Day 25 // Journals + Papers

 Today I started my rock creature, trying to focus on why each of the parts are there, how it functions , what noises it makes and how it eats.

So further from the sketch I have added small arms onto the front of the body, crab claws used to pick up food and shove it into a small mouth.


 The ZSphere base model to block in the proportions.

0-spheres

This is the adaptive skin that is made from the spheres, showing the low poly structure.

1-skin

I then dynameshed the model and started blocking in the details. I’m not sure about the eyes for now, with it not being a predator, eyes on the front don’t suit it, and I think I may add multiple eyes like a spider, so it can get full awareness.

2-block-in-front

The side view also shows the start of the rods that stop the creature curling up for defence.

2-block-in

 

 

 

MMO’s From the Inside Out

Richard A. Bartle

http://link.springer.com.libproxy.abertay.ac.uk/book/10.1007/978-1-4842-1724-5/page/1

Page 447

There are some valid reasons for deliberately making an MMO less realistic than it could be.

• To make an artistic point. If you’re parodying the real world, you don’t want to simulate it exactly.

• Realisticness can be opposed to fun. This is why your character never has to use the lavatory.

• Realisticness can be opposed to balance. This is why you can use a sword to kill a giant even though you can’t reach above its ankle.

• It’s expensive to implement realistic effects in a graphical world. Some animator has to model that wet hair

 

 

Drawing and Painting the Undead

Keith Thompson

Page 24

“An understanding of picture perfect human anatomy will teach you the parameters within and beyond which your imagination can “Distort” and “Deconstruct” an undead cadaver. This sort of creative control allows for the most bizarre creations to become become convincing artworks”

 

 

Digital Painting Techniques, 3D Total

Mike Corriero et al

Page 100

“All creature designs come from a mix and match of existing whether it’s the biological make-up of a tiny flea, or the structure of a massive Sauropod, all creatures are made up of what an artist has studied in life and history.

Page 101

“There should always be reasons for the changes you make”

Page 104

“In order to create believable fictional creatures from skeleton to fully rendered color and skin texture, it’s sometimes very helpful to base the bones on what you know.

Page 106

“A simple way to effectively produce some warm up sketches without wracking your brain too hard is to use the mirrored effect of a front view”

Creature grammar for the creative modelling of 3D monsters

http://www.sciencedirect.com.libproxy.abertay.ac.uk/science/article/pii/S1524070314000265

Abstract 

Monsters and strange creatures are frequently demanded in 3D games and movies. Modeling such kind of objects calls for creativity and imagination. Especially in a scenario where a large number of monsters with various shapes and styles are required, the designing and modeling process becomes even more challenging. We present a system to assist artists in the creative design of a large collection of various 3D monsters. Starting with a small set of shapes manually selected from different categories, our system iteratively generates sets of monster models serving as the artist’s reference and inspiration. The key component of our system is a so-called creature grammar, which is a shape grammar tailored for the generation of 3D monsters. Creature grammar governs the evolution from creatures with regular structures gradually into monsters with more and more abnormal structures through evolving the arrangement and number of shape parts, while preserving the semantics prescribed as prior knowledge. Experiments show that even starting with a small set of shapes from a few categories of common creatures (e.g., humanoids, bird-like creatures and quadrupeds), our system can produce a large set of unexpected monsters with both shape diversity and visual plausibility, thus providing great support for the user’s creative design.

 

Do I trust you, abstract creature?: A study on personality perception of abstract virtual faces.

http://delivery.acm.org.libproxy.abertay.ac.uk/10.1145/2940000/2931014/p39-ferstl.pdf?ip=193.60.168.10&id=2931014&acc=ACTIVE%20SERVICE&key=C2D842D97AC95F7A%2E42BFACAD77C85A68%2E4D4702B0C3E38B35%2E4D4702B0C3E38B35&CFID=844971387&CFTOKEN=78365747&__acm__=1475159343_b196ae2b6f5436ee75e601c28f3c730f#URLTOKEN#

Elena Kokkinara

Abstract

Studies in the field of social psychology have shown evidence that the dimensions of human facial features can directly impact the perception of personality of that human. Traits such as aggressiveness, trustworthiness and dominance have been directly correlated with facial features. If the same correlations were true for virtual faces, this could be a valuable design guideline to direct the creation of characters with intended personalities. In particular, this is relevant for extremely abstract characters that have minimal facial features (often seen in video games and movies), and rely heavily on these features for portraying personality. We conducted an exploratory study in order to retrieve insights about the way certain facial features affect the perceived personality, as well as affinity of very abstract virtual faces. We specifically tested the effect of different head shapes, eye shapes and eye sizes. Interestingly, our findings show that the same rules for real human faces do not apply to the perception of abstract faces, and in some cases are the complete reverse. These results provide us with a better understanding of the perception of abstract virtual faces, and a starting point for the creation of guidelines for how to portray personality using minimal facial cues.

 

How Many Species are there on Earth ?

ROBERT M. MAY

“For one thing, the average number of other species with which any one species interacts directly is consistently around 3 to 5 (4). The number is consistently higher (average, 4.6) in relatively constant environments than in fluctuating ones (average, 3.2)”.

” Obviously the vertebrates, which comprise only 3% of all animal species, receive a disproportionate amount of attention.” meaning 97% of all creatures are invertebrates.

Examining Alien Artifact.jpg

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