Aaron Ault

"Ryu no Ko" Unreal Mod

2010-05-29T18:10:00.001-07:00

Okay, since it's been about six months since I graduated from the Art Institute of Atlanta, I figured it's about time I updated my blog. I changed the formatting to more closely match my official website (which, as you will notice, is: www.AaronRAult.com). During the past six months I've been interning at World Touch Gaming (www.worldtouchgaming.com), creating all of the art content for a new 3 X 5 video slot entitled "Flaming Flamingos." This includes all of the concept art and graphic design for the main screen, characters and bonus round; as well as creating all of the character models, textures, rigging, animations, special effects and post production. Due to my NDA, I will have to get approval before I post any of my work related to that project.

In the meantime, I have finally begun work on an Unreal Mod which is basically a retelling of the Dracula story set in feudal Japan, entitled "Ryu no Ko" (aka "Dragon's Child"). I have tied the story into various Japanese mythological legends, and will, therefore, use Japanese mythological creatures as "Dracula's" minions (instead of the traditional bats, wolves, et al.). Here is the concept art for the first three creatures: Kappa, Oni and Ohaguro Bettari (with more to follow).

The horrors of "Nightmare Tower"

2009-08-24T00:54:00.000-07:00

Alright, so I'm creating a surreal horror-themed UT3 level with my good friends Yusuke Sato and Andrew Quintiliani, as well as Henry Nayson and Laura Clark. To populate our scary level, I brainstormed some creepy critters. I dubbed my first creation the "Wailers" (though my teammates insisted on calling them "Squidwards" due to their uncanny resemblance to Squidward Tentacles from Spongebob Squarepants). Initially, I imagined their "feet" being more like roots (as they cannot move from the spot from which they're standing), but they evolved into tentacles. Initially, they will appear to the player doubled over in a tight ball. However, when the player gets close enough, they will unfold themselves to stand erect, thrashing about while making a loud, irritating "wailing" noise. As soon as the player steps out of their awareness radius, however, they will return to their tightly-wrapped quieter form. Here is my initial concept art/rotoscope image I created in Photoshop.

Another critter was created from combining the fear of spiders (i.e., arachnaphobia) with the fear of dolls (i.e., pediophobia). Basically, it's a series of four spider legs (Why not 8?! Because it'd be too hard to rig and animate!!!) coming out of a baby doll's mouth. Then, based on Laura's suggestion, I added a spider head coming out of the doll's neck hole. Oh yeah, nice and creepy...

Here's another concept art/rotoscope image that I created using Photoshop.

Next, I modeled the "Wailers" in Maya at a very respectable 2,100 quads.

Of course, digitally sculpting the model in Z Brush to create the Normal map and creating the Diffuse map in Photoshop helped to "flesh out" the model. I have a few seam problems, but, hopefully, not too bad. He's a keeper!

Here's a view of his back. Check out that carbuncle-esque spine! Nasty!

This is a nice close up of the face. I really tried to put in the detail through digitally sculpted Normal maps reinforced by Specular maps that I created using CrazyBump.

Here's my Maya model of the Baby Doll Spider creature. Once again, 1,982 quads is a nice low poly number.

Once again, I digitally sculpted the model using Z Brush to create the all important Normal map, as well as Photoshop to create the Diffuse map. Specular map was created using CrazyBump.

As soon as I began sculpting the doll's head, I couldn't resist making it appear more lifelike. So, in the end, the head itself appears more like a real baby head, but terminates with a doll's neck ridge.

After completing the "Wailers" model, it was time to rig it for animation. Since rigging is definitely not my specialty, I created a very simple rig using the Digital Tutors rigging tutorial as a guide. I used Inverse Kinematics for the elbows and single knee (with associated pole vectors) as well as a Spline with Clusters for the spine. I also added a Set Driven Key attribute for the hand controls to make a fist and a forearm bone with an Expression to calculate forearm twist. It's pretty straightforward... nothing fancy... but it gets the job done.

I then created the standing animation, whereby the "Wailers" stand up from their initial "balled up" pose.

Next, I created the wailing animation, which seamlessly continues from the standing animation... yet is capable of looping until the player leaves the "Wailers" awareness radius.

My rig for the Baby Doll Spiders is quite a bit different from the "Wailers," since their anatomy is so different. I used Forward Kinematics (FK) for the top "knee" joint of each leg and IK for the second "knee." The last joint of each leg has a foot controller, which utilizes the IK handle and can be rotated to change the angle of the spider's "foot." I also rigged the tiny legs on either side of the spider's head. Finally, a basic controller was added to move and rotate the Baby Doll Head (i.e., the spider's "body").

I then created a basic walk cycle which can be looped.

NEXT STOP: UNREAL!

"The Experiment" sci-fi UT3 level

2009-08-23T23:42:00.000-07:00

Okay, this entry is long overdue--I was supposed to post this over the break, but now I'm 3/4 of the way through Summer quarter. I've actually had the screenshots ready for a while now... just haven't gotten around to posting them. Anyway, I wanted to create a science fiction puzzle-based UT3 level in which the player is basically a lab rat caught in the middle of a maze, forced to participate in a grand experiment that they know nothing about (i.e., heavily influenced by Portal). I did not want to include any combat within the level--only puzzles, based on game mechanics, such as: the Translocator (kinda like Portal-lite), K Actor physics objects and Gravity Volumes.

The gameplay view is First Person and, upon starting, the player immediately sees a bar code, a serial number and the name "Adam" tattooed on the character's left hand. Spherical, animated robotic cameras cover the walls, overseeing the action and introducing new game concepts to Adam. Through these robo-cams, the narrator introduces himself as "God" and voices excitement regarding observation of Adam's performance within "The Experiment." The player also sees observation windows, behind which the shadows of mysterious "scientists" loom. The initial portion of the level contains a platform with rapidly moving tracks (akin to moving sidewalks in airports) and barriers; it is basically a futuristic obstacle course.

Here is a render of the quick robo-cam model that I made, textured and animated for the level.

Here's a render of the observation deck model... complete with scrutinizing "scientists."

Here's a render of the modular barrier model I created and textured for the level.

This is an aerial screenshot of the initial portion of the level, with all model assets in place. I created the BSP (Binary Space Partition)--basically the level map--and all of the textures/materials as well. In this "physical" portion of "The Experiment," the player must duck under, jump over and generally avoid the barriers while traversing sections of track that are moving in different directions. For the tracks, I used the Unreal Pan node to animate the track material in the desired direction and Gravity Volumes to actually "push" the player. Note: the Gravity Volumes are shallow enough so the player can double-jump to overcome them. In the beginning of the level, the tracks push the player off the platform onto a nearby floor level. In later portions, falling to the floor level causes damage (or even death).

This is a gameplay screenshot of the same area.

Here is a view of the bottom floor... lighted stairs lead back to the beginning of the level. The player must start over at the beginning of the platform when he/she falls over the edge.

This is a screenshot of a later section of the same puzzle. At this point, the barriers function more like maze walls and the player must utilize the correct teleporters to successfully traverse the platforms (or else be looped indefinitely back into the maze).

Here's a view from the lower platform. Is that the correct teleporter nearby?

Another section of the level represents a more "mental" challenge. In this puzzle, the player must use the Link Cannon to shoot a series of K Actor boxes and platforms to negotiate his/her way through the level. This is an aerial screenshot of the first portion of the puzzle. The player actually starts on the central pillar with each of the extended bridge sections standing vertically (i.e., surrounding the player). The bridges are UT Rigid Body actors which are hinged to the central pillar. The player shoots the thin platforms to topple them onto the nearby ledges containing boxes of varying sizes. The player then shoots these boxes (which are K Actors) off the ledges onto the floor below, arranging them to form steps to the exit door. By the way, the box and bridge models were created and textured by the most excellent Rashad Foux.

