Coming back after Easter break, I was able to pinpoint exactly what my issue was with my scene; I was unhappy with the buildings. Since they fill a lot of the environment, it was important they looked right, and having them built from modular pieces wasn’t working as I’d hoped.
Because of this, I experimented with making individual building assets, as opposed to modular pieces. While this may take longer in a larger area, for my smaller scale project it worked perfectly, and allowed me to get each asset looking exactly as I wanted. Before making the whole scene over, I tested the process on only one building, and confirmed with my team.
WEEK 29
08/04/2023
BUILDING RETEXTURE
WEEK 30
15/04/2023
FINISHING DETAILS
With the scene being almost complete at this stage, I was also able to assist the other members of my group with making sure everything was game ready. This included scaling the models in comparison to the environment and each other.
EFFECTS AND LIGHTING
CINEMATIC
WEEK 31
22/04/2023
CRITICAL APPRAISAL
I was very proud of my Character project; I feel that I learned a lot, and got to experiment with techniques that I hadn’t used before. Creating clothing in Marvelous Designer, retopologising in Maya, making hair cards, and using Substance Designer were all new skills that I learned for this character. I was also able to develop on my existing skills; modelling, texturing and rigging, which allowed me to create my best work as far as body sculpting and detail. I also learned a lot about how models are made specifically for games.
I was very pleased with how I managed to capture the style that I was going for, and how the initial design translated to my model. I found the pre-production research into mythology and imagery, and further development of the character to be interesting, and having a strong research baseline and references enabled me to work a lot more efficiently overall. I definitely found it helpful having the input of both my classmates, tutors and friends. The colour scheme, shapes, and textures I think worked well together, and helped to portray the dark tone of the character.
While my technical skills definitely improved, there was a few areas I would like to continue working on, and things I would have liked to have done with more time. Retopologising the shirt and trousers completely was one of these areas, which would have helped both with the shaping of the low poly and the optimisation of the model, as well as decreasing the number of polygons in the cloak, or changing the shape so that the low poly could be simulated as fabric. One issue I had, that I would have liked to fix was the shaping of the cloak, and how it baked onto the low poly – trying to catch both sides of the shape while still keeping the poly count in check was something I found difficult, and would like to research more. To develop further I would like to expand my knowledge on shaders and lighting to give a perfect finish to my final renders, specifically in the area of hair shaders, and rendering hair cards to look realistic.
Altogether I found the project both enjoyable and valuable in helping me to improve my skills and understanding of the entire process of creating characters for games, which I hope to translate and expand on for further projects.
I was also pleased with the outcome of my environment project, though I would like to continue to work on it. Because of the scale of my project, I had to develop an efficient pipeline for all of my assets, which I think I did successfully, and I found I could rely on my already existing skills in modelling and texturing. I felt myself getting more confident in these as the project went on, and getting to work more in Unreal Engine also allowed me to broaden my skills especially in effects such as the cloth simulation, and the workflow that goes into putting environments together.
This project also allowed me to develop collaborative skills, through working towards a wider project where the themes and style has to be cohesive. I found that having feedback from my team and tutors as I went was especially helpful, as it helped me to pinpoint what areas to focus on. I felt that myself and my team communicated very effectively. I also was very pleased with how my references to both real life and other games influenced my overall outcome. I found working on two projects at once to be challenging, and pushed me to manage my time carefully, but on the other hand I think having a break part way to work on a different concept helped me to come back to my environment with fresh eyes.
I would have liked to have developed my concept more at the start of the project, which may have sped up the time I spent moving larger elements and framing my final renders in Unreal. I think I slightly overestimated how much could be done in the time, causing me to have to cut back on the quantity of assets, and more detailed areas that could be added to my environment. The main area I struggled with was making the scene full enough to feel real. I think having more small props and vegetation to fill out some areas may help with this, which I would like to work on going forward. The addition of characters, as it would have in a finished game, would also help in the long run. Having to make most of my larger buildings again after not being contend with the modular workflow outcome also meant that some time was lost in the remake, though I was far more pleased with the outcome.
Overall I was happy with my environment, and would like to continue to develop it in order to perfect it for my portfolio.
Deciding to take part in the Grads in Games Character ‘Search for A Star’ was not factored into my initial FMP timeline, but to make the most of the final year I wanted to push myself and work on something different to the rest of my project. Because of the short time scale, I had to manage this project carefully – I had approximately 5 weeks, to finish the majority of it, with a couple afterwards for polishing.
