How to create your own character. How to Create an Interesting Character - Andivion Science Alliance

Anyone can be the hero of a work of art - from a cockroach to the Father, the Son and the Holy Spirit. But we fully get used only to the image that resembles ourselves - that is, it has such human features as character, habits, virtues, shortcomings, memories, dreams, plans for the future, etc.

If your heroine differs only in velvety skin and elasticity of forms, then only prisoners who have already forgotten what a real woman looks like will be interested in reading about her.

Number of characters in a work of art

How many characters should be in a novel? As much as you can hold. In "War and Peace" by Leo Tolstoy, there are more than two hundred characters named by name. In the tale of the heron and the crane, there are only two.

It is believed that three is the optimal number of main characters in a genre novel. One character - the lack of conflict situations: it will be difficult for the reader to empathize with him. Two is already better, but someone else is needed to bring chaos to the relationship between the two main characters. Three is just right.

But even the intellectual novel and the mainstream should not be overpopulated. If the reader begins to get confused in the characters and forget who is who, this is a bad sign.

Emotions of the reader

When the reader wholeheartedly accepts the hero, he experiences:

Sympathy - approval and sympathy;

Empathy - the reader easily imagines himself in the place of a literary character.

For this to happen, the character must be charming. Prince Bolkonsky, Carlson, Cat Behemoth - all these and other memorable heroes are united by the following:

Reliability - they are described in such a way that the reader seems to see them with his own eyes;

The ability to imitate - the habits, words and behavior of the characters want to be copied.

Heroes to admire

In a good novel, the characters deal with their problems in a way that is admirable. Getting used to a successful literary image, the reader feels smarter, stronger, more charismatic - his life is filled with new colors. And this illusion of another "I" no longer wants to let go.

Ordinary person character

Many people think that the ideal hero is a simple person. That's why the manuscripts that come to publishers are full of faceless girls looking for love and boring men with a midlife crisis. And even more - characters suffering from hard drinking and psychosis. The fact is that the authors of such works are not engaged in literature, but in self-treatment - they describe themselves and their problems.

Who do you want to spend time with?

One of America's leading literary agents, Donald Maass, invites authors to imagine that they are on a train. With whom do they want to be in a compartment for the next ten hours - with a bright witty person or with a dull neurotic?

That's it.

If we want people to spend ten hours with our characters (which is the average time a book is read), the characters need to be interesting.

It's not about characters like Superman or Batman. It's about charm. And the hero can be at least a fool like Forrest Gump, even a misanthrope like Dr. House.

How to show a hero who has qualities that are difficult to convey in words (beauty, authority, fame, etc.)?

If we describe a beautiful girl in the standard way - what color her lips and hair are - it all looks like a template. But if we show her through the eyes of another character, describe what he experiences when looking at the heroine, then the scene will play in a completely different way. The main thing is to focus on subjective perception.

The same technique can be used in scenes with kings and other significant persons: demonstrate not the imperious sparkle of the eyes, not the noble landing of the head, but the feelings of another hero who comes to awe at the sight of the ruler.

Creating a character when writing a book, short story, or screenplay can be fun and exciting! But, on the other hand, it's a little scary, because there are so many things to consider. Among other things, when creating a character (whether it be a main character or a villain), it is important to endow him with magnetic, unique character traits and find a way that allows you to keep everything under control.

Steps

Create an attractive character

1. Give the characters names that suit your story. Every character in a story should have a name, whether it's the main character or a secondary character. Moreover, each name should fit into this story. For example, if the action takes place in 17th century Ireland, the name "Bob" will sound implausible, but the name "Aidan" is extremely appropriate.

   • Or, if you're writing about a group of close friends, don't give them similar names, like three girls named Manya, Maria, Marie.
   • Even if you don't end up using someone's name in the story, such as a minor character, it's good for you as a writer to know that name so you don't mix up the details when rewriting or editing your work.

2. Give them a rich inner world and characteristic quirks to keep the reader interested. Give your characters personality traits and certain quirks, such as always drinking coffee with honey and cream instead of sugar and cream. Here are a few questions to help you get started on building some features:

   • Are they extroverts or introverts?
   • If they like music, what kind?
   • What do they do in their free time?
   • What do they do before going to bed?
   • Do they have any dietary restrictions?
   • Another fun way to get into character is to take personality tests on their behalf. You may make some amazing discoveries.

