Exercise 1: Introduction to Unity (20/02/2021)

For this task, we had to finally learn how to use Unity. After learning the basics, our objective was to create a scene with premade objects downloaded in free asset kits. I decided to Use a lowpoly desert pack to create an oasis looking area.

To create this, i used a bunch Rocks, Pebles, Trees, etc, moved them around, copied them a bunch and in general added detail.

When the scene had the look i wanted, i set up cameras in multiple spots and took screenshots.

E2: Low Poly Tree Modeling (07/03/2021)

For this small task, our aim was to model a tree in a low poly style.

This is very easily achiveable through extrude modelling and the deactivation of smooth shading on all objects.

As an extra, i modeled a small scene for the tree to be in.

E3: Object Instancing (12/03/2021)

My aim with this next exercise was to visualize and explain what Instancing is and how it works in Maya.

Instancing is a form of duplicating or copy-pasting objects in Maya, but it has one major difference between it and normal Duplication that makes it a valuable tool.

The way it differs is, unlike regular object duplication, where the original object and it's copy become two separate and siconnected objects, Instancing leaves the objects connected so that when you edit the original object, it's copies with suffer the same changes. This is good for when you want to keep consistency between multiple models if you want to add changes after you populate a scene with it's copies.

Below will the a sort of step-by-step showing of how it can be done in Maya.

E4: Basic Sculpting Features (14/03/2021)

In Maya, one of the main methods of modeling, especially for more organic models is Sculpting.

I had to exemplify some basic features of Sculpting, which i will show bellow.

To start off, using Sculpting requires a base model with a lot of faces, which will allow better control of the tool and will in general result in a better looking model.

When Sculpting, Brushes are the tools used. There are many types already included with Maya, but there's the option of creating custom brushes from Displacement images, which gives endless possibilities as to the kind of brushes that can be used or made.

To exemplify this, I used a Displacement map of a piece of terrain and added that to my brushes, which created what you'll see bellow.

It's not an exact replica of the terrain seen in the image, as this Plane has an insufficient amount of faces to properly replicate the terrain. That and, custom brushes aren't 100% precise, but are still a valuable tool.

E5: Leaf Texturing (14/03/2021)

When creating scenes in 3D, there will always be some aspects of the environment that are too complex to model traditionaly or will be too numerous to be properly created as 3D models. This is where Transparent Textures come in.

These help add easy detail to the scene at a very low cost in processing and rendering power.

An easy example is Leaves and Branches in trees and other plants, which, if they are traditionaly modeled, can really push your hardware and prolong rendering times if they are numerous in the scene.

A very easy way to add textures like this is to use TIFF files, which can be created with any image and any PNG you can imagine. Simply add the TIFF file as the texture and the transparent image will be applied, which can lead to results as seen above.

From a simple plane, with a branch texture added onto it, i made a tree top with a few copies of the plane. If i were to model each individual leaf and branch, not only would it take me a 100x the time and effort, but it would also greatly increase the time wasted rendering the scene.

There is no reason not to use transparent textures.

E6: Lighting Test (08/04/2021)

For this task, we were given a small list of downloadable models to use so we could practice single object lighting, a.k.a. playing with lights, shadows, settings etc, to create the best looking render possible of a single object.

Since the nature of the exercise isn't too complex, I don't have much to add, other than I played around with the angles of the lights, changed colours and added 2 lights to the front and back of the object to get a Rim light.

The object i chose was the head of the horse from this Marcus Aurelius statue.

E7: Creature Modeling (31/03/2021)

This exercise involved the modeling of a creature or animal of our choosing. After looking for referances, I found a pretty good image of a lizard so i settled on modeling that.

Since i'm not yet familiar with the Sculpting in Maya, I decided to model it entirely with traditional methods, mostly simple Extrude modeling with smoothing added at the end.

Outside of the fact that i modeled an animal, which i'm not accostumed to, the whole process was relatively normal, but i will point out one modeling technique i used for it's paws.

I'm not sure if it has a proper name, but this technique is all about spliting single faces into multiple while maintaining all faces as Quads (a.k.a. with 4 corners). I'll leave images with the wireframes of both front and back paws, which requires to be split into 5 and 3, respectively.

Other than that, i'll leave a before and after of the unsmoothed and smoothed model of the lizard and his branch.

E8: Substance Basics (08/05/2021)

For this task, the objective was to get aquaintanced with the software Substance Painter and use some of it's basic features to texture and decorate this model of a skull. This was my result.

Some things to highlight about the process of texturing this model is the use of Baking and Smart Masks.

To start off, the process of Baking involves taking a model and it's UVs and baking it's information into a texture. The most noticeable example would be Ambient Occlusion, or AO, which determines where in the model's shadows would project more, the tighter corners or holes in the model, etc, and turns that information into it's own texture, which enhances the look of models overall.

Smart Masks are a specialty of Substance Painter. After baking the model's information into it's own textures, Smart Masks can be used to almost automatically give models certain details. For example, if i wanted to add a rusted look to the edges of a metal object, thanks to Baking, the software knows where the edges and tight turns and corners of the model are, so it can automatically apply whatever texture or material i want to those areas.

In my case, i used a Smart Mask to focus on the holes of the model, or the surfaces closer to the object's center, and i applied a black grimy texture in those areas, to add a dirtier look to the skull.

I also made some renders of this model in Maya.

E9: Assignment 2 - Ghost Shell (08/05/2021)

This model, which was made fo the final Assignment for this subject in the first year, is inspired by the Ghost Shells from the game franchise Destiny.

Ghost Shells are small flying robots that accompany players. They have dozens upon dozens of different designs, which gave the inspiration to create my own, and this was the result.