YEAR 2 PORTFOLIO
Pre Production Stage
Within the production, presentation and release of any professional 3D artwork, planning before-hand is vital to ensure your finished product is appropriate to your desired goal. In order to achieve this for my project, I broke this down into different sections; research, where I found suitable examples of concepts and artwork, and planning, where I organised my ideas and workload across the 5 week deadline.
Specialism Roles
Gameplay Programmer
Implements the games mechanics, controls and interactions from the player to the game’s environment.
Environment Artist
Models and textures the game’s 3D environment, such as props, buildings and landscapes.
Character Artist
Creates 3D models and textures for the characters.
Animator
Rigs any asset that needs to move.
UI Designer
Designs the UI, makes sure it is aesthetically pleasing and easy to use.
UX Designer
Ensures the gameplay is engaging and user-friendly to boost user experience.
Concept Artist
Designs and illustrates assets, focusing on appearance, quality, architecture and creativity.
Level Designer
Creates a basic layout and flow of the game’s levels, focusing on the player’s experience, storytelling and challenges.
Why are specialism roles important?
Picking a certain specialty is important, as it will allow you to develop your knowledge and skills in one area, ensuring you learn effectively and efficiently. In addition, it allows you to work better with others, as well giving you a better chance at specific specialism job roles.
SWOT Analysis
MODELLING
Strengths
Within modelling, I believe that my main strengths are the planning before creating the asset, such as creating block outs, making mood boards and researching similar art styles, which overall allows me to more efficiently model different assets. In addition, my attention to detail on smaller assets is accurate to the references whilst also being a creative piece from myself.
Weaknesses
However, some of my weaknesses include effectively sorting the topology of more complex assets, such as facial areas and curves. This hinders some of my asset creation, as I am unable to create certain models, such as heads, helmets and bodies. Also, I know very little about the sculpting tools within Blender, which could vastly improve the detailing and overall quality of many of my models.
Opportunities
Due to this project’s purpose being to focus on and improve upon our individual skills, I believe that I can easily further my knowledge into Blender’s more complex tools, as well as learn how to model certain things that I wouldn’t be able to do before.
Threats
I believe that the only problems that may occur during this project in terms of modelling are that I may not have enough time to fully develop my skills to the point where I can easily perform them. However, in the future I can solve this issue by researching further into these specific skills, such as retopology and sculpting.
VISUAL EFFECTS
Strengths
Using Unreal Engine 5 in previous projects throughout the 2 academic years, I have grasped a small understanding of particle systems and how they can be modified, such as rainfall and electrical sparks.
Weaknesses
Since my specialism role is as a 3D modelist, I know very little about how the coding within visual effects works, and what kinds of nodes would be needed for specific effects. Because of this, I must follow tutorials to know what to put in, however I don’t know what each segment does.
Opportunities
If I was to pursue visual effects in this project, I could in-turn heavily develop my knowledge and understanding of how the coding and parameters work. This would allow me to demonstrate this new understanding within my final project, which would increase its quality.
Threats
I believe that the only problem with pursuing visual effects in this project is that I know very little about the creation of it. Because of this, I would be spending a lot of the project’s time researching and learning, instead of creating the effects. Overall, due to the project’s tight 5-week deadline, I don’t believe that I could effectively finish the project in time. However, to get past this issue, I could research and experiment with VFX in my free time.
TEXTURING
Strengths
I believe that I can use Blender’s shading tools to create, modify and export good quality textures. I also have a brief understanding into the creation of procedurally generated materials, such as rusted metal. Using all of this, I have been able to texture and export assets for my previous projects efficiently and to a decent quality.
Weaknesses
However, one area that I need to improve upon Is UV editing the 3D models before they are textured. Due to the poor quality of the asset’s UV map, I have been unable to texture these assets to fit the quality of the models. In addition, I have never used Substance Painter, which is the texturing software that I want to use for final project, as it is contains better quality materials for my models.
Opportunities
If I focused on texturing in this project, I could start to learn about Substance Painter and how to use its tools and materials. This overall will allow me to better texture any future assets, which could help my final project. In addition, I could spend more time getting better at properly creating UV maps.
Threats
During the project, the biggest problem that may occur would be trying to get the licensing for Substance Painter, since I am having some problems with the education license for it. This could be a major problem for this project, as I’m not sure how to fix this problem at the moment.