Here is a gameplay screenshot illustrating the player's ability to move the boxes by shooting them.

Here is the solution to the first portion of the puzzle. Note: the teleporter allows the player to return to the top of the central pillar if he/she falls to the floor before knocking all of the boxes off the ledges.

The second room contains a puzzle similar to the first, except the boxes must be used in a particular order to reach cubbyholes containing other boxes. After all the boxes have been retrieved, they can be, once again, stacked to reach the exit door.

Here is a view inside one of the cubbyholes, with the box being shot back out into the main room.

Here is the solution to the second portion of the puzzle.

After beating the entire level, the player finally meets God... or, more specifically, G.O.D. (General Observation Droid 1138). G.O.D. reveals that he is an artificially intelligent machine designed by an ancient alien race to discover the correct DNA template for population of the test planet Earth. Because Adam is the first being to complete "The Experiment," he is the lucky candidate. For this end sequence, I created canister models containing low poly test specimens.

I designed G.O.D. as a chaotic mass of hoses plugged into a central glowing pillar. The mechanical column tapers to a floating, fiery "eye" (aesthetically linking it to the robo-cams) surrounded by undulating metal hemispherical shields. Here is a render of the model I created/textured of G.O.D.

Here's a gameplay screenshot of the end sequence.

This is a detail screenshot of the same sequence.

Let's talk turkey...

2009-05-16T12:53:00.001-07:00

Okay, so I had to model and texture a Tom turkey for a game demo. So, not knowing a tremendous amount about turkeys (other than they're tasty), I downloaded approximately 20 pictures, watched several YouTube videos, and, heck even learned some anatomy. Hey, did you know that floppy thing drooping over their beaks is called a "snood?" ...and that big flap o' skin under their chin is called a "dewlap?" ...and, and that big honkin', um, ball-sacky thing at the base of their neck is called "major caruncles?" Geez, if I had a big, ball-sacky thing attached to my neck, I'd say that was major caruncles! Anyhoo, gobblers are also capable of some serious shape-changing, too. In their normal form, they vaguely resemble a pheasant (i.e., elongated neck, tapering body and trailing tail feathers). However, when they get upset or court hens, they ruffle their body feathers (appearing to double in size!), extend their wings down, tuck their heads back and fan out their lovely tail feathers like a peacock. It's like some kind of Gundam-esque Hyper Mode or something (insert Transformers sound effect here). I really wanted to create a mechanism for my model to be able to easily change shape like this. So, I create the body in two pieces and all the feathers as individual planes. I then created two new attributes for the body called "ruffle" and wings," and used Set Driven Key to allow the user to easily animate the turkey between each of these forms by simply dragging a slider bar. I actually completed the model in about two days (i.e., building the model, unwrapping the UVs and creating the textures)--that's pretty fast for me! No fancy Normal or Specular maps here, just Diffuse texture maps and Alpha/Transparency maps for the feathers. The final model came out to be 1,280 polys, which may be a bit high for a simple turkey. However, if I removed the shape changing stuff, I could easily reduce that number quite a bit. Here's the mesh...

...and here's the model with textures in the first form. That wierd tuft of hair coming out of his chest is called a "beard" (i.e., yeah, um, kinda gross).

I know, I know... he has a double fan. The thing is, the feathers are paper thin (i.e., being simply textured planes), so I needed to do something to make them a bit "fuller" and look better from a variety of angles. I don't know, I may end up deleting one of them in the end.

Here's the second form. I actually had to manually adjust the mesh to pose the neck and head, but after the model is rigged for animation, the same effect could easily be achieved. Looks like a big ball on stilts!

The back is probably the least accurate part of the model, but it kinda works.

"Hi there!" I tried to make the textures hold up to closeups.

Man, all this talk of turkeys makes me want to run over to the Renaissance Fair, grab one o' those giant turkey legs and start gnawing away. Hey, speaking of "legs," er, well "limbs," I had to model an arm for a group project that I'm working on. The final model will be imported into Unreal Tournament 3 for the First Person perspective (e.g., holding, firing and reloaded the weapons in the game). In our level, the player's character is part of a science experiment. His name, Adam, is tattooed on his arm as well as a bar code and number. As an easter egg, I used the numbers from Lost (4 8 15 16 23 42). I actually completed modeling the arm, unwrapping the UVs, digitally sculpting the arm (to create the Normal map) and creating the Diffuse and Specular maps in only a couple of days. Again, this is super fast for me! The more I do this, the faster I'll get! The final model was a respectable 806 polys. I feel like I've come full circle--the first model I created using ZBrush way back in January 2008 was a female arm... and, looking back on it, it seems far more crude and disproportionate. I just might be getting better at this modeling stuff!

http://aaronrault.blogspot.com/2008/01/boy-what-difference-z-brush-makes.html

"Deadeye" - Unreal Tournament 3 character

2009-05-01T00:57:00.000-07:00

Okay, so after modeling a few game characters, I decided it was time to actually model a character that can be imported into the Unreal Tournament 3 game engine. It turns out this is a bit more complicated than simply modeling a low poly character. First, as always, the process begins with concept art. Instead of the usual UT3/Gears of War character, which is covered in a thick layer of plate armor akin to football pads on steroids, I opted to design a lightly armored character that actually wears more cloth than armor. The idea was to create a reconnaissance/sniper character suitable for desert, jungle or forest environments wearing: a simple pauldron, cloth wrappings, a light backpack and utility kilt. His equipment includes: an advanced thermo/night vision/sonar combo goggles system, an electromagnetic gauntlet calibrated to steady his aim, and hydraulic boots that enhance his speed and leaping! Basically it's a cross between a Tuskan Raider and an elite Cobra unit. (insert "Coooobraaaa!!!" scream now) Oh, and the head is based on my favorite Lost character: John Locke (a seasoned tracker and survivor).

Here is my initial finalized concept sketch...

To model the character, I had to use an existing Male IronGuard UT3 skeleton as a template and model around the skeleton. To aid in this, I created orthographic sketches of the front and side views of the character, drawn over screenshots of the UT3 skeletons to ensure that my concept art utilized the exact proportions of the UT3 skeleton. In addition, I divided the parts of my character as the UT3 models were created: boots, thighs, torso, arms, head, helmet, facemask and goggles (i.e., so these parts could be interchanged within the UT3 Customize Character screen). After ensuring that all parts of my model were "capped off" and unwrapping the UVs according to the rigid zones that UT3 demands, I was able to begin the ZBrush work to create my Normal maps, Photoshop work to create my Diffuse maps and Crazybump work to create my Specular maps. Here is a screenshot of the basic low-poly model with wireframe displayed...

...and here's a shot of the same model with Diffuse maps, Normal maps and Specular maps! These really enhance the look of the model and make it look like it contains a much higher polycount!

Creating alpha maps for use in ZBrush, allow you to create some nice texture detail, like: scratches, stubble, pores and fabric patterns. This allows the model detail to hold up even under close inspection...

...even for extreme closeups! "I'm ready for my closeup, Mr. DeMille!"

