Mid Semester Concept

Concept 1: Half Note Back

Reference: 

For this process I concepted in 3D to test the different designs that could work for the half-note. I wanted to ensure the design matched the concept, while also holding a good level of visual interest. Given the half note's mechanical themes, I pulled reference from some hard surface modelers Frederic Daoust and Marco Plouffe. The above images show some examples of how that showed up in the model. I simplified the level of detail significantly to serve mainly as primary shapes since we do not want our models to be too busy. This can be seen in the progression as well where some of the more intricate areas were toned down to give more areas of rest. 

Concept 2: Half Note Head 

The second item we concepted are some different designs for the head. We mainly wanted to figure out what the best resting pose would be, of which we arrived at the "grinning" face (right). Since the mouth is a big focus, being able to see the teeth was important. We also liked the gums being present to break up the symmetry a bit. One issue that arose from this mouth position is that we wanted to ensure when they opened their mouths to scream, there was still large enough of a change to be imposing.  We felt that this was not present in concept 2, and therefore tested some stretching positions in ZBrush.

Concept 3: Candelabra

The candelabra is a prop rendered in the texture style of our game. This prop would be used to set dress the cathedral level.

Hard Surface Part 3

 

Texture Test:

Artist Statement

As an artist, my goals are to create models that border the line of realism, and use that as a basis of intrigue to capture my audience. What do I mean by realism? I don't necessarily mean art style. I have always found myself drawn to intelligent design that combines the realistic with fantasy. I think what drew me towards my love of creatures is the inspiration my favorite designs take from real life anatomy, and how it is exaggerated and adapted into something plausible. I think the perfect illustration for this point is Hraezlyr, a dragon from God of War 4. Don’t get me wrong- I’m a stickler for traditional fantasy designs, but while many depictions of these creatures are grandiose and powerful, Hraezlyr lives in a dark, desolate mountain, surrounded by nothing but undead. Its frame is gaunt due to lack of nutrition, its wings atrophied due to lack of use, yet it retains all the prowess you would expect in a creature guarding its territory. I love how you can visually show a character's personality, inspirations, and lifestyle all through their designs.

Another pillar of what I appreciate in art is the union of contrasting elements into a functioning design. Combining hard surface with organic modeling is a way to add visual interest to a piece, and has been a theme in many of my favorite projects. I have always been drawn to armor design, especially when you can clearly incorporate its inspirations in the final product. If you are making an insectoid character, why not make its armor plating reminiscent of a carapace? Although this example is very simplified, it exemplifies what I appreciate about shape language, and how it can represent a character’s disposition at a glance.

And finally, I take pride in my expertise of the craft. Learning new skills, strategies, and the tools behind digital creation constantly excites me to try new and more difficult projects. This is one reason I have such an appreciation for digital sculpting; I have access to an arsenal of tools to bring my vision to life. It is free form enough as to not feel restricted by the medium, but also requires technical skill in being able to effectively refine and polish shapes. As I continue to build my experience as a 3D modeler, I look forward to using my expanding knowledge base to improve my art.

Hard Surface Part 2

 

Hard Surface Part 1: Blockout

 
Reference:

Pureref Board:

Blockout:

Capstone - Ramona Head Texturing

 

Renders:

Sculpt:

Lighting Module 4

 

Shots:

Reference (Indiana Jones): 

Artist Roadmap

1. If you could project out past graduation, what is your overall career goal?

Post graduation I would like to work in AAA, as I believe that would be the best way to establish the knowledge base needed for a career in game development, and also allow me to make meaningful connections and access more resources as I continue to develop my modeling skillset. Admittedly, there are still many unknowns within my understanding of this industry, and I think working in AAA will help prepare me for other endeavors in the future. I prefer mid-sized to smaller teams. I feel that being able to develop good relationships between the people I work with is important, and ultimately more productive. This also would make it easier to approach others for advice or communication regarding tasks.

2. If you could project out into starting your career, what sounds the most appealing to you?

I would like to be a creature/character artist. I find creature design more interesting to me, but would like to have a good understanding of human anatomy as a base for more inhumane models. Since I am unfamiliar with where exactly these areas diverge, this is something I plan to look into further.

Another area I am interested in is hard surface character armor, and mechanical designs. While I have very limited experience with this, I think it would be an extremely valuable skillset that could be applied to both of the above specializations.

3. What are some of the top companies that you are interested in working for?

The top company I would like to work for would be Sony Santa Monica. God of War 4 was a title that inspired my entry into modeling. It was a combination of the creatures within this game and that of the Monster Hunter series that prompted me to start sculpting. The team at Santa Monica Studios seem extremely passionate about the story they are presenting, and I think that level of connection is what made the overall experience so compelling.

Capcom is another big influence in my interests as an artist. While the logistics of working for them is another barrier I do not know how I would approach- given it is a foreign company, I would be remiss not to mention them. No other franchise holds such a high influence on the type of modeling I would like to do than the Monster Hunter Series. The creatures within that world are extremely compelling; they place a high emphasis on ensuring they belong within the game environment, and pull a lot of reference from real world anatomy and ecology. The armor and weapon designs are also extremely interesting, given each set is linked to an in game creature.