It has been a long journey through this particular project, and I personally feel I've overcome many hurdles I've been faced with in the past. I feel I've reached a level of comfortability with both Maya & Photoshop, which I had lacked in the past. However it's true I still lack the ability to get a grasp on time, taking quality and attention to detail for granted, leaving me with little to no time to reach the end of my project. This usually gets soaked up in the earlier stages of my projects, which I hope is evident considering design wise, I feel this is my exciting and resolved work as of yet.
It's clear that a Re-Sub is in the works, however I feel if anything I can only benefit from this, as Yuki-Onna is possibly the most potential piece of work I've produced, and with the modelling out of the way, leaves a great deal of focus on the skills I haven't yet attained, i.e character texturing, Mudbox, rigging and skinning, all vital to the industry and character design as a whole, as well as setting me up for my major and keeping me active in Maya. This piece most definitely will play a part on my show-reel as my strongest piece yet.
So here is the point I reached in my project so far
The Tale of Yuki-Onna 'Making Of' Book
Topology Of Body
Full Body Turnaround
The plan for Yuki-Onna now is to add an extreme amount of finesse to the model, through sculpting in Maya and Mudbox, now that I have a good base mesh, I should be able to get the feedback I need which from my peers/tutors, which I generally shy away from. Here's a list of things I plan to do prior to my tutorial with Alan:
UV Map Character For Mudbox
Sculpt between Maya and Mudbox for quality
Skin and Rig Character
Finish Costume Design
Render Final Stills, Finished Turnarounds & Scene Pass Through
A fair bit, but I think it's very do-able to get the results I want. In a perfect world, I'd like to get this done within the next 3 weeks, alongside laying the foundations of my major project.