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the white drew carey

WIP it good.

135 posts in this topic

actually I know of 2 other renders of this particular item though they are game level detail.

But this rendition is looking to be the best one so far.

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Lookin pretty damn good, chillyche!

I totally agree with Mr March- the toon rendering is perfect. I've seen CG in anime where the shading isn't that good.

Keep us WIP'ed

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So, it ain't much of an update. But it's something. Look left!

The user profile pic? The coloring/shading on the left arm and the helmet are SICK.

Darrtallion: Really TWO other models of that thing? Crazy. It's going to appear fairly distantly where I'm using it, so maybe I should have searched for game-level models before I started this puppy. Oh well. This is sort of a nice way to jump back into modeling, which I think I'll be doing a lot of in the next couple of months.

Mr. March: Using finalToon by cebas. It's probably my favorite cel shading option, although it annoyingly is missing a few features of Illustrate! 5.whatever. I swear, if they just combined the best parts of each of those packages, they'd have something amazing. Although, SoftImage seems to have some rad toon-shaders built in. Hmm.

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Wow, from version 0.2 to 0.4 in one day! I should hurt my back more often!!!

Man, these animated gifs are such a tease.

Anyway, here's an update of my WIP. Don't mind the weird random lines on the trailer section. That's just because I have some crazy creases in the model.

post-7376-129556178417_thumb.jpg

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Mr. March: Using finalToon by cebas. It's probably my favorite cel shading option, although it annoyingly is missing a few features of Illustrate! 5.whatever. I swear, if they just combined the best parts of each of those packages, they'd have something amazing. Although, SoftImage seems to have some rad toon-shaders built in. Hmm.

Wow. It's getting better and better. The software you're using may not be all you hope it could be, but it's hard to argue with the results you're able to achieve with your skills. I can't wait to see more. Never thought I'd be this interested in seeing a 3D render of that obscure little moon rover :)

So, it ain't much of an update. But it's something. Look left!

Sonofabitch. You're putting my best work to shame. Way to make me feel like an amateur. And here I was so proud of the unreleased stuff I was working on. Thought I was gonna blow everyone away, then I see that. :lol::p

Well, now that I'm done whining, you must tell me how the hell you did that Max and VF-1 Super Valkyrie. I want to do that for at least one VF-1 on my site, probably the J.

I guess I'll add a wholly inadequate preview image of the some material that will be in the next update. I was so proud...so proud until today... LOL :)

post-114-129557638667_thumb.gif

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(in my best Gary Coleman impression): "Whatchoo talking bout Mr March?!?"

The work you are putting together looks fabulous! The coloring is so clean and smooth!

For me, on the VF-1J I am purposefully emulating the hand-painted cel look from the early to mid-80's. A time when steadiness of hand wasn't as important but getting that last little bit of shade or lighting in was. Hence, a lot of mecha ended up with an organic look while still reinforcing their man-made nature. I hope it works out in the end!

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Mr March- so, the way I go about it isn't much different than what I usually have done. I'm sure there are artists out theere (and on MW) who have made a much more streamlined way of doing this, but I'm kind of messing around with different techniques right now. Anyhow, for the VF-1J, the process is fairly simple:

1) I make a line drawing of the VF-1J. This one was done in pencil, scanned into Photoshop, and then darkened to look like ink through curves, levels, etc.

2) On a new layer (set to Darken) I lay down the primary colors

3) The nest layer (also set to darken) is used to lay down the medium, or first level, of shading.

4) Another layer (set to darken) adds the darkest shading of all. Here, I pay close attention to what I am also going to be adding lighter parts to.

5) And then the light layer adds the lighter parts which follow panel lines, adds shine, etc. This is set to normal.

6) A quick bunch of colors to put Max into the cockpit. I'm not too detailed with this because the canopy glare will cover most detail anyway.

7) I flatten all of the color layers, and then make sure they are still set to darken. Then flatten them with the lineart. Kapow. Super VF-1J... done.