Types of 3D Models
3D Modelling is essentially the collection and combination of several differing data points, which combine together into a specific shape. In order to achieve this, 3D models can be divided into 3 major categories:
Wire-frame
3D Models
These types of 3D models consist of a series of wires that connect together in a combination of arcs and lines to make certain shapes. Due to the simplicity of the construction, as well as the transparent surfaces, these types of models usually do not look very realistic, and are normally used for basic designs and concepts.
Surface
Models
These types of models utilises the wire-frames arcs and lines, however these points can be connected in order to produce solid planes in the desired shapes. These planes can be further modified with separations and different transformation tools. Due to the surfaces translucent shape, the background is obscured by the model, which overall creates a realistic visual asset. These types of models are commonly used as game-ready assets, such as weapons, vehicles and characters.
Solid 3D
Models
This model type is very similar to surface modelling, where it uses connecting data points to create translucent sheets. However, this type incorporates much more data than any other ones, including things such as weight, material density and mechanical stress. Overall, this makes the model more realistic, making it very useful as prototypes in engineering. However, due to the extensive data involved with the models, they are a lot more demanding in terms of computer hardware requirements.
History & Development of 3D Modelling
1960s
In 1963, Ivan Sutherland created Sketchpad, the first 3D Modelling software. This software allowed the user to create, edit and manipulate basic shapes. This software was the first to allow geometric restraints and programming for shapes. The program started the progression and development of 3D Modelling as an industry.
1970s
This decade was especially monumental due to the extent of breakthroughs in 3D rendering and modelling. This was achieved through the collaboration of Ivan Sutherland and David C. Evans in the University of Utah, where they taught a class of "Analog Computer Graphics". Within the course, there were many talented students, including future co-founders of companies such as Pixar and Adobe.
1980s
Due to the common use of computers within homes for personal use, rather than strictly scientific and academic, 3D modelling started to be more commercially available. This was only enhanced through the introduction to the "Star Wars" franchise, as well as children playing their first video games created from Nintendo. This overall allowed for the setup of 3D modelling as a hobby.
1990s - Present Day
As a whole, computer rendering has steadily improved, allowing the boost in the animation industry. As more powerful and technologically-advanced equipment was produced, such as the introduction of Virtual Reality, the software's associated with these have also become more advanced. This has all allowed for greater photorealism, more natural animations and the increase of visual formats. Today, the CGI capabilities has allowed for many new jobs to be focused around this technology, such as architectural renderings and computer graphic animations.
Art Style Analysis
Within every video game, whether its a 2D pixel art or a 3D photo realistic game, consistently using a designated art style is vital. The graphics within the game is the main visual tool for conveying the atmosphere, themes, storytelling and emotions within that game. Because of this, you must make sure the art style you choose to base your game off of is appropriate to the linked atmosphere of the game.
Borderlands 2
Borderlands 2 is a first person shooter, using open world landscapes and mainly based off of the looter-shooter genre. The game itself heavily leans into the comedic elements of gaming storytelling, using a plethora of wacky and funny characters to both play as and interact with. In addition, a lot of the voice lines used for the enemy's AI is quite random. This allows Borderlands to stand out from most other FPS games such as Halo and Call Of Duty, which is a main reason of it's success and replay ability throughout the years.
Due to the game's unique take on an FPS, choosing the perfect art style was pivotal to match and reflect the game's themes. This was expertly demonstrated through the game's graphic novel shading and cartoon-like assets, which allowed the player to instantly perceive the right themes within the game. In addition to this, this art style allowed for the game to age very well (released on 18th September 2012) despite the industry's extensive enhancements of hardware and software. Overall, this allowed players to come back to this game despite its age due to the art style not being held back by things such as outdated realism or graphics.
In conclusion, Borderlands 2's unique art style how allowed the game's wacky story, atmosphere and characters to be perfectly portrayed to the player, which allows the player to be immersed into the game. Also, due to the simple shadings and graphics, the game can be easily replayed despite it being over a decade old. This in-turn has allowed the Borderlands series to excel in the gaming industry, winning multiple awards such as Game Of The Year award.
The Last Of Us
The Last Of Us is an action-adventure game developed by Naughty Dog in 2013. This game revolves around the horrific and emotional storytelling behind a post-apocalyptic setting, where limited movement, health and resources forces the player to engage enemies carefully and stealthily. This aspect of the game is where a large portion of its popularity came from, however the rest was because of its impeccable graphics and hyper-realistic art style which perfectly complimented the deadly environments and relatable characters.