After the model was completed, the model was bound to the UT3 skeleton. Painting of weights was used to fix any errors in mesh deformation during joint bends--well, I tried at any rate. The upper cloak and utility kilt continued to plague me by clipping through the arms and legs (respectively) during extreme bends. I eventually gave up when it was "close enough." The Actor X plug-in tool for Maya was utilized to export each of the parts of the model for UT3 (generating the associated .psk and .txt files). After some scripting and importing, the character was ready to play in UT3. Here's Deadeye at the UT3 Customize Character screen...

Here he is without his helmet, facemask and goggles...

Here's a UT3 screenshot in which I am playing as Deadeye in third person view...

Here I am fighting Deadeye in first person view...

...and again...

...and again!

Unreal Mod - A Study in Kismet

2009-04-08T00:34:00.000-07:00

Okay, so I haven't posted for eons... blah, blah, blah... Anyway, in order to improve my overall understanding of Unreal Tournament 3, I decided to create a mod using assets that shipped with the game, instead of modelling and texturing all of the static meshes that would populate my level. This would give me more time to research and experiment with "Kismet" (which is UT3's scripting language) and focus on the actual level design & gameplay experience. So, just to make sure everyone understands, all of the individual static meshes, textures and characters in the following images were created by the amazing folks at Epic Games, the people who created Unreal Tournament 3.

So, what is Kismet exactly? It is not the C++ code that was used to program the engine itself, but actually a higher level object-oriented programming language called UnrealScript. Since the actual script has been replaced by a graphical user interface (gui) consisting of flowchart-like steps, Kismet is actually considered to be "visual scripting" system. Everything that moves, makes a sound or triggers something in the level (with the exception of the player's character) requires some form of scripting. This scripting can be fairly straightforward, like the example I have below, which toggles off the visibility of "Power Couplings" the player must collect (and incrementing a counter which keeps track of the total number of Power Couplings the player has collected)...
...or can be quite obscene, as this A.I. script I created for the end "boss battle."

Initially, I created a level design sketch of my level, which included details, such as: player path, puzzle spots, pickup locations and general points of interest. I then created "top down" maps using graph paper (since UT3 uses a grid system). Next, I roughed out my Binary Space Partition (BSP) using the Unreal Editor. After I was happy with the scale and placement of everything, I added my terrain and rough lighting. Finally, I simply completed a series of refinement steps, adding textures, static meshes and finished lighting. Regarding scripting, I initially scripted basics, such as: doors, elevators, ladders and moving/changing lights. I then scripted more complex things, such as my simple Non-Player Characters (NPCs), power couplings, glass floor trap, cave-in trap and explosive barrels. Lastly, I scripted the most complex things, such as the basic enemy A.I. and the final boss battle. All in all, it was a wonderful learning experience.

Although the intial inspiration was the animated film Final Fantasy: The Spirits Within, the level evolved as did the player's goal in the game. Instead of running around collecting plants (spirits) as Aki Ross did in the movie, the player must collect "Power Couplings" to repair his damaged ship. Initially, however, the player must simply find a way off his ship and onto the planet, as the main ramp is closed and the Hellbender vehicles are secured. Here's a view of the first floor of the ship:

Here's a view of the second deck, with a control panel that glows softly in the distance.

Activating the control panel turns on a series of lights leading back to the elevator, which is now operational.

The elevator leads to the third deck which has two locked doors which must be accessed by--you guessed it--the distant control panel.

A side passage ladder leads to the top deck, which contains an NPC robot that reveals your mission objective, the all important Main Override Switch as well as a nice view of the planet out of the main window.

Activating the Main Override Switch opens the lower ramp and releases the Hellbender vehicles.

A view of the post-apocalyptic planet surface. The first Power Coupling glows off to the left--it appears to be attached to some machine... possibly used by locals as a makeshift power source.

A passage on the far side of the ship leads to the first Power Coupling.

A long ladder and simple jump puzzle lead to the first Power Coupling (view of the ship and ramp on far right).

Continuing along the canyon path leads under a building and to the...

...Second Power Coupling! The player must shoot the explosive barrel to open the crate in order to collect this Power Coupling.

Turning around, the player discovers a smashed hole in the side of a building. Proceeding inside, the player encounters a large statue, pillars and a glass panel in the ceiling which reveals the third Power Coupling.

The trip to this point in the level has not been easy as the player has been facing scripted enemies throughout. Here, two enemies charge the player through the glass doors of nearby offices. The third Power Coupling is visible in the distance.

Here is a view of one of the offices. Note that although Epic is responsible for creating the individual static meshes present in the level, I recombined them in interesting ways to create new objects. Since Unreal doesn't have any "chair" models, I created these using 4-5 meshes in the game. Also, the desk lights were actually streetlamps. Creative use of assets was key throughout creation of this level.

Here is another view of the second floor from the opposite side of the room. The third Power Coupling is firmly encased in glass.

Passing through an elevator leads to the top floor, where the player enters this consulting office, and is surprised by more enemies.

Here's a nearby conference room.

The final door is the former CEO's office, featuring a fancy skylight, class cubicals, raised dias with desk, and--oh yeah--another Power Coupling. After polishing off the enemies, approaching the desk opening the glass boundary for the last Power Coupling.

Closer view of one of the side cubicals.

Here's a view of the office from the raised dias.

After collecting all of the Power Couplings, you head back to your ship, but are intercepted by a Dark Walker "boss." Prepare for battle. Polishing off the Dark Walker causes your ship's ramp to re-open allowing you to return all of the Power Couplings to the robot NPC on the top floor of the ship. A simple ending sequence finishes the level.

Next foray into the magical world of Animation

2008-11-21T09:22:00.000-08:00

Now, I am by no means an animator. My first plunge into the wonderful world of Animation was mixed at best: my bouncing ball was pretty nifty, my racing car was mediocre but my character walk cycle was absolutely dreadful (...and you seriously don't want to ask me about my character's dance. Seriously.) So, it is with obvious trepedation that I return, as the Prodigal Son, to this uncertain realm. I am happy to say, however, that, so far, it's been fairly successful. I credit part of that to the wonderful instruction by Mr. Paul Orlando, a teacher infamous for being brooding, confrontational (dare I say, Snape-like?) and just a bit altogether wacky. Anyway, I've included several simple playblast (i.e., non-rendered) animations for your viewing pleasure.

So, my first task was to create a default "happy" walk cycle using the Andy Rig v1.4.6 created by John Doublestein. It's a pretty good model, rigged nicely, including the option to change the gender with a couple of different clothing options. The cycle is only a couple of steps, so you may need to play it repeatedly.

After creating a "happy" walk cycle, I decided to do its polar opposite: the "sad" walk cycle. Again, it's fairly short, so you may need to play it a few times. Basically, this was just an exercise to get used to the rig, creating a mechanical action in which the whole body of the character looks like it's involved in the motion. Also, I experimented with timing, spacing and pose to evoke an emotion.

Next, I moved on to the "Basic Guy" Rig v.1.0 created by Tim Oberlander. This rig is actually a bit more advanced and easy to use than the Andy Rig, but (obviously) Basic Guy has no mouth, so facial animation is a bit limited. First, I created a simple spin jump, just to get used to the rig and continue my exploration of character mechanics.

Then, I added a prop--in this case, a golf club--and created a small story in which Basic Guy (hopefully) emotes a whole range of emotions. So, like I said, things are going fairly well in my sophomore attempt at animation, but I still have a lot to learn as animation presents is own obstacles and challenges.

What's that you say? You say you're still curious about my "dance." I warned you! I warned you NOT to ask me about that!!! Okay, okay, if you MUST see... but be AFRAID, be very AFRAID!

I WARNED YOU!!!

