I've finished the base model for the robots' legs. Much of the detail will come from texture maps, so if I'm lucky I won't have to do any more sculpting on this part of the 'bot. Colin said he wants a heavy industry look to the overall piece, so I chose a segmented plating look, reminiscent of medieval plate armor, and made sure some big pistons were exposed.
This is a robotic sentry drone that will be inserted into the shot I am working on for Advanced Compositing. I am going to try to texture it entirely with procedural textures within Maya, at least at first. I'm eventually going to have to apply some stenciled-on logos and such, but I'm going to hold off on that as long as I can.
This model, entitled Neon and Chrome, was built by Christopher Dess and Matthew Thain. As with the lighthouse, I am doing the lighting and texturing. This one is a work in progress; I am fairly satisfied with the light, but it is going to be a while before the texturing is complete. Most of the light is emitted from the geometry and bounced around with Final Gather. The accent lights on the wall are spotlights, and there are two spotlights impersonating streetlamps off-screen. I am attempting to make as much physically correct light as I can without greatly increasing the render time. It currently renders in around 4 1/2 minutes at a resolution of 640 x 480. This image, of course, took much longer since it's full HD (1920 x 1080).
I suspect that this image will wind up in my portfolio, so I am really going to take my time with it. Expect to see updates from time to time over the next year.
My Visual Effects Field Production class is attempting to recreate several shots from the trailer of The Mutant Chronicles. (Great trailer, lousy movie.) This is a photographic composite intended to replace this shot:
And my version (Click to enlarge):
The night sky, some of the midground mountains, the refinery, and the rocky arch were provided by cgtextures.com and are used in accordance with that site's license.
The bridges were provided by the National Oceanic and Atmospheric Administration. Original photo entitled "Bixby Canyon Bridge" by Cpt Albert E Theberg, NOAA Corps (Ret) is in the public domain.
I photographed all the other elements myself along the Peak to Peak Scenic Highway between Blackhawk and Estes Park, CO.
In Digital Typography, our final project was to create a two-page spread, a poster, an ad, and a web banner. This is my ad, peddling an expansion for the board game Settlers of Catan. I took the image of the game and the body copy from the back of the box, but I reproduced all the other elements myself. I was particularly proud of this piece; it looks just like something that Mayfair Games themselves would publish.
A two-page spread for my Digital Typography class. The photos and body copy are credited in the image, though I don't recall off the top of my head where they originally came from. The headline typeface is Belwe, a readable but idiosyncratic Celtic-style font.
One more from Graphic Symbolism. Our first project was to develop a logo for another member of the class. This one is for Molly Beth McAdams. She had been toying with using the first two letters of her first and middle names as a company name. She's a playful, casual kind of person, so I added the tagline "More Better." Not only is it a fun little phrase, it's also a promise: Molly will deliver more, and it will be better than the competition. I built the font myself in Illustrator. Since I wasn't getting graded for that, though, it contains only the glyphs you see here. Building an entire font is a lot of work.
A logo for the 101 Asian Fusion Grill in the Cherry Creek neighborhood of Denver. I've never eaten there, but I looked at their website, and their current logo is plain awful. This one uses a simple chinese decorative element and a simple, elegant typeface called Maiandra. The numerals come from a different font that I can't identify since its name is in Japanese kanji.
So part of the curriculum is a class called "Graphic Symbolism." To me, that implies learning how images communicate ideas, and how to use that to say something without having to outright say it. Like the red objects in the Sixth Sense, always present whenever there's a clue about what's really going on. Red being the color both of blood (and thus death) and of the supernatural. Instead, it was a logo design class. It was a really good logo design class, but that still didn't make it terribly relevant for a visual effects student.
Anyway, one of the assignments was a set of related logos for a beverage company. Most of my classmates naturally designed booze logos. Here are four logos based on famous Ukiyo-e woodcuts by Hiroshige and Hokusai, and one based on an image imitating the Ukiyo-e style by another acquaintence from the Cartographers' Guild, Michael Tumey, aka GamerPrinter. Incidentally, he runs a printshop servicing roleplaying gamers, so if you ever need a map printed and/or laminated, look him up at http://www.gamer-printshop.com. The prices are reasonable, the prints are superb, and the lamination is adequate.
Back to the point. Hibiki-An is a real company, but these aren't their actual products. They are actual traditional Japanese teas, though.
And in case you're wondering, the tea used for the tea ceremony is matcha.