By Bo Kampmann Walther, Heidi Philipsen, Lise Agerbæk, Norbert Wildermuth, Lars Bo Løfgreen, Anette Grønning, Cynthia Grund, Jesper Pilegaard

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Traditionally, this caused artists to favor NURBS surfaces for characters used in high-resolution mediums, such as films, television, and game cinematics. Although this has changed recently with the advent of subdivision surfaces, which enable you to work with a low-resolution polygon that is automatically smoothed for rendering. 3. A NURBS surface (left) is always smoother than a polygon object (right) with the same number of points and subdivisions. 49 50 Many film companies, however, still use NURBS surfaces for creating high-resolution characters, and it behooves any modeler to fully understand how to create a NURBS skin.

Create preproduction drawings that you can use as guides when modeling your character. The model blueprint should show your character in its default pose from the front, side, and back views (character designs by Carla Merrell). Continue doing preproduction drawings by creating action poses for your character. 2). Choose poses that you may use in your animation, and that produce a good silhouette. Place your character's limbs in a variety of positions that will show the character's range of motion.

The top edges on the forehead are attached, but the bottom edges on the chin remain open. 13). Do this by selecting your character's head and choosing Edit NURBS, Open Close Surfaces . It is often best to use the Blend option here also. Be aware that you only want to close the direction on the surface that will make the head a continuous surface at the chin, and not close the direction that creates the open mouth and neck. In most cases, this will be the V direction, but this really depends on your individual model.

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