Asimo beginning

We we're tasked with creating a medium complexity character over the next three weeks, so I decided to challenge myself with an hard surface assignment. I chose Honda's Asimo robot, but to recreate and design him for retrofuture 1982.

I pulled him into Zbursh first to get his look and fidelity 

I feel that the grooves would help to date him in the era, hard angles with softer bevels.

He kinda ended up feeling like a walking phone, which I think nailed the way the tech of the time might showcase him. 

reference by Honda

Mad Max: Beyond Thunderdome

Beyond Thunderdome was written and directed by George miller. He's also credited with directing Happy Feet and the other Mad Max's among other random titles that are mostly Australian. The film aesthetically captures the feel of a dusty, irradiated, Australia with ties to the fact that Max lives in the new dark ages of civilization. Each character he interacts with has either adapted to the new life forged from the nuclear waste that has formed. The style even has solid ties to aborigine cultures and traditional adaptions of Australian outback life. Each structure and town he encounters shows how people still live in the husks of former life, trying to literally cobble everything back together in their new normal.

As far as who runs Barter Town goes, while I want to say Master Blaster, It is definitely Auntie Entity. After her successful coup, she rallies Barter Town behind her and even rules lawyers her way into being right even after going back on her deal with Max. Hence why she has a substantial amount of muscle when she pursues Max and co in the final scene.

Silhouette's ROUND 2

For this round of Silhouette's instead of creating new ones I decided to paint into my old ones to flush them out and make them more defined as workable pieces.



While making the color palette I decided to stick to three main colors depending on the robots use with one to tie them all into the same universe. Green I chose to be the aggressive type, Red to be helpers, and blue to be utilitarian.

Fish Project

Here's a fish i made using the full PBR pipeline in just a couple days instead of three weeks! Starting in Zbrush, I was able to establish the overall feel and shapes, defining the character of the original concept. After that, I threw it into Maya to retopo and the substance to texture. I feel like I need to get better at retopo and understanding edge flow.

here's reference we were given!



final shot with wireframe


and another mug shot!

fishproject by Peterwano on Sketchfab

Blade Runner

Ridley Scott's Blade Runner is a quintessential movie viewing experience for anyone who wants to understand modern story building in movie or television. Scott cemented himself as a hard hitter 15 years into his career when he directed Alien, showing his talent for creating worlds with history built inside of them. Blade Runner was no exception. Scott was able to create a snippet of a memory, showing the viewer a world that had moved on from the past with the future being bankrolled by big corporations and smothered in the weathering of a golden age.

The setting perfectly captures a techno noir, the gritty and dirty streets with the melding of technology. It's like if the internet where to pop into existence, the claustrophobia would cause you to melt into the background while the vibrancy and electricity would pop things to life. Scott accomplishes making an incredibly detailed surrounding by reaching back to the past and using whats in front of him at the same time. The darkness of the noir setting and the burgeoning emergence of the 80's economy and how big corporations were becoming more and more their own entities fueled the aesthetic of Deckard's reality. Not to mention with Japan becoming a larger trading partner with the west and the jumps in tech that were being made, everything in the movie aside from the giant megaliths of apartment buildings, seem believable.

Deckard is definitely an Replicant. The story of Blade Runner is one of a power trip gone wrong. Throughout the movie, Deckard is treated with odd glances and hesitance by people that claim to have known him from his last "job". Bryant, the commissioner, always seems to show up at every scene before it even has time to wrap up, reading all of Deckard's emotions as he reacts to retiring one of the rouge replicants. I think Deckard and Rachel were Tyrell's first success at creating an product that was truly "more human than human". Deckard being followed closely by the real Deckard in persona'd as Gaff (credit to Chris Alvarado). While Rachel is revealed to Deckard by Tyrell that she is a Replicant, Tyrell watches him in amazement as he and Rachel interact in his office. Tyrell plays Creator to his version of Adam and Eve, and you can see the joy flicker across his coke bottle glasses as the two meet for the first time and neither know they're an start to a new chapter. That's when the experiment begins. Deckard plays through many frames of Gaff's life, which is why he can manifest the Origami from chapter to chapter, and even produces imagery from Deckard's dreams.  I think in the end Gaff feels sorry for Deckard, and perhaps even had some kind of past relationship that egged him on to let Deckard go, Just as Deckard said he wouldn't chase Rachel if she headed north.

