2014年1月24日 星期五

Modeling : Environment Modeling Pipeline by: David Ballard 模型 : 場景模型流程 by David Ballard

OH~~I translate this article for two weeks and learn a lots info about environment art. It's awesome ! I share this with u.  welcome any feedback !!

Reference from : VERTEX   <--nice web!!

    The process of creating environments at Naughty Dog is lengthy and detailed, but the real secret is sticking to the fundamentals; both the fundamentals of art as well as the fundamentals of video game pipelines. It’s easy to get ahead of yourself when trying to create whole environments, but there are foundations of environment art that will keep you on track.

在頑皮狗製作場景的過程是漫長且細膩,但真正的秘密是堅持基本原則,是藝術的基本面也是電視遊戲生產的基本面。當你試著創作整個場景時,容易好高騖遠,但場景美術的基本面會讓你保持在軌道上。


  Here’s an example of modular environment creation with prototypes. This building facade is created with just 4 different prototypes and a minimal amount of non-prototyped mesh. We call this non-prototyped mesh Tfrag. Since Tfrag is only used once, it is a waste of memory whereas prototypes that are instanced multiple times but only load into memory once are much more cost efficient.

這裡有一個模組化場景檔案和原型的範例,這個建物只是由4個不一樣的原型和最少數量的非原型物件組成的。我們稱non-prototyped mesh 為 Tfrag .由於 Tfrag 只被用過一次,是一種浪費記憶體,而 prototypes是被實體化多次,但只被讀寫一次,是相當有效益的。





  Obviously some Tfrag will be needed, but being as modular as possible will allow for numerous amounts of detail to be added to the level with a minimal hit to memory. Below are examples of both the Prototypes and Tfrag that were used to create the façade.

有些Trag很明顯的會被需要,但盡可能的模組化,將考慮到更多數量的細節增加,對於使用最小記憶體的層級。以下是 Prototypes 和 Tfrag 被利用製作的外觀。



  Working on a game like Uncharted requires a lot of planning and work. It takes a long time to finish an environment, especially with changes in story, design and artistic style. The best way to finish then, is to work iteratively. Taking areas of environments to full completion early on is risky as you’re sure to have to change it sooner or later.

在製作像秘境探險這類的遊戲,會要求很多規畫跟工作。這會花費許多時間去完成一個場景,尤其是當故事,設計,或是風格改變時。最好的完成方法是反覆的製作。在初期當你確定必須要快一點或慢點改變它,取場景的區塊去全面製作是有風險的!

  There is a process called look development where we will complete a small section of art as a proof of concept to show what each Environment Artist’s vision of their level is, but very little of this is actually used in end results. From there we focus on macro art (the whole environment) and micro art (the detail within the environment). To help explain this, I’m going to use the market from Yemen in Uncharted 3 as an example.

這有一個流程叫"視覺開發"(Look development),這階段我們將會完成小部份的美術的區塊,如同"概念性驗證"(proof of concept) 呈現每個場景美術他們的關卡版本。但是相當少的部份會被使用在最終結果,從這裡,我們聚焦在macro art整體(整個場景)和micro art 局部(環境中的細節)。為幫助解釋,我將利用uncharted3的 Yemen 市場當作範例。


  After researching and look developing Yemen, the designer then gave me their initial level design in a form we call blockmesh. This is just a gray blocky mockup of the level in 3D. After deciding on the look and purpose of each area, I set to work on defining each set in a way that communicates to the player what that space is. In the market’s case, I had to communicate that this was a lively part of the city that people gather to shop, meet and dine. On a macro level, this involved buildings, shops, food vendors, transportation, etc. And within such categories, the art is broken down on a micro level to give detail and life to the area.

  Yemen經過研發和視覺發展後,然後設計師給我一個初步的關卡,以素體呈現,我們稱為blockmesh。這只是個在3d裡面的灰色大塊模型的關卡,在決定外形和每個地區的目的後,我著手定義每個區域,用些方法跟玩家交代這是什麼地方。在市場這個例子中,我必須交代這是這個城市人民消費,聚集,晚餐的生活圈。在Macro關卡上,它包括建築物,商店,食物攤販,轉運站,等等。而這些類別中,美術料件會被分配到micro 關卡,去給予細節和生活在這區域。





  A perfect example of this is the shops. After researching the different types of shops typically found in Yemen, I created various shop prototypes that were modular so building an entire marketplace would not only be quick, but also easily iterated on. I made around 9 of these shops that could connect and be interchanged to create the maximum amount of variation with the minimal amount of resources. Then I could work within each shop individually to give each one history and character. Below are examples a few modular shop pieces that were used to quickly and iteratively block out an entire market place. Working in this workflow mindset allows several different “looks” or environ -
ment styles within a level to be accomplished easier and faster.

