New character art – Yumea Lorithia, and Lilith

Since I had a university interview lately, I decided that leading up to it, I would re-draw some of my characters. Unfortunately, they didn’t all get a re-draw, however Yumea and Lilith made the cut!

Professional Yumea infoProfessional Yumea fb

Professional Lilith infoProfessional Lilith fb

Overall, no new techniques were used to make these new things. I tried to explore a little with making some profiles for the characters that gives their names and explains a little about them, but no new artistic techniques went into making these. I ADORE how they turned out! I would have liked to try a different pose for Lilith, but I was running out of time to make them in time for the interview, however in the future I might remake and update them! I think I will make similar profile cards for future characters that I make, because I really enjoyed making them!

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New year, new art dump!

Over these past few weeks, I have found myself drawing a lot! I wasn’t sure whether to make separate posts for all of them or not, because some of this is fan art, and I wouldn’t usually post fan art, however to make it I used some techniques that are new to me. I’m not sure whether I can justify making a separate post per drawing, so instead I am going to time stamp each one, and talk about any new things I used/tried to make them!

4th January – Persona 5 inspired icons!

So, I’m a big fan of Persona 5, and in the new year had a big urge to make some icons for the characters that I have designed inspired by the text icons from Persona 5! I really wanted to experiment with shading, because in my few years of educated art, I have never been taught anything about shading techniques, and Persona 5 has a heavily western style shaded style, so it has inspired me to try something similar and try adding some dark shadows, because as an art style, I love the heavy shadows and messy lines!

All my persona gal icons transp.png

To make these, I made the box first, by making the lines and filling them with the right colours. This is where my techniques differ, because for Yumea and Lilith (the bottom two icons), I copied the line art for the faces and hair from my previous art, then filled in what I needed to with black and white, then drew the neck down and filled with black, then added the white shading and voila! However, for Mercy (the top icon), I drew her entirely from scratch in scale to the box. I got up reference of a side profile face in another window, and sketched her face in profile. I then filled things with the necessary block colours, added the white shading and jewellery, and that’s all folks! I am very pleased with how these look, I think my favourite icon is definitely Yumea (bottom right) because she just looks the most appealing.

5th January – Lunafreya

Since it has been the holidays, I felt like slacking off a little and making some fanart for my own enjoyment. One of my favourite games at the moment is Final Fantasy XV, and I wanted to make some art inspired by one of the most impactful chapters of the game. I didn’t expect it to turn out so well, and initially hadn’t intended to post it, but I learned a lot from making this, so why not talk about it!

Lunafreya and Tidemother

To make this, I first sketched out the main lines for Lunafreya (the lady with the trident), and Leviathan (as you could probably guess, the dragon creature). I took some time to try and scale their bodies right, which took a lot of re-positioning and re-sketching, and eventually was happy with how it looks! I then made the background by scribbling and blurring the clouds in. Then, I coloured the flat colours in, and then to add tone and depth, I blended in the shadows on the colour layer. This was very scary, because I have previously never done this before, however I think that for a first try it worked out really well! I then set the lines to multiply, and blurred the edges of some of Leviathan’s wings, the trident, and very faintly blurred the shadows on Lunafreya’s left arm, because its the corner of the drawing, and I want to attract the attention as much as possible to Lunafreya. I then added in some white sparkles with the custom freckle brush to represent water droplets made by Leviathan explodes out of the water.

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Overall, I am so proud of this! I feel like Leviathan might need some work, because it feels like I need to add more detail to it’s head, and I’m annoyed at myself for forgetting to add the lighting onto Lunafreya, but I’m way too happy with this art to stay mad at myself. Eventually I’ll go back and fix what I don’t like, but currently I love this art! I want to try and use this messy blended colouring style for other art in the future, particularly if I make any environmental art, because it works really well in my opinion!

Creative and Technical Model Submission

After many weeks working on my Creative and Technical model, it is finally time to submit the final product.

Lilith Yunalesca – Creative and technical model

If the Powerpoint isn’t working, you can view the Google Slides here

Overall, a lot of things went well. The process of designing the character was perhaps my favourite part, because I really enjoy designing characters, and collecting research images was really fun once I had settled on a theme. I feel that mostly making the low and high poly models worked out well too, but at the time it didn’t feel like it because it was a super slow process, however in hindsight it was one of the more enjoyable parts of this project, and I didn’t run into any technical issues with this. A more recent thing that went well was baking ambient occlusion, I’m not sure exactly how successful this was, but it feels like a victory because it’s something that I sought out knowledge for.

There were many obstacles throughout this project, most of which I had never encountered before. One big example was baking the textures from high poly to low poly. The big issue was that the textures just wouldn’t bake right because the way that I constructed the models made it so that it the silhouette of the high poly model was quite different to the shape of the low poly one after smoothing. This meant that the textures baked super weird, and the model looked awful. The only way that I thought to overcome this was to just use the high poly model as my final model, and add the textures onto it, however, this linked into my next big problem, which was that the textures didn’t export right because I was missing the necessary maps. However, I overcame both obstacles with the same solution! In the bake settings for my model, I selected the “use low poly as high poly” option, and baked the missing maps. It was then just a case of plugging in the right models in the right places, and boom, it was fixed! This is technically my first success at baking with my own model, so overcoming those problems felt amazing, and it meant that the baking part of the pipeline wasn’t missed out after all! The last big obstacle felt the worst, because it was that I had to re-do most of my renders after failing to realise the textures hadn’t exported properly. This probably could have been easily avoided had I just paid more attention, but I didn’t realise that it hadn’t worked right until someone pointed out that the detail in my substance file look different to my renders. However, I overcame this problem by firstly, overcoming the first two obstacles mentioned above, then secondly, re-rendering and replacing what didn’t look right. I ended up learning how to render directly through substance painter, and this makes the renders look way nicer than rendering in Maya did, so this felt like a win win! I then just applied the fixed texture maps to my Sketchfab model and turnaround model in Maya, then batch rendered the file again and re-compiled it in Adobe Premiere, and everything looked much better than it did before.

