they are essential to know. If you are aware of these aspects during your interviews, I am confident that you will receive a much more favorable impression. Therefore, I encourage you to take note of this information, as it may provide you with new insights and ideas.

It's a part that is difficult to understand unless you actually do it, so it's something that usually needs attention in games. This is because this is a 3D modeling sheet, and the work is done in this way to create a 3D object, specifically a 3D polygon. The most critical aspect to focus on, if we consider this as a sheet, is the joint areas. The joints we need to pay attention to are the moving parts, especially the elbows, knees, and the waist. The waist has a significant range of motion, and we might also need to consider the ankles. The most important areas to focus on are the shoulders and knees. A lot of design work goes into these areas. For example, there might be shoulder armor, knee pads, and large armor pieces for the elbows.

The protective gear, including large gloves, can have an impact up to this point. The reason we need to pay close attention to these aspects is that if we consider modeling, it is seen as a rigid material; it is indeed hard. However, when modelers apply the concept of stretching, certain parts will extend this much, while others will stretch a little bit more. This process is known as skinning. It needs to stretch naturally around the joints; it shouldn’t be perfectly rigid. For example, if we consider the neck as a joint, it would split here, and this area would need to widen naturally. This is correct; it should resemble something like this. But as mentioned earlier, to keep it attached, we need to designate that this area stretches slightly for the skinning process.

In a task, if there is a knee brace like this, what should it do? Should it stretch like this? Should it be pulled while stretching? Or should it just stay attached here? Should it only stretch here? If the muscle stays attached here, or should it be pulled up when it stretches? Should it open up like this? This needs to be decided. Usually, animators make this decision, but sometimes modelers do as well. Typically, animators handle this a lot. However, we need to consider this part from our design perspective to avoid problems later. So, we really need to think about these things. Fortunately, as you can see, this is simple. There's nothing on the knee, so it should stretch naturally.

It can be done by stretching it out like this. There’s nothing on the shoulders, right? The problem is this; if this is there, it’s fine, but if you raise your hand, like this, then it becomes like this. Originally, it was like this, and it should go like this, right? It will go up like this. This is difficult; it has more complexity than expected. When I was at a game company before, I really disliked having something draped over the shoulders. I would rather have a cloak hanging behind or draped around the neck or shoulders; that’s fine. But this one covers all the way to the front, over the arms, which is a surprisingly complicated task. Now, it might be different because optimization and such have improved a lot compared to before.

When we need to think, we should consider how the things that are originally attached here move and complement each other. We should contemplate how they expand when they move. I believe it's important to start thinking from the cost perspective. If the design I envision diverges significantly from this, I’m not sure. However, if we can optimize everything, including the design of the animation, then I think that is an incredible achievement in design. The fact that we have considered those aspects is significant. The problem is that this should not affect the overall design to the point where it becomes unnatural. It’s also your role to ensure that it looks natural. The knee pad is perhaps the most representative example of this. For instance, if it were a stone, it would be...

What if it were a stone? Just imagine a statue. If it were a statue, how would it be? If it bends its knees, can the stone move like that? It probably can't. So how do we approach this? In the case of stone, it's originally already fragmented. It's broken apart, and there are empty spaces in between. The skin doesn't stretch; it just moves slightly in certain areas. So, there might be smaller pieces inside that are connected by some stone that is embedded. We need to make this connection seem plausible. If there are elements that can connect these pieces, it would create a much more compelling design. Therefore, making it plausible is also part of the designer's role. So, knowing these things or not makes a world of difference.

If you find yourself in such a situation, when you are interviewing and the animator or modeler asks you how you would handle certain aspects, there will definitely be times when you need to respond thoughtfully. It can be challenging to explain these parts in your portfolio, so expressing them through sketches on your sheet isn't a bad idea. For example, you could show how something will move through a sketch and display it next to the explanation. I believe this could earn you a really good score. In a good portfolio, these elements are always included. The reason is that no one has taught you this; it's something you can only understand through experience at a company. If you can articulate these points clearly, you will be remembered as a very skilled and experienced newcomer.

There’s absolutely nothing wrong with it. When looking at the current design, it almost feels more symmetrical. What could be different? First of all, this is asymmetrical, and that asymmetry is present. I can’t see if there’s something on this arm, but it’s better to make it clear. The asymmetry in the chest is also present, and these aspects should be considered. When creating, if it’s vaguely different and unintentionally becomes asymmetrical, then it might lead to an efficient design. We need to think about that part. While there’s no need to overthink the modeler, it’s better to move in a positive direction if possible. If we’re going to create something like this, we should first make the torso symmetrical. When we do 1, 1, 2, 2, 3, 3, we have the same design, but if this part connects, it becomes one unit, making it four. This is how they combine.

The face is the same, but sometimes, because of this one thing, you may have to completely grind and remake it. If the patterns are significantly different, that can happen. This is due to mapping. However, if something like this is added, then you can just add four more, making it a very efficient asymmetric design. The same goes for this; it will be like this here. Basically, you just attach something like this on top of a foundation that already exists. The shoulder armor is similar. If there is shoulder armor on one side and none on the other, you can just place it on. But if the torso is attached, you might have to remake it from the beginning. The issue is that if the components inside are problematic, then it becomes a problem. This one thing makes it impossible for one and one to work together. Because of this, attaching it becomes a bit awkward.

Mapping needs to be done separately, so you can think of this as a case where resources are wasted. These two are the same, but because of this one thing, you can't use both together. You can think of it this way. Those who have done 3D work will be well aware of these aspects. Therefore, I recommend trying out 3D at least once, but even that requires time for drawing, and if you don't have time for that, how can you do everything? So, I believe it's good to have a basic understanding of the process. I suggest searching on YouTube for how to create 3D characters and seeing the production process in detail. Just watching it once will give you a decent understanding. You don't need to follow along, but you will have a grasp of how things are made, such as UV mapping and normal mapping.

It would be good to know the names of such things. Therefore, a design that considers the schedules of other people is highly appreciated by creators. While it’s not necessary to adhere strictly to this part, knowing it can be very advantageous, so it would be beneficial to keep it in mind. Also, while there are no weapons here, there are times when weapon designs are quite prevalent. In the case of weapons, things like swords are not particularly problematic, but guns are a bit different. For guns that have some movement, a little explanation is needed. For example, think of a gun like this. This is also concept art for a game. When considering this gun, of course, it’s based on a basic model, and some objects have been added, but it’s helpful to have an understanding of aspects like weight, how it’s loaded, and where the bullets come out.

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인슈입니다^^ 게임그래픽, 아트, 그림, 원화 등을 다루고 있습니다.

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