3. Give it a unique voice. Most likely, your character's voice will be different from yours, and in order to create a vivid character, you need to decide how it will sound and convey this sound in his speech. Explore different dialects depending on when and where your story takes place, and listen to conversations when you're out in public for inspiration.

   • It can be very helpful to re-read your favorite story and see how the author conveyed the characters' speech.
   • Instead, you can try to record your conversation with a friend to study the various features of speech: how often do you pause when the intonation changes, how fast do you speak? Use these stats to create your character's speech.

4. Make the character vulnerable to evoke empathy in the reader. It could be an emotional or physical vulnerability, like a character coping with a recent loss, or a superhero who loses his hearing when he's exhausted. To create a multifaceted, holistic, endearing character, you need to endow him with vulnerabilities that we all have.

   • You could also try writing a scene in which a character shares something (such as fears or worries) with another character to emphasize their humanity.
   • Even if you're describing a villain, find a way to give them at least a modicum of humanity. If you can get the reader to understand the villain's feelings or motives, it adds tension to the story and makes it more interesting to read.

5. Include flaws and failures to showcase the character's human qualities. Perhaps the protagonist is short-tempered or tends to forget about his friends. If it is endowed with only positive traits (such as love, courage, intelligence, and attractiveness), it will become boring and uninteresting for the reader.

   • Think about how you can showcase your flaws without talking about them. For example, if you wrote, “Anna had dinner by herself first, instead of feeding the children first,” you could describe the location where this scene takes place.

6. Give the character motivation and purpose to develop the story. Consider why your story is important to the character. How was he involved in it? Is it a love story, an epic adventure, a sci-fi thriller? What can the character lose or gain at the end? Character goals are key to writing a compelling story, so work hard to create an active, engaged character.

   • Is your character looking for something? What will he lose if he fails? Did other people influence his failure or success? These are great questions to think about when writing a story.
   • The character must take an active part in the story. It is not enough that things just happen to him. So think carefully about what is at stake.
   • Think about your favorite characters from books, TV shows or movies: what situations do they face and how do they react to good and bad scenarios?

   Create a character profile

   1. Come up with a system to keep track of each character's profile. The character profile is a place where important details and dates are stored associated with each character in the story, from what they are allergic to, to significant dates (when something really important happened). Make a questionnaire for each character, even the most insignificant. There are many ways to organize information:

      • keep a folder with notes for each character;
      • get a notebook where the details related to the character will be stored;
      • use a Word document on a computer;
      • use the "Notes" function on your smartphone;
      • write down the details on sticky notes and stick them on the wall to show character development.

   2. Start compiling a character profile, even if you don't know all the details. Sometimes the details become clear already in the middle of the work on the story. However, write down any elements that you have already decided on. Here's what to include:

      • Name, age, occupation, special skills, education, family information, height, weight, eye and hair color, mannerisms, habits, and important dates.
      • There are so many details to add that many of them may never make it into your story. But the mere fact that you know them will help you create a more versatile and believable character. Search the Internet for more information about what can be included in the profile of the hero.

   3. Consider what type of story your story is in order to guide your characters. Did you start your project with a great idea? Or have you been inspired by an amazing character but haven't quite decided on the plot yet? There is no correct answer here! However, it will be useful to think about where the story will go and how the character lives in this world. Add these details to the character profile.

      • For example, if you have a great idea for a love story and you already know some plot twists, write them down and see if the character fits in. If you want a romantic protagonist who will do extravagant things, then it would be illogical to endow him with forgetfulness or sloppiness.

   4. Before you get started, spend some time creating the world. Whether you're writing something set in the modern world or a story set on a fictional planet, it's important to think about the physical space your character will live in. For example, what does his house look like? Or how does it move from place to place?

      • Here are other aspects that will help determine whether this world is different from ours or whether history takes place in a different time: government, social classes, job structure, economy, cultural norms, modes of transport, living conditions, historically significant events, laws, recreation and food.
      • This is the world in which your character will live. And he can really influence the formation of the hero, so it will be extremely useful to think over some information in advance.

   Make changes as you write

   1. Listen to your character and make changes as needed. No, no exaggeration. Read your work out loud and listen to how your character sounds. Pay attention to the dialogues and how they flow, as well as listen to the descriptions of the characters. When you hear how the writing sounds, you will understand where it might be worth adding details or even removing repetitive passages.

