2D and 3D Concept Pipeline List

This is the list for the 2D and 3D Concept Pipeline for Character No. 3, and this is also based on the gathered research from DVD lectures/tutorials, books, and magazine articles about existing artist's character design process in this concept art methodology.

• 2D Character Silhouettes in Photoshop.


• Rough detailed concepts in Photoshop or Sketchbook.


• Rough 3D base mesh from Maya or ZBrush.


• High Poly mesh of 3D character in ZBrush.


• Colour and texture tests on render image of character in Photoshop.


• Multi Render Pass from ZBrush.


• Composite final render image of 3D character from Photoshop.

Project Tasks 9

• 31/03/11 (refined) - Create 2D and 3D Concept Pipeline, continue with prop modelling in Maya, and choose one of the two concepts towards high sculpting work in ZBrush.


• 01/04/11 (refined) - Create two costumes for the chosen character concept from Maya and export the grouped meshes in ZBrush for high poly sculpting developments.
  


• 04/04/11 - High detailed sculpting on Character No. 2 with chosen costume, begine colour tests with 3D PolyPaint (also in ZBrush), and redraft section 2.1 for Chapter 2 in dissertation.


• 05/04/11 - Finish 3D colour tests and final polished 3D character in ZBrush, and redraft section 2.2 for Chapter 2 in dissertation.


• 06/04/11 - Polish 3D character in ZBrush with props and chosen colour.
  


• 07/04/11 - Redraft section 2.3 for chapter 2 in dissertation, create rough draft for Learning Contract, and finish final 3D developments for Character No. 2.

• 08/04/11 - Meeting with Gordon (technical supervisor), redraft section 2.4 for chapter 2 in dissertation, and begin with Character No. 3 developments.

Meeting with Academic Supervisor 31/03/11

In this morning meeting, I've shown Lynn my current developments for my monster character all in 3D, and she then says that I've made a lot of progress with my 3D character developments (which was a good sign for my project). I've also explained to Lynn that I haven't yet redrafted my dissertation, and will continue to work on the dissertation in the next two weeks, even if I work on each section of the chapter in at least 4 days in a week while I work on my practical work for my project. As for the issue about UDK, I've told her that I've decided to just leave out the UDK developments because it has nothing to do with my project research in exploring the concept art methodology, and also that it could jeopardise my development process for my fouth character. All I need to focuse on for my fouth character is the UV/Normal map projection on the low poly mesh as part of practicing my modelling skills in creating 3D characters for games. So over the next two weeks until our next meeting is the following action points that I need to work on:

• Contact Ethics people about consent form.


• Refine dissertation draft (aim for one section for each 4 days).


• Send copy of dissertation to Lynn on 18th April.


• Finish Character No. 2 in 3D (also consider costumes).


• Create 2D and 3D Concept Pipeline.


• Begin developments for Character No. 3.


• Create draft for Learning Contract and email it to Lynn on 18th April.

2 Rough 3D Concepts in ZBrush

This afternoon, I've got started on developing the rough detailed meshed on the two chosen designd from the eight silhouettes (Silhouette No. 3 and No. 7).
I've firstly made some updates on their zspheres to make them look better and suitable in their own appearances, especially the hands as I've increased the zspheres size.
When the updates were done, I then move on to forming the rough meshes for each chosen concept by using ZSketch on their zspheres as a sculpting method to create rough meshes (including the formation of the character's muscle structures). Through this, I found it very effective to develop, and with my graphics tablet, I can simply create the extra meshes on the character's original zsphere mesh with smooth and precice with thepressure sketch sensivity (acts like a pencil to draw lightly or hard on the surface).
Finally, I then set both the zsphere character forms into a base mesh, and worked on smoothing and adding more meshes to the character in their high subdivision forms (subdivision level 3).
I still need to add some props from Maya, such as cloths and a weapon (in low poly forms) for the two meshes in ZBrush, and see which of the two rough designs I will go for towards highly detailed developments.

