the work from my PoD2 class.
citations of pics:
i just looked at the scedual:
Mon Closed, Tue 10am–9pm, Wed-Fri 10am–4pm, Sat 10am–5pm, Sun 12–5pm
citation for pictures:
fig1: the objects in this pic are actually the exact same object, just place in different positions giving a sense of depth with apparent size fluctuations, getting smaller the further it is away from the viewer.
fig2: space is also observed with the blurring of the background allowing the viewer to perceive distance from the main focus. in this case Hiccup and Toothless form “How to Train Your Dragon”.
fig3: in “God of War 3”, their is a level involving Hera’s garden and at times it would shift to the perspective of a nearby statue. aside from providing a unique puzzle for the payer to solve, it also shows the layout of the area from an Arial perspective.
fig4: the background is faded to give an atmosphiric perspective and giveing the sensation of depth with the scale of the lone figure to aid in the efect. such method can be observed in fig7 as well.
fig5: overlaping can also give a sense of depth and space.
fig6: the size between individuals and objects can aid in perceiving depth, but i would recommend using other methods as well.
fig7: see fig 4.
fig8: useing one, or more, point perspective can convay scale and depth (see the last supper), in this pic two point perspective is employed with scale to create the desired space in the scene. the worm’s eye perspective (as indicated by only the lower body being visible in the fore-ground) also helps.
fig9: in this pic, scale and shadow work in conjunction to convey space.
fig10: an example of shadow conveying space in two different formats.
fig1: a variety of textures, such as tree leaves, cracks in the ground, etc., was used to create this section of a silent hill game.
fig2: an example of what early games (most likely PS1 era) graphics and textures looked like.
fig3: hair textures of resident evil 4 and the rest of modern gameing (PS2 to present).
fig4: grate textures created by cross-haching thick metalic lines (or bars), and adding a rust color to show age or a gisining red for blood.
fig5: pixels used to create a wood texture for a Minecraft mod.
fig6: again, a mixture of textures was used to create this scene from a popular FPS shooter game.
fig7: a comparison shot of the same still, one with texture (top) and one without (bottom).
fig8: texture created from contrasting colors used in this painting.
fig9: texture can be created by manipulating the model/format and letting the shadows form for a sense of depth.
fig10: another popular game from back in the day whose entire texture layout is pixelated.
fig1: as shown in fig one this female characters body is mad up of many different geometric and organic shapes. for example; the arms are comprised of different rectangles that make up the fore-arm and bicep, while the circles make up the joints.
fig2: the shape of the head changes as the character in the picture sounds out different letters in the alphabet. notice the elongating and the squashing as he sounds letters like “o” and “e”.
fig3: Cartman, from the TV show “South Park”, is made from mostly biomorphic shapes consisting of a variety of circles and ovals. also note that shapes do not require actual “lines” but can also be implied as well.
fig4: many 3-d objects found in popular movies and games are the result of smaller geometric shapes, most commonly triangles.
fig5: shapes are also used to determine a characters overall design. short and stumpy cartoon characters would look like a short squares or flattened circle while tall and lanky characters might look like tall, thin rectangles.
fig6: shapes can also create inorganic objects like a star fighter of car. in the picture, you’ll see that this jet plane is made from geometric shapes like squares and rectangles.
fig7: one of the most well known video games also featured shapes as a main component in its game play and not just design. Tetris is a puzzle game where the player must navigate and place different geometric shapes without overflowing the screen. the pieces are mainly variations of smaller squares arranged in different bigger shapes.
fig8: Packman was also another game who used simple shapes. the main character was just a circle that was missing 1/8 of itself (think of a pizza pie without a single slice).
fig9: A recent cult classic, Minecraft has players survive and create in a world made of nothing but geometric shapes.
fig10: this barrier, most likely used as cover in some shooters, uses a triangular prism or an elongated trapezoid as its primary shape.
fig 1: the use of lines is an integral part of story boarding as images will be simple and to the point. here only lines which displays key features in the scene are drawn with haste giving a sketch like quality. Walt Disney studios first developed an incorporated storyboards into their movies early in its(Walt Disney) creation.
fig 2: emotion in animation (especially 2-d) is often depicted with the use of lines, a curved line can be drawn like a cross section of a bowl for a smile or a rainbow for a frown. added lines could also be used for the brows for emphasis on a particular emotion.
fig 3: horizon lines are areas where the ground meets an empty space or a space that is unusable. it also helps perceive distance or depth, though only in a 2-d sense.
fig 4: animators also use lines to create perception within the cartoons and art, this (in conjunction with the horizon line) is meant to give the 2-d environment a 3-d depth.
fig 5: the light blue and white lines in the background, behind Optimus Prime, can empathize a dramatic motion. many Japanese cartoons use this to emphasize the drama of a particular action that the character doing.
fig 6: like fig 5, these lines are also used to emphasize the character but are usually drawn originating from the character than a particular direction making him/her stand out at key scene.
fig 7: in this picture of a simple texture sample, the artist used small simple lines to give a soft furry look, if more lines where added the texture could be used as grass or longer hair.
fig 8: like fig 7, this is also a sample of a simple texture. the lines repeatedly intersect with each other creating a cross-haching can be used for cloth like materials as well as thing like fences and etc.
fig 9: before any of the actual animation begins, animators design the character they will be using with lines as the basic skeletal structure. 3-d animators use a digital rendition of a stick figure (often an actor in a special suit used to align him/her and their corresponding character to give movement to their characters
fig 10: the outlines used for the fore-arm depicts how the arm would move in a completed animation. starting at a downward position an ending at a 90 degree bent position. the arm on the right also depicts minor changes to the arm as parts contort and shift as the arm moves.