Week 22 - Reflective Journal

 This week I mainly focused on my block-out in Maya, trying to fill the space appropriately. I also added some directional and ambient lighting, and played with the intensity of each. As the set fills more, I feel more prepared to begin more lighting tests.

Fig. 1: Spence, 2023. Maya Block-Out

Fig. 2: Spence, 2023. Maya Block-Out (2)

This week also featured my first delve into Unreal Engine, though I found it difficult to get to grips with at first, and may need to work in a different space with a computer that can run the engine more successfully, as my tests with it were slow and made it difficult to control. Another option would be testing out Unity, which I feel is more popular with my peers, though with the time I have left I am leaning towards creating 2D pieces.

Fig. 3: Spence, 2023. Camera Angle Test

Fig. 4: Spence, 2023. Camera Angle Test (2)

I also tested some camera angles (above) for potential screenshots and/or 2D paintings.

Currently, I'm gathering references of woodland areas for a better look at textures and lighting.

Fig. 5: Spence, 2023. PureRef Board

References:

Images:

Figure 1. SPENCE, Nel. 2023. Maya Block-Out. Private Collection: Nel Spence

Figure 2. SPENCE, Nel. 2023. Maya Block-Out (2). Private Collection: Nel Spence

Figure 3. SPENCE, Nel. 2023. Camera Angle Test. Private Collection: Nel Spence

Figure 4. SPENCE, Nel. 2023. Camera Angle Test (2). Private Collection: Nel Spence

Figure 5. SPENCE, Nel. 2023. PureRef Board. Private Collection: Nel Spence

Week 21 - Reflective Journal

During a walk around Crantock this week, I noticed a patch of land that was visually similar to what I had in mind for my environment, so I took a few photos I could use as reference. The distribution of the foliage and types of plants growing could help inform my decisions throughout the module. 

Fig. 1: Spence, 2023. Crantock

One of the things I'm finding difficult so far is working out how to fill the space to appear like an area that could exist. I'm considering ground textures, debris, and making signs of areas that have been walked through.

Fig. 2: Spence, 2023. Crantock (2)

Fig. 3: Spence, 2023. Maya Block-Out

This week ended up being somewhat busy for me with family visiting, but I made some progress on my block-out in Maya and completed adding details to my models in ZBrush.

References:

Images:

Figure 1. SPENCE, Nel. 2023. Crantock. Private Collection: Nel Spence

Figure 2. SPENCE, Nel. 2023. Crantock (2). Private Collection: Nel Spence

Figure 3. SPENCE, Nel. 2023. Maya Block-Out. Private Collection: Nel Spence

Week 20 - Reflective Journal

This week I started refining the stones more in ZBrush, looking at details found in real hag stones (fig.1) such as small holes and scratches.

Fig. 1: Unknown Maker. Hag Stones on String

I need to begin considering how I want to do the textures on these models. As I'll most likely be using pre-made assets, I would want the more realistic textures on the assets to match my stones. I've considered a stylised approach, which give some freedom with my texture work.

Fig. 2: Spence, 2023. Hag Stone Details (1)

Fig. 3: Spence, 2023. Hag Stone Details (2)

Fig. 4: Spence, 2023. Hag Stone Details (3)

The rocks so far could go either way, towards realism or stylised. For inspiration, I'm primarily looking at Firewatch (2016) for a stylised approach, and Dragon Age: Inquisition (2014) for realism.

Fig. 5: Firewatch (2014). Firewatch Waterfall.

Fig. 6: Tzvetanov, 2016. Dragon Age Inquisition - highland rocks / vista cliffs.

There will be other rocks in my environment that are different from the hag stones - regular rocks that were already there. The distinct difference is that the hag stones have been shaped by their sea environment. 

Fig. 7: Spence, 2023. Hag Stone Progress (1)

Fig. 8: Spence, 2023. Hag Stone Progress (2)

Fig. 9: Spence, 2023. Hag Stone Progress (3)

Fig. 10: Spence, 2023. Environment Block-Out

I also began blocking out a potential layout for my environment to get a rough idea of how to fill the space. I will be basing this on some early rough sketches of my scene (fig. 11). 

Fig. 11: Spence, 2023. Rough Environment Sketches

References:

Images:

Figure 1. Unknown Maker. Hag Stones on String. St Margarets [online]. Available at: https://stmargarets.london/archives/2015/06/the_magical_hag_stones_of_the_river_crane.html [Accessed on: 31/01/2023]

Figure 2. SPENCE, Nel. Hag Stone Details (1). Private Collection: Nel Spence

Figure 3. SPENCE, Nel. Hag Stone Details (2). Private Collection: Nel Spence

Figure 4. SPENCE, Nel. Hag Stone Details (3). Private Collection: Nel Spence

Figure 5. Firewatch (2014). Firewatch Waterfall. [in-game screenshot]. Game Reviews AU [online]. Available at: https://gamereviewsau.com/firewatch-review/2/ [Accessed on: 01/02/2023]