Despite releasing in 2013 for the PS3, the overall graphics for the game are very good to today's standards. However, I believe where The Last Of Us really shined was it's attention to detail within the game's vast environments, such as its vastly overgrown cities, with several different plants and trees. Not only did this allow The Last Of Us to stand out from other games created in its time, but it also allowed for later games, as well as a remaster of the first, to be easily built and enhanced upon. The Last Of Us 1 laid the ground work of the story-line, atmosphere and environment of the game which could later be made even better.
In conclusion, The Last Of Us was a game that not only surpassed most games in terms of graphics in its time, but also was one of the first games to properly incorporate realistic environments and game-play mechanics into the game. This in-turn made the game a huge success, allowing for a follow-up game, a remaster and a TV show.
Specialism Mindmap
Mood Boards
For almost every piece of artwork, a lot of planning and research must be conducted before you actually create the work. For 3D models, I have found that mood boards are especially useful at condensing several different ideas into 1 clear and appropriate aesthetic that you can use to consistently follow throughout the production process of your asset.
Borderlands-style Chest Ideas
Realistic-style Chest Ideas
Trello Time Plan
For most of my projects, I rely on timeplans in order to extensively plan how much of the total workload I need to complete each week. This not only allows me to ensure I can realistically complete all the tasks I need to do within the deadline, but it also allows me to see if I'm potentially ahead of schedule, and can add more to certain parts of the project. Overall, using Trello has maximised my efficiency at completing work and meeting deadlines, whilst ensuring I can hand-in the highest quality projects I can do.
Current Project's Time Plan
Production Stage
This section includes evidence from all of my 3D modelling work for both assets, as well as their individual texturing process and finally the finished presentations for each. All of these areas will be explained as to how certain segments of the asset was produced, as well as how specific errors and problems were resolved.
Project Idea Changes
During week 3 of my project, I decided to slightly change how I would compare the 2 different texturing software's. Initially, I was going to texture both assets in Blender, then both assets in Substance Painter, however this was later disregarded as I believed that I didn't need to compare each asset by their different textures, but rather just 2 finished assets textured in different software's. This in-turn allowed me more time to refine each asset and their texture details.
In addition to this, I also decided to change how I presented the 2 assets, in which one chest would be shown through multiple image renders, and the other from a flying cinematic video. I did this in order to also reflect on which form of asset presentation is better.
Modelling
Due to the realistic approach to a treasure chest, I decided to base this asset off of a basic wooden chest with leather straps and a metal casing. This simple design ensured that I didn't overcomplicate any modelling designs that wouldn't follow the desired style.
Example of Basic Chest
Metal Frame
Wooden Panels
Leather Straps
Finished Result
MODELLING TECHNIQUES
For the basic shape of the chest, as well as the refining details, there were many tools and skills I implemented in order to achieve a realistic looking model.
WOODEN PANELS
For the planks of wood making up the main shape of the chest, I made separate objects for each plank of wood. This not only allowed me to easily UV map the planks easier, but also allowed me to offset random planks from the others, which gave model a more run-down and realistic general shape
METAL FRAME DETAILING
One detail I added to the metal trim of the chest was to make the top section separate to the bottom. This in-turn created a gap between the 2 areas, which gave the impression that the chest could actually be physically opened, which overall added to the accuracy of the model.
OVERALL BEVELING
Throughout the whole asset, most edges were slightly bevelled and segmented in order to create a smooth finish for the chest. This slight change helped capture the accuracy a real life chest, as a chest's edges are never infinitely sharp.
Metal Frame Detailing
Wooden Panels
Overall Bevelling
UV UNWRAPPING METHOD
For this asset, I decided to utilise the Smart UV Unwrapping tool within Blender. This cuts the mesh automatically based on angles and adjustable properties, which results in a high quality unwrapped UV map for your object. I personally use this tool as it is an easier and more efficient way of unwrapping simpler objects, which allows me more time to focus on other elements of the modelling process.
PACKING UV MAPS
After I had unwrapped each object's individual UV maps, I then packed the maps in order to straighten the vertices and edges of the UV, which is especially useful for objects with separated faces. This allows for materials to effectively be placed onto the UV without resulting in stretched or copied textures.
Smart UV Projection
Packed UV Map
SOURCES & REFERENCES
Includes any video or website tutorials that I utilised in order to model this asset:
Texturing
In order to produce a realistic-looking chest, the textures had to look very similar to their real life counterparts. To accomplish this, the materials for the different objects were sourced from real online images. This saved a lot of time in the shading process, as most texturing elements were already there such as scratch marks on the metal and wooden planks.