I haven't seen the new movie yet, but I'm hoping that the years of  crazy obsession pay off.

Basic Shapes: Round 2

For this next rendition of the basic shapes, I decided to recreate and polish up my original submission. It was interesting to see my eyes recognize new values over the interim.

Cannon in Engine!

For this last assignment, we had to take our creation into the unreal engine to make sure that it was actually a game ready asset!

After exporting the substance file, I took the three maps and plugged them into a material to create the cannons exterior

 

After the Cannon was a-okay, I made a little scene



All about that CRT Panel

Vellajo

All I can say is, MUSCLES ON MUSCLES ON MUSCLES

Final Illustration

For our final illustration, comprising all the elements we have been taught and practiced over that past 2 months of what fells like an boot camp, I decided to create a Drew Struzan inspired piece. It's based on the song by Carpenter Brut called Turbo Killer. In it, I wanted to tell the story of someone who's lost everything, and was willing to give up all else to make it right. The story would circulate around a person who's brothers family suffers for their addiction. A bad deal with the wrong people ending their peaceful lives. So, he makes a deal with a cursed skull, which leads to a Carpenter style slasher movie where you're cheering for the murderer.

 

Composition

For the composition assignment I decided to do the Thirds comp with an outlook scene. I tried to play more with color than anything, and capture the heavy atmosphere of the morning.

Cannon final render

Final render for the Cannon Project

I'm really happy with the way it was pushed from beginning to end. Understanding the entirety of the PBR pipeline was invaluable to learn, especially in such an early part of the program.

 

I wanted to make sure that when I was designing this, it maintained a story. I figured showing the development of an asteroid cannon for terraformers would eventually happen to protect settlements in areas with heavier asteroid activity. 



I wanted to show that in the story of this machine, it had been slightly maintained. Thinking about how machinery looks after rainfall in places like the pacific north west, I wanted to capture the feel of that damp, dirty feel



I think that this was a pretty successful project for my first true go in 3D

Lego Piece

For my group project I ended up making TNT and a crate in Maya to be put into our Lego Atlantis scene. It was a good way to get used to the tools in the program and understand things like scale and how to scope individual pieces for a group project

TNT



Crate



Together!

Value Study

We were given a blank slate to work within for the value assignment where we had to fabricate lighting inside of the given image. The image supplied was left intentionally blank, and through the build up of values we had to define things like shape and tone

John Berkey

The pallet that he uses and the meshing of colors is incredible. His larger than life ship designs spliced with the way he bends light across surfaces and captures its splitting in prisms is beyond words.

Drew Struzan

What do you even say about him? He's a modern master of illustration and has layered design, art, and history into one mesh. You can see his classical training as well as his eye for using pop design to tell a whole story in a single image.

Jim Henson

Looking through Jim Henson's body of work felt like an exercise in seeing someone who stuck to themselves at their core no matter what. His passion and view bled into everything he did and helped to shape the world and how we see the wonderment of the imagination through the eyes of children. Just felt like sayin "Thanks Bud" by the end of it.

Three Point Lighting assignment

This week we were charged with taking a found object and creating a three point lighting set up and then fabricating a rendering using Photoshop. I've never really done any study like this or had really understood rim lighting so I was excited to jump on this one!

Luckily my friend Riley had a sweet Venom model he allowed me to use.



I really tried to push myself and get a feel for how Photoshop works with blending and laying down paint. Braking things down into shape objects and such.



This was the final render, I feel like I hit a groove on this one at a certain point. I ended up flipping the original pose, this pose adding a little more drama. I ended up slapping the Infinity logo on it and trying to emulate how they showcased their sell able products.

UV and High poly work on Nasa Cannon

In this aspect of the process I was able to learn and process UV's in an effective manner
















I then ported the low poly into Zbrush



I then redid the panel to be multiplied after decimation and added some sick rivets



Then decimation