Project 2: Modular Tunnel_CarmenC

This project was to texture a tunnel, that could be repeatedly implemented, without obvious showings of the texture being over-layed again and again, a modular tunnel.

My inspiration initially came from the Halo games, more specifically Forerunner architecture. With the tunnel made from the rock that surrounds it, but also having implementation of metal beams supporting the rock.The metal supports have a very subtle texture to them, a texture I created myself, with the use of (Styles?) in Photoshop, such as cross-hashing, and other styles to certain extents. Ending with a familiar yet unknown metal, which was my intention, and I feel contributes to the Forerunners evasive legacy.

The rock was a texture that I found online and then edited it to make it tile-able, and look the part also. Even though in some areas you can see that some areas are the same, I believe when it comes to rock, there usually are some patterns, especially if the rock is “man-made”(Forerunner, in this circumstance), or at least carved so in that fashion. Initially the rock was going to be covered in a type of moss/lichen, but found out through trial and error that that became difficult to accomplish the tile-able look with the rock and moss being cohesive together. So I scrapped the moss, and stayed with the rock, which was easier to deal with, and I felt I could back it up with slightly repeating textures, as I said before.

Overall I’m feeling pretty satisfied about the final outcome, and can even see this tunnel inside a Halo game, in my opinion. Here is a scene with the tunnel repeating, and a screen grab from a Halo game at the end:

Forgive the blurriness dropbox doesn’t seem to like PNG/Targas…

-CarlC

Project #1: Dumpster_CarlCarmen

I thoroughly enjoyed this project. It was both fun, and allowed me to do something unique, even though we were all tasked with the same model.

My thought process was pretty static throughout the length of my progress. I wanted to try and do something original, knowing that each of us was given the same model, with mostly minor tweaks being made to the model itself, it would come down to the textures and maps we applied.

When I first got wind of the project, I immediately thought about going with a green base, and not soon after I changed that. Figured since that was my first thought, it was the most common, and went with the orange you see in the final result. I knew I wanted a worn look, and felt that the scratches did that justice. The story behind the scratches is either just years of wear and tear on the resistant metal its made out of, or one I think is a bit more fun, an intense amount of ally cats using the dumpster as their own personal clawing toy, either works for me.

Diffuse

There is also a decent amount of grunge, and thinning paint, throughout the metal-work, just to had some years to an already banged up look. The logo itself, which isn’t entirely intact, was a late addition, but I wanted something in the front, it was too empty with only grunge/scratches occupying the space. There is a nice amount of graffiti tagged on the outside of the can, each providing something different. I really like the family of monkeys that wrap around the bottom(Right?) edge, but they don’t take the cake on my ‘favorite’. The other two tags(not shown in the above screen grab), a both a pretty big part of my life(if you know me at all, I’m sure you can guess one of them), so there is some personal stuff used for reference throughout my creative process.

The lid also has a very low intensity Normal Map applied, just to break up the overlying gray.

Overall the entire project was fun, and I look forward to doing more in the future.

Case Study#7: Where are you at now?

If I had to pick the most influential “trick” or method that helped me along my way through this course, I’d have to say it was others work. Seeing, comparing, understanding, and not so much as mimicking, but applying a certain technique to add to my own work. I feel that seeing how others have already done what you’re in the process of doing really opens things up. It helps you create something unique, but also allowing you to apply all of the ‘good’ they put into their work. Now I’m not saying copying, or not applying any original input to your own work, but see what has worked for others, and use them in projects of your own.

 

Visiting websites that cater to upcoming artists and modelers, has been incredibly helpful. Websites such as http://www.polycount.com/, and even http://www.deviantart.com/ can showcase really interesting work, with beginners and people with years of experience simply showing off their latest pieces.

 

Going through forums of different sites, and see other people learning how to texture this, or how to model that. Following their ‘footsteps’ and going through the comment sections, that may have taken place months ago, but the steps and progress is usually right there. Usually with plenty of  pictures and advice from others.

 

The whole idea is that you don’t have to figure this stuff out on your own, it’s more then likely been done before, and people(usually) are willing to help. A lot of what I’ve applied to work throughout this course has been from what I’ve seen in other pieces of art, and tried to apply them to my projects.

Case Study#6: It’s all about the presentation!

http://www.peperaart.com/

 

 

 

 

Question#1:  Why do you feel these portfolio pieces are so strong?