Metal Image
Leather Image
Wood Image
Metal Frame
Wooden Panels
Leather Straps
Finished Result
TEXTURING TECHNIQUES
In order to turn the basic textures into detailed and realistic materials, there were several different tools that I utilised in order to make each part of the chest look accurate to my references.
MATERIAL NODES
Within the shading window in Blender, I used multiple different nodes that connect to the normal mapping of the material. This allows me to alter certain parts of the texture depending on the nodes added. For example, I added the colour ramp node, which assigns a random colour value to the texture based on a slider's input. This allows for a slightly random colour to be added to the texture on the different panels, which adds variation to the wood. In addition, the bump node was used along side this to extrude small parts of the texture outwards, creating more 3D and realistic materials for the chest.
Result
Material Node Additions
Lighting & Camera
To showcase this finished asset, I used different lighting tools in realistic positions. In addition, I placed a floor for the chest to sit on, then finally rendered multiple images of this result in different camera angles.
Camera Settings
Light & Camera Locations
Main Light Settings
LIGHTING
In order to elevate and fully reflect the details from the chest's modelling and texturing, I placed multiple different light sources around the chest, which in-turn allowed for the asset's realism to be shown better.
MAIN LIGHTS
For the basic lighting of the project, I used 2 area lights pointing at the chest on an angle. The lights had emitted a slightly orange hue, and were relatively low in intensity. Overall, this method allowed for the chest to be illuminated within the scene without getting rid of any shadows and details which would have lowered the realistic quality of the render. It also allowed for later light sources to not be overpowered.
DETAILING LIGHTS
As well as the basic lights, I also added 2 spot lights on different exposed edges of the metal. These lights were a basic white colour with a lower power than the main lights. This resulted in the main parts of the metal edges to slightly shine in the render, which elevates the metallic texturing. Overall, this small addition made the frame of the chest seem more realistic in the final result.
Main Light Angles
Detailing Light Locations
CAMERA
Being the final aspect of the scene that I needed to add, the angles of which the camera were placed was very important, since I wanted to be able to show off the entire asset and its finer details whilst also showing the object in its entirety with the realistic shading and lighting.
Due to this, I made 2 different image renders, where each one has a different camera angle. This allowed me to showcase parts such as the wooden panels on the sides, as well as the small belt buckles which I wouldn't of been able to show in only 1 image. These cameras also managed to show the chest's top panels due to their angled positions and high locations.
Overall the different locations of these cameras were very important in reflecting the realism of the chest, as well as showing the entirety of my completed asset.
Final Renders
Modelling
In order to follow the desired art style, the modelling of the chest had to reflect the cartoon-like geometry. I achieved this through a combination of different modelling techniques, as well as the addition of stylised details.
BASIC MODELLING
One aspect of the Borderlands style I wanted to use was the exaggerated edges and seams throughout the model. This was achieved through segmented many of the flat faces into different smaller panels, where I could bevel and extrude the frames of these. This resulted in a protruded lining around the chest with multiple faces that I could later detail further in Substance Painter.
STYLISED ADDITIONS
In order to emphasise the game-like style, I add many different things to the chest. For example, using manipulated low-poly spheres, I created multiple spikes to place on top of the chest. Also, curved pipes and wires were added onto the empty faces of the chest. These both give the asset more character by making it seem more interesting.
DECALS
To reinforce the dystopian theme, I modelled a skull decal to place onto the front of the chest. This was achieved by tracing over an image of a skull and extruding from the trace.
Exaggerated Edges
Spike Detailing
Extruded Skull Decal
SOURCES & REFERENCES
Includes any video or website tutorials that I utilised in order to model this asset:
Texturing
For this asset, I used Substance Painter to create the textures and decals for the model. Although it took me some time to research into how Substance Painter works and what tools I can utilize for the chest, I believe that the result was very accurate and good.
BASE METAL TEXTURE
In order to create the cell-shaded effect for most of the edges along the frame of the chest, I decided to use a generator within Substance Painter which slightly scratches of parts of the edges on all faces. This resulted in all edges having a distinct color from the rest of the asset, which gave the chest a cartoon-like theme. After this, I added a slight grunge pattern, which chips the metal away at random spots on the faces of the frame. This overall made the chest look more weared-down and therefore increased its overall quality. Lastly, a layer was placed along all of the edges, which added a slight black outline between them all, which further enforced the cell-shading theme. With a red metal material applied to all of this, this completed the texturing for the main section of the chest.