Rough Monster Character No. 1 (Silhouette 3)


Rough Monster Character No. 2 (Silhouette 7)

3D Silhouettes for Character No. 2

Today I've successfully created eight different 3D silhouettes from ZBrush with the use of the ZSphere tool to create these meshes for Character No. 2. I've found this process easy and ideal to reuse the original mesh to create different versions of the character silhouette in 3D.

Original Base Mesh

Mesh Silhouette No. 1


Mesh Silhouette No. 2


Mesh Silhouette No. 3


Mesh Silhouette No. 4


Mesh Silhouette No. 5


Mesh Silhouette No. 6


Mesh Silhouette No. 7


Mesh Silhouette No. 8


Like the concept process for my 2D character, I'll need to choose the two silhouette designs out of the eight for rough sculpting work along with the props modelling in ZBrush and Maya.

Project Tasks 8

25/03/11 - Work on 3D mesh silhouettes in ZBrush.

28/03/11 - Rough sculpting on chosen two mesh silhouettes.

29/03/11 - Refine chapters in dissertation draft.

30/03/11 - Continue with sculpting work on mesh in ZBrush, and prop modelling in Maya

31/03/11 - Meeting with Lynn, and begin with colour tests using 3D poly paint in ZBrush.

01/03/11 - Polish final model with chosen colour and set in an action pose for turnaround animation.

3D Concept Pipeline Refined

This is a refined pipeline into a more creative approach for the 3D concept process towards developing Character No. 2.

• Mesh Silhouettes in ZBrush.
• Rough sculpt on two chosen silhouettes in ZBrush.
  
• Prop modelling in Maya.
• High detailed sculpting on chosen base mesh.
• 3D Paint in ZBrush (colour tests).
• Final detailed model in action pose with turnaround animations.

Meeting with Academic Supervisor 24/03/11

In today's meeting, I've showed Lynn my finished 2D character and my current 3D mesh from ZBrush. Lynn then reminded me that I shouldn't be woried about the topology process for my monster character as she reminded me that my project is al about exploring into different creative design for game characters. So what she strongly suggests as an action point, is that I would need to firstly think about the restructuring the 3D concept pipeline in creative design only and have no technical process in the pipeline list from topology to normal mapping. And then continue with the 3D concept developments for Character No. 2 in ZBrush or Maya.

As for my first dissertation draft, she gave me some feedbacks about my first two chapters, and suggests that I would need to refine my quotes along with creative thoughts and arguements about any subject along with samples of images in each chapter of the dissertation. I'll also need to include some other quotes and samples of images from other concept art from traditional paintings towards animation developments rather than just focusing on game art (to help support any arguements or thoughts to each chapter).

For to recap, I'll be working on the following action points until my next meeting with Lynn:

• Work on creative 3D concept pipeline.
• Refine dissertation draft.
  

Developments for Character No. 2 in ZBrush and Maya

In the past two days, I've been working on the first stage of modelling my monster character's base mesh with ZSpheres in ZBrush. It was easy and very simple to do rather than modeling the mesh in Maya, and I was even able to export the mesh from ZBrush into Maya with the GoZ button (one of ZBrush's handy features for exporting models into other 3D applications).

First Base Mesh made from ZSpheres in ZBrush (above).

When the first mesh was done, I got to work on re-topology process for mesh in Maya, and I then encountered some problems with the topology for the mesh's hand as I've found it very difficult to do. So I then decided to go back to ZBrush and rearranged the ZSpheres, especially the hand area, and then go over the exporting procedure again back into Maya. Eventually, I've managed to sort out the hand issue, and I then worked on topology in the other areas of the mesh model (e.g. foot, chest, and back). Though the process was long and very challenging to work on, but I did learned the procedures and problem solving during the re-topology work on the mesh in Maya.

Mesh in Wireframe view from Maya (above).