Block 1 : 8th-12th – Conceptualise Idea, Initial Sketches, Get feedback, Final design ready to start modelling, Plan project schedule
Block 3 : 27th-31st – High Poly, sculpt and details – Head, Trousers/Shirts, Shoulder/Bracer, Torso Armour, Thigh/calf/boot, Belt/Gloves/Cloths/Neck-piece/Thigh-straps
Block 4 : 1st-8th – Finish High Poly, UVs, Baking
Block 5 :11th-15th – Texturing
Block 6 : 15th-20th – Rig, Pose, Setup UnrealEngine Scene, Render final images, Finish PDF for submission
Submission on Jan 20th
I decided to work under the theme ‘The Big Bad’. The initial idea for my character was based on the characterisation of death. Researching the Christian ‘angel of death’ who transported souls to the afterlife, and is sometimes synonymous with death itself. Named Azrael, his Ancient Greek counterpart, Thanatos, explore similar themes of being transported to another life after death. In Christianity, this is Heaven or Hell, but in Ancient Greek, is the Underworld, ruled by Hades, God of the Dead. In mythology, Hades is portrayed as passive rather than negatively, but is cold and stern, holding all accountable to his laws. This idea was the basis of my character – a god-like warrior whose duty it is to take life when the time is right. She views her culling not as villainy, but simply what must be done. As for art style, I was heavily influenced by both Elden ring and Baldur’s Gate 3.
The imagery I looked at when sketching my first ideas included the symbol of Hades, God of the Underworld in Ancient Greece, as well as the skull, hood, and scythe of the traditional Grim Reaper.
I also looked at demonic imagery, particularly Satan, or Lucifer in Christianity, who is often portrayed as a ‘fallen angel’, or with the horned head of a goat. Adding my own twist on this, I wanted my character to be an armoured warrior woman, who would symbolise death and the afterlife for those she had killed. The moon, similar to that in Hades’ symbol, along with stars, were used throughout my design, as a connection to the idea of heaven, and ascending or leaving earth after death.
After receiving feedback, the main things I wanted to work on were:
Refining the imagery, including the grim reaper/death look, and the links to the afterlife through the symbols of Hades and the heavens/moon and stars, and the traditional cloaked look. Removing some of the makeup was also suggested, so she looked more reminiscent of a skull and less like she was wearing a mask. I also considered the weighting of the weapon, as I wanted the scythe shape, but still to have it match the heavy armour of a warrior type character.
REFERENCES
Using references was an important part of being able to match the style I was aiming for while still keeping every element accurate to life. I collected references as I went, sorting them by category for easier and more efficient use.
WEEK 13
18/12/2023
I started by using a low poly character that I had made previously, subdividing it and editing it to be more realistic, for the style I was going for. The body was just to be used as a base, allowing me to build clothing and armour on top of it, so would be deleted later. Using the Arnold render view allowed me to check the model as I went, as well as how some of the shapes like the pointed breastplate would look in a metal texture.
Following the breastplate, I worked on the leg armour, and the smaller details.
Some smaller elements would be added in Zbrush, but things that I wanted to have more dimension, such as the straps and buckles, were added to the Low-Poly model.
WEEK 14
25/12/2023
CHRISTMAS
WEEK 15
01/01/2023
MARVELOUS DESIGNER
Since I wanted realistic clothing folds, I decided to work from High to Low Poly. Not having used Marvellous Designer before, I followed the pipeline shown here :
Having a sewing background definitely helped me here, as I have a basic knowledge on how clothing patterns and fabric manipulation work. I used a basic shirt and trousers pattern and adjusted it to fit my needs. Knowing that it would need to fit inside the breastplate, bracers and boots, I made the sleeves and legs shorter, and tighter around the bottom. The sleeves also had a cuff where the bracers would start, to give the natural wrinkling of the fabric being pinched in.
For the cloak, I used a basic half circle pattern, which i tacked to the model where I knew the pins would sit. I changed the angles of the pattern so that it folded over the shoulders underneath the armour, giving it a full appearance while being easier to rig. The Hood began as a circle cut in half, which I adjusted to fold how I wanted it to. The necklines of both were adjusted to give the crescent moon cut out in the back, which I could clean up later in ZBrush.