EMISSION TEXTURES
For any parts of the chest that will emit light, such as the buttons, I decided to create more complex textures, where it'll include more details than just a single color. First, I create a base glass material, which reflects any other light sources and makes up the main part of the object. Next, I added a dirt layer within a black mask on the outer edge of the object, which resulted in creating a dirt layer around the outside of the object. Lastly, I created a bright emission within the glass texture. Overall, this created a complex light behind a layer of glass.
ADDITIONAL DECALS
To finish off the asset's texturing process, I wanted to add some decals around the chest to make it seem more realistic and to give it more character. For example, I created a basic material for a rust color, which I then applied to several different paint brushes to apply to random corners of the frame. The use of layering different brushes resulted in high quality rust on different parts of the chest. I also added blood splatters in a similar way on the spikes, however I instead used a bloody material.
Base Metal Texture
Light Emitting Texture
Blood Decal Texture
Cell-Shading Settings
Light Emission Settings
SOURCES & REFERENCES
Includes any video or website tutorials that I utilised in order to texture this asset:
Animation Setup & Lighting
In order to finalize and present the chest, I decided to create a product animation within Blender, where I can create a video showcasing my asset.
EXPORTING FROM SUBSTANCE PAINTER
Before I could create the animation, I had to bake the mesh and materials for the chest from Substance Painter and import these back into Blender.
First, I edited the template of what aspects of the materials will be exported so that I can have the correct maps to be imported into a new material in Blender. Although I chose to export the emission of each texture, I was going to edit this further in Blender since I wanted the lighting from the chest to compliment the lighting within Blender.
After choosing this custom template, I increased the file size to 16 bits, then exported each map for every texture into a separate folder.
In Blender, I imported the mesh of the chest, then created new materials for each part of the asset by importing the appropriate baked maps.
Custom Exporting Template
Basic Exporting Settings
Scene Setup
To showcase my asset within a video, I wanted to make a backdrop and flooring that will fit the theme of the chest whilst also allowing it to be the main focus for the camera.
For the backdrop, I made a low poly cylinder with modifiers such as decimate and displace. This created a unique wall pattern that light sources can emit onto, whilst also not being too overbearing. For this reason, I made the texture of the cylinder a basic black color, which draws your attention to the model and not the surroundings.
For the floor, I created a stone tile material from a reference image, which was then modified with nodes within its shading tab such as color ramp and bump nodes. This gave the tiles a rough and broken look, which fitted the aesthetic of the dystopian chest.
Lastly, I placed the asset onto a metal vent I had modeled in an earlier project, which gave another layer of detail and character to the scene.
Overall, I believe that these changes to the background elements of the animation allowed the art style of the chest to be reemphasized, yet also not drawing your attention from the main asset.
Metal Vent Model
Backdrop Model
Flooring Model
OVERALL LIGHTING
For the light sources in the scene, I decided to use the overall world emission to light up the entire scene. This is because I wanted the animation to be relatively dark and consistently lit throughout the area. Because of this, the light sources from the emission materials on the chest glow more intensely.
FADING CHEST LIGHTS
For the light that wraps around the chest, I wanted to make the strength fade in and out as the animation plays, which would make the light more realistic. To achieve this, I assigned a color ramp to the main yellow texture of the light, so that it can randomly fade from yellow to black. To determine when this change happens, I created a wave graph assigned to the color, which makes the value change in a wave-like pattern.
Yellow Emission Gradient
Graph Editor
World Light Settings
SOURCES & REFERENCES
Includes any video or website tutorials that I utilised in order to finalise this asset:
Final Animation
Overall Goals - Time Management
One of my goals I had set for this project was to give myself a longer amount of time on the modelling, texturing and presentation of my assets, since I wanted to focus on maintaining quality throughout each asset's different production stages.
HOW I ACHIEVED THIS GOAL
In order to achieve this goal, I utilised a more detailed time plan (using Trello), which allowed me to easily layout every part needed for the different processes of making the asset. This also allowed me to split my workload more evenly across the 5 week deadline, which resulted in maximising the efficiency of my work.
MODELLING PROCESS ENHANCEMENTS
This plan was evident in the quality of each asset's models. Due to the extra time assigned to the modelling process, I was capable of adding a lot more detail into the models such as splitting big and bland faces into different segments. In addition to this, I had more time to research any new tools or modifiers for Blender that I was unsure on how to use, which in-turn increased my ability to add new and unique details, which overall enhanced each asset's overall quality and character.