Persian Fort project

2008-11-21T01:21:00.001-08:00

Whoa, another insanely huge post!!! Anyway, this is another Unreal mod project in which I was involved set in medieval Persia. I was basically responsible for most of the level design concepts, all concept art/level diagrams as well as building and texturing most of the assets in the level. I was not involved in the creation of the BSP, assembly of the level or any scripting. My initial isometric sketches served as a kind of miniature template for what would become the final level, and helped me to create the master asset list. The initial idea was to design a single player mission in which the player would descend throughout the level to a lower dungeon, eventually rescuing a comrade being held captive. The time constraints proved to be too difficult to finish all of the scripting required. However, Mike Reed was able to finish a good "guard mode" A.I. which deviates from default deathmatch A.I. that the bots usually use. He was also able to script some nice triggers, such as: the ability to shoot down torches and lights, proximity-based sounds and the ability to shoot objects off tables. Cameron Barnes created the BSP and assembled the level.

Here are just a few of the assets that I created for the level, starting with a nice palm tree...

Here's a fruit stand, which was also used in the Courtyard.

I created this simple archery target for the Training Area.

...and, for the Barracks, I created this simple bed and chest (i.e., used a Persian rug for the blanket).

I also created this weapons rack for the Training Area, complete with authentic Persian weaponry.

For the Main Hall, I created this fountain with an elaborate Persian mosaic texture.

Also for the Main Hall, I created this wall piece (with texture and normal map)...

...this ceiling piece (with texture and normal map)...

...and this floor piece (with texture map, normal map and specular map). Note: the Persian rug does not reflect the light as does the tile.

I also had the grand idea of retexturing one of the Unreal 3 models, to make it fit with our medieval theme. By the way, I know, I know, the Persians didn't wear full plate male as did the Europeans, but what do you expect?!? I got a model of a guy wearing friggin' Gears of War power armor and he looks like he's right out of Warhammer 40K! I don't think I could pull off transforming that into leather or chainmail with textures alone!

Ahem, sorry about that. Anyway, the sad truth is, after I worked so hard re-texturing this default Unreal 3 model, I was unable to re-import it into the game. Oh well, it was a good texturing exercise. (Did I mention that I did NOT create this model? It is one of the default male models that ships with Unreal 3--I just re-textured it)

Here's a screenshot of the Courtyard.

This is the entrance to the Persian fort (the torches can be shot down)

This is the dining hall portion of the Barracks. After starting the project, we each decided to assume responsibility for one room; Mike Reed selected the Barracks. He wrote script so the light can be shot down to darken the room (to stealthily sneak by guards). In addition, the plates and cups can be shot off the tables.

I assumed responsibility for the Main Hall. I really wanted to capture the dizzying clash of textures that I found in much of my Persian reference imagery. I wanted to make a strong impact on the player as soon as they enter the front door. Also, the patterns could act as a sort of camouflage, enhancing the difficulty as the players battle the guards.

Although I could have matched the blue within the wall tiles to the blue within the columns and floor better, I'm fairly happy with the overall effect I achieved within the room (i.e., complete gaudiness).

Cleanup On Aisle Six project

2008-11-20T22:30:00.000-08:00

WOW, HUGE POST!!! Okay, so this is my first foray into the world of Unreal. Some friends and I decided to do a zombie-based level set in a small rural supermarket. The basic premise is the player's character has been surviving a zombie onslaught in a small town. When his supplies ran low, however, he needed to stop by the local grocery store for some rations in the form of canned goods. While checking off the items on his grocery list, a van tore across the parking lot into a tanker truck; which subsequently exploded, cutting off the character's only escape route. I was responsible for most of the level design elements, environmental art, as well as the creation, texturing and assembly of the BSP map within Unreal. We created almost all of the static meshes placed within the level, only borrowing the RealTree and car meshes that shipped with Unreal. Michael Horton created and textured the vast majority of these custom static meshes. Vincent Walker created some of the more involved (and higher poly) meshes, such as the zombie character and the tanker truck. Octavia Jones rigged and animated the zombie character and assisted with particle effects.

My initial quick sketch of the parking lot and exterior of the store ended up being a fairly accurate depiction of the final level...

Originally, the player was going to fight Big Earl, himself, the former proprietor of this fine establishment, in a "boss"-like zombie battle.

However, we eventually decided to have the player battle hordes of redneck zombies, wearing their signature rebel flag "wife beaters" and tight jeans tucked into their cowboy boots. The zombie character was beautifully modelled by Vincent Walker and lovingly animated by Octavia, but, due to time constraints, we were unable to fully import it into the level. Such a shame...

Here's a nice exterior view of the Earl's Grocery Food and Drug Mart...

...and another view from the other side of the parking lot.

Here's a view of the van/tanker truck collision, with nice particle-based fire and smoke effects.

This is the main entrance to the store...

...with the shopping cart return area. Notice the pig logo has a big chunk missing from his body as he gestures toward a floating ham hock above him. I swear, sometimes Michael worries me...

This is a nice view of the dim, atmospheric interior of the store. A light behind the distant pharmacy counter indicates where the player might pick up some additional health.

Here's one of the many trashed aisles in Earl's Grocery (hence the title). Zombies really don't know a thing about picking up after themselves, do they?

This is another view of the small, obsolete registers used in the store. Note: the yellow boxes are "Bushidos" cereal, which is obviously Michael's doing.

The areas that received the least amount of attention were the bathrooms...

...and the loading dock area, which are both rather boring and plain. However, due to time constraints, sacrifices had to be made.

Overall, it was a great learning experience (and a level that has a lot of potential).

Sacrifice project

2008-11-20T15:42:00.000-08:00

Well, I've been working on some environmental concept art for an Unreal mod called "Sacrifice." The overall concept, as well as the Game Design Doc (which includes the story, characters, level diagram, art asset list, level/puzzle descriptions, scripts, art references, et al.) were created by Daniel Cazan. In a nutshell, the story is this: a Death-worshipping alien race descended on a remote Eastern European monastery built on powerful lay-lines, setting a trap that will open a gateway to the realm of Death itself. This trap involved building a mysterious black dome around the monastery, with internal walls dividing the structure into three "pie wedge" sections; individual entrances lead into each of the three sections. Eventually, the dome-shrouded structure was discovered by local hikers and the military was called in to investigate. The military sends teams into each of three entrances, which simultaneously shut, trapping each of the teams inside. The player's character is the leader of (Green) Squad 1.

As in Gears of War (i.e., the Kryll), the player will discover that being surrounded by darkness is a bad thing. One example is the sunken Library of the monastery. The stairs on either side of the room lead only to darkness and death; only by jumping across the tops of the bookcases (and, thus, remaining in the hazy glow of the alien lights) will the player be able to traverse the room.

The first image that the player will see is the--hopefully--awe-inspiring view of the monastery facade surrounded by the alien dome. The pale, artificial light has caused the foliage to wither and many of the structures are crumbling from neglect. Creepy alien devices cover parts of the building in an aesthetic that is Star Trek's Borg crossed with the mechanisms in Event Horizon (e.g., "heavy metallic, spikey, alien look").

Both of these images basically started as pencil drawings which I scanned and colored using Photoshop. I'm still getting my feet wet regarding the use of color, but I'm fairly pleased with how these images turned out.

Some old doodles...

2008-11-20T06:34:00.001-08:00

Okay, in an attempt to be somewhat discriminating about what I post out here, I've gone back to my old tricks of not posting anything new in ages. So, to whet your appetite until my next big post--which should be in the next day or two, honest!--I've provided a few sketches I've accumulated since my last entry. My next couple of posts will cover my first couple of Unreal levels as well as some early attempts at animation.

