docs/.vitepress/config.ts

@@ -57,7 +57,6 @@ export default defineConfig({
             text: 'Asset Creation', 
             collapsed: true,
             items: [
-              { text: 'Introduction', link: '/pipeline-overview/asset-creation/introduction'},
               { text: 'Concept Design', link: '/pipeline-overview/asset-creation/concept_design'},
               { text: 'Modeling', link: '/pipeline-overview/asset-creation/modeling'},
               { text: 'Rigging', link: '/pipeline-overview/asset-creation/rigging'},

docs/pipeline-overview/asset-creation/concept_design.md

@@ -4,6 +4,8 @@ outline: deep
 
 # Concept Design
 
+## General
+
 **This requires the production design**, in a complete or in-development form.
 A fairly complete previz or developing concept art simultaneously is vital too.
 
@@ -13,17 +15,21 @@ In our small team everyone is required to be in the loop and welcome to particip
 Each discipline has important insights and limitations.
 Even a final concept painting is layered on feedback and the common vision of the team.
 
+[comment]: <> (Needs short info on developing and finding the art style. This involves all asset types listed below)
+
 **The outcome should be a design that is ready to be executed.**  
 The concept needs to work for the story, aesthetics, budget and technical limitations of the production.
 Test the concept with previz artwork. You don't want to end up with a concept that is not achievable or doesn't fit.
 
 ## Hero Assets
 
+[comment]: <> (Could include an image example. A film character with hero props like Jay & his Boombox)
+
 These include **main characters and important props**.  
 They will be seen up close, in different environments & lighting conditions and even with multiple asset variations.
 Characters are also designed together with important props they interact with.
 
-Hero Assets require a rigorous process to make sure they can be executed.
+Hero Assets require more time and effort to make sure they can be executed.
 
 A drawn concept art is a good start to find the **idea of the character**.
 Afterwards **test out the designs in 3D** as well, via modeling & sculpting. Then draw and paint over the models for annotations and enhancements.  
@@ -44,9 +50,12 @@ Make early 3D models available to the team. Shading & FX artists can do some tes
 Riggers can develop some tech or give the animators and layout artists a test for shots.
 :::
 
-* [More on Production Design from Sprite Fright](https://studio.blender.org/blog/sprite-fright-the-illusion-of-simplicity/)
+* [Production Design from Sprite Fright](https://studio.blender.org/blog/sprite-fright-the-illusion-of-simplicity/)
-* [More on Character Design from Sprite Fright](https://studio.blender.org/blog/sprite-fright-sculpting-advice-for-production/)
+* [Character Design from Sprite Fright](https://studio.blender.org/blog/sprite-fright-sculpting-advice-for-production/)
-* [More on Modelign Key Assets in Pet Projects](https://studio.blender.org/blog/modeling-stylised-assets-on-pet-projects/)
+* [Character Design from Charge](https://studio.blender.org/training/realistic-human-research/chapter/design-blocking-sculpting/)
+* [Character Design from Pet Projects](https://studio.blender.org/blog/pets-expression-sculpting/)
+* [Modeling Key Assets from Pet Projects](https://studio.blender.org/blog/modeling-stylised-assets-on-pet-projects/)
+* [Expression Testing Course](https://studio.blender.org/training/stylized-character-workflow/chapter/5d384ecb3a9adc4a3852c172/)
 
 ## Background Assets
 [comment]: <> (Ask Beau to contribute to background assets and Environment asset design.)
@@ -61,3 +70,6 @@ TBA
 
 TBA
 
+## Effects Style
+
+TBA

docs/pipeline-overview/asset-creation/modeling.md

@@ -1,31 +1,75 @@
 # Modeling
 
-The concept design is required at this point. There can be overlap.
+The **approved concept design** is required at this point. But overlap in these stages is possible.  
-But the important difference is the focus on delivering a production ready model.
+The important difference for this page is the focus on **delivering a production ready model** based on an approved design.
 
-## Organic Modeling
+## Organic
 
-Needed Material: Final Design, deformation tests (expressions & poses), style requirements & limitations
+**The requires the production design and concept design.**
-https://studio.blender.org/blog/sprite-fright-the-illusion-of-simplicity/ 
+There needs to be a handover of design material:
+* Concept Design. Typically sculpted
+    ([T-Pose](https://studio.blender.org/films/sprite-fright/39362c69939a56/?asset=4319) & optional [Hero Pose](https://studio.blender.org/training/stylized-character-workflow/6-pose-test/))
+* [Deformation Tests](https://studio.blender.org/films/sprite-fright/39362c69939a56/?asset=4356)
+    (Like [expressions](https://studio.blender.org/films/sprite-fright/character_lineup/?asset=4340)
+    & [poses](https://studio.blender.org/films/sprite-fright/sprite/?asset=4243))
+* [Style guides & limitations](https://studio.blender.org/films/sprite-fright/3993b3b741b636/?asset=4910)
 