TEXTURING PROCESS ENHANCEMENTS
For the texturing stage of each asset, the extra time I had assigned was expertly utilised to further emphasise the asset's art style and themes. For example, the cell-shaded chest was given blood splatters and areas of random rust in order to reflect it's dystopian themes. As well as this, I was able to spend more time layering multiple different materials onto the objects, which resulted in enhancing its overall quality. Lastly, similarly to the modelling process, I was capable of spending more time researching how to texture the asset's on this level of details, which was even more important for when I used Substance Painter since I am fairly new to using this software.
SHOWCASING ENHANCEMENTS
Lastly, the extra time enhanced how I displayed each asset, as I was able to display each asset in a completely different way. For the realistic chest, I could spend more time properly setting up the realistic lighting and flooring, which resulted in making my final renders higher quality, as well as reflecting the art style better. For the cell-shaded chest, I was given ample time to fully research how to create a product animation cinematic, which is something I have never created before. This in-turn allowed me to find a new way to present my assets in further detail and in the angles I desired.
CONCLUSIONS
Overall, my decision to allocate more time within the production stage of my project enabled me to focus more time on the asset's detailing, presentation and research, which all resulted in enhancing their overall quality, as well as reflecting their individual art style's more effectively. As well as this, the use of 2 different presentation types, which I can now also compare, has allowed me to more easily compare each asset in order to find which production process was better.
Asset Comparison - Texturing
In order to effectively compare different texturing types, I decided to texture the realistic chest using Blender's shading tools and the cell-shaded chest using Substance Painter.
BLENDER
One advantage of using Blender to texture the realistic chest was it's ease of creation. Whilst creating the materials, I could connect nodes onto the textures in order to produce realistic bumps and roughness, which resulted in realistic wooden planks and shiny metal sections. Since my specialism is based around Blender, I am quite familiar with Blender's layout and how to use different tools within it, which made this entire process very easy. Because of all of this, the texturing stage for this asset was a lot quicker than if I were to use Substance Painter, which allowed me more time to refine the material's overall quality, as well as being able to focus more on other aspects of the project.
Another advantage of using Blender was the lack of exporting. Since my model was created in Blender, I didn't need to spend time exporting the mesh into another software. This concept also applies to the texturing stage, as I didn't have to export any materials out of an external software to be able to render the final result. Because of this, a lot of time was saved from not exporting anything, as well as reducing any exportation errors or problems. In conclusion, the fact that the entire process of making and presenting the asset was within Blender meant I was less likely to face any errors that would slow down my workings.
However, one problem of using Blender as a texturing software was its simplicity. Although my idea for the realistic chest was to keep a minimalistic art style in order to prevent me over-doing the textures, I do believe that there are some extra details I could have added to further the asset's quality and art style. For example, I could have added some rust onto certain edges of the metal frame and belt buckle, as well as some weathering on the wooden panels. Therefore, the use of Blender limited my access to extra details for the chest that I could have implemented to increase the asset's realism.
SUBSTANCE PAINTER
One advantage for using Substance Painter as my texturing software for the cell-shaded chest was it's variety of many different tools. For example, I used multiple different brushes assigned to a rust-coloured material in order to create realistic rust on differing parts of the model. This process was also repeated with a blood-coloured material in order to make blood splatters on the protruding spikes. In addition to this, I was able to create a colour gradient material for the logo on the top of the chest. Overall, these additions massively enhanced the quality of the asset, as well as furthering the portrayal of a Borderlands style chest.
In addition to this, I was able to create multiple different material layers for each section of the asset. An example of this is the main metal frame colour, where I could create a base red metal colour, a weathering modifier, a cartoon-like edge highlighter and the rust. This resulted in a complex texture that I would not have been able to re-create within Blender.
However, one problem I encountered whilst using Substance Painter was my lack of understanding with the basics of the software. In order to produce these complex materials and modifiers, as learning how to navigate the layout of Substance Painter, I had to spend a substantial amount of time researching into these different areas. This in-turn made the texturing process for the cell-shaded chest a lot longer compared to the realistic chest, which I could have used to enhance my showcases of my assets.
In addition to this, my lack of understanding around the exporting of materials and meshes produced a few problems. For example, I was unsure how to properly export the materials with all of the correct mappings, which resulted in many export attempts not including all aspects of the material, as well as some not being the correct resolution or bit size. Although I was able to correct these errors relatively quickly through the use of online tutorials, this problem could have heavily reduced my texture's qualities and details.