As for Max himself, he's done about the same, but I mess a bit with gradients in the shading, too. I'll post the breakdown if you want. Otherwise...

post-179-129562198141_thumb.jpg

Edited by the white drew carey
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Yeah, don't front, Mr. March. Your coloring is awesome. Very crisp. Very cel.

Here's a random shot of the unfinished rover on an unfinished alien landscape.

post-7376-129564811933_thumb.jpg

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Yeah, don't front, Mr. March. Your coloring is awesome. Very crisp. Very cel.

Here's a random shot of the unfinished rover on an unfinished alien landscape.

Wow, you've already got it on Mars? Good job! :p :P

It's nice to see this thread has gained new life!

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Another interesting design question. From the specs, we know that the trailer section is free to pitch and roll independent of the cab. We don't know if it also yaws independently. Regardless, looking at the connection between the two halves, what the heck is going on. It's not a circle, so, how exactly is it rotating? In fact, no joints are visible. It's possible that we're looking at some sort of flexible sheathe which covers are more traditional coupling assembly. Or perhaps the relevant connection is obscured in the image.

Any ideas? I'm going with the flexible sheathe theory for now -- some kind of protection against dirt, dust, and foreign objects from getting mixed into the works.

post-7376-129565781836_thumb.jpg

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Another interesting design question. From the specs, we know that the trailer section is free to pitch and roll independent of the cab. We don't know if it also yaws independently. Regardless, looking at the connection between the two halves, what the heck is going on. It's not a circle, so, how exactly is it rotating? In fact, no joints are visible. It's possible that we're looking at some sort of flexible sheathe which covers are more traditional coupling assembly. Or perhaps the relevant connection is obscured in the image.

Any ideas? I'm going with the flexible sheathe theory for now -- some kind of protection against dirt, dust, and foreign objects from getting mixed into the works.

I dont know if you have travel in one of this buses? I think you can get the idea

flexible_brush_bus.jpg

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I dont know if you have travel in one of this buses? I think you can get the idea

flexible_brush_bus.jpg

Yeah, I was sorta thinking of those double-buses. That's so funny, that toothbrush ad that has the flexible handle over the flexi-part of the bus.

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Thanks chillyche. Your vehicle is look great.

Mr March- so, the way I go about it isn't much different than what I usually have done. I'm sure there are artists out theere (and on MW) who have made a much more streamlined way of doing this, but I'm kind of messing around with different techniques right now. Anyhow, for the VF-1J, the process is fairly simple:

As for Max himself, he's done about the same, but I mess a bit with gradients in the shading, too. I'll post the breakdown if you want. Otherwise...

That seems somewhat similar to what I do, although I don't often use "darken". I set a line art layer to multiply and then add color layers in a top-to-bottom layout (highlight layers on top of shadow layers on top of primary colors, etc). What exactly does the "darken" option do?

I'd actually like to know how to do gradients in the fashion that you've done on the Max piece. Filling a square picture with a gradient is easy enough, but how do you build the ones in your picture?

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Well, the Max is done with multiply just like you. The VF-1J used darken because I am not just shading, but applying different colors (a la the old cel-painting technique I'm emulating). Darken makes sure that it only shows when it is over something lighter. I use a combo of darken and multiply a lot.

For Max, I have numerous multiply layers. On any one, or several, I will paint in the area I want to fill, then select that specific area, and then using either the gradient tool, or a HUUUGE brush set to very soft, will brush over it to lighten it, or make it darker via another multiply layer.

Does that make sense?

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Okay, getting close here. I'm starting to take more and more liberties, since I'm messing with the vehicle interior which is an impossibility in time and space.

I'm going to mess with the rear of the vehicle, add the license plate (essential hardware, apparently), add the side mirrors (but not the optional windshield), and maybe tweak how the wheels merge with the chassis. I've started the steering wheel, but still have to do the column and place the thing. Finally, I'll make some textures for the consoles in the dash.