Figure 6. TZVETANOV, Dimitar. 2016. Dragon Age Inquisition - highland rocks / vista cliffs. ArtStation [online]. Available at: https://www.artstation.com/artwork/Rq8XW [Accessed on: 01/02/2023]

Figure 7. SPENCE, Nel. Hag Stone Progress (1). Private Collection: Nel Spence

Figure 8. SPENCE, Nel. Hag Stone Progress (2). Private Collection: Nel Spence

Figure 9. SPENCE, Nel. Hag Stone Progress (3). Private Collection: Nel Spence

Figure 10. SPENCE, Nel. Environment Block-Out. Private Collection: Nel Spence

Figure 11. SPENCE, Nel. Rough Environment Sketches. Private Collection: Nel Spence

Week 19 - Reflective Journal

 For this module - GART704: Crafting and Refining - we are encouraged to use a game engine such as Unreal to experiment with lighting techniques that can be applied to a 2D or 3D render. For our submission, we have to show a scene (or two scenes) with two different lighting conditions. These conditions can convey different times of day (morning, evening) or different moods (warm, cold).

Fig. 1: Dros. 2017. Same Location Different Seasons.

Some key things to consider during this module are: 

• CONTRAST: the most important aspect of an image.

• COLOUR: to show warmth, coldness, and mood. 

• DIRECTION: direct the gaze, or show a player where to go, highlighting areas/items of interest.

• A RHYTHM/BEAT : a beat from light to dark helps achieve depth.

Fig. 2: Recktenwald, 2016. Uncharted 4 Environment Art.

After avoiding 3D work in the last module, as I focused on a 2D character concept, I want to work on a 3D render for this module. Using Unreal Engine 5.1, I will be able to access free assets to add to a scene, but would also like to create some simple assets of my own. My primary idea is to work on a fantasy graveyard scene, inspired by "hag stones" - a stone with a naturally occurring hole through it, believed to have magical properties and ward off witches. 

Figure 3: Spence, 2023. PureRef Board

I want my two lighting conditions to be at different times of day, but also convey different moods. I looked into how animators at Pixar approach lighting:

"Artists create blueprints called color scripts, which are hand-painted frames that depict scenes throughout a storyline...much like a storyboard only more detailed in terms of tone. When these frames are viewed consecutively, the director and production designer can determine the emotional story arc." (Bell, 2020)

Fig. 4: Unknown maker. Finding Nemo Colour Script

I may produce a rough block-out of my scene, and paint over it to produce some colour scripts to work out what kind of lighting I want.

I started making some basic stone shapes in Maya, that I can refine and add detail to in ZBrush. I want to make the stones appear naturally formed by the sea, something that is challenging to create in Maya.

Fig. 5: Spence, 2023. Maya Stone Block-Outs

In ZBrush I can hollow out areas with more ease, add holes and crevices from water damage, etc. Being able to increase the geometry greatly improves the detail I can add. This will also mean I get to practice retopology and making textures.

Fig. 6: Spence, 2023. ZBrush Refining

I like using a tablet for better pressure control whilst modeling, and results feel much quicker, though blocking out in Maya is still very useful for me.

References:

BELL, Jasmyne. 2020. 'How Do You Light an Animated Film?' [online] No Film School. Available at: https://nofilmschool.com/how-do-you-light-animated-film [Accessed on 27/01/2023]

Images:

Figure 1. DROS, Albert. 2017. Same Location Different Seasons. PetaPixel [online]. Available at: https://petapixel.com/2017/12/06/shot-7-photos-location-different-seasons/ [Accessed on: 27/01/2023]

Figure 2. RECKTENWALD, Brian. 2016. Uncharted 4 Environment Art. ArtStation [online]. Available at: https://www.artstation.com/artwork/GzlPB [Accessed on: 27/01/2023]

Figure 3. SPENCE, Nel. 2023. PureRef Board. Private Collection: Nel Spence

Figure 4. Unknown maker. Finding Nemo Colour Script. Escape Studios Animation [online]. Available at: https://escapestudiosanimation.blogspot.com/2020/04/why-animators-need-colour-scripts.html [Accessed on: 27/01/2023]

Figure 5. SPENCE, Nel. 2023. Maya Stone Block-Outs. Private Collection: Nel Spence

Figure 6. SPENCE, Nel. 2023. ZBrush Refining. Private Collection: Nel Spence

Week 17 + 18 - Reflective Journal - FINAL SUBMISSION

Wandering Witch of the West

The Banjo - Byleth

The Witch - Development

The Poncho - Development

Clothing - Development

The Banjo - Development

Overall, I like a lot about my final submission. I know I definitelt rushed parts of it, and the layout of the first page isn't ideally how I'd want it, but plotting out where to put clothing of different shapes and sizes, whilst keep their individual details clear, is something I will get more practice with over my course. I will say, I did begin to fall out of love with this character part way through development, but began to find it again as I put these pages together. I think this is a successful character design, and I look forward to doing more.