For this task we were asked to make a “Influence map” – A single page in which we list some of the artists that inspire us most and their work. This means that we have a single page that we can come back to if we ever need some inspiration.
Some of the artists that inspire me are:
Shigenori Soejima – Woeked on SMT Persona
Hayao Miyazaki – Studio Ghibli
Stephen Nickel (Stevesketches) – SMITE concept artist
Thanshuhai – Artist on Commission – Via FurAffinity
Akihiko Yoshida- Nier (Game)
Everquest 2 – Concept team
Ken Sugimori – Gen 1 Pokémon games.
For my character concept I decided to make an anthropomorphic coyote character. After looking up some references I gave him a very human torso but a lot of canid features. After sketching the base I began to paint over the sketch with colours picked from my reference images.
The second part of this task was to concept a room – I decided to do a ruined cabin. I started with creating a box for perspective, then created a floor-plan and scaled it. then fleshed it out from these plans.
After a long day and night of trying to re-UV my low-poly model, sadly the deadline rolled rover before I could complete the project. I will be trying to finish the steps I couldn’t get to in my own time, as I am passionate about the object and learning the skills.
I received some help from classmates, but sadly the UV mapping went too wrong too many times to achieve anything further.
Better luck next time I guess. Can;t say I’m not disappointed that I couldn’t get passed this point…
An often overlooked task – I thought UVing my model would be a rather quick process. But as of writing, I’ve spent a countless amount of hours doing and re-doing the UV mapping for my low-poly model.
I have never UV-mapped a model before, and being a rather confident tailor I was sure that I would have no trouble – As one of my classmates described the task as similar to laying out a sewing pattern.
Although this mindset is similar. My unfamiliarity with the process has hindered my progress. along with being at it so long and being to the point of exhaustion – This might not be finished by the deadline at the end of the day if it continues at it;s current speed.
for the next project I will have to plan my time a little more effectively, as several tasks like this have slowed me down over the project. Although i have learnt a lot by trail and error, the stress of having to re-do the same task four times has killed my enthusiasm.
After exporting my super smooth model from Maya, I imported it part by part into maya. Subdivided it into the millions of tris and added some so-very-high-definition texture to it.
the process was really easy after getting the settings and the workflow down. Click and drag, smooth back, rince & repeat.
- Store morph target
- Zsub (Not add)
- Brush: Standard
- Stoke: DragRect
- Alpha: Uploaded Texture
- Click + Drag
- Swap to Morph brush to smooth back
Here are some of the textures I very heavily modified from stock images to make my textures:
And after following this process x8 times, we’re finally done with Zbrush and can export everything as a .OBJ
Here is my complete Maya model!
For curiosity as motivation, I took a little time to align all my parts to view the “finished” Maya model:
And to compare to the real thing, here are some photos of the exact Beyblade I’ve been using for reference. Dranzer-F (Blue):
I must admit I’m pleased with how accurate I’ve been!
In order to smooth my model but retain the hard edges of the plastic I had to use the crease tool in order to harden the strong edges while allowing the curves to be smoothed.
Although this took a long time, it meant that that i got a much more detailed model.
Although it was about this point, where I was told that the Crease tool information wouldn’t port to Zbrush. Therefore I had to smooth my model in Maya after creasing it in order to keep my desired hard edges.
So after a long and painful few sessions of spending most of my time holding the MMB I finally smoothed my model. And it was worth it to see how detailed and smooth it is. Beautiful.
After a little bit of a struggle with some stray Verts along the center of my model, I managed to finish making all the components of my beyblade!
from top to bottom:
- Bit chip
- Attack ring
- Weight Disc
- Spin/Magnet Gear
- Switchable blade tip
- Blade bottom/Base
Each part came with it;s own challenges. Such as the switchable blade tip being a tri-headed, lockable mechanism which took some study to fully understand how it even worked!
With some more small adjustments, This model will soon be ready to get it’s high-poly beauty.
I’m really glad that I decided to pursue this object. Even though it has been a challenge to model, I’ve found myself rather passionate about making it to a good quality and as accurate as I could to the source material.
After a week of modeling, I have decided to change my direction and make the Beyblade my model for this project- not only is it a lot more interesting to me, but I also think the the modular design of the item has helped me massively with breaking down the components.
Although I hit some problems with my model (to be expected as i’m rather inexperienced with Maya) I believe I’ve been doing a good job of replicating the complex shape of the components.
To take a break from my Ukulele I decided to sculpt something different that was a more interesting and intricate shape.
A friend had recently given me quite a rare find – the black version of the Dranzer-F Beyblade from the series of the same name. These spinning tops had several parts to them, so I started with the most simple part and worked from there.
I found myself doing quite well despite the difficult shape of the attack ring – and in the few hours I had been modeling Dranzer I found that I had done more towards this side-project than a few weeks of working on the Ukulele.
I might have to reconsider my choice of item to model~