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Painting Weights and Skinning: A Straightforward Approach

By Kiel Figgins
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Date Added: 10th April 2013
Software used:
Maya

Creating a Sock Puppet Mesh

Duplicate the base meshes that define the most volume of the character (Fig.16).

1699_tid_fig16_mesh_dupped.jpg
Fig. 16 - Primary meshes duplicated

Remove as many edges as possible to reduce the overall density (Fig.17).

1699_tid_fig17_mesh_deduction.jpg
Fig. 17 - Edges reduced


Separate/Delete any additional props or pieces (Fig.18).

1699_tid_fig18_mesh_delete_pieces.jpg
Fig. 18 - Delete any additional pieces

Delete any overlapping or underlying meshes (Fig.19).

1699_tid_fig19_overlapping_meshes.jpg
Fig. 19 - Delete any overlapping faces/pieces





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Readers Comments (Newest on Top)
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(ID: 305403, pid: 0) Joshua R. Dodson on Sun, 26 October 2014 8:20pm
Thank you this has helped to improve my understanding of Weight painting. In my own personal work I have found that the combination of Basic skin cluster, maya muscle and corrective blend shapes yield highly satisfactory results. It's always a great idea to have a low poly version of your model for animation and simulation testing aside from the full resolution detail model.
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