Premise | Character Concept Art & Matte Painting

After much consideration what colour I should use for both of the character, I ended up choosing 1 and 5 respectively. To have a better understanding how they will look like in detail I decided to draw them with a certain pose. In addition to that I made a fitting matte painting for each of the characters. Last but not least I came up with the title "Long Way Home" for my Premise project.

Sculpting class #5 | Defining details (Part 2)

Adding several other details including hair, ears and eyebrows just to mention a few the sculpting class is comming to an end. I did my best and I think I managed to capture the form of my model really well. To finish off our sculpting class our teacher will bake the sculpture so we can take the end product home as a memory of the sculpting class.

Maya #52 - 3D Animation | Movement Extremes

Maya #51 - 3D Animation | Phonetics

Maya #50 - UV Layout | Body & Exporting Maps (Part 2)

Maya #49 - UV Layout | Head & Head Details (Part 1)

Sculpting class #4 | Defining details (Part 1)

During our previous sculpting class we were asked to add small details and fix some minor mistakes. This time we were tasked to add even more details to match our model. I slimmed down the nose, refined its cheek and jaw bones and fixed the space between its eyebrows to give it a more natural and realistic look. In addition, I started to give the sculpture its missing hair as well, however, it is not completed yet and need some fine tuning. As for the upcoming class I shall add the ears, eyebrows and tweaking the hair.

Maya #48 - Lighting & Rendering | Caustics

Maya #47 - Lighting & Rendering | Motion Blur

Maya #46 - Lighting & Rendering | AOV's

Maya #45 - Body Modelling | Hands & The Final Model (Part 6)

Maya #44 - Body Modelling | Gloved Hands (Part 5)

Maya #43 - Body Modelling | Legs & Boots (Part 4)

Premise | Character Turnaround & Orthographs

After my initial sketches for my Premise characters I decided to add even more details to them such as personalized ornament patterns and additional accessories including the patterned gloves fitting the winter theme of the story and for the male character the bands on his back making him feel more "out of this world". Then I created the turn around for those characters for a better understanding how they will look like precisely. 

As for the colorization, I chose to go for monochromatic colour schemes since I want my characters to have a more simplistic look. I tried many colour schemes and ended up choosing the red-purple for the female and the darkblue-green scheme for the male character. I then tried various combinations of the colors on the actual characters and came up with the ones shown below numbered 1 to 8. I must say as my personal favourites I would go for number 4 for the boy and number 7 for the girl which in my opinion would match really well together. 

As my final step before moving into modelling I created orthographs for the characters as well. They are created in Illustrator with fine, clean lines and less details than the character turn around to keep a clean image of how the character model should look like without  the additions.

Maya #42 - Lighting & Rendering | Displacement

Maya #41 - Lighting & Rendering | Fog (Legacy) & Atmosphere

Infographics | Updated

After revisiting the title sequence, fixing some minor mistakes and replacing  the beginning entirely. Instead of having the formulas slowly going into places which caused an immense render time I have now in total three layers with several formulas written on each of them. Additionally, I changed the opacity of each layer to create this "sense of depth" effect instead of using the 3D AfterEffects camera. The beginning is intentionally created as a slow-paced sequence to fit the underlying music. It might not seem as a perfect/complete piece of work, but I am quite pleased with the results I have achieved so far.

Sculpting class #3 | Rough Blocking (Part 2)

In today's class I was focusing on the second part of rough blocking as well as correcting and improving some minor inperfections such as the distance between the eyes, general facial features including adding the mouth and the eye lids and of course I gave the sculpture's throat area a little bit more detail.

Magazine Article | Matte Painter

Bibliography:
Mon, S. (2017). Everything You Need to Know to Become a Matte Painter. (online) Available at: https://magazine.artstation.com/2017/04/matte-painter/ (Accessed on 03/04/2018)
White, M. (2017). Techniques of a matte painter. (online) Available at: https://blog.photoshopcreative.co.uk/blog/interviews/techniques-of-a-matte-painter/ (Accessed on 03/04/2018)
Thacker, J. (2016). 10 Tips for becoming a better digital matte painter. (online) Available at: https://www.gnomon.edu/blog/10-tips-for-becoming-a-better-digital-matte-painter (Accessed on 03/04/2018)
Maher, M. (2015). Visual Effects: How Matte Paintings are Composited into Film. (online) Available at: https://www.rocketstock.com/blog/visual-effects-matte-paintings-composited-film/  (Accessed on 03/04/2018)
Agarunov, E. (2010). The History of Matte Painting – Basix. (online) Available at: https://design.tutsplus.com/articles/the-history-of-matte-painting-basix--psd-10322 (Accessed on 03/04/2018)

Illustration List:
Traditional Matte painting. At: https://mattmulcahey.files.wordpress.com/2014/11/carpenter-2.jpg?w=1200  (Accessed on 03/04/2018)
Oz the Great and Powerful. At: http://conceptartworld.com/wp-content/uploads/2013/03/Oz_Great_Powerful_Concept_Art_Nicholas_Hiatt_14b.jpg  (Accessed on 03/04/2018)
Mate Painting Process. At: http://www.zodotcom.com/2d/castle/castle_matte_progress.jpg (Accessed on 03/04/2018)