# Modeling

The **approved concept design** is required at this point. But overlap in these stages is possible.
The important difference for this page is the focus on **delivering a production ready model** based on an approved design.

## Organic

There needs to be a handover of design material:
* Concept Design. Typically sculpted ([T-Pose](https://studio.blender.org/films/sprite-fright/39362c69939a56/?asset=4319) & optional [Hero Pose](https://studio.blender.org/training/stylized-character-workflow/6-pose-test/))
* [Deformation Tests](https://studio.blender.org/films/sprite-fright/39362c69939a56/?asset=4356) (Like [expressions](https://studio.blender.org/films/sprite-fright/character_lineup/?asset=4340) & [poses](https://studio.blender.org/films/sprite-fright/sprite/?asset=4243))
* [Style guides & limitations](https://studio.blender.org/films/sprite-fright/3993b3b741b636/?asset=4910)

**The outcome usually is a final topology**. More can be added if required:
* Basic UV maps
* Animation Shape Keys
* Baked textures from sculpted details
* Pivot Point Markers (via empty objects)
* Helper Shape Keys (Closed eyes, open mouth)
* Hero Pose Shape Keys

### Topology

**The goal is to create an optimized topology** for next asset creation tasks (shading, texturing, rigging & animation).
**A full UV unwrap** is also added at this stage and the modeling is done with them in mind.

Typically we do a retopology since the shape and design was already developed via sculpting and loose modeling.
For more, read the [full explanation of our workflow and theory](https://studio.blender.org/blog/live-retopology-at-bcon22/).

We also have a [deeper look into the workflow for stylized characters](https://studio.blender.org/training/stylized-character-workflow/chapter/5d384edea5b8f5c2c32c8507/)
as well as [realistic characters](https://studio.blender.org/training/realistic-human-research/chapter/retopology-layering/).
This information can be extrapolated to other types of assets.

* [Retopology in Blender](https://studio.blender.org/blog/live-retopology-at-bcon22/)
* [Retopology & Layers from Charge](https://studio.blender.org/training/realistic-human-research/chapter/retopology-layering/)
* [Retopology Course based on Spring/Coffee Run](https://studio.blender.org/training/stylized-character-workflow/chapter/5d384edea5b8f5c2c32c8507/)
* [Retopology Cheat Sheets](https://studio.blender.org/training/stylized-character-workflow/chapter/5e5fea8470bde75aac156718/)

### UV Unwrapping

[comment]: <> (There are no user guides or other material on UV unwrapping yet. This would a good thing to prioritize and link here.)

**The topology heavily influences where UV seams can be placed.** Especially for clothing this is vital to keep in mind.

The focus is mostly on **minimized stretching and texel density**.
UDIMs are great for this to order uv islands by needed detail level.
Areas that are closer to the camera are given higher texture resolution,
while covered or hidden parts could be heavily reduced in resolution or even stripped of textures.

**Pattern aligned UV maps** are useful (for example on clothing).
These will make it easy to map texture patterns and they will correctly align the pattern to the surfaces.
These can cause additional stretching, which is why they can be a secondary UV map.

* [UV Mapping Live Steams for Snow](https://www.youtube.com/watch?v=_LI28r-Nk5g&list=PLav47HAVZMjl5VQRoVPd0481fsJNNQi9J&index=9&ab_channel=BlenderStudio)

### Sculpted Details & Animation Shapes

Existing sculpted surface details are ideally reprojected onto the subdivided retopology and refined for production.
For this the **multiresolution modifier** is used and the final topology should be made of **relatively evenly distributed quads for the best results**.

For the use of sculpted animation shapes and detailed sculpted layers we use Shape Keys extensively as well as the
[Sculpt Layers](https://blenderartists.org/t/sculpt-layers-addon/1288145) addon when needed.
Also see the use of [Corrective Shape Keys](rigging.md#corrective-shape-keys) for already rigged characters.

* [Layered Sculpting from Charge](https://studio.blender.org/training/realistic-human-research/chapter/shapes-and-baking/)
* [Manual Clothing Dynamics from Charge](https://studio.blender.org/training/realistic-human-research/chapter/clothing-shapes-rotation/)
* [Baking Sculpted Details from Charge](https://studio.blender.org/training/realistic-human-research/chapter/baking-and-exporting/)

### Helpers

WIP

* pivot point markers
* helper shape keys
* transferred hero pose

## Static / Hard-Surface

### Reference

For simple “static” assets it helps to use webshops or manufacturer websites to view specific dimensions of an object. These often come with many reference images and videos. The best way to gather reference is physically holding or being able to measure the asset.

Creating hard-surface assets often comes with mechanical or moving parts, making the modeling more elaborate. With a specific design or concept, it helps to create a collage of images to work more accurately when parts move and slide in a believable manner.

These may include videos, photos, separate dimensions, technical diagrams, and blueprints (multiple angles) to help understand the asset better. When using blueprints or diagrams make sure the vertical and horizontal lines are perfectly straight before modeling.

### Setup

Starting with a cube to only show “Wire”, match the rough dimensions to maintain consistent scale and create a visual guide with the help of imported reference images or dimensions. Linking existing assets or characters to the scene is another useful way to match scale and proportions. For example, the hands of a character that will use the prop.

### Blocking

Starting with simple shapes and topology to block a basic version of the asset. Use modifiers to increase the speed and flexibility which is usually preferred at this stage for changes later.

Common modifiers used are:
- If the asset is symmetrical use the Mirror modifier
- Using the Solidify modifier to add thickness to a planar surface
- The Bevel modifier adds a chamfer to the edges. It is common in conjunction with the solidify modifier
- Array modifier is useful to repeat multiple instances of the same object in multiple directions or based on another object to repeat the object radially
- Edge Split modifier can be used to create non-destructive part lines using Mark Sharp in edit mode, in conjunction with the Solidify and Bevel modifiers
- Booleans to quickly shape an object without managing topology too much
- Curve modifier has a lot of uses combined with the array modifier to deform the mesh

Testing movement is achievable in different ways without the use of an armature. The way the asset is split into different collections can be important with some of these methods:
- Using Empty objects where the various (instanced) collections are parented to. Using instances of the collections is more flexible to avoid unwanted changes in topology
- Using shapekeys to animate more simplified movement
- Using the 3D cursor with basic object parenting to manipulate simplified set-ups

Creating a simplified animated version is a good method to improve the model and design. This new information feeds back into modeling and changes can be made easily and viewed again with the instanced collections.

### Refinement

At this point it is wise to strategically apply modifiers to remain flexible enough before fully committing. Retopology might be necessary to improve the surface curvature and clean-up any previous booleans.

Adding smaller details like screws, cables, insets and more to increase believability. Adding Subdivision Surface modifier, creasing and manual bevels for smoothing and control over edge sharpness. Inspecting the model from different angles helps determine if bigger shapes aren’t lost and to avoid errors.

Some refinements are:
- Check for ‘doubles’ or vertices that are too close and merge them.
- Adjust the direction of the normals in the viewport using a matcap if necessary
- Smooth shading on objects

Once the topology is locked UV’s and shapekeys can be added if the pipeline permits.

### Delivery

Some housekeeping might be required by adding the correct prefixes, names to objects, and collections. Reset the transformation on objects so that the scale is at 1.0 and rotation at 0 on all axes.

Depending on personal preference (this is often done during the blocking too) it is useful to add basic material slots with appropriate names and approximate colours to visually better separate the model. Remove any data that might obstruct rigging or shading before handing over the file.

## Sets

TBA