3D Modeling

  

    The final product sees a removal of the head crest concepted due to time constraints. The final product was modeled in Maya and Z-Brush, textured in Substance Painter, and rendered in Marmoset.

    In proper Japanese fashion this book reads from right to left thus the spine being on the other end. Thus, no, the book is not upside down. The cross section in the center of the book is present for me to use as a guide to make sure elements are centered. I opted for a simple design for the base of the book due to it's elements being more complex.

    The Spine I left quite simple and I want to experiment with utilizing the Sparklence element either on the spine or on the cover. I did take the edges nearest the pages and flared them out for some breaking of the flat form.

    I opted to model the Sparklence in Maya and save the engravings for ZBrush. The base of this model is complete and I just need to complete the winged top.

    I'm using a plane on x-ray to get the correct form of the wings. I wanted to get the extrusions done in Maya but I'll probably save it for ZBrush as well. Depends on whatever may be easier.

    Aside from that this element may be used for the spine of the book itself or I may opt to use it has a sort of handle or grip. 

    Regardless of implementation the main focus is getting it modeled. From that point on I can simply adjust it for however I plan to use it on the book. 

    This is a really good reference image but the reference is of a very good toy based on the show. The base is nearly completely show accurate its just the top that's obvious foil stickers and plastic. To my knowledge it was more reminiscent of frosted glass in the series. But any excuse to re-watch my childhood favorite is welcome.   

    Lastly is the elements I surely want to be featured on the cover. I felt that the color timer and trim were far too simple. The color timer, the central half sphere, is missing it's mount but I still recognized it was too plain.

    I wanted to include the upper fin portion of Ultraman Tiga's head and have it meld into the upper part of the book. I'm still contemplating placement, but I just want the general form and again I will make the indents in ZBrush.

    It also provides an excuse to use even more emissive elements in Marmoset. The head crystal doesn't illuminate aside from when Ultraman Tiga changes forms (colors). I want to implement a sort of color changing element in Marmoset but that is indeed a stretch goal.

    I'm going to avoid utilizing the eyes, but I feel as though I have enough elements to be indicative of Ultraman Tiga. That's not including the colors, which I want to texture. 

    The colors present are the colors he shifts into. There is the one depicted, another where the purple becomes red, and the last where red becomes purple. 

    I want to incorporate the black version of the suit featured in the film where the purple and red turn black and when he turns golden in the final episode. But I also want a stone version from when he was a statue.

    If the elements are simple enough and I can model everything on time then I will focus on getting these flavor elements implemented. But for now, no need to get ahead of myself. 

 For the book I learned from past mistakes and sought to make things far easier on myself in terms of concepts and ideas.

    First I came up with a simple book concept based on the Chinese legend "The Dragon Pearl." I wanted the spine to be intricate using the alpha to geometry feature in Z-Brush. The cover would be simple using an emissive in the central pearl to create a more captivating concept. 

    Next I came up with a concept based around the Japanese yokai, the Yuki-onna. The myth in particular is "The Cold Lady." Again I wanted to use the alpha geometry tool in Z-Brush and give the snowflake an emissive in Marmoset. 

    Lastly is a concept near and dear to my heart. The Ultraman. I wanted to take the chest design of Ultraman Tiga and utilize the color timer with an emissive as the other two. Essentially I want something on the book to glow. On the spine I put the spark from the respective series. It is used to transform into Ultraman Tiga. 

    I wanted the spark to open like it does on the show and use a similar emissive. The design is simple, yet different. I feel as though it allows for stretch goals to implemented if I get far fast. A stretch goal is imitating the stone effect from the first episode of the series.

The first week draws to a close. I am left with this very faucet. A simple refresher for recalling old skills, but an easy method of approaching modeling differently.

Following the completion of modeling the faucet. I applied one AI standard surface for the main body of the faucet and gave it a copper preset. The second AI standard surface was applied to the small nozzles and button to separate them from the copper with a plastic preset

To add information to be picked up by the copper preset I added an HDRI from Poly Haven to the sky dome light. I was left with a gorgeous product after turning up the render settings.  

The final week of work is upon us and I have some work to do. The finishing touches have been applied to the first building, the excavation building. I opted out of the excavating arm as it over complicated the build and would put the other building out of place in terms of scale.       

    The modular parts made for easy modeling. I chose to build the whole model up and UV a base piece that would duplicate over the non-UV'ed pieces and then deleted. It was a work flow that worked for me in respect to time. 

    The ID'ing wasn't necessary given the tools that exist in Substance Painter but I chose to invest the time now to save time later. I didn't have to choose to make it similar to source color while ID'ing but it was reassuring.

    I duplicated again and made the triangulated version so my return to Maya later was limited to exporting what I need to where I need it: Unity and Painter respectively. 

    Next the second building was to be built and UV'ed as time was running short. Not much can be said about the second building as I was very clinical. It was quickly cut into manageable parts then made. I was very satisfied with it by this point.

    The process here felt more fluid. I was satisfied with what I accomplished and was satisfied with the work flow that I utilized in the first building. This time around it was far more streamlined and I came across less issues than before.

    The final pieces were now in play. I had decided on the furnace as my centerpiece and the anvil and hammer to be the final two props with the gear of the first building.

    The process here was perfected. I was able to rocket through this build and with almost no issue. I had built up a successful work flow and it was paying off. Reflecting on previous lessons I had no issue modeling this piece

    Last I modeled the hammer and anvil separately and decided it would rest on the anvil. Nothing more can be said aside from this was me at my peak understanding of the modeling taught up to this point. 

    All that was left was to put it all together in Unity. I have to say it was amazing to see. Something I made, I was now walking through. I was jumping on the builds I made. I found myself parkouring around the land scape. It was inspiring and validated the 147 hours I put into it. I have to say I would love to do this on my free time for fun. 

The Chess assignment was one that again relied heavily on our knowledge of the revolve tool. The tops of the unique chess pieces were modeled individually.

The primary lesson learned here is more advanced usage of UV mapping to more effectively texture objects meant to be represented with same materials.

I prefer using an 80's horror flick HDRI to add some cyber punk feel to the composition. The reflection of the pieces of the black marble is a treat to the eye for sure.

The primitives assignment is one meant to practice utilizing the base meshes in Maya: spheres, cubes, cones, and etcetera. The assignments constraints were relaxed and thus for my project I chose to refer to the Japanese Torii Gate as well as some landscape shots from the anime movie series Neon Genesis Evangelion.

A wide array of polygons were used and the additional use of the deformers bend and twist. At this time my knowledge of lighting was fairly rudimentary, yet a sky dome and various point lights sufficed to create a compelling scene.