Creating a Website

As part of our module we were asked to make a professional website, i decided to use wix and here is a quick tour of my site…

the link to my site is

When you go to the site you will be greeted with my home page, as you can see it has a header of 3 rendered images of my work, buttons at the top and centre or the page to direct yourself around, an image of myself so you can put a face to the name, and a little bit about myself.

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The next page is my showreel, when you click the button for it you will be directed to a page with a video of my showreel that you can play as you wish. Screen Shot 2015-05-14 at 22.40.28

The next page is my portfolio, it has a gallery of images, some are paintings, watercolour, acrylic and digital, some are rendered images and some are illustrations. You can scroll through to view them as well as clicking on the image to make it full screen.Screen Shot 2015-05-14 at 22.40.39

The next page on my site is my contact page, it has my contact information and a contact sheet for users of the site so that they can reach if they chose to do so. Screen Shot 2015-05-14 at 22.40.48

The last page of my site is my CV, it has a copy of my CV being shown and also two download options so that you can download the CV as a world doc or PDF as you wish to do so.

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The site is quite basic but it is easy to get around and has all the information any user could need to know about me and how to get in contact with me. I hope you enjoy it if you decide to view it.


Our final week in a Studio

In our final week with Blacknorth studios, they decided to go another way (stylistically) in the project, so all our previous work was scrapped. We were then shown an example of how the game would now (hopefully) end up looking and began working towards that, as we only had a few days to get the work done, we were working on a much smaller scale.

I ended up modeling a little part of the set were I inserted the original crashed spaceship model and added some rocks, an arch and icicles to fly through. I then UV unwrapped, and textured the file. We decided to go for a much more ‘icy’ look than before. I used a lot more blue tones than just snow to give a much more icy feel, I actually think it looks pretty good given the time period it was done in.

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Once happy with that I baked in ambient occlusion and applied It to my texture, I also made a normal map of my texture to give a nice ‘bumpiness’ to the texture. I then added in lights and we stuck to the blue/yellow highlights and shadow idea as we had done previously as this had proven successful and we felt it looks best, we then baked in light and colour.


Working at an Animation Studio| Timetable

Week 1 In week one we were introduced to the project, got to know the style and began making concept art with the technique of ‘photobashing’. Something we had never done before. We each created concepts based off of a different theme, eg: lava, desert, forest, ice.
Week 2 Week two, we got feedback on our first set of concepts and then went off and made more based off of the criticism and direction we were heading.
Week 3 In week 3 the project leader decided that he liked the ‘ice world’ (icetundra) world concepts best and we then all began creating basic block models in maya based on the concepts.
Week 4 In week 4 the project leader gave us the green light with our designs and we began creating detailed and realistic models.
Week 5 Week 5, was similar to week 4 in that we were just continuing to model and fixing pieces they were not happy with from the previous week.
Week 6 In week 6 we began UV unwrapping and texturing our sets. In my opinion this is the week that was most stressful as none of us has any experience in UV unwrapping yet.
Week 7 Once they were happy with our textures, they asked us to bake in ambient occlusion and bake in the lights. This was also something we had zero experience in, but we learnt pretty fast and got there in the end.
Week 8 Over the next few weeks we spent our time fixing the odd Uv problem, re texturing our sets and baking in lights in different ways until we finally reached the desired effect.
Week 9 Read above
Week 10 Read above
Week 11 Read above, we were also given a broken spaceship model with textures to put around our scenes to look like a crash site. We baked this in too.
Week 12 In the final week, they liked our baked in light as we chose to add blue shadows and yellow highlights into the snow that was very effective. We then spent time animating in a camera onto a curve to give an idea of what the game would actually look like when brought into the Oculus Rift format.

In the end the company asked us to stay a little longer to finish off some of the work and in the final week (week 14) they decided they were going to scrap the game to go for a much more simplistic style, leaving us just a few days to make something new that we had previously spent many weeks learning and perfecting. In a way this was a blessing as we now knew how to do everything really well and were able to produce some work at a very high speed.