Making the gloves, I used a basic glove pattern, which I also referenced later when adding the high-poly detail stitching. I changed the thickness of the fabric in the engine to give it a smoother leather-like look, and also made use of the tacks to pin the fabric to the model, creating folds exactly where i wanted them, such as in the creases of the fingers.
CLOTHING RETOPOLOGY
I used two different techniques to retopologise my model – one for the shirt, trousers and gloves, and another for the hood and cloak. For the clothing, I used the base mesh I had made for the body, with the high poly shirt/trousers/gloves, and used the Projection feature in ZBrush to quickly adjust the shape of the mesh. I then manually cleaned up any edges that didn’t look correct.
For the hood and cloak I used the Retopology tool in Maya, to manually create polygons that fitted the shapes of the high poly meshes. One issue I had here was that the cloak had a lot of detailed folds and curves, which I decided to make using a dimensional object that surrounded the entire high poly mesh. This however led to the poly count of the cloak being very high, which was an issue that I did not have time to properly fix at this point.
WEEK 16
08/01/2023
HIGH POLY
For the face I used reference of both human skin and the detailed skin of realistic characters in other games. I used noise masks to create the smaller detailed pores, and hand modelled larger dots, texture and wrinkles.
Constructing the eyes, I researched the eye layers giving me the eyeball itself, with the curved iris, cornea, with the eye shadows added, and the tear line.https://www.youtube.com/watch?v=qgw1Z9JtkNI
Working on the high- poly of the armour, I wanted to create the rough texture of hammered metal along the bulk of the large pieces, while preserving the smooth edge on the trims. I created a noise layer for each piece of armour, and masked off all the edges I wanted to keep smooth. I also used ZBrush to correct any folds in the clothing I didn’t like, and make sure that it fit properly underneath the armour, which meant using the move tool to tuck the edges into the armour pieces. This worked well as it left the rest of the fabric overflowing the armour, as it would fold in real life.
Unfortunately, due to the incredibly high poly count that I was working at, to get the details, the my PC was struggling to keep up, so I decided to continue the detailing of the armour and clothes in the texturing stage.
GROOM
Not having modelled hair using hair cards before, I began researching the different options, and landed on using Maya’s XGen to create the cards themselves, and then exporting the textures to another file where they could be hand placed.
Before starting the hair card creation, I made a quick blockout of the shape I wanted in Zbrush. This allowed me to see what I was aiming for as I went. I also had to be mindful that the hair wasn’t passing through the hood, but still looked correct when the hood was toggled off.
Once my hair cards were created, I imported the card’s opacity map into a new file with my model, and used it to create my hair card UVs. I could then form hair chunks and lay the solid base of my hair, before building more layers and flyaway details on top. I found this quite challenging since it was my first time doing this process, but having reference both of real hair, and other game models, definitely made it easier. Choosing a hairstyle that wasn’t too complicated also helped, and overall I was pretty happy with the result.
WEEK 17
15/01/2023
BAKING
Before baking my character, I split the mesh into a single low-poly FBX file, each mesh with the suffix _low, and a folder of individually exported high-poly meshes, with the suffix _high. This allowed me to bake each texture set separately, without cross-mesh projection.
The only major issues I had were with the cloak, which I had to adjust the low-poly mesh for, since it was a uniquely detailed mesh, that had deep folds but was also double sided. (<- Before, After ->). This was the only area I feel like I might have changed had I had the time, but I felt it worked for this projects demands. Aside from that, I had very few baking issues or artefacts on the model.
SUBSTANCE PAINTER
CLOTHING
For the Clothing, I had four main elements – the gloves, shirt, trousers, cloak, and tabard.
All of the base fabrics were a simple base layer with different roughness applied and texture masks from the Library, to give their respective fabric textures. The detail stitching on the trousers was done with an alpha mask, while those on the shirt sleeve, cloak, and edges of the tabard were using the stitch brush and a colour/height map.
The embroidery on the tabard was drawn in Procreate, based on some tattoo designs, and then imported as an alpha, which I then stamped onto the cloth. The shape was then used as a mask on a height map for the embroidery texture, and I hand drew out the edges of the stitching with the stitch brush.
