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4.11.2023 - 13.11.2023 (Week 2 - Week 12)
Loh Qiao Yin / 0348923
Environment Design/ Bachelor of Design in Creative Media / Taylor's
University
Project 1
[Exterior and Landscape Design]
INSTRUCTIONS
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TASK
3D Blockout
After fighting hundreds of demons sketching all the varieties for each asset and exploring the colours, I had to overcome the hurdle of doing the lineart for my chosen composition. I understand there is zero tolerance for slacking on perspective as it will come back to bite me in the butt if it is wonky, and I could not imagine if I have to fix the perspective after I have coloured and done the shadings (*Foreshadowing that happened for my vehicle interior LOL). This is a stage where I am allowed to be a perfectionist. So, as all beginner artists would do, I laid out the perspective guidelines to check all the parts and start fixing them. In short, things did not work out doing it manually despite my best efforts as things got confusing for me. It was like I know but suddenly I don't know.
After much hesitance, I put my trust in Blender and invested the time in blocking out the buildings in 3D to form the composition. What was promised as a "blockout" turned into an almost complete piece as it got therapeutic repeating the action of inset and extruding. Boom, I spent 6 hours on 3D. The situation is exactly like how my family says they will spend half an hour in a store but end up spending half a day. Well, at least I improved my modelling skills and now my perspective is absolutely foolproof. It proved to me spending time in 3D blockout WILL pay off.
Final Submission
3D Blockout
After fighting hundreds of demons sketching all the varieties for each asset and exploring the colours, I had to overcome the hurdle of doing the lineart for my chosen composition. I understand there is zero tolerance for slacking on perspective as it will come back to bite me in the butt if it is wonky, and I could not imagine if I have to fix the perspective after I have coloured and done the shadings (*Foreshadowing that happened for my vehicle interior LOL). This is a stage where I am allowed to be a perfectionist. So, as all beginner artists would do, I laid out the perspective guidelines to check all the parts and start fixing them. In short, things did not work out doing it manually despite my best efforts as things got confusing for me. It was like I know but suddenly I don't know.
Fig 1.1 Fixing perspective, 30 October 2023
After much hesitance, I put my trust in Blender and invested the time in blocking out the buildings in 3D to form the composition. What was promised as a "blockout" turned into an almost complete piece as it got therapeutic repeating the action of inset and extruding. Boom, I spent 6 hours on 3D. The situation is exactly like how my family says they will spend half an hour in a store but end up spending half a day. Well, at least I improved my modelling skills and now my perspective is absolutely foolproof. It proved to me spending time in 3D blockout WILL pay off.
Final Submission
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Fig 2.1 Final submission of Project 1, 30 October 2023
FEEDBACK
Week 10
- For the colour palette, put highlights in the call sheet like the gold, which are significant to showcase the uniqueness
- For the use of gold, everything is scattered all over, perhaps can focus on the circle part and the arch, and develop other motives from there. It can be the identity of the building
- It's best to have the colour description written beside the colour palette itself
- Look at the hierarchy of structure as a viewer standing outside the building
- In composition, ambience needs a bit fixing, too dark, can work on #1
Week 7
- Play around with the silhouette, pull and squash it, make a few varieties
- Can start colouring hero assets, the lamps may not be necessary
Week 6
- Pick an industrial era to take reference from the buildings/ colours/ components
Week 5
- Clump the buildings in different groups and play with the sizes of the buildings
Week 4
- Cascading can be done by solidifying the structure of the building such as adding pillars/ supporting structure and off-setting the layers
Week 3
- Can expand the space a little bit more, it's a good start for composition
Week 2
- Identify one core subject in steampunk
Week 10
- For the colour palette, put highlights in the call sheet like the gold, which are significant to showcase the uniqueness
- For the use of gold, everything is scattered all over, perhaps can focus on the circle part and the arch, and develop other motives from there. It can be the identity of the building
- It's best to have the colour description written beside the colour palette itself
- Look at the hierarchy of structure as a viewer standing outside the building
- In composition, ambience needs a bit fixing, too dark, can work on #1
- Play around with the silhouette, pull and squash it, make a few varieties
- Can start colouring hero assets, the lamps may not be necessary
- Pick an industrial era to take reference from the buildings/ colours/ components
- Can take a real photo reference with a preferred composition and
replace the structure with buildings
- Attach the function to the buildings
- Have a silhouette scale for the pillars too
Week 5
- Clump the buildings in different groups and play with the sizes of the buildings
- Play with thickness/ structure for the motives
- (Note to self: to incorporate playfulness into the building, can
improve the functionality through mechanisms but don't
overcomplicate it)
- For #3 and #4, don't slap the mountain in like that
- For #5, can tilt the angle more to create a bit of a worm's eye view
- For #2, fill in the empty space in the lake by extending the shores and have buildings on it
- For #3 and #4, don't slap the mountain in like that
- For #5, can tilt the angle more to create a bit of a worm's eye view
- For #2, fill in the empty space in the lake by extending the shores and have buildings on it
Week 4
- Cascading can be done by solidifying the structure of the building such as adding pillars/ supporting structure and off-setting the layers
- Determine motives and materials used in the chosen IP, gather
moodboard
- Revise the silhouette of the main building
- Revise the silhouette of the main building
- If the art style is serious, the buildings should be straighter,
but if it is cartoonish it can be skewed more
- Study How to Train Your Dragon (The way they implement dragon
theme into the buildings)
- Notice the scale of humans with the buildings around such as the
door and windows
- Play with elevation
- If there is a tall straight tower, play with shapes, cascade,
offset
- Determine which part of the sky is brightest, then the main focal
point object should be there for a good contrast
- Focus on 2nd thumbnail first, push the building further, have more
supporting systems for buildings and train track, have city
silhouettes, put a character silhouette
- Build curiosity
- For 1st thumbnail, take references from movies such as bugs life and observe more on uneven terrains/ sardine cans
- Proceed with #1 and #4
- For 1st thumbnail, take references from movies such as bugs life and observe more on uneven terrains/ sardine cans
- Proceed with #1 and #4
- Can expand the space a little bit more, it's a good start for composition
- Can push the building further and elaborate the composition with
overlapping elements
- Can think of the possibility of combining Rango with Arcane
- Explore the lore of Arcane even more, don't have to limit yourself
to just Piltover and Hextech
Week 2
- Identify one core subject in steampunk
- Create a story
REFLECTION
Time spent on 3D will not be wasted x3. It is a big reminder to myself. Utilising 3D modelling is a smart way to save time and improve the quality of a piece. Besides, not to mention the infinite angle variations you will get. I am still struggling with anything that has to do with colours such as the ambience variations which I was just doing for the sake of having varieties. References were collected but I could not find a way to incorporate it into my piece. It could be I had one very fixated idea on how my composition will look like and it prevented me from seeing the possibilities. Thus, being flexible and open-minded in the early stages of a piece is very important but I guess I was slightly rushing to have a final look to give myself a sense of reassurance that I was on track.
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