Aside from RPMs and KPHs and fuel and battery and odometer, I think I'll need some atmospheric and meteorological data, radar, comm system, multifunction display, and DOPE ASS STEREO SYSTEM.

So, here's the thing, according to the lineart, there's just a big thick cylinder running from the wheel to the chassis. In my brain, contained within this assembly is the axle, and possibly some elements of the suspension. I'm thinking about going way off canon and adding visible springs to aid in suspension, and some differentials for these tubes to connect to. Of course, I know nothing about cars, and just learned the term "differential" so, I'm probably going to make something bonkers.

post-7376-129592479546_thumb.jpg

post-7376-12959248019_thumb.jpg

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About to begin rigging the thing.

You're are really kicking arse on this thing.

I, for one, am totally cool with the liberties you are taking. Anime magic only goes so far, and at least you are putting thought into it instead of just tossing out some general fix.

Now we just need to add some hand-drawn cel animated characters to go riding in it! :D

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You're are really kicking arse on this thing.

I, for one, am totally cool with the liberties you are taking. Anime magic only goes so far, and at least you are putting thought into it instead of just tossing out some general fix.

Now we just need to add some hand-drawn cel animated characters to go riding in it! :D

It's funny, because when I think about it, I feel like I'm the guy who'd just design something with crazy anime magic proportions, and Kawamori and his guys would be the ones to actually engineer something that worked. The world works in mysterious ways.

In this CGI time, most of our designs have to at least be plausible in three dimensions, even if there's cheating, or clipping or something. Back in the day, despite those guys being excellent draftsmen, they were able to get away with stuff today's artists cannot. And, according to at least one interview, there just aren't guys with the skills to draft something like Macross Plus by hand any more. So, while our designs are becoming more plausible, our artists are regressing. I don't think the two are entirely relational, I think industry decline and other cultural factors are likely large contributors, but at the same time, I'm working in 3DS Max because I simply lack the draftsmanship skill to draw these things by hand, let alone animate them.

A lot of people have asked whether Aria will feature hand drawn characters or CGI. I have to admit, it'd be a dream come true if we could put together a team that could draw the characters by hand in such a way that they'd marry to the type of animation we're planning.

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Brilliant work chillyche. That is simply amazing.

Well, the Max is done with multiply just like you. The VF-1J used darken because I am not just shading, but applying different colors (a la the old cel-painting technique I'm emulating). Darken makes sure that it only shows when it is over something lighter. I use a combo of darken and multiply a lot.

For Max, I have numerous multiply layers. On any one, or several, I will paint in the area I want to fill, then select that specific area, and then using either the gradient tool, or a HUUUGE brush set to very soft, will brush over it to lighten it, or make it darker via another multiply layer.

Does that make sense?

Okay, yeah I both know of, and have used, that technique. The Hollywood Amusement Ship was done in a similar way, albeit much simpler. Thanks for explaining.

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Chillyche, that buggy is just SO CUTE!

Any chance you'd arm it and see it tear around an RTS game? :)

I don't know how to put things in games! But if somebody has a game in mind, I'd lend the thing out. I added some ridiculous details in the dashboard, including a bunch of switches that actually flip, but I'm sure the thing is still under modern game poly counts.

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Incredible work. The hand-held style camera is funny :)

Yeah, the camera cracks me up almost as much as the soundtrack.

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Nice work - Chillyche

Thanks Rodavan! I'm putting together a few more shots of this thing in action. Then I have to put some passengers in there.

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Hehe. looks like it's hauling butt!

WIP ARMD (interpritation): Kitbashed since I have no 3d skills.

armdwip2.jpg

Deck is like 12polys from the hw1 model just for reference (new texture), will be replaced as well as later addition of bridge, back plate, rear thruster and misc extras... I wager I am 60% done... Model currently at 5k polys.

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