As soon as the first topology work was done, I then exported the model back into ZBrush, and made some extra topology work on the base mesh (e.g. the basic muscle structure on the arms and legs). I also created a turnaround animation of the mesh in ZBrush with the 'timeline' tool to show the overall mesh at this stage. It's very simple to work on, and the timeline tool in ZBrush can be a big advantage for creating a turnaround animation towards the finished model instead of doing it in Maya.

Turnaround Animation of Base Mesh in ZBrush (above).

Character No.1 Completed

Yesterday, I've finally completed my robot character design in Photoshop with some textures, shading, and also created a suitable background to place the character in.

Evaluation of the 2D Concept Process

I first found it really quick to work onto 2D completely. From creating different character silhouettes for exploring different proportions towards creating rough designs with colour in Photoshop with a graphics tablet. I also then moved on to drawing the detailed character based on the chosen design from the roughs, and scan the drawing into Photoshop where I then worked on colour blocking directly onto the scanned drawing during the colour test developments.

When colour tests were completed, I then finalised the design with texture and shading onto the chosen colour scheme in Photoshop to make the character stand out.

So overall, working completely in 2D is very quick and efficient towards developing characters. However, I feel that it would be really handy to have a 3D rendered image of the detailed character to help with the texture and shading work in perspective instead of a scanned drawing. I'll keep this in mind towards the hybrid concept developments for the third character.

2D Pipeline evaluations

1. Silhouettes: Quick and more efficient to explore the character's proportions and characteristics. It can also be used as main structure towards rough concept stage with colours in Photoshop.

2. Rough Details: Also quick to work on for developing rough details in colour over the two chosen silhouettes. Reasons for choosing the two silhouette designs out of the eight versions was because of not only their unique characteristics, but because of the process that can again be quick and efficient to develop further concepts all in Photoshop.

3. Detailed drawing and Colour Tests: For this, I've decided to draw the detailed design on paper and scan the drawing into Photoshop for colour tests. It's more suitable for me to work on instead of drawing the character directly in Photoshop as I'm more experienced on drawing characters traditionally than digitally. The colour tests had also gone smoothly as I can paint over the drawing and create up to 5 different versions, and it's also time saving this way.

4. Final Detailed Design: The same approach as the colour tests. Draw another detailed character concept in an action pose, scan the image, and paint over the drawing including shading and textures until the artwork is complete in Photoshop.

Project Tasks 7

14/03/11 - Meeting with Lynn, and gather references on 2D Concept art and Artists.

15/03/11 - Finish 2D Character in Photoshop.

16/03/11 - Gather references on 3D Concept Art and Artists, and start working on 3D base mesh in Maya or ZBrush.

17/03/11 - Write up rough draft about case studies for 2D Concept Art in Dissertation.

18/03/11 - Write up rough draft about case studies for 3D Concept Art in Dissertation.

21/03/11 - Continue with 3D concept developments for monster character in ZBrush.

22/03/11 - Work on topology for character's base mesh in Maya.

23/03/11 - Continue with topology work in Maya.

24/03/11 - Meeting with Lynn.

3D Concept Pipeline List

Based on the feedback from my online post about asking what the 3D concept pipeline list should be set out as for game character modeling in ZBrush Central, and also from other sources in books.

3D Concept Pipeline List

• Base Meshes from Maya or ZBrush.
• Sculpt Hi Poly in ZBrush.
• Project Hi Poly model to base mesh (Low Poly) in ZBrush, Maya, or xNormal.
• Polypaint colour, textures in ZBrush.
• Export UV/Normal maps from ZBrush.
• Edit textures of UV/normal map in Photoshop.
• Import textures to base mesh in Maya.

Meeting with Academic Supervisor 14/03/11

In the afternoon meeting with Lynn, we've been discussing about the previous feedback's from my Crit presentation about UDK, and my development work on my first character. We also had our discussions about the 3D pipeline list that I've created based on some references gathered from books and my "3D pipeline" post in ZBrush Central.

