Case Study #6 Good Example of Proper Gun Design

link: http://www.polycount.com/forum/showthread.php?t=94852

Q1:  Why do you feel these portfolio pieces are so strong?

I saw this model of this M4 and though it was exceptionally done and is a proper representation of good modeling. Sometimes guns can be hard, but the execution here is on nice.

Q2:  What can you take away from what they have done with their portfolio?

This individual focused on a “subject” that can be approved upon. Modeling guns is a good general skill to have in your arsenal. I believe he was able to succeed in honing his rifle modeling skills. This piece shows exceptional unwrapping skills, high poly baking, as well as digital artistry.

Case Study#5: Ao’s, Normal’s and Cavity’s….oh my!

While I did watch some tutorial videos, these articles on Normal, AO and Cavity maps held a lot more information on exactly what these techniques are, and how they are used to aid designers in the texturing process.

Normal Map URL: http://wiki.polycount.com/NormalMap/

Ambient Occlusion Map URL: http://www.katsbits.com/tutorials/blender/basic-ambient-occlusion.php

Cavity Map URL: https://docs.google.com/document/preview?id=1fNUqul4VF_64gmrb3_dtxq3AiPtm4V66Wf4DeImhGmQ&pli=1

Question#1:  Where in the design process does this technique belong?  Why?

These techniques are used throughout the texture process, giving further detail to the geometry and texture of a model. Normal maps add texture that includes dynamic lighting effects that make it appear as if a model has bumps, cracks, buttons or other small surface detail, without adding to its poly count. Ambient occlusion helps to disperse ambient light throughout the model realistically, to highlight surface features and textures with baked-in light, while Cavity maps do the opposite, highlighting areas hidden from light with darker tones to make them appear less exposed to in-game light. All of these maps compliment the color, or diffuse map, of a model to create life-like textures and lighting effects. An interesting note is that Ambient and Cavity maps are sometimes referred to as “dirt maps” because they help to simulate the tendency of real world crevices to gather dust and dirt, further darkening them against the surrounding textures.

Question#2:  All of these techniques will work with one another, of the three, which one is the most beneficial to the artist?  Why?

While they all have their own perks, I believe that the normal map is the most beneficial as it can add a great amount of detail to the surface geometry of a model without added pressure to the game engine. In lower-end games though, I think that ambient conclusion plays a more valuable role, adding lighting effects over models to display their detail without the use of in-game lighting. Cavity maps are cool, adding that extra push into realism with their subtle shadow effects, but only seem truly useful in the most top notch, visually-stunning games.

Question#3:  According to the article(s), how have these techniques improved the quality of work for the artists?

These techniques have improved the quality of work for artists by simplifying the process of adding realism to their models. If every wrinkle in every character’s face had to be individually modeled and lit, productivity of the design team would be slowed, and the effect on the game engine would be enormous. Combined, these map types allow artists to “fake” real-world texture and lighting effects in a much more organized and timely fashion, and allow them to alter individual aspects towards realism by keeping them seperate, rather than baked on one diffuse map.

Case Study #5

Normal Map: 

Cavity Map: 

Ambient Occlusion Map: 

Q1: These techniques should be considered in all steps. They literally take place after you are finished modeling and unwrapping the object. Creating these detail maps are usually paralleled with the production of the diffuse and specular maps. It is vital to take each one into consideration when creating them as a set.

Q2: Depending on what type of work you are involved in these techniques could each be more effective over one another. Normal maps are mostly used in the “higher resolution” titles. Though cavity maps are not too advanced, they are only extensively used in well lit “next-gen” games. Ambient occlusion is useful in a scenario where real world lighting is not emulated. The shadows produced are usually acceptable but they are not dynamic. All these techniques are excellent when commanded skillfully.

Q3: Once you become familiar with one of these techniques or all of them, you are able to create more detailed assets that use less of the “budget”. With this experience and optimization comes speed. Like anything else, the more you know about all the techniques and shortcuts, you can make the best decisions on what technique to use and how to employ it.

Assignment #4

Starting with the UV render, I stuck with the half model just to see how it plays out in the end, as I have down full models in the past. Honestly, doing half of the model really threw me off, as odd as that may be. The whole while I felt lost? Sure, let’s go with that. I put more emphasis on the shoulder than any other piece of armor, then the helmet. Reason being, is because I always look at the shoulders first. I can’t really say why, I just do.

I prefer to scale the UV’s up for at least one of the shots of it on the model, just to see that layout that is there. Far more difficult to do when it’s packed in the UV space. But here is the other one.

 

Kody Sokalski

 

Case Study#4: Do you have any references?

Artist’s Name: Kekai Kotaki

Their blog URL: http://www.kekaiart.com/about-me.html

Company(ies) worked for: ArenaNet 8+ years

Games Worked on: Guild Wars Franchise

Role for said Games: Texture Artist, Concept Artist

Images of some of their texture work

Question #1: What about their style is exciting or inspirational to you?

Answer #1: In terms of his concept art, I love the way he portrays and runs with scale. A sense of awe alone comes from that aspect. You can also get a very good sense of how everything would actually feel just by looking at it. The way he does armor in general hits home for me, from the simple cloth to the heavy plate. His concept art is amazing, and I am blown away on how it translates into the latest game he worked on, Guild Wars 2. I’m awe struck by it as a whole, it’s exciting and inspirational at the same time.

