Although I was highly productive the past several months, I ended up neglecting to publish any updates. So here is a condensed version:
June – August:
I spent my summer months producing my comic “From Greatness to Dust and Back Again” and uploading it to tapastic. My process was to produce at least 2 pages a week, from storyboard to final illustration. I feel like I had decent success with this project, but it is currently on hold as I finish my last semester at Columbus College of Art & Design.
September -> Now
I have 18 credit hours this final semester, and it’s really busy.
Despite the workload, I’m enrolled in a few different cool class projects.
The Body House: Oculus Rift Project The project my team is working on in the Real-Time rendering for Oculus Rift class. It’s a rather grotesque concept for virtual reality, but it should be really interesting to experience. My responsibility in the team is directing 3D texturing/material production, scripting, and 3D asset integration into Unreal Engine 4.
(A screenshot of my 3D work featured in our project.)
CCAD: General Motors Drone Concept Design This is a really unique opportunity I was able to get involved in. We are designing drone concepts to accompany a GM vehicle brand. While GM isn’t planning on actually building the drone, they want to see our design process and skills for internship opportunities. We get to present our concepts at the GM design center in Detroit at the end of the year.
(A small selection of concepts I drew up for my team’s drone design)
Independent Animation: Sachtberg
Under instruction of my professor, have taken the Sachtberg storyboard from last semester, and I’m developing it towards an animated short.
(a character model sheet for one of the characters in the animation)
Recently, I completed a particularly strange paper cutout animation
Yes, my schedule is loaded with school and work, but I’ve been able to find a couple hours a week to push my 3D character model as far as I can. I treat this model as a testbed for learning new 3D techniques and workflows, so that’s why you see her so often.
I learned how to use Substance Painter to create all the textures for this model, with the goal of making it ready for real-time applications (such as Unreal Engine 4). She’s not complete, as I still have to texture the hair and add “fur cards”, or planes with transparent fur fluffs to give the illusion she’s covered in fur without destroying the computer’s framerate. I should publish a full review of my process on this character once I’ve completed the texturing and make adjustments to the rig.