      • In addition, there are some programs that can read your documents to you. Check if there is such a feature in the program you are using to write the story.
   2. if the character gets into unusual situations. Your character needs to be good at what they do, and if you find yourself writing about something you are vaguely familiar with, it will make the character superficial. For example, if you're writing about sword fighting but your character only knows how to shoot weapons, do some research on sword fighting to make your story and your character more believable.
      • Situations like this can arise when the hero needs to go somewhere else or needs a skill that you don't really have experience with, like fly fishing or picking locks.

   3. Be prepared to change details as nothing is permanent. Many science fiction writers believe that their characters are telling a story, and sometimes everything can change dramatically from the beginning to the end of a project. You may find that the main character generally has to be of a different gender (or not at all). Or perhaps you thought that your story would take place in a certain time period or in another world, but in the process of writing you came to new discoveries.

      • A useful way to not feel like you're losing your thread when you make drastic changes is to copy and paste your original work into another document called "cutouts" instead of just deleting it. This way you will have material in case you want to go back and refer to it as needed.
   • Read more literature in your genre and style. If you write scripts, read paper copies of scripts. If you write science fiction, read more science fiction. Whatever you want to do, become an expert in the field by absorbing as much information as you can.
   • Remember that writing is a creative art form, so feel free to experiment with your characters.

   Warnings

   • In no case do not plagiarize other authors in your work or when creating a character. Of course, you can be inspired by other writers, but let that inspiration lead you to your own unique creations.

How to come up with a character? This question is asked by almost every Author who strives to make his work as interesting, colorful, and believable as possible. After all, if the hero does not look real, then the whole work is perceived as fantasy or utopia.
In order to make it more convenient, we will first consider the creation of the main characters, and then the secondary ones, which some Authors deprive of their attention.

So, creating a main character is a painstaking process. It is necessary to cover all aspects, all facets, because the main character is not an empty shell that no one would write about. This is, first of all, a person, although invented, he has thoughts, feelings, as well as habits and principles. And often the Authors present us with only a small fraction of that inner world.

First, readers should roughly imagine what a particular character looks like. After all, each Author, as an artist, draws pictures in words, and readers subconsciously imagine what is happening. Therefore, it is necessary to designate at least a silhouette - a tall hero or a short one, thin or full, or maybe stooped. It is far from necessary to describe every centimeter of the body, it is enough just to describe the main external signs: hair and eye color, again, height and physique. And in order to give the hero an individuality in appearance (even if the character is a blue-eyed blond with an athletic build, which all the girls run after), a couple of distinctive features can. For example, a large mole on the neck, which cannot be ignored, or a tattoo in the form of a dragon, or a scar on the cheek. This hero will be remembered.

Secondly, you need to describe the character. It is incorrect in a work where the narration is conducted on behalf of this main character, to write something like: "I am smart, kind, affectionate, brave ...". Even if the character calls himself smart or cowardly, for example, then he must do it differently. For example:

"I finally solved this complex equation with powers, immediately jumping up from my seat, and under the admiring glances of my classmates, I put the solution on the teacher's desk. He looked at me in surprise - no one in our class could find the roots of the equation. I was insanely proud because now everyone knows how smart I turn out to be!"

But in this case, one should not forget that, having told in this way about the mind of the hero, the Author reveals other qualities: in my example, the character looks somewhat boastful, you can even imagine how he approaches the teacher's table, proudly raising his head. If the work is written in a third person or the hero is described by another character, then the same concept applies: "Action - evaluation". Such small descriptions should be present throughout the text, not only in the thoughts of the character, but also in his behavior, actions - after all, readers evaluate the hero precisely by these criteria, referring him to more positive or more negative characters in the work.

This is worth stopping - negative and positive characters. If the Author really does not write a utopian work, then it should be remembered that there are no people who are good or bad in everything. This is where individuality lies - one person is brave, but a little stupid, so he gets into various troubles; the second is smart and cunning, therefore cowardly avoids danger, caring only about himself; and the third is smart and brave, but at the same time utterly vicious. Again, everything is the Author's fantasy, but more positive heroes should have at least one bad habit (biting their nails with excitement) or a nasty trait (slamming the door and being rude), despite the fact that such heroes most likely strive for perfection, and the more negative ones have, for example, a secret passion for kittens, when a selfish and presumptuous teenager is suddenly touched and begins to care for an abandoned kitten.