Question#2: What did you take away from this person that you can use to help yourself?  Was it a texturing technique, a piece of advice, or something from their art style?

Question #2: As I said before, his armor work is awesome, and even more so that’s it for an mmo. Which as we know typically requires lower resolution texture maps to account for the vast world, and the vast player base. I e-mailed him just to see if he had anything that he would like to comment on, but I have yet to get a reply. However, even with that said I think it is fairly easy to stare at his work and get lost, all while taking careful notes of course. I really like his art style as a whole, I think it will have to be an inspired by case for sure, so if I take anything away, it’s that.

Kody Sokalski

Case Study #4

Artist’s Name:  Kris Kelly

http://www.kriskelly3d.com/

Experience: Lolipop Chainsaw, A Wolf In Sheep’s Clothing, Fable The Journey, Lord of the Rings: War in the North.

Q1: What about their style is exciting or inspirational to you?

Even though the game’s style isn’t necessarily hyper realistic. There are fictional materials and such, but all these said materials are represented accurately to what they are imagined to be like. Leather is easily comparable. Though easy to master, leather takes time to learn as its luminosity and specular levels are unique. Also the ability to make objects look worn is definitely being shown off. It is easy to make something look clean cut. Creating believable wear is a great talent.

 

Q2: What did you take away from this person that you can use to help yourself?  Was it a texturing technique, a piece of advice, or something from their art style?

The second piece is what proves my point for my answer to the second question. Transitioning from that LotR style to the more vibrant color pallet of fable is a task. Yet as long as you are able to adapt, keep your own style, and make it look good; it will turn out great. This work required him to give the character and scene a fantasized yet believable feel.

 

Assignment #4

After some trial and error with map placement the armor started to get easier. The most time consuming portion had to be the horns of the helmet and “belt”.  I personally chose to take the most manual of routes. I felt I needed some traditional practice and used flatten mapping along with manual placement of the maps for optimal results. Though this takes longer, I feel you can make better use of your UV space as well as learn more efficient techniques to use for the future.  The textures do not look proper in the renders. However, when scaled for reference they are all in order. Obviously, once the texture is made the armor would look as it should.

 

 

 

 

Case Study #4: Do you have any references?!

Artist’s Name:  Cory Hamilton

Their blog URL: http://www.linkedin.com/pub/cory-hamilton/1/655/58

Company(ies) worked for: Sucker Punch Productions/ Naughty Dog/343 Industries

Games Worked on:  InFamous 2, Halo 4

Role for said Games: Mostly Environmental Artist, bits of Concept, and other textures

Images of some of their texture work:

InFamous 2

 

 

Random Concepts:

 

 

 

Naughty DOG Concept Art:

 

 

Question#1: What about their style is exciting or inspirational to you?

 

I enjoy the way that Cory is very varied in his art style, while still being able to capture realistic, yet interesting set pieces. Even though most of his art is more environmental, the texture skill still applies, and I like that he also dabbles in characters. Which seem to be more of a hobby then what he is usually employed for, but he still does them, and it shows that he does have a passion for what he does.

 

Question#2: What did you take away from this person that you can use to help yourself?  Was it a texturing technique, a piece of advice, or something from their art style?

 

I took a lot from Cory, I do that from an artist that I look into, I would be ignorant not too. The way he still draws on the side, aside from his professional life is inspiring. He has a long list of experience with well known studios, and from the looks of it, a strong reputation, and portfolio. I think what I’ll take most from Cory is to always get back to what I enjoy, even though his blog is a constant one, he does return to it, with newer ideas and an enhanced style, always learning, always growing.

Assignment 4: Warrior Armor

 

The unwrapping process is tedious, and can get frustrating. Best taken in spurts, instead all at once, especially when just getting started in the process. Overall the entire ordeal was eye opening, and intrigues me about how more organic models are tackled. Also what other tools and tidbits I’ll be able to learn and master to understand the process better.

For the UV template, I tried to have each piece be recognizable, and found out that that wasn’t always as easy as it sounds. Fitting each piece wasn’t incredibly hard, since we aren’t texturing the armor, but I feel that if we were that many things would change depending on how I wanted certain objects too look. I stacked as many alike objects as possible, instead of when I did think that if I were too texture the armor that it all wouldn’t be entirely identical, as some alike pieces are next to each other. I also kept parts of an area in the same vicinity, so that even if parts went connected that they would still ‘live’ in the same area.

 

 

Case Study#4: Do you have any references?

Artist’s Name: Yoshiaki Yamaguchi

Their blog URL: http://blog.us.playstation.com/2012/05/02/the-art-of-ps-vitas-gravity-rush/

Company(ies) worked for: SCE Japan Studio

Games Worked on: Gravity Rush

Role for said Games: Art Director

Images of some of their texture work

Question#1: What about their style is exciting or inspirational to you?

Well Personally i really love the cartoon anime style and games like this final fantasy, Malicous etc always catch my eye. I really love how beautiful everything can look and this game just has amazing colors that really pop out at you.

Question#2: What did you take away from this person that you can use to help yourself?  Was it a texturing technique, a piece of advice, or something from their art style?

What i take from this is that a game doesn’t necessarily have to look realistic to be a great game for one and also you can easily get a person immersed in a game simply of the beautiful colors and environments around the character