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Interview with Majid Esmaeili

Hi Majid, why don't you start by telling our readers about yourself, starting from the time you first heard of 3D, or when your parents first gave you a pen and paper to draw them a picture.

Actually it's very hard to say how I started. I used to watch so many movies, as well as playing games and looking at different artwork. This really inspired me! I grew up when 2D Sega games like Super Mario, Street Fighter and Mortal Combat were popular. I always thought these had great graphics and strong characters. The Mortal Kombat series was particularly influential as it was based around a bunch of exciting characters and creatures. All of this really inspired me and that was how I got into 2D and 3D computer graphics.

I was in love with art, film and animation. Unfortunately I found it really hard to learn about these in Iran. I studied as an electrician, although I found it difficult to concentrate on the course! So after I graduated I decided to focus on what really interested me and what I would love to do for the rest of my life.

During high school I had learnt how to use Photoshop and Illustrator, and so after graduating I was able to go and work as a 2D designer in advertising, which I did for a long time. I collected a lot of resources and started to learn how to use Macromedia Flash, Adobe Director and Adobe InDesign.

After this I made a few multimedia applications for some companies in my hometown. Later I started using Cinema 4D to add 3D elements to my work. From looking all over the internet I found that almost all major studios used Maya as the base 3D package in their productions. So I switched to Maya and watched different Gnomon DVDs to learn the basics of sculpting. Later I became familiar with ZBrush and it opened a new door to the world of CG art!

ZBrush is a great artistic tool that means you have less technical headaches than with most packages. I figured out that purely learning how to work with different software packages was not enough to become a professional artist, and I should focus on the arty side of the CG world. Therefore I started to study from different resources so that I could learn about and understand shapes, forms, clothes, weight, color, light, anatomy and all the other elements that make something look good.

Can you give us an idea of how you felt when you started to make your first models? How difficult was it to find the best workflow to make your ideas shine?

At the beginning I found everything confusing, like working with maps, different anatomy, different meshes and topology, different pipelines and different ways to make a model. I had a lot of questions in my mind, but fortunately through the CG websites and forums, and by experiencing different techniques, I found that the best way to achieve what I wanted was to focus on the type of artist I wanted to be. In fact, everything we learn should be used to help us achieve the best results we can.

I was always very willing to work hard and paid attention to the advice given by many of the best artists, which was, "fill your sketchbook!" I did a lot of work and shared it in forums to get constructive feedback. I showed my work to other artists, as well as people that might not have even known about CG. Sometimes I imagined my work to be somebody else's, and looked at it from a different point of view. This helped me to find my weaknesses and find a way to improve in the future!

Do you have any advice for other artists trying to get started in the CG industry?

The most important part of the job is the final result and the quality of the image. If the final result isn't any good, it doesn't matter what software you used or how you used it. Software and technology is adapting and developing quickly, but the fundamental values are always the same.


That's why the masters are still masters! Continuing to study and practice is the key to success; just keep working hard and comparing your work with your own and that of other artists, and check to see how you're progressing. By doing this you will be able to find which parts you should focus on and try to improve!

Studying and understanding anatomy is also very important. There are a lot of secrets and tricks you can use to improve your use of anatomy. You should try to learn more about the body's structure, bones, how muscles and bones interact together, flow, shapes, forms and more! You can find many resources over the internet, in books, DVDs or online classes etc. Don't just count on one or two books though. Do research to develop your ideas and find your own resources!

I've noticed that you do a lot of character studies and that with each one you try to demonstrate their attitude and backstory. How long do you tend to take to create your models?

I like to study everyday to improve my skills and knowledge. I try my best on each new project and try to use all of the things that I see around me to help me develop. I believe if you want to be a good artist and draw stylized characters then you need to study realism. All great animation artists are able to draw realistic characters. Even characters drawn in a cartoon style are just simplified forms of these.

The timeframe depends on each individual project. Based on the complexity and type of work it can take from just a few days to more than a month to complete. Normally I like to ask for a schedule from the client before I start. I'll only do the project if I know I can finish it in time! I then start by finding references and researching to get everything I need to complete the project.

A good model should have a strong mesh and to achieve this you will need to achieve some technical goals. A good mesh can be created by having a good edge flow and topology to get the model ready and make it easy to animate. It should also be easily readable, with a good silhouette from all angles, and be kept to a basic forms as much as possible. However, this does depend on the client's preferences, the subject you are modeling and the number of polygons you can use. I try to get all this information before I start a job.

During a project, have you ever found yourself in the position where you've stylized your model similarly to a previous one, or that your design has led you closer and closer to your previous work?

Sometimes you do see a repetitive style in your work. I sometimes find that tackling similar projects can result in your designs becoming limited and similar. To avoid this, I always try to tackle different topics in my personal work. The easiest way to go about doing this is to go out and experience new things and gain new inspiration.

Could you describe your creative process and tell us what part of 3D you like the most and why?

I've experienced a lot of different projects, from cartoony and stylized characters, to cinematics, games, film and toy character creation, and I'd like to have a go at doing even more different types of work. I try to concentrate on the quality of my work and I keep myself up to date with CG news. I like to try new techniques and software to find the best way to create an outstanding piece of work!

Before I start I visualize the work and try to work out the best and easiest way to finish the job. I start by shaping the basic and secondary forms, and then add wrinkles and other micro details. Sometimes I use my own base meshes and develop the model by going back and forth between Maya and ZBrush via GoZ. Every so often I have to start a new base mesh in Maya and re-mesh the sculpture. I then use Maya for tweaks and to add the final details.

When I import the model into ZBrush I start with polygrouping and separate pieces. I've found the

best way is to set up the UVs and then use Auto Group with UVs, but sometimes I separate them too.

I then add texture to my model with some basic colors and polypaint, and continue to work on the textures in Mudbox and Bodypaint, using Photoshop for the final touches. I also generate a variety of maps, which I sometimes adjust in Photoshop. Then I set up the model in Maya, connect all the generated maps and get it ready to use!

I use ZBrush for the final render, particularly since the release of ZBrush 4 R2B, which is really impressive! In fact it is so good now that you won't be able to tell if it has been rendered in ZBrush, mental ray or V-Ray! Sadly though some parts of the process are not that much fun; setting up the model in your main 3D package and connecting maps is really annoying! I hope there will one day be a solution to this sort of thing so the whole process feels more artistic and less technical. For now though there is no way to work around these technical aspects and we just have to accept them as a part of this job!

A few of your characters really stand out. For me personally it's The Orphan and Pan. I particularly like the way you blended Pan into his environment. Have you ever thought about doing something similar with your other characters; combining organic and inorganic features and elements?

The Pan statue is based on an original concept from the Pan's Labyrinth movie. I liked the originality of the character so I'm pushing myself to do something like this again or maybe even better in the future!

Are there any elements of working in 3D that you would still like to tackle and master?

Sometimes I get tired of working on models and assets. I usually put them to one side for a while so I can come back to them with fresh ideas. This way I can develop them in a much better way.

Do you have any particular career goals at the moment? What can we expect to see from you in the future?

I have multiple goals, but overall I want to, and am trying to, get a position that could lead to a production out of my own ideas. It will take time to achieve as I will need to be confident and experienced in the industry!


Thank you for taking your time to do this interview - now I will let you get back to modeling!

Thank you for the interview. All my best wishes!

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