Until our next meeting, I'll need to do the following action points

• Finish off my 2D character in Photoshop.
• Write up a rough draft of the first two case studies in my dissertation and email it to Lynn before next Thursday.
• Begin the 3D concept work for the second character along with a few rough 3D base meshes.
• Consider case study on Artists who works with 2D and 3D concept art.

Crit Presentation

Before my Crit Presentation, I've managed to complete the color blocking work on my final robot character in Photoshop (colored over another scanned drawing of the character's action pose). The character juts needs some shading and texture work over the next few days before I can proceed to the next character concept work completely in 3D.

Meanwhile, my Crit Presentation went well this afternoon, and I then recieved some feedbacks from the three tutors about my current development work featured in the presentation.
The first feedback was about my UDK plan chart as they say that I really don't have to worry too much about the UDK work, and stick with focusing on exploring into the different concept art methodologies towards my character developments. The other feedback was about advising me to take notes during each concept pipeline process for each character development work in order to gain enough data towards writing the dissertation.

So I need to again focus on finishing my robot character in Photoshop, list the 3D concept art pipeline, and then get started on the second character developments in 3D space.

2D character developments: Color Tests 3 (updated), 4 and 5

These are the extra color tests that I've managed to work on this evening including version 3 (the updated color test), version 4, and version 5 from Photoshop.
I now need to finalise the design by drawing the character in an action pose, scan the drawing into Photoshop, and finally apply the chosen color (from the five test versions) with shading and textures.

Color Test 3


Color Test 4


Color Test 5

Meeting with Academic Supervisor 08/03/11

My meeting with Lynn this afternoon went well as I've talked about my current progress with the 2D developments for Character No.1, including color tests from Photoshop over the scanned drawing.

I've also discussed about organizing the dissertation structure, plans to create a 3D concept pipeline list, reviewing over the Learning Contract, and also about recieving a first responce in my forum topic from ZBrush Central along with very good thoughts and suggestions from the participant user.

After discussing about today's agendas, we then went through the next action points that I'm required to work on until our next meeting arrangements:

Agreed Action Points

• Two more color tests for the 2D character in Photoshop, then work on drawing the character's action pose, and scan the drawing into Photoshop for final color/shading and texture work.
• Write up 3D pipeline list.
• Review the Learning Contract, and begin to work on the contract with the aims and objectives.
• Begin the dissertation content.
• Discuss the project title for next meeting.
  

2D character developments: Color Test 3

Another color test for my robot character from Photoshop in NYPD (New York Police Department) style. I now need to decide if I want to continue with more color tests for this character, or choose one of the color concepts for the final details and shadings in Photoshop.

Project Tasks 6

07/03/11 - Continue with Showcase Invites developments, and continue with color tests for robot character.

08/03/11 - Meeting with Lynn, lead Crit group, and work continue with 2D concept developments.

09/03/11 - Create Crit Presentation in PowerPoint, and sketch the 2D character action pose.

10/03/11 - Start writing dissertation, and finish the PowerPoint Presentation for Crit Presentation.

11/03/11 - Crit Presentation, create the 3D concept pipeline list, and Photoshop work on final 2D character (textures/shading).

Modeling/Animation/UDK Gantt Chart

This is another Gantt Chart which mainly plans out the process for the 4th character. It includes plans in modelling/texturing, character animations (for the animator to do), and also going through render and animation tests in UDK.

Modelling/Animation/UDK Gantt Chart

2D character developments: Color Tests 1 and 2

The first two of the color tests for my 2D robot character in solid color. They're also based on some references of color coded police cruisers/entercepters just to make the character stand out better.

Color Test 1


Color Test 2

xNormal Application

I've found an interesting texture application called "xNormal". It's a handy textur projection application that can easily generate normal / ambient occlusion / displacement maps, and it can also project textures from a high poly mesh onto a low poly mesh. It could be a great use for me to use during the texturing stage on my 4th character before the UDK render tests, and it's also free to download. So it's worth trying this application out and learn the basics.