 

I see the progress the artist has made from his earlier work, to where he is currently at now, and its impressive. The level of detail that only comes with time really show through, and you can tell that he knows this. The way he shows his maps, he is confident in his work, in that he doesn’t necessarily need to show the entire map. He has obviously proven himself before, and his portfolio creates an atmosphere that shows that.

 

Question#2:  What can you take away from what they have done with their portfolio? 

 

I believe that a lot of his work and efficiency has just come with time. He has obviously been doing this for a long time, and has a strong passion for his work and what he does. So what I can take away is stay confident and always create work, because it can only get better. You will learn and develop a style of your own, even if it may be difficult at first, the end result will be in a much better place from when you started.

 

Assignment#5: Mood board and color palettes

 

I recently re-watched ‘The Amazing Spider-man’, and took the idea of how strong the webbing is, and how it could be used in design of a shield. The Black Widow spider is also seen as a very deadly spider, and most people know of/have heard of the spider. The spider is almost a symbol of death, and I believe that the colors have a strong indication of that. So they are applied to this shield, with the inner parts of the shield actually created out of the silk that a spider produces. Though not so much in the usually “web” format, but in strong multiple strands. If you’ve seen ‘The Amazing Spider-Man’ you’ll understand entirely.

 

If you haven’t…do so, it’s Amazing!

 

Also, I’ve heard(through the grapevine) that spider silk is incredibly strong,  and if only we could harvest it, like milk in cows, that it would be an incredibly strong material, able to used in armors/weapons. At least that’s what I’ve heard, somewhere…

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

Normal/AO Maps:

 

Cavity Map:

 

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

 

I think that the technique of each map comes into play throughout the entire design process. When coming up with an idea, to the follow through of creating an image/model. These maps interplay with one another, and help enhance certain features much further then without their use.

These maps can really pronounce a piece, and help creates levels of dimension, while both keeping the poly count manageable, and still provide incredible distinction between areas.

 

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

I believe it really depends on what the artist is trying to accomplish. While each map/technique, emphasizes certain areas, it comes down to where the modeler/artist wants to end up. Although if I had to choose one, it would probably lie with normal mapping. Especially because this technique helps apply a lot of detail not possibly with a low poly count.

 

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

 

Immensely. I think that the way each artists uses these techniques really furthers their art. They are able to emphasize and iterate much finer details into the pieces they create. The level of detail is increased exponentially, but it really comes down to the artist to be able to apply how these techniques are applied. So in one way that they do not become overwhelming, and unrealistic(depending on the design they are shooting for), but also apply detail to areas where it may not of been possible without too much expensive time spent.

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#3: Your face is a UV!!

This case study involved watching a tutorial about unwrapping, that was NOT 3ds max. I chose the tutorial in the link below, the audio is a bit weak, though gets the his point across.

http://www.youtube.com/watch?v=vu2jZwRmz1o

 

Question#1:  What was their method of unwrapping?  What steps were taken and why?

 

The method it seemed was  to separate the model into different pieces, but cutting sections of the model away from the rest. The tutorial used a cut tool that allowed the modeler to section off areas, and when done, allowed the texture to apply itself much more smoothly, and evenly. Blender does most of the work for you, though still needs help in deciding where/how a texture should be applied.

Question#2:  From what you saw in their tutorial, was there anything from their technique that you found interesting or unusual?  Why?

 

The entire process made sense to me, and seemed incredibly user friendly. The fact that Blender can almost unwrap an object by itself, is pretty interesting to me. The model seemed pretty complex, and the program dealt with the curves and sharp turns accordingly, with only slight help from the modeler. It seems that the program really allows for creativity in how you want to accomplish things, without being too intrusive.

 

Question#3:  Knowing what you know now, and seeing others working on the same material you are, what are your expectations or feelings on the matters of unwrapping?

 

I feel that unwrapping can be difficult if you don’t know the right tools for the job. Certain things can become incredibly time consuming if you don’t know the program you are using, and that practice makes perfect. With a better understanding of the program you are using, whether it be Blender or 3DS MAX, it creates a more efficient work flow, and allows things to be done in a timely manner.

Assignment#3: Spaceship UVs

 

Assignment 3 was to unwrap a spaceship model. I attempted to do things in a way that made it understandable from another’s perspective. The disk is easily distinguishable, while the smaller set pieces, are set aside with less of a focus. Since the disk would be the most visible, I dubbed it the most important, and gave itself, and its corresponding pieces, the most room on the UV map.

The rest, including the legs, take up the rest of the map, while still allowing for space to texture and understand where the pieces fit. Although my main focus was to make sure that there was no stretching when a texture was applied.