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Making Of 'Old Toy'

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Date Added: 9th December 2009
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Hi, my name is Daniil Alikov (aka Neutrino) and I'm busy as a Texture Artist working on 3D feature cartoons.  My profession is my hobby and I'm very happy about this.
In my 'Old Toy' artwork, I wanted to create a warm atmosphere of a summer household evening, when the sunset hits through the window and there is an invisible haze in the air.  The lonely toy is hanging on the nail and feeling forsaken and unhappy.  This gives some sadness and drama to the picture.


I used polygon modelling for the creation of the scene.  This process is always the most fun for me!  I tried to keep only quads in my wire frame - sometimes this makes the process similar to solving a puzzle...  But anyway, it's exciting! (Fig.01)

Fig. 01

UV Mapping

UV-mapping is quite a meditative and laborious process which some people don't like, but me?  Well, I really love to do it!  I simply looked carefully for any stretches, overlapping, and I mirror-flipped UV shells to fix them.  I also tried wherever possible to hide all seams. (Fig.02)

Fig. 02


I needed to pose my character, so I created a very simple setup for this guy in order to make him more "alive".  I didn't use any Kinematics or Constraints; I just applied the skeleton as a deformer.  I attached the geometry to the bones using the Smooth Bind method, and I distributed the weights of the joints using the Paint Skin Weights Tool. (Fig.03)

Fig. 03


Usually, for creating my textures, I use references from Internet, and from my own private library of photographs and textures.  I also often hand paint them.
In this picture I made colour textures in Photoshop, and partly in Bodypaint.  For creating the bump and displacement maps I used ZBrush, and then I combined and finished them in Photoshop.(Fig.04)

Fig. 04

On the "Old Toy" itself there are a lot of various fabric textures, and I gained helpful experience by creating them all. Accurate UV-mapping was very appropriate here because any stretching of the fine detailed texture, especially of the fabric texture, is immediately visible! (Fig.05)

Fig. 05

The fragments of the wallpaper texture were outlined in CorelDraw.  I then gathered them into a seamless pattern in Photoshop.  Layers of dirt and decay were then added to age the wallpaper. (Fig.06 & 07)

Fig. 06

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