If I was to do this again, I think that I would do everything differently, because way too much went wrong, and it ended up making everything behind schedule and harder to get done. One of the biggest problems was taking too long to make the low poly model, and not devoting enough time to the rest of the pipeline, because had I given everything an equal amount of time, the last tasks wouldn’t have been so rushed, and I probably would have payed more attention to the small little things that I did wrong, for example, the high poly model having a pipeline-breakingly different silhouette, or the textures having been exported wrong and wasting an important day’s worth of rendering. I had planned to get a nice set of action renders of the model in all its glory, however with everything else that had gone wrong, I couldn’t chance rigging the high poly model to the existing character rig, and so the posed renders that I got were all of the low poly model. It would have been nice to compile them together as I had planned, but I did not leave enough time, so if I was to repeat this project, I would definitely like to at least change that!


Useful links to things from the powerpoint:

The Google Slides document

The model turnaround Youtube video

The model in Sketchfab

Imagined Worlds Project: Sound design

In today’s lesson, we covered the sound design and planning for our imagined worlds project. Tony first talked about the difference between diegetic and non-diegetic sounds in media.

Diegetic sounds: The easiest way to describe this is sounds that would be present at the time of recording something, for example voices or footsteps.

Non-Diegetic sounds: Any sounds added into something that wouldn’t be present at the time of recording, for example background music.

He said that we need to be able to tick both boxes, and that it is very important that we chose our non-diegetic music well, because musical scores can greatly change the mood of a shot.

Tony then set us off on the task of designing an environment based on a specific song, so that we would learn how to make an environment based on the mood and feel of a song. He chose Carouselambra by Led Zeppelin.

This song reminded me of American diners and the kind of upbeat mood that you usually find within them. I have an idea of how I want to express this, so I’m going to sketch out a rough version of what I am thinking soon.

Storyboarding: Week 4 – Game storyboarding continued

I spent some time today making an effort to complete the storyboard that I started on Monday. It took a few hours but I really had fun making it!

Mail delivery storyboard.png

I took the time to remember how I used to play the minigame, and thought about some fun perspectives for the images for each panel. The sketches themselves may not look like the best quality, but I decide to just go with my messy emotive cartoon style for this one. I don’t have much else to say for this post because it’s really just a continuation of Monday’s post!

Storyboarding: Week 4 – Game storyboarding

Today we learned about game storyboarding. Game storyboards are hard to compare to film storyboards, because it’s much harder to plan for a game in that so many variables that can change, for example camera angles and player interaction. Film storyboards are set pieces, camera angles and perspectives are stuck to and set, but in games, sometimes the character can move around in cutscenes, and this makes it harder to plan out the interaction between characters and how this is framed, given that often in games the player moves away from talking NPCs. Another contrast between the two is that it gets to a point with game storyboarding where the storyboards are so hard to plan that any art made for it becomes concept art because the interaction is unpredictable.

Tony set us off on the task of making a storyboard for a level from a game, and to storyboard the main parts of that level. My mind immediately went to the mail delivery mini game from Kingdom Hearts 2. We were told to then plan out the main story elements and parts of that level, so my planning for that is below.

General rules – Get munny for beach adventure. Skateboard and deliver letters to get payed. Deliver speedily to get more munny

Characters – Roxas, Hayner, Pence, Olette, seagulls, male npc, female npc

Environment – Twilight town, a small village bathed in early sunset. Tall, closely packed houses, with narrow alleys.

Goals – Get munny to go to the beach

How the level progresses – Roxas notices a “help needed” board and decides to be a delivery boy. He then skateboards through the the town and delivers the mail to earn munny and go to the beach.

So far, I have only made a few main panels for the storyboard that I’m making for this mini game…

Skateboard storyboard.png

Currently it doesn’t look great, however hopefully later this week I will either make another post or put an update on this post with the completed storyboard.

Update: I have finally finished the storyboard, check this post here

 

Storyboarding: Week 2 – Perspective techniques

Today we learned more about storyboarding. Tony taught us the time saving technique of using 3D models to work out the perspective. Tony gave us another excerpt from some literature, and told that we needed to make an image for the first line of the text. We then downloaded some 3D models from Sketchup’s website and imported them into Sketchup, then moved them around to wherever we wanted, so that we could cheat at making shots. He also briefly covered the rule of thirds. Based on this, I made this shot.

Capture

I then took this into Photoshop and used it as reference to create my own art based on my interpretation of the text. I sketched and shaded the house, then used the woman as a placemarker for a bag of garlic. I shaded everything, then added a messy border for the aesthetic.

Storyboard onions.png

Overall, I am very happy with how this turned out! Considering that half of the things in this image weren’t even there to begin with, I feel it has turned out great!