Artist Roadmap

1. If you could project out past graduation, what is your overall career goal? 

Would you like to work in AAA game development. 

Would you prefer a midsize team? 

Would you like a smaller team? 

Would you like to be on an Indy team? 

Would you like to work for a simulation company?

Would you like to work in the theme park industry?

My overall career goal is to work for a gaming company making 3D hard-surface props/weapons. In the end I would like to work for a AAA game development but I am not picky, I am open to work for either a Indy team, simulation, theme park industry, etc.

2. If you could project out into starting your career, what sounds the most appealing to you? 

Would you like to work as a Character Artist?

Would you like to work as an Environment Artist?

Would you like to work as a Hard Surface Artist?

Would you like to work as a Weapons/Prop Artist?

Would you like to work as an Vehicle Artist?

Would you like to work as an Lighter?

What sounds most appealing to me would be a Hard Surface, Weapons/Prop Artist.

3. What are some of the top companies that you are interested in working for? 

EA, Blizzard, Ubisoft, Nintendo, Iron Galaxy, ect.  

Some top companies that I am interested working for are NetherRealm, Bungie, CD Projekt RED, Iron Galaxy, Etc.

Artists That Inspire Me

Exercises

- Lighting

-Hard surface sculpting in ZBrush

-Watch techniques for both Substance Painter, Sampler and Designer and apply those techniques to models

https://www.youtube.com/watch?v=fWQmYXd-bxc 

https://www.youtube.com/watch?v=J5_mQJ9E8g0

-Watch videos on hard surface techniques and apply them to models

Research Project

Modeling a DC-15A Blaster Rifle

Reference Gathering:

When starting any modeling project, I make it a priority to gather extensive reference materials. Specifically, sourcing references for the DC-15A Blaster Rifle required significant research. Many available models of the DC-15A Blaster Rifle are based on the Hasbro toy version rather than the accurate movie version. However, I successfully located various versions and textures of this model through platforms such as Google, eBay, and Sketchfab.

Proxy Modeling:

When modeling the proxy, I begin by blocking out all the basic shapes of the blaster while having a reference picture under my model so I can confirm that I am on the right track when modeling. Additionally, I ensure that the model is constructed in separate pieces, allowing for its use in a game and facilitating future modifications if necessary. I intend to create the proxy as close to game-resolution as possible to create less work for myself in the future.

Game-Res:

When creating the game-resolution model, I ensure to switch between smooth mesh preview and non-smoothed preview. I bevel any hard edges and confirm that the edges hold their shape during the smoothing process. Additionally, I optimize the blaster model as much as possible, ensuring the elimination of n-gons. While optimizing, it's a good thing to keep in mind that weapon topology may not always be aesthetically perfect. However, I successfully reduced the blaster to 7,305 triangles.

UV:

When UV mapping the model, I begin by ensuring that the checkerboard pattern is visible on the model and that no red areas are present, only blue, indicating proper UV setup. I successfully split the model in half for UV mapping, unwrapped it, and then placed the UVs within a 1x1 tile.

High-Res:

There are multiple methods for up-resing a model. I chose to up-res my model in Maya instead of ZBrush. While ZBrush is capable of producing clean hard-surface sculpts, Maya also excels in creating clean hard-surface models, and it can be more straightforward to use. To up-res my model in Maya, I smoothed it with one division.