Demon Concept

Demon Concept (details)

Alien Concept
Steampunk Character #1

Steampunk Character #2

Electric Eel Creature

The mighty Greek Trireme!

2008-08-27T01:31:00.000-07:00

In continuing my exploration of the world of 3D Studio Max, I decided to delve back into the depths of NURBs modelling as well. Instead of manipulating polygonal objects (i.e., objects with polygon faces composed of vertices connected via straight line edges), I would be using NURBS (Non-Uniform Rational Basic Splines) objects. These are basically objects that are constructed through mathematical curves, like Bezier splines, instead of flat-faced polygons. Recalling an Egyptian galley that I modelled using NURBS geometry in my early foray into Maya modelling, I decided to model a Greek Trireme in 3DS Max!

What resulted is perhaps the most complicated model I've ever created to date. As with the original ship, there are 170 oars divided into three rows (hence the "Tri" in "Trireme") on each side of the ship. Of course, there are also 170 corresponding seats, portal holes, seat braces, et al. as well as a seemingly endless array of internal scaffolding. Using a large variety of source imagery (as well as written research), I attempted to model the ship as historically accurate as possible. I'm happy with the amount of detail that I was able to capture within the moderately high 30,544 polygon range. I credit the low poly number with 3DS Max's spline/surface system, whereby I have complete control of the creation of my mesh through various spline controls.

Here's a nice view of the starboard side. In particular the oars and bronze ram can be seen.

Here's a shot of the bow with another view of the ram. Rams were used to cut large gashes in the hulls of enemy ships as well as snap the oars along one side, effectively disabling them. The three rows of oars can also be seen in this view.

Here's a view of the port side, revealing the rigging behind the dual masts, the steering rudders and the captain's chair.

Here's a view of the stern/aft, revealing a close up of the stylized "fish tail" forming the rear of the craft. This same basic form was also used in the Egyptian galley.

Here's an interior view in which the seats of the top two rowers (i.e., Eretai) can be seen: 31 Thranitai sit along the outer edge of each side and 27 Zygitai sit staggered below them on each side for a total of 116 Eretai on this upper level of the ship. The Thranitai are named after "Thranos," the Greek word for "Deck," and refers to the Parexeiresia railing which hangs over the outer edge of the ship through which the Thranitai's oars are mounted. The Zygitai, on the other hand, are named after "Zygoi," the Greek word for the crossbeams on which their seats are mounted.

Here's a view of the bottom Hold (i.e., Thalamos) of the ship. Here, 27 Thalamitai sit staggered below their brethren on either side of the ship in this least desirable of places. Being on the bottom means that the Thalamitai are both targets for anything falling (or dripping) from the upper deck as well as potential victims of flooding because they are so close to the water line.

Ode to Venger

2008-08-15T12:22:00.001-07:00

Allow me, if you will, a moment to become lost in the fond memories of my youth and pay humble tribute to a favorite villain of mine. If you, like me, were a child of the '80's... feasting on the veritable smorgasbord of truly kick ass cartoons available (G.I. Joe, Transformers, He-Man, Super Friends, The Real Ghostbusters, Muppet Babies--Yeah, I said it! It rocked!--Voltron, Thundercats, M.A.S.K., Silverhawks...the list is endless), then you might remember a little show called Dungeons & Dragons. It was condemned by critics as being too violent and protested by Christian fanatics as being "demonic!"... which means it kicked ass! Now, without further ado...

Venger, o Venger... how I truly miss thee, and yet, how I feared thee as a child.
Not so much for the evil acts you committed, but due to that big, friggin' horn coming out of the side of your head.
Somehow an asymmetrical horn makes you far more intimidating than Tim Curry's Lord of Darkness in Legend.
(2 horns = predictable, 1 horn = loose cannon)

Venger, o Venger... your light gray skin and eyeliner make you the very first "goth."
With your glowing red eyes, vampire-ish fangs and tiny, almost nonexistent (dare I say Michael Jackson-esque?) nose.
And how your strange headpiece always freaked me out...
Does your head actually extend all the way to the back (i.e., Alien-style), or is it just like a long hat?

Venger, o Venger... with your little red armor and your little black, um, shawl...
No one would ever make fun of that gray pleated skirt (due, primarily, to the aforementioned horn).
You would wrap those great leathery wings about you like a warm (albeit slimy) coat...
And you always managed to fly without flapping them, supporting not only your own weight, but your horse's as well!

Venger, o Venger... speaking of horses, you had the best steed in the whole world...
Way cooler than that "Equort" Ookla the Mok rode in Thundarr the Barbarian.
The Nazgûl only wished they had a horse that cool!
But I still can't figure out how you managed to keep that horse aloft by gliding with your bat wings.

Venger, o Venger... all you ever wanted was those li'l bastards' weapons.
How I would secretly root for you when it involved the maiming/death of that annoying Uni ("Maaah! Maaah!!!")
And you get extra cool points for having the same voice as Optimus Prime.
Everyone thought you simply wanted to defeat Tiamat, but, alas, you just wanted a big 'ol hug from Dungeonmaster.

WWII Half-Track in 3DS Max

2008-08-06T09:19:00.001-07:00

In addition to learning Maya as a 3D modeling/animation tool, I figured it would behoove me to learn 3D Studio Max as well. For my first project I modelled an M3A2 Half-Track Armored Personnel Carrier, a sturdy--yet mobile--means of transport for infantry and equipment as well as reconnaissance in World War II. Basically, the body of an M3 Scout Car was fitted with the rear bogie assembly of a T9 Half-Track Truck with a "pulpit mounted" .50 caliber machine gun attached to the top. A .30 caliber machine gun was mounted to the side with another being mounted at the rear. The armor included an adjustable armored shutter for the engine's radiator as well as a folding bulletproof windscreen. In addition, a bumper-mounted roller assembly assisted with negotiating rocky, uneven terrain. Mine racks lined either side of the vehicle and two large equipment racks were attached to the rear.

The model has not been UV unwrapped and textured--only colored using simple shaders. While it is certainly not a low poly model for games (i.e., 15,179 quads), it is not a high poly model as typically used in animation; let's just call it an intermediate poly model which could possibly be used for cutscenes in a game. By the way, I have to say that learning 3DS Max was way more frustrating than I expected. I thought, "Hey, I know how to model in 3D... just need to learn where all the buttons are in Max, right?" WRONG!!! In addition to having a completely different naming convention for everything, in many cases, Max has a completely different approach to various functions. It's like trying to draw with your other hand... you already know how to draw, but you just can't... can't... make it look right?

"Dammit, how do you 'Center Pivot' again?!"

"I just want Maya's 'Split Polygon Tool,' and NOT that accursed 'Slice Plane'... whaddya mean use 'Cut?!'

"Wait a minute, so 'Attach' is like Maya's 'Combine' and 'Detach' is like Maya's 'Separate?'"

"Where' is my 'Attributes Editor?'.... absorbed into the 'Material Editor?!?' ARGH!!!"

"THE Z AXIS IS FRIGGIN' POINTING UP?!?!"

etc., etc., etc.

There's actually still some more detail that I would like to add here, including the small shutters for the bulletproof screens, the hood fasteners, the two side-mounted ladders, the two side-mounted gas canisters, the two side-mounted shovels, as well as rivets galore!

Regarding the rear of the model, there's a rear access door that I should probably model as well as some additional detail on the bumper. The guns and mounts also need quite a bit of work.

