Common Art 'D' Stage

For this stage I finalized Red's topology, bumping her down from 20k triangles before to 6k triangles now. After finalizing Red's uvs and readjusting her textures to fit with the new topology, I handed her off to Elijah to rig.



Since I noticed we didn't have any props made yet for granny's house, I started creating props to fill the space; a chair, a bed, a bookshelf, an armoire, a chest, and a fireplace. They don't yet have textures or finalized uvs, and the fireplace still needs to be adjusted to fit properly within the scene.

Cannon upres + UVs

For this part of the project I transferred over to Blender for ease of use for uvs and subdividing/beveling my model. I first started off with making proxy uvs, utilizing mirroring and uv packmaster to get the most out of my uvs. Padding is 16px for a 2048 x 2048 texture map.

These are what my proxy uvs look like, the 2nd UDIM consists of mirrored parts of the cannon.


Using a texel density checker addon for Blender, I got these results:


After I finished my UVs, I moved onto upscaling my model, adding on subdivision modifiers and a bevel modifier in Blender to get crisper edges. This is the wireframe in Blender of my upscaled model:



Once my model was ready to go, I then imported it into Zbrush, here is how it looks in Zbrush:


Additionally, here is how the cannon looks imported into Unreal:

Common Art 'F' Stage

For this stage in the creation of our common art experience, I was tasked with creating a blockout of our main character: red riding hood. I chose to poly model rather than sculpt out the character, as I felt it fit better with our selected art style.

Here is the wireframe of Red, she is 19,496 triangles.


Here is Red in engine with a mid-gray material:



I did also do textures for Red in Substance, there was no high -> low baking involved as I just used the model I had made.

This is Red in engine with her textures:

Cannon Blockout

For this weeks assignment I blocked out the cannon and imported it into Unreal, making a basic lighting setup for later renders. Here is my render in Unreal:


Here is my wireframe render, done in Blender:

The cannon is currently 2,722 triangles.

This is my attempt at camera matching in Maya, I unfortunately could not get fspy to work properly with Maya.


Here is the reference I used:

Stickers!

Printed out stickers:



Sticker design:


Cricut design layout:

I decided to make a new pass over of my design from the shapes around. I decided to do something a little silly, and make the colors of the wolf the same as death from puss in boots 2! :] I think next time I try printing these I'll definitely need to lighten up the colors though, some of them got darkened to the point of their visibility being low.

Wayfinder chest pt. 3

Base color only render:



Full render with lighting:

Base color render with wireframe:



UVs (2048 x 2048 texture):




I had a lot of fun with the end part of this project! Unfortunately I couldn't go back and sculpt in some of the details that I missed, and some areas were not fully touched painting-wise. My uvs look a little odd because some of the chest parts are mirrored, such as the antlers, head, and legs. Definitely planning on coming back to do more polish later if possible!

Animation State Machine

To start off the assignment, I created my animation and character blueprints for the Quinn character. Most everything was already set up, such as the input mapping. The only input that wasn't fully functional was the jump function, and I set that up using enhancedgameinputs and called it in the character blueprint.



After everything was setup, I created the state machine, adding conditions for idle to jump and back, run to idle, etc. Jumping utilized the isFalling variable I created in order to tell if the character was in a falling state or not.



Here is a video of everything working!

Use of Composition assignment

Starting from a screenshot I got within one of our LD's blockout maps, I then matched up the camera of my screenshot to the camera in Blender using fspy.





Once I imported my fspy camera, I began blocking out my composition by importing Gabe's wolf totem to use as a marker for the teleporter. After this I created trees that could be placed around the area, added lighting, and used Blender's cycles render engine to get my results:



Then I took my render into photoshop, coloring over it, sticking more to Journey's style of simplistic, toon shading.