Crate Sculpt/Polygroups

 

Beauty Shot

Material IDs

W/O Lid

    For my crate, I decided to focus on carving out wood planks and adding scuffed details to the metal. For the planks, I used the DamStandard brush at 10 and 12 intensity, and increased the gaps in the planks with the reverse ClayBuildup. For the metal, I used the TrimDynamic to add scuffs, and added additional depth with Flatten.

Week 02 - Use of Silhouettes

 

Slide 5: Tinkerbell Silhouettes

    For this step in our group project, I worked on eight conceptual silhouettes for our version of Tinkerbell. I had started with something more human-like, but after feedback from the team revised it with a more animal-focused view. Because of her connection to nature, I focused on bugs(particularly moths), flowers, and mushrooms. From left to right, I created a progression of more bug-like to more plant-like designs. One big goal with mine was to create a shape that looks like something else, but could reasonably hold a head and wings.  Adding antennae and details was a favorite part of mine, along with referencing Hollow Knight NPCs to follow a similar theme.

Assets in Perforce:

UE5/Perforce Basics- Fantasy Town

 For this assignment, we were tasked with migrating asset packs in Unreal and laying them out. I focused mostly on the provided Fantasy House pack, working to create a Medieval Village. I used walls to extend just beyond the player's view, as a game would. For the required other asset pack, I brought in a rock pack and scattered them around the scene.

Perforce Proof:

Crate Blockout

    For my blockout, I decided to create a cross-section style with bolts. I'm aiming to turn this into something medieval, and chose to use larger planks on the inside to later deform and sculpt into.

Assets in Unreal Engine 5

Proxy Model:

Beauty Shot

Wireframe

Blockout:

Beauty Shot

Wireframe

Week 01 - Use Of Reference

 

Slide 2: Game Synopsis & Elevator Pitch

    For our group project, I worked with Kevin Wang to create a game summary, elevator pitch, and choose a captivating image for our board. To start, we both wrote a game summary and elevator pitch, then worked to combine them. After meetings with our whole team to review and get feedback, we continued to iterate a few times before getting to our final result. Kevin worked more on the summary, while I worked more on the elevator pitch. After discussing ideas for the image, I found our movie still from Disney's Peter Pan to use for our board. 

    I also ended up creating the template for our boards, choosing fonts, colors, and borders to try to fit the theme of our game. I had assistance from Channen Macom to lay out the pieces aesthetically before sending it out to the team to use on their own boards.

Assets in Perforce:

Inanimate Object Animation - Flour Sack

 

Meet Mat

 

For my Meet Mat character, I decided to create a statue covered in moss. I was inspired by Greek and Roman statues, and the smaller garden statue replicas of them that can be bought. The positioning of the vines also reminds me of how plants grow on a garden trellis.

For creating the texture, I started by using two fill layers with slightly different shades of the same hue. I created a dirt generator on the lighter color, and used a linear gradient to transition them. For the moss, I used a fill layer and a black mask to draw on specific spots where the moss would most naturally grow over time. I added a blur filter, and used the same fill layer and black mask technique two more time with slightly lighter colors to create depth. I added a height slider to each layer and raised it slightly. Finally, for the vines and leaves, I used paint layers and height to raise it off the model as much as possible. I increased roughness while keeping it less than the roughness of the statue itself. For the leaves, I added two fill layers and a black mask to add shading and highlights, and added a slight blur. for the stems of the leaves, I used a darker paint layer with negative depth. I used a filter to add a stylization of slight brush strokes to all of the plants along with a drop shadow of the vine and leaves. Each section of the model was able to follow the same routine with slight adjustments for the placement and dirt levels.