SUBSTANCE DESIGNER
For the chainmail overlay, I made a texture in Substance Designer, following the pattern in my initial sketch. I wanted to make sure that the star shape between the rings was clearly visible, to follow the themes throughout the armour. I made sure to add shading so that the rings appeared to be separated from each other.
SUBSTANCE PAINTER
Once imported into Substance Painter, I changed the opacity so that the undershirt could be seen through the rings, preserving the texture. I used several layers for the different segments of the UVs, so that I could align the edge on the sleeves with the arm straps.
I then masked off the areas of the bottom of the sleeves so that the shape would match the pointed edge in my sketch. I also decided that the design worked better if the chain finished between the arm straps, leaving more of the sleeve uncovered, and giving some visual space between the armour pieces.
HEAD
Texturing the metallic armour, I used three main base colours, which I adjusted the metalness of. Each colour metal was identical, just masked off in different areas, which made my texturing process a lot faster. I added a roughness layer to each, so that the shine in different areas could be easily controlled.
Over all of the metal layers, I also added several colours of grime layers, with a grime texture in the mask, found in the Substance Painter Library. Where I’d been unable to finish texturing in ZBrush I was also able to add some extra details, such as smaller scratches, and the damage around the edges of the armour. This was hand painted with a height brush, as well as some added with textures. I also added some details like the belt symbol, using alphas.
POSING AND BACKGROUND
To pose my character, I used the Maya advanced skeleton, which allowed me to rig and fully pose my model. I selected to match the pose that I had sketched her in initially, so I imported an image plane to use as reference. In a separate file, I was then able to adjust the smaller details, such as where unwanted warping had occurred.
The second pose I worked on was inspired by art I found on pinterest. I wanted to give the regal feeling while also showing a sense of self-interest.
This pose I found more difficult as the details around the waist were heavily warped. Since the character would be stationary however, I was able to re-insert some of the details, such as the belt, and edit them by hand.
The only issue I had in setting up my scene was that the hair textures needed a specific material shader. Due to time constraints, I opted to add the hair as translucent object, which meant I could import the opacity and base colours, but not the specular, diffusion or normal maps. This issue also meant that the occlusion eye layer wouldn’t work.
Setting up the scene, I used Quixel Megascans for the surroundings, and then lit the scene using an earlier version of my model (since I hadn’t quite finished texturing at this point).
I used 7 lights in total; a directional light for volumetric fog, a point light behind the model, to light the stairs, a point light in front of the model, to light the foreground, and 4 spotlights on the model, to create the rim lighting and brighter front light.
After completing my first set of renders, there was a number of things I wanted to change, as well as gathering feedback on the almost-completed model.
The main issues were in the moving of the model and textures into Unreal Engine – being that the shaders and materials did not work correctly. Having the ao/roughness/metallic map of my textures set to ‘Colour’ as opposed to ‘Linear Colour’ meant that the maps did not work properly, and made all of the metals look a lot duller than they were supposed to, as well as adding shine where there shouldn’t be.
Based on feedback, I also went back in and adjusted some of the textures, and added details I had missed or not considered in my first pass. For example the detailing on the armour trim, which I hand painted in Procreate, and imported as an alpha, before adding roughness and height.
I also heavily edited the lighting and background of the scene. I chose to keep it dark to give the moody atmosphere, but focused on highlighting the character’s face, and giving depth to the armour. Reducing the number of lights to a 3-point lighting system have me more control over the light sources, while giving the high contrast that I wanted. I also adjusted the cameras, and simplified the background of the scene to bring the focus to the centre.
On the model itself, I also lightly edited the pose, and cleaned up some areas of weight painting that I hadn’t had time to perfect before the initial submission.
Over summer, my final project ideas were narrowed down to either a Market Place, a Battle Field, or a Hall. I quickly decided on the market as having the most potential, as I would get to work with imagined culture and characters, and could have the widest diversity in scenery.
WEEK 2
02/10/2023
Moving forward from my original pitch I joined with a team who happened to want a marketplace for their world, and since I had not decided on the themes for my work yet, I could blend my initial ideas with theirs. My group explained their own concepts and ideas, allowing us to compare and decide on how the collaboration could benefit all of us. The beginning stages of the team already having a conceptualised theme and culture to their work gave me a clear starting point, similar to having my own brief.
The game, titled ‘Akuji’ was set in a futuristic world, with a baseline of Tibetan culture, and my environment would be a small town in a desert, with an authentic and traditional feel.