I'm fairly happy with the overall silhouette and direction the model is heading. I just need to add in those extra details.

The inside of the truck probably needs the most attention. The seats, floor and "pulpit mount" are all a bit lacking! Hopefully, I'll finish 'er up soon!

Adventuring Space Janitor?!?

2008-06-23T02:06:00.000-07:00

...and, no, I'm not talking about Roger Wilco, hero of the old school Space Quest series. I'm talking about a much older and, er, grumpier janitor... who sifts through the endless refuse of space debris for a rare bit of a strange relic which somehow perpetuates his very existence. Okay, it's a bit of an odd concept... which is why I'll readily admit that it was not mine. No, the author of that concept is Mr. Rodney Allen. For my part, I envisioned said janitor as a kind of futuristic Ponce De León, discovering a "fountain of youth" which disguises his 200 years of existence as a mere 80 or so (perhaps mid 70's with proper makeup and lighting). On the other hand, perhaps this aged janitor has become eccentric over the years and believes this story to actually be true (i.e., Don Quixote), and simply leads a life of adventuring within his mind. Either way, I ended up settling on a Conquistador-esque aesthetic for his suit. The concept was so strange that I felt I needed to go in a more stylized and exaggerated direction to capture the spirit of the concept. Although the story was set in the future, I wanted the suit of janitor to look as old as the janitor himself. I wanted the hints of deep sea diver, conquistador, old hydraulic valves and hoses to reflect a technology that has long since passed into history, yet still functions nominally. I also wanted the rusting, obsolete suit to reflect the lonely and "discarded" feeling the janitor must have. With that said, I drew my concept sketch of the character...

Hydraulic valves assist the janitor in partial and full gravity environments and mag boots allow him to walk across the hulls of space vessels. A custom-built wrap-around converter mechanism accepts pieces of the relic through a small front door, processing the material and utilizing the radiation to prolong the character's life. A "hand jack" (not modelled) breaks larger debris into smaller pieces, while the "graviton grinder" (also not modelled) crushes medium and small bits of debris into space dust. Ah, such is the glamorous life of a space janitor. The finished model was a respectible 3,000 polys (how's that for an even number?).

After creating the normal maps via some Zbrush sculpting as well as the textures, the real character of the, er, character began to come through...

...and, yes, he installed a jet pack upgrade to the back of his converter thingie. You gotta be prepared for anything the the depths of outer space.

Ooh, grab the Tums cause someone's got some space heartburn.

"Obi-Wan never told you... I am your mother."

Okay, I mentioned I was going kind of exaggerated with this, right? Somebody give him a sam-ich!

Normal maps make all the difference with the fine details...

...especially skin textures. Eww, that looks like the worst case of psoriasis I've seen!

Grumpier Old Men... IN SPACE!!!

"...and I would have gotten away with it if it weren't for you meddling kids ...and your friggin' talking dogs!!!" Hey, he must be related to our gang member... same cauliflower ears!

Air Strike Recon Rifle 3!

2008-06-23T00:58:00.000-07:00

Okay, so I wanted to design a unique weapon for a First Person Shooter game. I ended up creating an extraordinarily large rifle that can launch up to three small drones which can be guided via a camera link to a flip-up screen on the rifle itself. I dubbed the weapon the "Air Strike Recon Rifle 3" ( or ASRR-3). The drones can either be used for simple recon work or actual engagement via the mini vulcan chin cannon, mini stinger missiles or payload of 8 rifle grenades. The user can even guide the drones directly into a target, kamikaze style. Heck, if all else fails, the user can simply use the 5.56 mm full automatic integrated rifle. I decked out the weapon in a desert camo, although (obviously), any paint job appropriate to the locale can be added.

Here's a view of the right side of the weapon...

Here's a 3/4 view of the front right side...

Here's a view of left side of the weapon...

Here's a 3/4 rear view with the digital screen up...

Here is a view of one of the drones in folded/packed position...

Here is the same drone with canopy, wings and tail fins extended. Note: the pop down mini vulcan cannon.

Here's a cheesy 3/4 rear view simulated aerial shot...

Wow, another cheesy simulated aerial shot...

Boy, Photoshop sure is fun...

Wish I had compositing skills...

First off, Monsieur Gangster is just there for scale. Second, yes, the weapon is obscenely huge and front-heavy as hell. Heck, even with giant straps, he'd still be taking a nose dive... but within the magical world of FPS games, anything's possible (Redeemer, anyone?). If I suited said hooligan in some absurdly exaggerated Gears of War armor, you'd buy that he could hold it, right? Oh nevermind.

Come to think of it, I think I've actually seen street gangs armed with exotic military weaponry in Grand Theft Auto. Hmmm...

Finally, a super cheesy FPS simulated screen...

...and after launching a drone.

Here's a quick animation of the weapon in action. Note: requires VidX MPEG-4 codec to play.

Lastly, here's a quick animation of one of the drones...

More backgrounds...

2008-06-13T03:48:00.000-07:00

As requested, I am providing more of the backgrounds that I completed for the freelance job that I had last quarter. The first one, representing a Kansas City street scene is my least favorite. I generally like most of the image with the exception of the "Hendersons" store. I just didn't nail the colors (especially the windows). Bah, that one's always gonna bug me!

The next one is a nice, if somewhat simplistic, representation of some barracks in Fort Riley base.

I actually really like the way the Green Zone tent turned out. I think I captured the lighting fairly well.

I enjoyed creating the lush interior of the Iraqi Politician's Home. The sheer, black curtains and fancy inlaid stone floor were the most challenging to create.

This exterior scene of Green Zone buildings was ultimately unused because it was changed to an interior scene. Since the scant reference imagery I received was illuminated by daylight, it was actually very challenging to try to represent the scene at night.

Thuggin' it up!

2008-06-13T02:10:00.001-07:00

Okay, to apologize for not posting anything in a while would be both redundant as well as a massive understatement. However, as with Mark Twain, "...the rumors of my death have been greatly exaggerated!" I am still, in fact, very much alive. So, skirting pleasantries, I figured I would walk straightaway through my process of developing a "gang member" low-poly game character. You know, gettin' back to my GTA roots!

First, I found a few images online and did some quick "research sketches." These were intended to be quite loose, simply capturing gesture, clothing and style...

After doing a few sketches, I decided to give my gang member baggy "saggin' style" jeans with visible boxers, a "wife beater" style sleeveless t-shirt, a do-rag and tennis shoes. For a weapon, in lieu of a bladed weapon or gun, I opted for a good ol' fashioned baseball bat. I then drew a quick turnaround to assist in my modeling effort. Initially, I created a complete "nude" body and modeled the clothing and accesories separately. This initial mesh was a very respectable 1,187 polys (with clothing and accessories bringing the total up to 1,906 polys).

After UV unwrapping all of the pieces, I then composited all of the textures for them using Photoshop. As can be seen, I opted for numerous tattoos and a very stylish pair of plaid boxers.

Hey, this fellow color coordinates with a nice blue bandana ...accents his eyes, don't you think? Um, wait, does that make him a "Crip?"

I also decided to add a bloody texture to the baseball bat, so the viewing public wouldn't mistake this fellow for an MLB team member. Nonetheless, his RBI isn't bad...

Ooh, this guy's a real sourpuss!

Ouch, that tat looks fresh. Someone grab the aloe!

Hey, look everybody, it's Robert Van Winkle! ...and no, Vanilla Ice was not my original inspiration.

I then went back and tweaked the mesh out quite a bit, which caused the geometry to jump up to 3,821 polys. Being less than 5,000 polys, this is still considered to be a low-poly model and appropriate for gaming.

