3D - Hardsurface blockout

For this project I decided to utilize a tutorial from a guy named Tim Bergholz (aka Chamferzone). He creates what looks to be a more tactical/modern version of a 357 magnum. I followed what he created for the most part, but kept some parts more basic in order to make sculpting on the gun easier. He also creates attachments for the gun in the video, such as a picatinny rail on the top, I also elected not to make that.

Here's how my blockout has turned out so far, some things are still a rough blockout, and the cylinder is still missing some detail, but most parts are solid.







These are also some of the references that were provided, with exact measurements as well:

3D - Textures/Final Renders

After learning quite a bit last week from Nitin's lighting workshops, I decided to apply that work to my renders of my wasp boio for this round. I also made a easy post process material for this round that creates an outline around the mesh. Here are my final shots:






Here's a shot in completely neutral lighting as well:


And here's a shot using Painter's Iray:

3D - Low poly/UVs/First bake

For this stage, I began by retopologizing the wasp. I first began by breaking parts of the high poly into different pieces, separating the main body into 3 chunks, as well as separating the legs, horn, wings, and eyes. After that I went in with the Retopoflow addon in Blender and created my low poly. In total, the low poly ended up at ~11k triangles. Here is the wireframe:



After I finished my low poly, I moved onto the UVs, and had to redo them several times, as I had to fix bake errors and texel density issues. These are how my UVs came out, with 71% of UDIM space utilized:



And this is my bake result:

3D - Creature full sculpt

From last weeks blockout I further refined the wasp, adjusting proportions based on critiques, as well as adding further details to the thorax, face, and legs.

3D art - creature blockout stage

The concept I chose for this assignment was not one originally put on the pureref, I searched for Lost Bear Studios on Arstation and found this wasp concept from Ratchet and Clank:


I first began by loading in the concept art into the spotlight in zbrush, lining it up as best as I could with the model. The right wasp I mainly used, as it was the concept with the least amount of distortion, although it still had some.


After the model was lined up I used zremesher and spheres to get a basic but clean blockout of all of the forms. Once that was done I started cleaning up some of the shapes and adding further details to the sculpt. This is where the sculpt is at now:

Cannon final

This is my final blog post for the cannon project, it'll mostly be images with some captions. I'm going to go in the same order of images that are listed on the final project submission page. To start, here is my mid gray render of my game resolution model:



This is my final wireframe shot:


UV map:


BPR renders of the final sculpt:




Substance render compilation:


First iteration of textures:


Second iteration of textures:


Maps overlaid over the cannon model:


Product shot in engine:


Artistic shots in engine:






Perforce proof:

Common Art 'A' Stage

For this last pass, I decided to fully focus on furnishing the grandma's house as much as I could, adding in various furniture items and props, as well as finalizing the overall interior and exterior of the cabin.











Here is the wireframe of the house, and the pieces that make up the house (floor is left out since that was done last time):