CONCLUDING COMPARISSON
Overall, I believe that although both texturing software's had distinct advantages of using them, Substance Painter was my favoured software. The level of detail I could add to each material was far higher than what I could achieve in Blender due to it's restrictions to coding nodes. Also, the use of layering materials allowed me to create complex textures. This resulted in the production of a chest that not only is of a higher standard than it's Blender counterpart in terms of detailing, but it also allowed me to easily portray the chest's unique art style and themes.
Asset Comparison - Showcasing
Due to my unforeseen extra time before the deadline, I was able to implement a different way of showing off the cell-shaded chest, which in-turn allowed me to compare these 2 and finding which one is better.
IMAGE RENDERS
For the realistic chest I utilised Blender's image rendering tools to produce multiple final images of the chest. One advantage of showcasing my asset this way was its simplicity. Once all lighting and extra additions were added to the scene, all i had to do was position the camera at suitable angles towards the chest, then render and save the image. This simple method not only allowed me to change the camera angle easily depending on where I want the next image to be positioned, but these renders were finalised very quickly, allowing me extra time to refine other areas within my project.
In addition, using image renders as my final presentation allowed me to easily import the product on my WIX website. Within WIX, I can create moving slides if I need to show multiple similar images in one place. Also, the images can be easily cropped and re-sized within WIX, which meant I could edit the images if they aren't exactly how I want them to be. As a result, the final presentation of the realistic chest on the WIX website was very easy to manage and had a simplistic look, which complimented the rest of my website.
However, one downsize of using image renders was the lack of details. Because the renders are static images, users are unable to preview the asset in it's entirety, meaning they cannot zoom in on specific details or textures that they are personally interested in. Because of this, some of the chest's finer details were slightly overlooked on the WIX website.
PRODUCT ANIMATION
For the cell-shaded chest, I created a video animation, where the camera pans around the chest at different areas. One advantage of showcasing my asset this way was the increased presentation of details. The multiple different camera angles and zoom levels allowed for every edge and small detail of the chest, such as the rust on the metal or blood on the spikes. Because of this, watchers can fully see the quality of the asset, as well as the art style being easily portrayed.
Another advantage of using a moving visualisation of the model was the showcasing of the shading. The light sources emitting from the neon areas of the chest, as well as the overall lighting for the scene, are more easily shown-off since you can view every angle of the scene. Since the shading and shadows within the scene were used to enhance the chest's quality, the use of a video animation therefore allowed the chest's details to be fully showcased.
However, one problem with using a product animation was my lack of familiarity with this form of presentation. I had to spend a lot of time research how to properly and professionally pan the camera around the scene using anchors, where I had to translate a few shortcuts from the standard Blender controls to my custom ones. This time could of been used to add more details into the scene, or into other parts of the project.
CONCLUDING COMPARISSON
In conclusion, I believe that both showcasing methods are very good in their own ways; image renders are very effective when placed alongside written work, as it flows well and looks aesthetically pleasing. However, the product animation fully reflects the entire models details, as well as the effect of the light sources on the asset and its surroundings.
Reflective Journal
Throughout the weeks within the deadline for the project, I have produced a weekly journal on what work I have completed in comparison to my estimated goals on my time plan. It also includes a section on how productive I believe that particular week was, and if there are any areas of the project I wasn't able to complete within that week that I'll have to finish in the following week. Due to me finishing prematurely compared to my time plan, the slide for week 5 is not available since the entire workload was completed before that time.
Project Survey
Once I had produced and showcased all of my work and findings for this project, I created a Google Forms survey to send to some of my peers in my class. This survey had questions where people could rate different aspects of the project in terms of quality and art style accuracy, as well as being able to provide any constructive criticism and remarks for what I could do in the future to further enhance my project. Overall, the use of surveys gives me a broader insight into my assets, highlighting any areas for improvement that I might have overlooked or not seen as an issue by myself.
What Went Well
Due to following my main project idea, as well as my extensive time planning and management, there were many elements of the project that went very well.
MODEL QUALITY
Overall, both the realistic and cell-shaded chest's models were created to a much higher standard compared to any of my other projects. Because of the extra time I allocated to the modelling process, I was able to spend more time on the mesh's smaller details that I otherwise would of been unable to model such as the edge linings along the frames. This also allowed me to refine the asset's UV maps and overall topology, which would allow for later materials to be applied without the risk of creating stretched textures. Because of this, both chest models were able to look professional and fit the appropriate art style I had planned for them. This concept directly reflects a 3D artist's creative work process within a more professional setting, such as in a game production company, as their particular specialism needs to be a very high standard since that is their main focus for any projects.