I then UV unwrapped my new mesh objects and imported them as .obj objects into Zbrush for some digital sculpture work. After sculpting all of the desired details, I exported a Normal Map from Zbrush and applied it to my low poly model within Maya. I also recreated all of my textures, matching them to my Normal Map. The resultant model appears to have quite a bit more geometric detail than the original model, but it's still only 3,821 polys.

I obviously decided to do two "sleeve style" tats, in lieu of the more sparse version previously.

Normal maps are great for providing a lot more detail to very simple areas of the mesh, like hands and fingers, for example. Ewww, this guy needs a manicure--just look at those cuticles!

"Puff, the magic dragon... lived by the sea... and frolicked in the Autumn mist... in a land called Honah Lee!"

Hey, you'd be surly, too, if you had gimpy cauliflower ears!

Geez, it's about time you posted something new!!!

2008-03-14T15:06:00.000-07:00

Wow, the posts are sure gettin' sparse lately! I do apologize for my feeble number of posts, but I've actually been quite busy as of late. I actually managed to secure a little freelance job on the side creating backgrounds.
My first background is this Iraqi street scene...

The next series of images is a preview of an exaggerated gladiator character that I'm working on based on concept art by Bryan Wynia. I intend to model some more detail on all of the parts in ZBrush as well as redo the textures, but here's the figure as it stands today...

Each part of clothing/armor is a separate Subtool within ZBrush...

The gladiator body underneath is complete with the exception of feet... well, that and genitalia. He is as smooth as a Ken doll.

I would like to add further detail to the helm and mask, but here's the current look...

I was fairly happy with most of the detail on the face...

THE END

Fun with Z Brush Part 2

2008-02-23T12:47:00.000-08:00

Whew, it's been quite a while since my last post! Well, once again, I dared to venture into the relatively unfamiliar world of Z Brush. First, I created a relatively low-polygon bust in Maya at a respectable 1,430 faces (e.g., the head alone contains 1,114 polys). I could have possibly reduced this number, but I did not want to apply a smooth at the end. Instead, I really wanted the mesh to stand on its own and communicate the form.

Here's a render in Maya with the reference images visible in the background.

For the next step, I created a Normal Map using Z Brush to help capture some of the details, like the folds and wrinkles of the eyes, ears, lips and shirt. Here's another render in Maya with the Normal Map applied. The mesh is the same 1,430 poly bust with which I started, only with a Normal Map added.

For the final touch, I created a Texture Map using the high resolution source images of the subject seen in the background. Unfortunately, due to my poor UV unwrapping skills, there are several areas in which the textures are distorted. However, I definitely learned from my mistakes on this one, and I know that my next attempt at UV unwrapping will be infinitely better.

Here's another Maya render from a different angle. Note how the normal map around the ear reacts to the back light as if the intricate ear geometry actually exists. The actual geometry of the ear is nothing more that a shallow, concave "dish."

Although a normal map can definitely spruce up a model, the 1,430 poly mesh in Maya can't really compare to the 1,464,320 poly bust in Z Brush. For a better look at the glorious detail I sculpted in Z Brush, I've attached a few more screenshots. First, here's the head with a basic material applied.

Next, I've included a shot with the textures applied as well. Ah, you just can't beat the quality of having all those polygons...

Here's a final overall shot. Man, I am really beginning to love Z Brush!

The odd couple...

2008-01-31T21:34:00.000-08:00

...couple of aliens, that is! har har The first one is a rather blatant derivation of one of the Locust Grubs. What can I say? I've been playing a lot of Gears of War for the PC lately. I mainly wanted to give these guys a sense of weight and mass, like the rather heavyset Boomers.
The second is an insectoid alien with tribal trappings. I really wanted to give these guys a distinctive gait due to their toothpick, flamingo-esque legs. I imagine they move in a strange, ostrich-like fashion. Their clothes and weapons reveal a primitive, yet unmistakably intelligent lifeform.

Boy, what a difference Z Brush makes!

2008-01-31T19:32:00.000-08:00

So, in my continuing foray into the world of modeling I have finally discovered Z Brush. With this program, a viewer can be fooled into thinking that the low polygon object at which they're looking actually has a much higher level of resolution and surface detail. For example, I modelled the following arm and hand in Maya at a meager 640 faces.

I then imported it into Z Brush, pumped up the resolution to 655,360 polys and began what can be best described as either 3-Dimensional drawing or true digital sculpting. Using my Wacom stylus and tablet, I was able to add and subtract mesh as a sculptor adds and subtracts clay, before finally sculpting the fingernails and carving all of the intricate wrinkles and folds in all their glorious minutia (we all know I'm a detail whore).

Finally, a "normal map" is generated and exported out of Z Brush: a kind of trompe-l'œil texture map that reacts to light and shadow as if there were actually surface geometry. In reality, however, it's just the same 'ol 640 face arm and hand.

Guillotine tested--psycher approved

2008-01-20T17:46:00.000-08:00

Okay, so I was thinkin' (note to self: need to start doin' more of that)... if the Tech Psychers are using their psychic energy (which I am theorizing is generated from their brains) to control their tech suits, then the ultimate realization of that would be to simply chop off their heads, connecting them up to machines that provide their brains with oxygenated blood. Maybe you could even throw in a couple of injectors filled with hormones, adrenaline, whatever... the point is, they're reduced to being disembodied heads... their conciousness being held in check through sheer force of psychic will . After that realization, I was able to come up with an even weirder design for the tech suit. Muse of the day: Schlotzsky's .

Battle Royale!

2008-01-19T18:50:00.000-08:00

Okay, so I wanted to create this big epic battle, ala Lord of the Rings; The Lion, Witch & the Wardrobe; etc. I imagined this huge vista, like Albrecht Altdorfer's "The Battle of Issus" or even Alan Lee's paintings of the various battles in Lord of the Rings. Anyway, um... this is what I ended up with. Oh well, it was worth a shot. Muse of the day: Steak and Shake.

Oh, one more, just for fun!

2008-01-18T19:12:00.001-08:00

Well, looks like my Quiznos muse theory is faulty because I drew this one in a Firehouse Subs. Maybe "lunch" is my muse or, more likely, "food" (mmm... food). Anywho, I thought I'd try my hand at another Tech Psycher. I imagine them being--how shall I put it?--a bit unhinged and frenzied due to their psychic energy being artificially boosted in order to power their exotic tech suits. I also wanted to capture the fact that they do not need to carry any weapons or equipment because their tech suit, itself, is a weapon. Being an apartment dweller, let me tell you that you wouldn't want them living upstairs from you... very loud music. Er, uh, yeah.

More of the same...

2008-01-17T19:56:00.000-08:00

Well, Quiznos must be my new artistic muse. I drew my first Neo-wizard there, and tonight I drew another one (...all hail the creative force that is the Chicken Carbonara ...with bacon ...mmm!). Anyway, this one is in danger of being recruited by the Warhammer 40K space marines, but--I can't help it!--I love all of the 40k designs! I'll probably followup with another Tech Psycher sans the helmet.

Hail to the King, baby!

2008-01-15T07:46:00.001-08:00

Here's a crappy scan of a portrait of Elvis that I drew for my father-in-law this Christmas, who is--how shall we say?--an extreme Elvis fan. Since my source picture was approximately 4" and the final drawing is around 11" X 14", I resorted to my tried-and-true method for capturing the image: I drew it completely upside down. Yes, I know it's hard to believe, but I find that I have much more accurate results when I draw something upside down (i.e., it confuses the left hemisphere of the brain, so it won't intrude as much). So when I presented it to my father-in-law, he not only proceeds to tell me the performance from which this picture was taken, but pulls out the DVD to prove it! Anyway, here's Elvis in all his clam bake, hunka hunka burning, peanut butter and banana-eating goodness.

