Topology - A Continuous Learning Experience

To avoid a spooky ghost crew, I modeled a man and woman with the same topology optimized for animation.  After initial studies in muscular structure and proportion, I dove into ZBrush.  I blocked out the body with ZSpheres and refined it with Dynamesh.  Between ZRemesher and classic arm-wrestling with Maya LT, I reduced the poly count down to about 10K quads for one character.  Depending on performance, I might reduce it further in the future.

Because I approached modeling with the end goal of real-time animation, I wanted to create the best topology possible for smooth and clean deformation.  Each model since my first has been an experiment in topology, and I have used that experience with prior characters to create the current body.

Body Topology

The knees and elbows both have an extra edge loop on the outside corner of the joint.  Since these areas deform intensely, the extra geometry distributes weighting across the area and retains volume during deformation.

The shoulders are always an area I struggle topologize and rig with their wide range of motion between the collarbone, shoulder blade, and arm itself.  I currently run edge loops across the pectorals and deltoids to imitate muscular structure.  Since movement of the thoracic spine is somewhat limited, I redirect the edge flow on the back to create bands around the scapula that allow for smooth forwards and backwards slouching and extension of the shoulders.  This results in a bit of a funny pole system at the bottom of the ribcage by the spine, but I feel that area is less critical than the shoulders.

The hips and buttocks deform significantly during many motions, from sitting to running.  I placed a ring around the gluteus muscles to retain the overall shape and volume.  I additionally cut extra geometry to the areas that pinch when the leg moves about.

Facial Topology

The face generally follows muscular structure, with concentric circles around the mouth and eyes for best deformation when forming facial expressions.  Other flows intersect from the cheekbones to the mouth to imitate cheek deformation.

Now, to the dressing room and barber!