TEXTURE QUALITY
Within both Blender and Substance Painter, my complex texturing techniques and layering's allowed me to produce high quality materials. For the realistic chest, I utilised Blender's simple shading nodes to create realistic-looking material properties such as custom roughness and metallic levels. In Substance Painter, I was able to use the extensive amount of texturing tools to layer multiple different custom materials together, as well as using their unique brush types to paint decals in specific locations on the model. These higher standards for texturing resulted in re-emphasising each asset's different art styles and character, which therefore allowed me to easily compare the two models separately. This idea heavily applies to texturing in a professional workplace, as the assets being produced need to consistently follow the desired art style in order to match the overall themes of the game as a whole.
ASSET SHOWCASING
Due to my idea of presenting the 2 models in 2 different ways; (a series of image renders and a product animation), I was able to now compare how these different finalisations can effect how other viewers can effectively see your artwork. In addition, it also gave me the opportunity to learn more about how products can be displayed digitally to the public, and when these techniques are more or less appropriate. All of this has in-turn given me a deeper insight into the finalisation of 3D artwork, which would be very applicable to any freelance or individual art projects I could complete in the future.
OVERALL COMPARISSONS
Because of all of these things that I decided to focus on, I was capable of producing an in-depth and un-biased comparison of the 2 asset's art styles and how they affect the model's meshes and textures. Because of this, I now know a lot more about these art styles, which I could then therefore utilise for future projects and artwork. This will overall improve my later asset's accuracy to any pre-production planning and concepts, which will in-turn allow any of my assets created to fit the project's desired themes.
TIME MANAGEMENT
Within the entirety of this project, I have followed a strict time plan I had created on Trello in the pre-production stage. Because of this, my workload was clearly displayed and managed throughout the weeks, which resulted in me being able to finish my entire project, as well as any written work, a week before the designated deadline. This was very helpful, as I can now estimate how much work I can complete within a set timeframe with a higher accuracy, which will be vital for my final project as I will want to fully utilise the time given to me. This will also be a useful skill in the workplace, as I can fully express what amount of workload is possible in a given time.
Areas For Improvement
Although I believe that this project has been the most successful and efficient project within this entire year, there are a few areas that I could have done better.
UV MAPPING
Although the UV maps for each asset's meshes didn't have any major errors which would have affected their textures and shading, this is most likely because the asset's topology was relatively simple and didn't contain any organic modelling techniques. Since I used Blender's smart UV projection tool in order to unwrap every surface, I believe that if my asset's contained any advanced techniques, such as sculpting, I would have had to unwrap the UV maps manually which I'm not fully competent with doing. This would have resulted in unfinished UV maps and therefore stretched textures and incorrect light projections/shadows. In order to fix this mistake if I had furthered the meshes, I could further my research into UV mapping projections and mesh topology.
CINEMATIC QUALITY
Although I like how the product animation turned out, I do also believe that there are a few techniques I could have learnt and used in order to further the animation's quality. An example of this would be modifying the camera anchor's movement pattern in order to make it pan around the chest more smoothly. This would make the cinematic look more professional and improve how other users visualise my final product. In order to achieve this, I could look up online tutorials on the more advanced techniques of animation within Blender.
COLOUR PALETTES
For both of the chest's final materials, I was fairly happy with how the colours and textures corresponded with the initial concepts. However, there were also some sections that didn't follow the art style's colours and designs, and therefore affected the asset's entire accuracy to the desired themes. An example of this would include the emissive colours of the detailing's on cell-shaded chest, where the purple and orange colours didn't fully fit the cartoon, Borderlands-style themes. In order to fix this mistake in the future, I could spend more time after modelling the asset deciding what each section's colour palette will be, as well as conducting further research into different colour palettes and how they are effective at portraying different themes and styles.
Conclusion
In conclusion, I believe that this specialism project has not only been my most efficient and high quality project in terms of research and pre-planning, asset production and product showcasing, but it has also uncovered many important requirements of being a 3D modeller that I was previously unaware of, such as time management, art style representations and product animations. I believe that overall this project will allow for my Final Major Project, as well as any other projects in the future, to be of a much higher standard than previous ones; using my new skills, knowledge and software I will be able to complete a project that I believe is my current standard.