Having started research into the types of environments I wanted to do, in themes as well as what the workflow would entail, we could easily connect the gaps between our ideas, through initial notes and moodboards. A clear visual of the project direction also meant that we could confirm that we were aiming for the same thing.
A relaxed town is a common scene in many games, and serves as a base of operations for many-a protagonist. With opportunities for meeting NPCs, trading or bartering, or learning more about the characters or world, the bustling environment is often a key point of interest. In Akuji’s world, puritan culture meets futuristic, but the town I will be focusing on is rooted in Tibetan culture. Through traditional colours, shapes and patterns throughout the environment, I can focus on establishing accurate references to real life, before exploring the blending of cultures within a travelling market, or more fantasy elements. Since the world is set in a fictional future, there will be more opportunity to play with landscape shapes, and fantastical elements that act as an extension of a concisely themed area. I aim to have a finished environment that can be walked by a character. My target audience for this project is teenagers and young-adults, from a variety of backgrounds.
WEEK 3
09/10/2023
RISK ASSESSMENT
Working by myself on a larger-scale environment means that I need to be very careful when managing my time, as I don’t have help if I fall behind. I also need to manage my own expectations and what I can expect to do, since I don’t want to overwork myself or burnout by aiming to do things in the project that aren’t feasible. Having a team to rely on for creative decisions and second opinions will definitely help, since I can alleviate some of the pressure from myself.
To plan my project I will primarily be using a spreadsheet asset list, which contains every asset that needs completing and every stage of its creation. This management list is the same as I have used in my previous environment projects, and has been very successful in the past. I will also be using a Gantt Chart to visualise an overview of my project and every step that will need completing before its completion.
INITIAL MOODBOARD
WEEK 4
16/10/2023
CULTURAL RESEARCH
Tibet developed a distinct culture due to its geographic and climatic conditions. While influenced by neighbouring cultures from China, India, and Nepal, the Himalayan region’s remoteness and inaccessibility have preserved distinct local influences, and stimulated the development of its distinct culture.
Tibetan Buddhism has exerted a strong influence on Tibetan culture since its introduction. Buddhist missionaries introduced arts and customs from India and China. Art, literature, and music all contain elements of the prevailing Buddhist beliefs, and Buddhism itself has adopted a unique form in Tibet, influenced by local beliefs.
Several works on astronomy, astrology and medicine were translated from Sanskrit and Classical Chinese. The general appliances of civilization have come from China, among many things and skill imported were the making of butter, cheese, barley-beer, pottery, watermills and the national beverage, butter tea.
Tibet’s specific geographic and climatic conditions have encouraged reliance on pastoralism, as well as the development of a different cuisine from surrounding regions, which fits the needs of the human body in these high altitudes.
Since my own project is based on a futuristic town set in a desert, I will need to carefully balance the original cultural traditions, while still creating a realistic environment.
AESTHETIC INSPIRATIONS
In a post-apocalyptic world where nature has reclaimed the ruins of a forgotten civilization, pockets of humanity live on in primitive hunter-gatherer tribes. The game covers a wide diversity in landscapes and culture. The town of Meridian is very similar to the aesthetic style and cultural implementation that I hope to explore
The Legend of Zelda: Breath of the Wild is a 2017 action-adventure game, where the player controls Link as he sets out to save Princess Zelda. The player can explore several towns and settlements, all rich with personality, and very unique. The Gerudo town, set in the desert, is particularly similar to the themes of my work.
In Assassin’s Creed Mirage, Basim, a cunning street thief with nightmarish visions, seeks answers and justice. The art style is very close to life, but still has an artistic quality that I enjoy, as well as the implementation of real-life culture within a game world.
Smuggler Joel is tasked with escorting teenager Ellie to safety. Although Joel is traumatized by his past, their brutal cross-country journey gives him “something to fight for.” The post-apocalyptic world of Last of Us shows many human moments frozen in time, and is a prime example of environmental storytelling. The realistic style is also a prime example of what I am aiming for.
WEEK 5
23/10/2023
INITIAL SKETCHES
Based on my research and my blockout, I began to create an asset list based on each area or section of my environment, such as the market, mechanic’s shop etc. I used a spreadsheet which I can mark off as I complete the Low-Poly, High-Poly texturing and importing, which tells me what percentage of my project is complete.