A biography is not the most important part of describing a character in small works, but a necessary part in large works. At least a mention, but it must be, since it is in childhood that the basic principles and "life scenarios" are laid down (some plans for the development of events, patterns that are inherited), and some important event - the death of parents or the betrayal of a friend - can explain the appearance in the character of such traits as distrust, disappointment in life.

The same applies to behavior. A gallant young man will not slam the door right in front of a girl, and a drunkard will not bow in curtsey to his acquaintance. Again, the example is a stretch, and in most cases the Author does not even think about exactly how his characters speak, but there should be no discrepancies.

Thus, it turned out several main points for creating the main character:
1. Description of appearance. Against stamps - a certain "zest" that gives individuality.
2. Description of character. Against stamps - a habit or trait that is diametrically opposed to character (worse or better).
3. Speech and behavior of the character.
Perhaps each Author will supplement this list with some other item that will make his story special - my list serves as a framework, a basis. We move from the main character to the secondary character.

The secondary characters are the people who surround the main character. Classmates, acquaintances running past, sometimes even parents. The secondary characters help create the feel of the work's reality, despite not having much of an impact on the main storyline. Therefore, with their creation, everything is much simpler - sometimes the reader does not even think about what he is, the same Uncle Petya, who was mentioned in the fifth chapter, in the third paragraph.

Firstly, if a minor character still appears throughout the story (for example, the same parents), then you can also describe their silhouette, create a vague image so that the reader does not forget who this person is, and more fully imagined what the Author himself wanted to convey to him. This can be done with such an unobtrusive phrase:

"I walked past a very fat grandmother, sitting on a bench near the entrance, and said hello to her - she frowned at me, but said nothing, only muttering something under her breath".
And the reader clings to this "very fat grandmother" with his eyes, remembering her.

Secondly, you can highlight some main character trait that will help you remember the character in ten chapters, even if you forgot the name. For example, the brave Uncle Vanya, who defeated a bear in his youth; capricious aunt Vika, always dissatisfied with those around her.

Thirdly, speech and behavior play a big role even in minor characters. For the same reasons as the main characters, because if social qualities and manners differ, the hero becomes fake.

The easiest way is to draw secondary characters from acquaintances. At least, you can associate them with them so that the Author himself does not forget who is who. Secondary characters are described by the main characters or from the outside, and this is like thinking about someone you know. You can not resort to this method, but still.

Therefore, there are a couple of points for creating secondary heroes:
1. Creating an image of the external and internal phrase.
2. Speech and behavior of the character.
I repeat, this is much easier to do than to create a main character who will reveal more and more facets of his inner world in the course of the story.

Even the most ordinary hero or hero-stamp can acquire individuality with the help of the Author. Creating a hero is not difficult, but it needs to be taken as seriously as possible. I hope my article helps you.

The character is the main figure of any animation, so he should be given quite a lot of attention. In this article, you will find tips from professionals to help you create a bright and believable, as well as a look at how Pixar creates cartoon characters.

1. Focus on facial expressions

Tex Avery, the creator of Daffy Duck, Bugs Bunny and other characters we love, never neglected facial expressions when designing his characters, and this made them popular.

Depending on the nature of the character, his emotions can be both pronounced and slightly hidden, therefore, when developing your character, think about his personal qualities and, starting from this, work on his facial expressions. A great example of the work of the legendary Tex Avery is the wolf, whose eyes popped out of his skull when he was agitated. On the other hand, you can put Droopy, who seems to have no emotions at all.

2. Make your characters special

When Matt Groening created The Simpsons, he knew that he had to offer viewers something special, something that would be different from other TV shows. Therefore, he decided that when the viewer flips through the channels and stumbles upon a cartoon with yellow-skinned heroes, he cannot help but be interested in them.

Whoever your character is, try to make them as similar as possible to all the characters that came before them. It should have interesting visual qualities that will be unusual for the viewer. Like yellow skin and four fingers instead of five, for example.

3. Experiment

Rules are made to be broken. At least that's what Yuck thinks. When he creates his characters, he does not know who he is drawing. “I listen to music and draw the result, which depends on my mood: strange or cute characters. I always want to draw what interests me. Later I refine the character,” he says.

4. Understand who you are drawing for

Think about your audience. For adults and for children, you need to select completely different interaction tools, colors, and characters.

“A bespoke character usually has more boxes for me to fit into, but that doesn't mean less creativity is needed here. Clients have specific needs, but they also want me to do my own thing. I usually start with the main features and personality of the character. For example, if the eyes are important, then I will build the design around the face so that the main detail stands out,” says Nathan Jurevicius.