More Sci-fi/Fantasy stuff

2008-01-15T06:56:00.000-08:00

I tried to imagine what a wizard, normally associated with a fantasy/Tolkein setting, would look like if placed within a sci-fi environment. First, I designed armor that would provide free range of motion for spells that require physical gestures to cast. Next, I provided a vocal amplifier to enhance the range of spells that require an uttered phrase to be cast. Third, I provided zoom lens/thermal/night vision goggles to enhance the range of spells that require line of sight. I then added pouches for spells requiring physical ingredients and cut the fingers off the gloves for spells that require physical touch. Finally, I created digital spellbook tablets and a wand gauntlet. The armor, of course, would be enchanted using traditional magical methods. Think I played a little too much D&D growing up?

Unlike the Neo-wizard, who draws his power from the outside natural world, the Tech Psycher uses technology to boost his own inner psychic power. While the Neo-wizard uses technology to simply boost his protection and casting skills, the Tech Psycher actually powers and controls his exotic armored suit via psychic power. The suit, therefore, becomes an extension of his own body: an exoskeleton as well as a powerful weapon.

...and, yes, in the future there WILL be huge boots! It's mentioned several times in Nostradamus' quatrains!!!

Sophomore attempt at Maya modeling

2007-12-18T11:35:00.000-08:00

Here's the port side view of an ancient Egyptian galley that I modelled--using a scant amount of reference material, I might add.

Here's the starboard side.

Here's a view of the stern/aft.

This is just a detail shot of the rigging along the main mast.

This is a view of the navigational platform on bow of the ship.

This is a view of steering platform at the stern.

Another view of steering platform.

View from the starboard oar benches.

Joan D'Arc tutorial front view.

Joan D'Arc tutorial rear view.

Joan D'Arc tutorial medium shot.

Joan D'Arc tutorial close up (the hair texture could stand to be higher resolution).

Joan D'Arc tutorial extreme close up (hair texture definitely needs work).

Robots, robots, robots...

2007-12-18T04:48:00.001-08:00

Robot 1 - loosely based on emulating certain muscle shapes via mechanical parts (ballpoint pen).

Robot 2 - based on redesign of assassin droid I created months ago (ballpoint pen).

Robot 3 - organically evolved out of nothing. I dub him: "Ex Nihilo!" (ballpoint pen)

Gothic Horror!!!

2007-12-18T04:38:00.001-08:00

Resurrecting my idea of reenvisioning Dracula as a Japanese Shogun (ballpoint pen).

Another drawing of the Japanese Dracula (ballpoint pen).

Bat/man hybrid (ballpoint pen).

Geisha vampire concubine (ballpoint pen).

Wolf/man hybrid (ballpoint pen).

Spider/man hybrid (ballpoint pen).

Snake/man hybrid (ballpoint pen).

Sylized "ape-like" Neanderthals

2007-12-18T04:30:00.000-08:00

Biblical Cain represented as an ape-like Neanderthal man with fangs (i.e., first vampire)--(ballpoint pen).

Biblical Cain and Abel represented as ape-like Neanderthals (ballpoint pen).

Biblical Cain (ballpoint pen).

Early forays into modeling using Maya

2007-12-18T03:34:00.000-08:00

Swiss Army Knife tutorial render 1.

Swiss Army Knife tutorial render 2.

Jet Bike tutorial render 1.

Jet Bike tutorial render 2.

Human head render 1.

Human head render 2. Since the hair spikes, "soul patch," buttons, et al. were separate objects... I hid them, added a goatee to the face texture and changed the eye color for an alternate render.

Human head render 3. I simply hid the hair and "soul patch" and changed the lighting for a more "hitman" look.

Human head render 4. At this point I just began having fun with the model: changing the color and shape of the "jacket" and "shirt," adding incandescence/glow to the eyes, changed the lighting, etc.

Human head render 5. Again, I made several changes to the jacket/shirt, buttons, increased incandescence of eyes, changed light source, etc.

Human head render 6. Continued messing around with head: changed skin to transparent blinn shader, changed eye color, incandescence/glow, etc.

Old School!

2007-12-18T03:09:00.000-08:00

Perusing the yellowing pages of a '98 sketchbook, I found these drawings I created after reading the Lord of the Rings books--that's right, kiddies, before the '01-'03 movies were made. For some odd reason, I decided to do an age regression for Gandalf. It's not based on anything in the books... just something odd I wanted to do(?).

Here's Gandalf upon entering adulthood (ballpoint pen).

Gandalf as a slightly older man (ballpoint pen).

Gandalf as a middle-aged man (ballpoint pen).

Gandalf as an elderly man (ballpoint pen).

Black rider concept (ballpoint pen).

Nazgul concept (ballpoint pen).

Witch king concept (ballpoint pen).

Random stuff

2007-12-18T02:20:00.000-08:00

This post is best described as "random stuff"...

Character inspired by the poem "The Hollow Men" by T. S. Eliot (Staedler/Pitt pens).

Embodiment of "evil" (Pitt pens).

Dwarf character concept (Pitt pens).

Goblin character concept (Pitt pens).

Concept art for science fiction game

2007-12-18T01:39:00.000-08:00

Lightly armored "psycher" unit--psycher crystals embedded within suit enhance psychic power of soldier. Psychers have access to psy-powers as well as special psy-based weaponry. Psychic abilities substitute for magic abilities within fantasy-based games (Pitt pens).

Heavily armored "tank" unit--no psy-powers, but access to all heavy weapons within game (Pitt pens).

War-torn city is the site of an alien civil war--galactic marines interfere, aiding their ally of choice (Pitt pens).

Makeshift galactic marine bunker established on alien planet--large dropship seen in background (Pitt pens).

Galactic marine tank (Pitt pens).

Alien "tank" (Pitt pens).

Alien mechanized suit (Pitt pens).

Concept art for sci-fi Neo Rome game

2007-12-18T00:40:00.000-08:00

Protagonist and Neo Roman army (Staedler/Pitt pens).

Antagonist and enemy Neo Saxon army of techno-mages (Staedler/Pitt pens).

"Turtle" formation of Neo Roman army (Staedler/Pitt pens).

Indigenous villagers of Green Colony 15 (Staedler/Pitt pens).

Techo-spires of the Neo Saxons (Staedler/Pitt pens).

Protagonist and Neo Roman army(Staedler/Pitt pens, Photoshop color/manipulation).

Antagonist (Staedler/Pitt pens, Photoshop color/manipulation).

Neo Roman control of Green Colony 15 (Staedler/Pitt pens, Photoshop color/manipulation).

Early Environment Concept Art

2007-12-17T23:06:00.000-08:00

Here's a Chinatown environment concept using Sharpie with ink wash.

Easter egg: the Chinese writing is simply repeated characters for animals, such as: dog, dragon, turtle, etc. (i.e., complete nonsense to those who actually read Chinese).

A Chinese herbal shop (Sharpie/ink wash).

A tribal village (Sharpie/ink wash).

A tribal hut (Sharpie/ink wash)

Japanese Dracula's castle (Sharpie/ink wash).

Approaching Japanese Dracula's castle (Sharpie/ink wash).

Throne room of Japanese Dracula's castle (Sharpie/ink wash).