3D Art: Module Four Week Fourteen

 Backstory, Reference, and Proxy Layout

I initially wanted to do a pirate deck since the cannon I did is pirate-themed, but when I textured the cannon I made it aged and rusted. It wouldn't make sense for it to be on a clean, operating pirate ship, so I wanted to age the diorama. I wanted to make the boards crooked and have weeds growing up through them and around them. I also plan to add algae growth to the boards once I get them in Substance Painter.

3D Art: Module Three Week Thirteen

 Final Display

I ended up redoing my game-res mesh and textures; one of my problems was my poly-count was too high, because I had kept things like holding edges, which are just used for the proxy rather than the game-resolution mesh. I also adjusted my wheels, which had some pretty bad faceting in my first bake.

The fishnet was added during class, and I wanted to try and do it with an opacity alpha rather than extracting the geometry. I didn't include it in the final Unreal renders because there was still some pretty bad faceting, since there was no sculpting information on it.

Turntable

In-Class Quiz

 

Jonas Roscinas Alpha Pack

One-on-One: Part One

 Anatomy + Top Ten Artists

I looked into Scott Eaton's stuff and found a .pdf of his Artistic Anatomy for Digital Artists. It broke everything up into seven lectures that I've been working through: Proportion, Torso, Arms, Legs, Hands and Feet; Head and Neck; and Gender, Age, and Body Composition. It also had a lot of useful reference images, like these proportion canons:

I wanted to focus on proportion, since that was one thing that was mentioned during last industry review. I also tried practicing the musculature of each body part. The arm, especially the forearm, is an area that I really struggle with.

Top Ten Artists

1. Taissia Abdoullina

2. Baolong Zhang

3. Ben Erdt

4. Kris Costa

5. Gabriel Casamasso

6. Ian Spriggs

7. Robin Benes

8. Heber Alvarado

9. Sefki Ibrahim

10. Jonjo Hemmens

3D Art: Module Three Week Twelve

 Creating Game Resolution Meshes in Maya and Materials and Textures in Substance Painter

3D Art: Module Three Week Eleven

 Creating High-Resolution Geometry in ZBrush

This week we needed to start sculpting our cannon in Zbrush. I used some of the techniques showed in Nick's videos and used an alpha to make the laurel around the skull on the side of the cannon's base. The rope is an insertMesh brush.

For my presentation, the two things I needed to work on were having multiple angles of my model and having a template to include my name with the image.

Goals

 charcter/creature art

Not sure if that's a viable entry-level position

Develop more prop-centric portfolio

I'd like to be able to work long-term for one studio, whether that's a bigger studio or indie

Ben Erdt

Ian Spriggs

-commit to character artist

-show diversity on portfolio

 - good character artist can do props anyway

-would like to work in the games industries but also open to other industries as well

-film and television

-character artist, emphasis on props

-leaning towards realistic style

-third semester, personal projects

-extra studies

 - 10 artists that I admire, high caliber

 - Try to reach out to these artists

 - What was their career path/do they have suggestions

 - Extra research for master's program

 - One out of ten responses would be a win

 - anatomy studies

 - hands

 - build base mesh

 - Poor foundation affects everything else

 - cloth/clothing

 - jc leyendecker, shapes/cloth

3D Art: Module Three Week Ten

Creating High Resolution Geometry in Maya

I ran out of time this week, so things aren't as clean as I would've liked. There's a lot of pinching on the cannon itself around the ridged edges that I added. I'll have to fix it this coming week.

3D Art: Module Three Week Nine

 Cannon Project: Creating Proxy Geometry in Maya

I initially wanted to have a creature-focused cannon, like the two images in the top left of my PureRef board, but I was worried I wouldn't have time to finish it. I instead went with a naval cannon similar to the example:

I ran into an issue with importing in UE4 where my cannon was coming in really tiny, even though I'd scaled it to the UE4 mannequin in my Maya scene. It ended up being because I'd set my units to feet while I was modeling. Setting it back to centimeters and then reimporting solved it.

Common Art: Week Seven

 Digital Painting Final Illustration

Initially I wanted more restrictions just so I'd have a place to start, but in the end I appreciated how open-ended the assignment was. I ended up being inspired by some Shadow of the Colossus fan art I saw, plus some illustrations by Stefan Koidl:

A lot of his stuff is very ominous. With this image, I liked the cages that the giant had, and the implication that they were for the humans. I scaled up a mannequin and gave them similar inclinations. I tried to keep our previous lessons in mind, and I think I have a well-distinguished foreground and midground. I'm not sure if this counts as three-point perspective, but I think it's at least similar.

I would've liked to have spent more time on it, but Industry Review dominated my time this week.