5. Learn

“Never work without materials, always look for something you can build on. Take photos of people that can be a good basis for your work. For example, their clothes, hairstyle, face. Even if your character is not human, consider where he got his DNA from and build on that. Once you start working with examples, your work will become clearer and more engaging.” – Gal Shkedi .

6. Start simple

“Always start with simple shapes. Squares are good for strong and tough characters, while triangles are perfect if you want to make the character intimidating. Well, if you want a friendly character, then use smooth lines.” - Jorfe.

It is worth remembering that no matter how complex a character is, it consists of simple elements. Starting with a simple one, you will gradually layer elements and eventually get a coherent image.

7. Technique is not the most important thing

Sketching skills will help you a lot if you want to present a character in different poses and from different angles. And this skill takes practice. But to create a credible and atmospheric character, these skills are not so important.

“I try to get into the character, highlighting his oddities, combining them and working on them. I draw many different versions of the same character until I am happy with one of them.” – Nick Sheehy .

8. Make up a story

“If you want your character to exist outside of cartoons or comics, then you should take the time to come up with a story. Where he came from, how he appeared, what happened in his life - all this will help create integrity. Sometimes a character's story is more interesting than his current adventures.” — Pixar.

9. Sharpen your character

An interesting appearance does not always make a character interesting. His character is the key, the character must be consistent in his emotions and actions. Pixar believes that character should be pronounced, unless you specifically make your character boring.

10. Environment

Another rule of Pixar is to work on the environment of the character.

“If you want your character to be more believable, then make the world around him believable. Think about the environment and make it work for you.”

And in this video you can follow the process of creating the characters of Carl and Ellie:

This article describes the process of creating a character for a game engine. The article is primarily addressed to those who are interested in the process of developing next gen models, as well as to everyone who wants to look behind the scenes of a modern game developer. I made a character for a portfolio, I switched to characters quite recently, we can say that this is the first character brought to mind. Since this work is my personal project, I set the triangle limit to 20,000, the textures to 2048*2048, the work was planned for PBR.

pipeline

First of all, I will tell you the plan that I acted on, an approximate pipeline. The pipeline or production sequence in creating graphic content may differ from firm to firm and artist to artist. This describes the pipeline that I followed, excluding the first 2 points, because. I took as a basis the finished concept and the last 2.

1. Verbal description
2. Concept
3. Modeling / sculpting the general forms of a high-poly model (HiPoly)
4. Retopology HiPoly model (creation of finishing HiPoly geometry for detailing)
5. Detailing the HiPoly Model
6. Retopology of the HiPoly model (creation of a game lowpoly (LowPoly), which goes directly to the engine)
7. LowPoly unwrapping (creating texture coordinates)
8. Map baking: normals, ambient occlusion, color map (transferring information from HiPoly to LowPoly)
9. Texture Creation: Diffuse, Specular, Gloss, Normal
10. Render in engine
11. Rig and skin of the character (rigging the skeleton and binding to the bones of the grid)
12. Animation

Concept

But enough boring lists. Now about the creation process in more detail.
I found the concept on the net, and I wanted to make it in 3d. Later, I discovered that this character had already been implemented in 3d more than once.

Sculpting

But anyway, I did not abandon the idea of ​​​​implementation, I just decided that I would rework some details a bit, I would not completely repeat the concept. First of all, I decided to sculpt the whole model in one piece in ZBrush. ZBrush - (brush, zebra, zibrush) is a wonderful program that allows you to "sculpt a model", which is qualitatively different from other 3D graphics programs, where we act on the model through vertices, edges and polygons. Here we also have a brush with different properties and with the help of a tablet you can perform quite delicate operations, like a sculptor or a clay artist. Using a brush allowed me to cut out errors with the main masses and proportions at the initial stage, with a simple model in the brush, I could very freely change the proportions and look for detail options. It turned out that sculpting hardsurfaces (the so-called inorganic objects in modeling) was not easy.

Although the model came out clumsy, the idea was embodied, and the matter moved on.

Several iterations of the search, and a form was achieved that satisfied me.

