2D Week 5 Perspective - John Berkey

This week we are working on the use of 1, 2, and 3 point perspective in 2D art. For our reference artist, we look to the work of John Berkey and his futuristic renditions.

For my piece, I wanted to recreate this work from the Chronicles of the Lensman, book cover.

While this image has a slight fish-eye lens style skew to it, I was able to identify a rough 3 point perspective that constructs the overall shape.

To assist with recreating this work we used 3D modeling tools in maya to roughly construct the image in a digital space.

With the 3D model rendered out, I could use my original image, and my 3D model to sketch out the shape of my image.

All that's left to do is to add some values to the ship and background to get my final image.

3D Modeling a Cannon

This week we will be modeling a simple prop, a cannon for an alien pirate ship. We will specifically be focusing on creating the proxy version of our prop.

We first set up our scale. Using the model exported from UE4 we scale our reference imagery to the height we want when seen in game.

Using the reference imagery for size an shape, I went about creating a proxy object under 1000 polygons.

Once the model was combined and mended together, I generated a set of automatic UVs for this proxy. We will go into greater detail on the UVs in a later week, but the auto function will work for our testing.

With everything now ready for export, I created an FBX of our cannon and pulled it into UE4 for scale comparison and making sure our faces render properly.

From here, we can render out final details and render out our wire frame.

Using the boolean functions, I can cut additional shapes out of my cannon model.

With the final edits to our cannon placed, and our polygons reduced, we can use the render tool to produce a clean view of our cannon in wire frame mode.

2D Compositions - Drew Struzan

This week we are focusing on the art of visual compositions. The structure of an image that allows a natural direction for the viewer eye to a target area, or make them feel like they are actually in your image. Drew Struzan utilized composition like a science during his career making movie posters. For this assignment, I will be taking one of his posters and recreating the image, ensuring the key elements of composition are carried over in the end product.

For this assignment I will be using his poster "Star Wars Darth Maul #2" that was used as the final key cover art for the marvel paperback comic.

In this image, I can identify at least 3 different compositional structures that are used by Drew to direct the viewers eye:

Radial

Cross

Circular

Using these structures, Drew can direct how a viewer's gaze tracks across his work, and with that, ensure the elements of his work that he deems most important are viewed first.

To start, I began with the basic background and Darth Mauls Facial patterns.

With my base down, I added some of the compositional elements down; with the ship and reflective light adding the cross/radial scenes to the work.

I then went in and cleaned up the two subjects of my image and added some comic-style shading to add an element of depth.

To add the final circular composition, and polish up the rest of the image, I added additional back lighting, bloom, and circular strobe patterns to the ship.

3D Lego Project - Week 2

With the original block completed and ready for LOD iterations, I worked with my team to arrange the remainder of our required unique Lego models.

For the ballista we were creating, I set off to create a few more high poly meshes:

Stepped Arch

157° Hinge

2x2 Corner

10x1 Ported Beam

Wagon Wheel

With these pieces I could create a blueprint of the ballista wagon and send it off to my team lead. Using this structure, we can quickly import multiple siege weapons into our scene.

Here is the finished product!

Frazetta - Values

This week we worked on light/shading values in 2D imagery. Taking inspiration from the line-work of Frank Frazetta.

I will be using this "Barbarian V" sketch as my linework. 

First task was to isolate the area of the figures. I began giving different materials unique default values to help break apart areas of skin vs areas of cloth. 

I then went through and began adding shadow to the figure with the idea that the point of light was coming in front of his body and slightly to the left of the viewer's perspective. 

I then added highlights to define muscle and the light's influence better. This helped bring the illusion of depth to the figure when paired with the shadow.

 I added a gradient to both the background and the figure to add gradual darker tones as you moved down the figure, and used white spots to help define small curves shapes that would have a higher reflective nature. A little shading on the tiger/lion/panther in the background and the ground to finish the whole scene. 

3D Lego Project

For the next two weeks, our team will be working together to create and build a scene out of lego blocks. We chose the Battle of Helm's Deed in the Lord of the Rings universe to create. My assignment particularly will be to help build the ballista used by the Uruk-Hai army.

The first unique piece of this set I will need to create, will be the front wedge plate that covers the ballista wagon.

To start off, I created a simple 6x1 block using the dimensions and scale established by previous cohorts.

From there, I expanded the width of the piece out by 3 block units and roughed in a general shape of my wedge plate. This would likely be a good proxy object to send out for testing during a larger assignment.

Once this basic shape was complete, I used the extrusion tool to hollow out the inside, and add connection pegs from basic cylinders.

With the shape complete, I cleaned up the shading on my intended "hard edges" and created a small bevel around the shape to better fit the overall "Lego" style.

Once it was finalized, I combined all the individual elements of the piece, and uploaded it into the project's perforce and UE4 libraries.

Game Res Version

Brian Froud - Shapes and Silhouettes

This week we will be taking a character from the creations of Brian Froud and altering it's silhouette to demonstrate both the importance of a character's shape language, and practice a typical process found in the early concept stage of game design.

For my project I chose this character.

I took creative liberties to test fantasy, sci-fi, and comedic, even humanistic silhouettes with this design. My goal was to not to maintain a general theme consistency, but rather take core shape elements of this character's design, and see how I could push it into new or unexpected forms.

Minecraft-ish Wold Project

Our assignment this week is to design construct, texturize, and landscape a minecraft inspired scene using Maya, Photoshop, and Unreal.

To start, we create the base building block of our new world. Just like our previous 3D cube assignment, we use Maya to create a basic cube primitive.

Using the Maya UV editor we can see the base split of our cube's UV map. After adding a bevel on the cube and rearranging the UV layout, we are left with a UV map that is a bit easier to work with and understand in Photoshop.

I then took this UV layout and generated a basic texture blueprint in Photoshop. Using color tones and directional arrows, I made sure the UVs I had mapped in Maya were labeled and oriented in a uniform and concise manner.

Using Maya's hypershader tool, I tested the shader on my cube and ensured the end result would be a clean wrap around my cube.

Once I confirmed everything was properly mapped between Maya and photoshop, I set out to create a variety of different minecraft-inspired textures for my cubes.

One final check in Maya to ensure these textures would provide the look I wanted before moving into UE4. Everything looks good to go!

Now into the Unreal engine. I begin building my scene with a base grass layer. For this project, being a tribute to minecraft, I want to recreate one of the survival modes in that game that I used to love. In my project I will be building a basic skyblock platform. This floating island gives the player very limited resources to survive on, and it is up to their ingenuity to create a sustainable world to later grow and expand on.

I start by building a grass platform.

Adding some depth, I add a layer of pure dirt blocks.

Supporting this platform, next up is a layer of floating rock.

Add a small pond for the player's crafting recipies

All that's left is to add some final touches. A tree for wood and saplings, and a chest of starting tools for the player. Our skyblock map is now complete!

As our map is intended to be floating in the middle of the open sky, I decided to not add much atmospheric fog, or any horizon elements, as the vast emptiness is part of the iconic challenge of a skyblock map.

An extra close-up shot for a bit of scale.