I won’t lie, assignment 2 was met with a whole lot of trial and error. Reflecting back on the assignment I had little to no idea what the steps entailed and I chose an design that needed a lot of delicate care when it came to UV mapping and topology. If I were to go back and do everything over I would ensure I followed along with the steps every week to ensure what I was applying to my models wouldn’t cause issues down the line.
Continue reading “3D Digital Literacy, Assignment 2 Refection.”
When it came to UV wrapping, I got very nervous as my model had so many moving parts that didn’t fit the mold of the goblin tutorials on blackboard. I typically look for other guides as reference, however staring at my map alongside the knowledge where this is the area, I needed to improve upon from my previous assignments I got nervous. However, I didn’t want to give up from the get-go and I intended to neaten my UV map before pushing forward. I also feel that my UV mapping has always been sporadic in where I mark my seams, so I need to take this into consideration and research UV mapping further.
I I was rather nervous about the Retopology process because I wasn’t too sure on what it entailed. I followed along with class demonstrations but when applied to my own character I found it difficult. I had a lot of parts to my model that I wasn’t too sure where to begin but I wanted to keep some parts separate so the reto stage wouldn’t be too hard to do. I also made sure to watch videos relating to retopology to see what the best way to assign the meshes would be.
Continue reading “Hotel Transylvania Character: Retopology.”
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ThBLOCKING OUT CTHULHU.
primitives to define the basic shape of the character. Roughing out shapes of your character. Will post and briefly discuss screenshots.
This stage was what I was most nervous about. Even though I’ve practised basic sculpting having to begin the official model sounded nerve wrecking, however a start needed to be made. To ease my worries I looked at a few tutorials on basic modelling before diving into my sculpt. Viewing the videos below gave me good insight into the best foundation is for human proportions/structure. I’m not intending to go realistic with my proportions, however it’s good to take in knowledge on the basics before bending the rules.
For our next assignment we are to work in the style of Genndy Tartakovsky, animator and storyboard artist of well known stylized character story’s such as Hotel Transylvania, Samurai Jack, Dexter’s Laboratory, Power Puff Girls and other well known titles. The approach to this project is working on a character design in the style of said artist that would be part of the Hotel Transylvania universe, mostly a non-human form that would be a customer of the hotel.
Continue reading “Working in the style of: Hotel Transilvania/GenndyTartakovsky”
We were introduced to our new assignment and aimed to familiarise ourselves with blender’s sculpting tools and features. As I love character design and modelling forms I was excited to get into the basics of freely altering a shape without many restrictions, however the task appeared daunting when looking through the tools and putting them into practise.
Continue reading “1 Intro to Sculpt: Week 7 Workshop and Head Sculpt.”
Upon coming into the course I had no experience in 3D modelling software or begin to fathom being able to use it, however throughout the time spent working on these projects my adoration and admiration for the process is beyond bounds.
I had a lot of issues with learning the software in the beginning, however through the use of tutorials, viewing the lectures and putting viewed methods into practise my confidence in creating 3D media grew, despite being unsure in the beginning. Through trial and error I became more accustomed to using building blocks to form models, and using tools that I struggled with in the beginning produced results I didn’t think I could from first starting the course.
I struggled a lot with Blenders interface and shortcuts, however when it came to UV mapping and understanding where to mark seams I was at a loss. UV mapping had me put a lot more careful consideration into my models and how the base was formed, as well as thinking about surfaces of objects and what more could be applied.
One thing I wished I could’ve done differently was manage my time appropriately in conjunction to the work I was putting in and what my computer is capable of running. This is something I need to keep in mind before heading into semester 2, however what I was content with the tasks I managed to achieve and can only learn from previous mistakes. I now know what’s feasible and what I’m capable of, and I’m excited to put the skills I learned to future use in the upcoming projects.
Due to my efforts with my sword, I knew what it took to assemble and UV map such a complicated design, and as I’ve never worked with substance painter before or knew what it entailed, I wanted to dial it back with a simple helmet concept. I was unable to follow along to a previous workshop that entailed getting to know substance painters interface and texture a pre-made model, however I watched along with the class tutorials while modelling my own model so I knew what it entailed and what skills could be applied to what limited amount of time I had.
When I thought signature helmets from media Tali from Mass Effect was the first character that came to mind, and as her race was centred around wearing their helmets to survive, I thought it was a fitting reference to use. I also adore the Mass Effect series and Tali is one of my favourite characters so I wanted to do her justice.