Retopology HiPoly models

When it seemed to me that the model was ready for retopology, I switched to another program for creating fine geometry for sculpting - Topogun and 3ds Max. The essence of retopology is that a mesh of another is built on top of one model. Retopology can be done by many 3D graphics programs such as ZBrush, 3dsMax. However, the retopology there is very inconvenient (although some retopology in a brush) and is not very functional. Topogun is a program designed for retopology and has many advantages over combine editors. There are also disadvantages, after a dozen hours of work in it, I came up with a number of improvements, but who cares about them :) An important disadvantage: the lack of a normal auto-backup and frequent Topogun crashes. A feature of the new topology was that it was prepared for anti-aliasing (Turbosmooth), so there are almost no triangles, I tried to use quads (square polygons).

An example of a new grid next to the old one.

In max, I fixed all the jambs and made the geometry clean. The retopology was long and tedious, because I exported each detail from a brush, then retopped it separately in Topogun, then transferred it to 3dsmax, edited it there and imported it back into Zbrush. Part of the model was made right in max (for example, knee pads).

In the end, the model was almost completely reflashed into a new, clean mesh and loaded back into Zbrush.

This is what a retouched mesh looks like inside Zbrush.

Final detail

Tired of the lengthy mechanical process of retopology, I was glad to switch to detailing the model. Then everything is simple - I increased the number of model polygons and added details with brushes. I did not rejoice for long, when the polygon of the object exceeded 12 million, the computer began to dull a little and this brought discomfort.

The final model looked like this.

Retopology, LowPoly creation

It's time to make a mesh for use in realtime renderers (game engines). Topogan again, now the work went completely in it, in max I corrected only some jambs of geometry. The work was for a portfolio, so I didn’t skimp on triangles, although I know that I could save a lot of money. At this stage, I already tried baking the Normal map to see if the details were transferred adequately. It was at this stage that I realized that we were no longer on the way with Topogun and already in the next project I abandoned it in favor of 3dCoat. But that's another story ...

This is what the new mesh looks like.

LowPoly model assembled in max. Now it's time for UV Unwrap "a.

Creating texture coordinates

So far there has been no need for texture coordinates. However, after preparing the LowPoly model, you need to create the correct UV coordinates in order to bake the maps and to be able to texture the model. UV I did in 3dsMax, I think the built-in editor is quite convenient. I used to use third-party programs, but when I properly mastered the UV editor in 3dsMax, it turned out to be quite powerful ...

Proper unwrapping ensures easy and correct texturing, demapping, and can affect texture quality.

This is how the layout of the UV chunks looks like.

Card baking

The essence of map baking (in this case) is to transfer information from a HiPoly model to a LowPoly texture. I baked with the xNormal program - a great program, much better at baking than combine programs. I baked a normal map (tangent space normal map) (information about the surface relief that adds fake detail to the model), ambient occlusion (self-shadowing map), got the cavity map from ambient occlusion, also got an object space normal map using the xNormal utility from tangent space normal map.

This is how the model looks like in the engine with normal map and ambient occlusion. Marmoset Toolbag engine. There are still baking errors that have been fixed in Photoshop.

Creating textures

Now that the maps that could be obtained using information transfer have been prepared, we need to prepare diffusion, specular and glossness maps. Previously, diffuse, normal and spec maps were usually enough, now PBR allows you to create glossy effects, and not just information about the strength of reflection. There is a great plugin for Photoshop that makes it easy to create and edit all these maps - dDo. This is an amazing program that essentially allows you to control several map parameters at once through masks. It took some preparatory work so that I could work with this plugin, by the way, in my pipeline I used it for the first time. The plugin allows you to parametrically add various surface effects such as scuffs, stains and dirt, so it proved to be very suitable for this job. Having generated the main texture details, I finalized it manually in Photoshop.

The resolution of the textures I worked with was 4096*4096, the photoshop file quickly grew to 6 gigabytes. I was glad again that I have a pretty fast computer :)
In the end, despite the fact that I redid the texture several times (because Photoshop killed the file several times), the textures were created.

And finally, the final render! Although, in fact, this is a texture preview, I did not load the model into a real, adult (UDK, Unity3d, CryEngine) engine. For each engine (as well as the setting, location and individual color scheme of the game), it most likely required its own texture tuning.

Actually, that's all. Thank you for watching, ask questions in the comments, maybe something will be interesting.

P.S. This is my first article on Habré, so if I did something wrong, please let me know.

I also want to immediately note: regarding the realism of the armor, questions to the concept artist, also do not forget that the art component is often more important than functionality and realism, although ideally, of course, this should be combined.