project # 2

 

This is the tunnel textured and lighted by Derrick Curry

Project # 1 Dumpster

I had a hard time doing this project but it was mostly because of human error but after words I became much faster. 60 mins became more like 15 mins but it got much more easy. NDO2 helped out alot with the Normal Maps.

Case Study#7 Where are you at now?

at the beginning of the corse i had trouble with the whole thing of texture and lighting but now even now i still have trouble but i am more confident in myself to do it even going over my friends house i can teach him some things about texture and lighting when i added lighting to his project he thought i changed the color of his ship but i told him that the lighting from the object is reflecting off his ship but i spent 3 hours explaining to him how lighting works. after a wile i gave up and i let him light it himself and he crashed max 4 times and i just sat back in shock. After a wile i went home and he still calls me to help but i wont help him i told him to witch youtube on the whole thing. Now he calls me to tell me i am right with projects like the dumpster i had to do it 3 time because i did not think i looked right but i had fun with it and i got faster at it but i think it came out right after a wile. with this course i became better at texture and lighting. and now i have less trouble with it. thanks to Rob for showing us the program NDO2 i love it makes thing less difficult.

assigment Dumpster

Assigment # 5

 

This is my mood board for the sword lots of black on the blade and handle with gold on the back of the blade to hold the stones in place

Case Study #5

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

In th e beganing Normal requier the user to pay close attention to the detal and to try to keep low polys as close to the high poly with out going outsis the high polys cage this takes time and effort to pull off.

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 belive that it would be in the best to pay more attention to the lighting this is when games make it or brake it although cavity mapping  lets us make cracks in the grown or the small detals  in the side walk or human skin  the work is all for nothing if the lighting is off.

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

this gives the artist that reallism feel. The people that play them have the sense of could this be real so this ask artist to step up there game and to pull players into the story.

Assignment_4

 

This was a hard thing to do i find that uv unwrap was a VERY HARD process for others trying to do this i would say to use a third party software to unwrap the most difficult to unwrap was the helmet  i found myself almost giving up on this but after some rest i was able to unwrap it. after un wraping the helmet and having a knack for puzzles the rest just fell into place.

 

 

 

 

 

 

 

 

 

 

 

Case Study 4 do you have any references

The artist I chose to reference is Yoji Shinkawa trying to find a blog page for Shinkawa  was hard but http://www.dannykang.net/tag/yoji-shinkawa/ talk to Shinkawa and i did find a page that display his art work. http://thejadednetwork.com/gallery/artbook/Yoji-Shinkawa/The-Art-of-Metal-Gear-Solid-II/.  the texture he uses keeps it faithful to most of the anime many of us see but he has a Western approach with some of the chariters in his games like Metal Gear Solid. the textures in that game are so clean and crisp  sort of like a real yet unreal look.

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

what is inspirational to me about his work is how he fuses both east and west styles together almost like they belong in the same world together sometimes i almost think its real until i see the long drawn out cinematic but most of the time i look forward to it

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?

the only thing i can take a way from this  is that he makes me look at the detail  in the game and also i would play the game just to look at the textures to make my style gust like that if not better.

Assignment 2 fountain

3 point lighting with 5 omni lights and 3 stranded lights that degrades around the shape of the fountain.

Case Study#2: If its good for Blizzard…..it’s good for me!

Question#1:  What was the most impressive or surprising thing you saw in their design process and why?

Answer #1: what i saw was the amount of detail they put in to each of there demonic characters, mostly it was the lighting because of some of the shadow they tweet to get the shadows to hit it in just the right angle to make it more life like was to me mind blowing  

 Question #2: As an artist, what would be something that you could take from this video and add it to your design process and why?

Answer #2: well i took the entire video and download it and some others. so that i can understand it more. the lighting and the texturing effects so i can learn more to get that realistic pop out of my textures. 

Question #3: What was something that you didn’t understand or don’t think that would help you in your ways as an artist and why? Make an example.

Answer #3: sometimes i wished that they went more into the programs they used and show some of the tweaks to give people like me more of an understanding, but that’s just wishful thinking and would give away there secrets, but i am tempted to find and email some of the texture lighting crew of diablo 3 and ask them questions and tips