Overall, I did enjoy my time working for Blacknorth Studios. I learnt a lot and adapted to the weekly deadlines whilst working at a fast but professional standard. I learnt how to take rough criticism like a pinch of salt and produced work tirelessly until the company was happy. I am glad of my time there as I now have experience working in a professional animation studio environment and I now feel better prepared for when I am finished university and going out to get a job in the real world.

Working with an Animation Studio | Evaluation

For the past 12 weeks 6 others and I have been working for Blacknorth Studios (the creators of Finn in the Forest). During this period we have been working on creating a level for a game. The game is science fiction and based in a world with flying spaceships. The idea of the game is to fly around and shoot enemies as you make it through the levels. This game will be made available for Oculus Rift, meaning you can look around and not just straight ahead.

Our task was to create a level for the game, we began by individually creating concept art for different idea’s of levels such as lava, forest, desert, ice etc. I was in charge of creating the concepts for the ice level and ultimately my work was chosen and we moved onto creating this world in the 3d software, Maya. At the time I felt pretty proud that my work was chosen, but really everyone’s concepts were amazing and the game creator just liked the idea of an ice world.

We began by modeling rough blocks to show what the set would eventually look like, so instead of mountains and caves it was towering blocks and small fat ones. We then roughly animated in a camera on a curve to show off how we thought the spaceship would fly through the set.


Once the basic layout was approved we began the proper modeling. We all spent a great amount of time trying to make our models look realistic, around this time we had to teach ourselves about ‘baking’ and quickly learnt how to bake in ambient occlusion and how to bake in lights and colour onto our sets. I really enjoyed this whole experience as it really excited me to go off and learn something on our own, overcome our problems and fix them as a team. For the first time we felt self sufficient and that we didn’t need to ask a tutor for help with every little problem we encountered. We could do it as a team.

Once our models were approved it was time to UV unwrap them. We had to unwrap and texture our entire set in one-week, witch in normal studios, isn’t a problem. However, for students who still didn’t fully understand how to UV unwrap and had never textured before, this was a daunting prospect. Personally, I struggled with UV unwrapping, I felt like I was never going to be able to do it, I tried and failed and tried and failed until I finally got there. I really do thank my team member Hannah Turkington, as she helped me understand and get to grips with it much better.

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I can now UV unwrap things quite confidently and ultimately we had our entire set UV unwrapped in 2 days.

The texturing, I didn’t find hard, it was just time consuming, luckily I had a little experience in texturing from my previous groups film done in first semester, so I was able to help the group by showing them how to take UV snapshots, bring them into Photoshop and back into Maya.

The rest of our time on this project was fixing parts of the set they weren’t happy with, and re UV unwrapping those parts and re texturing. We also had to set in pieces of crashed spaceships into the set, put everybody’s set together and animate in a camera moving through the set and baked in light and colour and ambient occlusion. We also each rendered a turntable of our sets every few weeks.

At the end of the project we were asked to work on for another few weeks and the company decided to completely ditch the idea and all of our for a more simplistic game style. We had one week to make a very simple set. To be honest I wasn’t happy with this as I didn’t think it looked as great. However it did shock me how fast we produced it. Having learnt everything in the previous weeks we were able to create this in a matter of hours of working.


My time working there has given me an understanding of what working in a real studio is like, what the deadlines and work pace is like and how I deal with such things. I have to say I really enjoyed it, even the criticism because with every piece of negative criticism, we were going back and fixing it, making it better and bettering ourselves, even though I didn’t enjoy the idea being completely changed in the last week of the project, the speed we produced the work at shocked me. Being told they are happy with your work is such a rewarding thing to hear and be proud of at the end of the project. I feel this experience has given me an insight into what to expect in my placement year and when I leave university and begin getting real jobs in the industry.