-Goal: Optimized topology for next tasks (shading, texturing, rigging, animation)
+**The outcome usually is a final topology**. More can be added if required:
+* Basic UV maps
+* Animation Shape Keys
+* Baked textures from sculpted details
+* Pivot Point Markers (via empty objects)
+* Helper Shape Keys (Closed eyes, open mouth)
+* Hero Pose Shape Keys
 
-General theory: 
+### Topology
-https://studio.blender.org/blog/live-retopology-at-bcon22/ 
 
-Workflow details and links for realistic characters:
+**The goal is to create an optimized topology** for next asset creation tasks (shading, texturing, rigging & animation). **A full UV unwrap** is also added at this stage and the modeling is done with them in mind.
-https://studio.blender.org/training/realistic-human-research/
 
-UV unwrapping (Live unwrap, UDIMs, general full UV map for baking/texture painting & pattern alignment)
+Typically we do a retopology since the shape and design was already developed via sculpting and loose modeling. For more, read the [full explanation of our workflow and theory](https://studio.blender.org/blog/live-retopology-at-bcon22/).
 
-Detail sculpting workflows (Reprojection, multires, layers, baking)
+We also have a [deeper look into the workflow for stylized characters](https://studio.blender.org/training/stylized-character-workflow/chapter/5d384edea5b8f5c2c32c8507/) as well as [realistic characters](https://studio.blender.org/training/realistic-human-research/chapter/retopology-layering/).
+This information can be extrapolated to other types of assets.
 
-Animation shapes (FACS, Simple clothing dynamics)
+* [Retopology in Blender](https://studio.blender.org/blog/live-retopology-at-bcon22/)
-https://studio.blender.org/blog/layered-sculpting-for-einar/ 
+* [Retopology & Layers from Charge](https://studio.blender.org/training/realistic-human-research/chapter/retopology-layering/)
+* [Retopology Course based on Spring/Coffee Run](https://studio.blender.org/training/stylized-character-workflow/chapter/5d384edea5b8f5c2c32c8507/)
+* [Retopology Cheat Sheets](https://studio.blender.org/training/stylized-character-workflow/chapter/5e5fea8470bde75aac156718/)
 
-Reference shapes/objects (Open/closed eyes, pivot point empties, hero pose shapekey)
+### UV Unwrapping
 
+[comment]: <> (There are no user guides or other material on UV unwrapping yet. This would a good thing to prioritize and link here.)
 
+**The topology heavily influences where UV seams can be placed.** Especially for clothing this is vital to keep in mind.
 
-* [Stylized Character Creation Workflow](https://www.youtube.com/watch?v=f-mx-Jfx9lA)
+The focus is mostly on **minimized stretching and texel density**. UDIMs are great for this to order uv islands by needed detail level. Areas that are closer to the camera are given higher texture resolution, while covered or hidden parts could be heavily reduced in resolution or even stripped of textures.
-* [Updates](https://www.youtube.com/watch?v=BJHede3Oagw)
+
+**Pattern aligned UV maps** are useful (for example on clothing). These will make it easy to map texture patterns and they will correctly align the pattern to the surfaces. These can cause additional stretching, which is why they can be a secondary UV map.
+
+### Sculpted Details & Animation Shapes
+
+Existing sculpted surface details are ideally reprojected onto the subdivided retopology and refined for production. For this the **multiresolution modifier** is used and the final topology should be made of **relatively evenly distributed quads for the best results**.
+
+For the use of sculpted animation shapes and detailed sculpted layers we use Shape Keys extensively as well as the [Sculpt Layers](https://blenderartists.org/t/sculpt-layers-addon/1288145) addon when needed. Also see the use of [Corrective Shape Keys](rigging.md#corrective-shape-keys) for already rigged characters.
+
+* [Layered Sculpting from Charge](https://studio.blender.org/training/realistic-human-research/chapter/shapes-and-baking/)
+* [Manual Clothing Dynamics from Charge](https://studio.blender.org/training/realistic-human-research/chapter/clothing-shapes-rotation/)
+* [Baking Sculpted Details from Charge](https://studio.blender.org/training/realistic-human-research/chapter/baking-and-exporting/)
+
+### Helpers
+
+WIP
+
+pivot point markers
+
+helper shape keys
+
+transfered hero pose
+
+## Static / Hard-Surface
+
+TBA
+
+## Sets
+
+TBA