From this list, I began to sculpt the simple, low-poly assets, which I could use to more accurately test the physical scale and scope of my project. This would also allow me to make sure that the number of assets I had planned was feasible.
While making my assets, I frequently asked for feedback from my team, to make sure it fit our shared vision.
I plan to use these beginning stage assets to test small areas of my scene, analysing each one and working out what gaps needed filling and what further props would need working on. I had already left space on my asset list for these additions, aiming to produce around 150 props total.
Making use of the same prop with different textures, as well as trim sheets for my buildings, would lower my workload significantly, and I hoped to gain feedback on further ways to streamline my project.
As of right now, I am unsure how much foliage or nature will be needed for my scene, so I plan to tackle this later in the project, separate from my other assets.
WEEK 6
30/10/2023
WEEK 7
06/11/2023
ARCHITECTURAL AND LANDSCAPE RESEARCH
WEEK 8
13/11/2023
ESPEN SOGEN PRESENTATION – Further research
Environmental storytelling is a way of portraying themes, narrative, or story, through the placement of objects or props. The concept originates in the theme park industry, but in games can give context to plot points, or suggest the long-term or recent history of an area. In games, this works in harmony with non-environmental storytelling, such as NPC dialogue.
This kind of visual guidance can be used to give boundaries to a space, or point players in the desired direction, without having to explicitly tell them. The placement of certain elements within the context of the game world, can also push them to make certain decisions. For this reason, it is important to know the link between the real-world and game world, and how the audience will connect the two.
Identity buy-in is a key to connecting with an environment, as the player assumes an identity that reflects the world. For example, an identity in a fantasy world may be a knight-type character. In this case the player should be able to infer that they are a knight or similar based on their surroundings, such as beginning the story in a castle battlement. Environment design works together with character design and player interactions to build this immersion.
The history of an area should be able to be inferred from the player’s surroundings. A basic example of this would be fruit scattered across a street, and a nearby fallen cart, would suggest that the cart has recently been tipped over. Long term history can also be made visible through more permanent structures, such as landscape or architecture.
Each element of the story comes together to actively engage the player with their environment, and be constantly problem-solving how the visual queues fit together. Coherence and theme within a singular environment is very important to have a flowing narrative that is easy for players to put together.
So far, I am pleased with the direction that my project has taken, especially in how myself and my team have worked together to come up with a shared vision for the outcome. I have found the development of ideas is significantly easier when I have a solid starting point, as well as people to offer opinions and their own input. This has definitely helped me feel confident in my project so far.
Having outside influence from environment artists on games such as Horizon: Zero Dawn, and The Last of Us has also given me a clear sight as to what I am aiming for, as both a style reference as well as quality. Having high expectations means I believe I can be more motivated to complete at a high standard. My research into the cultural aspects of my environment has also been invaluable, as it gives me a frame of reference and a way to root my imagery in the real world. Being able to link my real-life and game inspirations will also be important as I work out how I can translate life into a visually pleasing and cohesive environment that still feels real.
Referring to my current timeline, I believe that, as long as I continue at the pace I am currently progressing at, that my project will be completed to a successful level. Having been able to complete tests in both modelling and texturing, as well as assembling some parts of the scene, my work so far has not posed any problems.
Having some aspects of my project be optional means that should I encounter issues along the way, I have some parts that I can remove to simplify the process. One example of this is my plan to learn nodes in order to have adaptable cables that can run through the town, adding to the more futuristic side, however in the case that I am unable to complete this aspect, it should not be vital to the finished product. My main concern at this stage is other unforeseen setbacks that may disrupt the workflow, especially as I learn new techniques, such as trim sheets. To combat this I hope to stay ahead of schedule, and make sure that I take the time to learn these necessary processes properly, so that I don’t encounter problems later in the process, as a result of previous mistakes.
Taking the time to make simplified sketches and blockouts before I model any large/detailed assets should also ensure that I don’t have to remake things that don’t fit as I’d imagined. With proper pre-production running throughout my project, and continuation of tests, I should be able to easily keep on top of my work load.
WEEK 9
20/11/2023
LOW POLY MODELLING PTI
From my previous tests and planning I began to build up the low poly assets for my entire scene.
Starting with the market stalls and wares, I scaled everything to a model I had made previously.
I then focused on more of the specific areas of my scene, like the kitchen and shops.