Head Retopology

In our Thursday class our tutor, Alec, taught us how to retopologise a model by giving us a basic head model from a modelling/sculpting software, importing it into maya and retopologising.

We start by selecting the model and making the object live.

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we then go to the modelling tool kit and select ‘quad draw’.

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when this is selected, when we click on our live model it will create a green dot, making 4 green dots and then selecting over them makes your first quad ‘square’. You repeat this process until complete.

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i did this for entire half of the face model, then mirrored the geometry, this isn’t my first try at this process, as it takes a good bit of thinking out the shape you want to create as you want few to no triangles in your topology.

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my problem with this one is that i have probably made it to high of poly, it also isn’t evenly distributed as i found i had to make new edge loops to make all the quads fit.

I began this process by starting on the mouth and working my way outwards

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Something i was trying to focus on more than anything else was having the edges curve into the shape the face might move, example the curve on the chin, cheeks and around the eye area.

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Once done i moved onto the process of mirroring the object, so moved the new topology away from the original model and then went to mesh-mirror-mirror geo- -x axis

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As you can see from the image above, i started off with the original model, moved the half model (thats newly retopologised) and then mirrored it into a full model as you can see from the right.

As i have said, i am not entirely happy with this and would like to do it again and feel i will improve more with more practice.

Icetundra UV Unwrapping!

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At our next meeting at BlackNorth we were asked to uv unwrap our sets, then create textures and bake in ambient occlusion and lights etc.

So first thing we had to do was get our sets uv unwrapped. This was something i struggled with but managed to get it done in 2 days. Once i had this done i moved and rescaled my entire uv set so that everything fitted within the one square as you can see below.

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Once i did this i then took a UV snapshot so that i could bring it into photoshop and create the textures, before i did that however, i decided to colour key my uv snapshot so that it was easier to then go onto to create the textures as you can see below.

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Once i baked in an ambient occlusion to my set i then brought it and the texture together in photoshop. I applied it to my set and it looked really well when rendered. texture_with_AO

i then needed to create a bump map, i tried doing this a few different ways, first i tried doing it by desaturating my textures in photoshop, then going to filter- other- high pass and then changing the settings higher or lower until happy.

The second way i tried was by in maya adding a fractal to the bump map options, this way worked pretty well to but it just wasn’t giving me the desired effect.

I then downloaded a piece of software called ‘CrazyBump’  this worked brilliantly and it actually created a ‘normals’ map rather than bump. This worked brilliantly when brought into maya. As you can see below, here is said normal map.

bump map intense 6

Here is the rendered and textured set, i baked the lights in before adding these textures.

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Skype Call with Jason Sadler of Blue Sky Animation Studios

“Industrial design is always solving a problem wether it be time, money or technology. Going through progressions at Blue Sky is that you get to see the process from start to finish instead of modelling something and not getting to see it again until the film is out. ”

Sadler’s process is one of many ways to go about doing something. Don’t feel like its the only way.

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“Sometimes you can love the character because of the pose, not the character. You should try drawing the character in an unattractive pose to see if the character is still appealing. Draw small and if the basic shapes look good you have better chance of it being a successful characters”

“Rule of thirds always helps with proportions, never divide things in half if you can avoid it. Proportion decisions are everywhere, be deliberate about your choices”

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Sadler mentioned ‘The Illusion of Life’  and how its principles still work. He mentions off setting straights and curves like natural body eg back and boobs, legs and knees etc. He mentions looking back at black and white films because of how brilliantly their lighting was.

When discussing the difficulty of animating/modelling “peanuts”, Charlie Browns nose caused many problems and simplest shapes are so difficult to convincing in 3D.

When working on Gabbi the frog (from Rio) he was surprised at the fact the modeller actually made his character so much better.

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Can be forced to specialise but work closely alongside all other specialisms.

Sadler (concept artist) works closely with model and even rigger. Grew to love deadlines because things just don’t get done without them.