2D character update

My detailed drawing of the robot character has been completed since yesterday. So I now need to simply scan the drawing into Photoshop, and then get started in doing some color tests before I would choose one of them and apply the final shading to the 2D character and also evaluate the results.

Update on Meeting with Gordon and 2D pipeline list

This afternoon, Gordon was unable to have a meeting with me as he has important scheduals to attend to, but he did say that I can simply email him if I gave any questions, or have any 3D work to show him and gain any feedbacks about them.

So while I email him to ask about the process for 3D concept pipeline, I've came up with a suitable 2D pipeline list based on the resources that I've explored into from existing artists in books, magazine articles, online, and even from DVD lectures/tutorials.

2D Pipeline

1. Silhouettes.
2. Rough concepts (few chosen from the silhouettes).
3. Detailed design in drawing form (sketchbook).
4. Color tests in Photoshop.
5. Final design in Photoshop.

Topic Posted in Online Forums

This afternoon, I've finally managed to post my first topic about the "Concept Art Methodology theory for 3D game characters" (also the title of my topic) in the first two online forums:

• ZBrush Central.
• Game Artisians (a newely discovered and suitable forum to post my topic since it's about 2D and 3D game art).

So now I just need to wait for any members who would like to respond and participate in this online discussion group, and help me with my project's research towards writing up the project's dissertation.

ZBrush Central Post: http://www.zbrushcentral.com/showthread.php?t=108591

Game Artisians Post: http://www.gameartisans.org/forums/showthread.php?t=19165

Meeting with Academic Supervisor 01/03/11

From our afternoon meeting, we talked about how I got on working between with experimenting in UDK and developing my robot character completely in 2D. And I've talked to Lynn about how I've explored into the basic structures for the dissertation based on one of the last year student's dissertation (from the Blackboard system).

We then discussed about the action points that I am required to focus on until our next meeting (probably by sometime next week).

Agreed Action Points

• Create a rough dissertation structure in a Word Document along with samples of quotes/references in each chapter.
• Continue with 2D work on the robot character in sketchbook, and work on color tests for the 2D character in Photoshop.
• Finish the poster for hiring an animator and hang them up in the Whitespace area.
• Make a 2D and 3D pipeline list along with details about each task in the pipeline.
• Create a UDK development plan for April.
• Discuss the Learning Contract in next meeting.

So for the next few days, I need to stay focus on my 2D character developments as strongly advised by Lynn and avoid spending too much time in UDK (but instead explore in UKD on my spare time from my character developments). I also need to get started in writing up my rough dissertation draft (mainley the structure), and begin posting my topic on the limited online forums based on my final draft of the 3D concept art theory topic, in order to gather any participants to join in the discussion group and hopefully gain some feedbacks about my project's research question and theory.

Dissertation Notes 2: Quotes/References

Quotes 1: 3D Artist Magazine: Issue 26, 2011, Image Publishing.

"A lack of fundamental design knowlege, I believe, is the core weakness of most 3D work online."
Scott Robertson, 2011, Faster, Better, Stronger: Strengthen your Designs, P. 32."

"Photoshop with a Wacom tablet is my go-to setup for all my concept artwork, but nothing beats my trusty pencils and paper."
Chi-Wai Lao, 2011, Behind the scenes of Dead Space 2, P.40.

"experimenting in 3D offers more possibilities than 2D. In the end it's the sketch that needs to carry the qualities-the final production should only affect the look."
Mark Gmehling, 2011, Abstract absurdity, P. 50.


Quotes 2: d'artiste: Concept Art, 2007, Ballistic Publishing.

"The best way to teach yourself these skills is to get away from your computer, and work on your sketchbooks!"
George Hull, 2007, George Hull: The Artist, Breaking into concept art, P. 11.

"For this, I think the computer offers little or no advantage."
George Hull, 2007, George Hull: The Artist, Development, P. 11.