WEEK 10
27/11/2023
LOW POLY MODELLING PTII
I made sure to regularly check in with my team and get their feedback, so that I was sure everything matched the aesthetic choices made in the concepts. Since I did not have any detailed concept art, I used a wide range of references at this stage, from my early research, as well as in further depth.
My character was based on the role of a trader or merchant in a video game, which offers the player a way to exchange a currency for items which can help them progress. The world is based around an anthropomorphic animal society, where the player can interact with different animal themed characters, possessing the key traits of their real-world counterparts, throughout a linear story. I wanted to create a character which could logically appear in multiple places around a fantasy themed world. Since the character had to be non-human, I chose the rabbit, due to its real-life ability to create tunnels interconnecting multiple areas. I wanted this merchant to be a kind of character guide, but still have a morally ambiguous feeling, so the player wouldn’t feel like they were relying on them too much. I chose to give a more mysterious/dark look as opposed to the normal ‘cute’ look of a rabbit, in order to fit this role. As I had decided to make him a potion seller, I wanted to use the bottles in the decoration of the clothing, and to clearly show the function of the character to the player, as somewhere they could gain additional aid movement through the world, for example. Adding to the character, I chose to make him more magical-looking by including elements in his outfit like crystals, his staff, and longer flowing robes.
Beginning our final project for ‘Production Principals’, myself and my partner, Abby, selected the words ‘stars’, ‘boat’, and ‘moon’ to theme our story around. We decided that we should make a simple story with a children’s storybook feel, so as not to overcomplicate it, and to ensure it would fit in the 20 second time limit. The story we decided on was that a small character, based on an otter, would go out and put the stars up at night, but one day a space whale begins to eat them, leaving the sky empty. The otter then turns the whale into the moon to save the sky. We had several variations on this story to begin with, and had to test out several endings, to make sure that the ending would be clear for every possible audience. To design the character, we researched several different artists which used animal characters in their work. We wanted to keep the design simple so that the character could easily be replicated in multiple frames, and wouldn’t be too complicated to draw in multiple frames. The colour scheme for the character was also based on the space setting, being predominantly blue and purple. Deciding on our roles within the project, we wanted to work to our strong suits, so Abby focused on backgrounds, colour palette, and some of the close up animated work, such as the zoom in on the face of the otter, while I worked on the main animated areas such as the boat bubbles and flag, otter movement, and whale. After each element was complete I sent them over to Abby who would fit them into the background and order them in Adobe After Effects. The sound we used was a space themed music from a sound website. I enjoyed working with my partner as I think our skill sets worked well together, allowing us to produce a film that we were both happy with. I chose to animate my sections in Procreate, as I am familiar with the programme, and can use the tools most efficiently. When animating the flag and bubbles, I duplicated the layers approximately every 4 seconds of animation, so that they would loop back to the start. To make this work within the animation, I made sure that the positions at the start and end were the same. I used the colour codes from Abby’s original colours for the otter, boat and whale to make sure that the colours stayed consistent throughout the entire piece. We ended up using greenscreen to add in the different animated elements, due to the limitations of file types. I would have liked to have learnt to use a programme for my animation which is used in industry, such as Photoshop or Animate, but due to time constraints decided that it was not wise to use a programme I was unfamiliar with. When including elements that were the same as in the backgrounds, such as the stars, I made sure that they were cross-checked with the backgrounds so that the art style was consistent throughout. I think we both were able to change some aspects of our art style, such as my shading colours, and shapes used within the work, to make sure they aligned better with each other. I also think this allowed me to learn more in this project, by drawing inspiration from Abby’s work. It was also great practice as an example of what working on a team in industry would be like. One thing I would like to improve on going forward from this project is stepping out of my comfort zone, as I feel I could have learned more from the experience if I had pushed myself more, and challenged myself to be more experimental in my work. Things like using stop motion, creating backgrounds or characters through 3D Computer or Sculpture modelling, or hand animating assets with many moving parts would have made this work more challenging, but may have also meant that we would have struggled to meet deadlines. I also think that this may have made the work more exciting to both create and watch, as ‘easy’ outcomes can sometimes not hold the attention of the viewer. Overall I was pleased with how the final piece in this project turned out. Myself and my partner managed to work well together and create a film that worked with both of our visions, and I think well displayed both of our skills in animating and collaboration.