  這間商店是個完美的例子,在分析過Yemen不一樣種類的一般可見商店,我製作各種商店的prototypes,將他們模組化,因此建出整座商場,這不只快速,也容易持續不斷。我做了9種商店可以連接並且可以被互換而以最少的資源,製作出極多的變化。然後我可以獨自地運用每個商店給予每間歷史和角色。以下是一些模組化商店的例子被用來快速和反覆地填滿整個市場。運作在這樣的工作流程心態,允許是一些不一樣的外表,或環境風格不超過一個關卡,且可以被容易且迅速完成的。



  With the basic setup of the market in place, then comes the fun part: detail. The creation of each environment is heavily dependent upon the game design. In the market’s case, the gameplay consists of a foot chase which means the player will run past the art quickly and will need as much information as possible without being overwhelmed to quickly make decisions on what to do. The idea then is to give that information to the player quickly and easily to communicate where they are and where they are going. This is where detail is key. Some of the obstacles in the market are folding tables where the locals eat. To reinforce the design, the tables are adorned with plates, cups, pitchers, bowls and other items. There are food vendors cooking kabobs over charcoal pits with smoke filling the air around them. Next to the food vendors are shelves full of cookware and serving trays. And there are umbrellas and chairs to suggest people sit for extended periods of time here, possibly to dine and talk with friends.

  由於市場的基本格局到位,接下來有趣的地方 : 細節,每個場景的建立是相當依賴遊戲設計。就市場的範例而言,遊玩是由雙腳追逐,這意味著玩家將很快的跑過美術並且將需要更多資料,盡可能不需慎重而快速做出該做甚麼的決定。然後這想法是給予玩家資訊快速並且容易交代他們在哪裡和他們將去哪裡。這邊"細節"是關鍵,有一些在市場的障礙物是當地人吃飯的摺疊桌。為加強設計,桌子用盤子,杯子,罐子,碗等物品做裝飾。小吃攤透過木炭窯烤肉,他們周遭伴隨著煙佈滿空氣。緊鄰小吃攤的是擺滿炊具和湯盤的貨架。並且有遮陽傘和椅子提供人們久坐此地,可能吃飯或是與朋友交談。



  While this detail is good in an art sense, it is also good for the design since we want to encourage the player to make the choice of either going around the tables or running over them and knocking all the items off for a more cinematic experience. It seems like a lot of work for only about 5 seconds of gameplay, but the job of the Environment Artist is to both capture the player within the world and support game design with hints of detail that serve as communication tools.

  當這細節在美術場景裡是好的,它也對設計是好的,因為我們想鼓勵玩家去決定是要在桌子附近繞繞,或是跑過他們並撞倒所有東西,為求更多戲劇體驗。這看起來似乎要費很多工,只為了5秒的遊玩,但場景美術的工作就是抓住玩家於遊戲世界內,並且利用類似細節提示,如同溝通工具,提供遊戲設計。

  Another aspect of environment art is vistas or expansive art sets that a player sees from a distance. This could be anything from sprawling cityscapes to tall mountain ranges. At Naughty Dog, we refer to the parts of a level that comprise a vista as a “wide”. Typically in video games, wides are just matte paintings that a player will never explore or be in. But it is easy to lose the parallax effect of 3d objects within a matte paining and also they appear flat on 3D monitors and the illusion of depth is lost. However, working on Uncharted 3, it was discovered that there is a certain distance at which point neither parallax nor 3D depth can be experienced and that’s the best time to utilize a matte
painting. When creating a 3d wide, the artist has to take into consideration how close the player will be able to get to the wide as well as how expensive the wide will be in conjunction with the level. Therefore, a wide is usually one of the last aspects of a level to be considered and early during production will not be represented except by maybe some simple blockmesh. Since most assets within a wide will be at a distance from the player, the art can usually be lower resolution than that found in the actual level, both in terms of poly count and texture memory. For example, in the Yemen city wide, (based on the real city of Sana’a), the further back the buildings go, the simpler the geome-
try and textures get. It’s up to the imagination of the Environment Artist to create a setting and mood with the wide to enthrall the player with a minimalistic amount of detail, just as a painter can imply detail with just simple brush strokes.

  場景美術的另一方面是遠景,或是寬闊的美術設置,玩家可以從遠處看到。這可以是任何東西,從廣闊的城市景觀到高山山脈。在頑皮狗,我們指的是一個關卡由一個遠景構成wide"寬"
,一般在電視遊戲裡,wide就只是matte painting,玩家將絕不會探索或身在其中。這容易失去在一個matte painting內,3D物件的視差效果容易失去,並且他們在3D螢幕上顯示平坦且也失去深度的錯覺。然而,在Uncharted 3中,這是會被探索的並且這絕佳的時機去利用matte painting。當製作一個3D wide,美術要去考慮玩家將能夠多靠近wide和wide要多奢侈將和關卡連接起來一樣。因此,一個wide通常是一關卡最後部分之一被考慮並且在早期製程將不會出現,除非是一些簡單的Blockmesh.因為在wide裡的大部分道具將會離玩家有段距離,美術料件可以通常是比平常一般可見的還要低一點的解析度,無論是poly數目和貼圖容量。例如,Yemen城市的Wide,(以Sana'a真實城市為依據),更靠後面建物,更簡單的幾何體和貼圖。這些由場景美術的想像力決定製作設置和wide中的氣氛,去吸引玩家,運用較少的細節,就像是畫家可以只用簡易的筆觸暗示出細節。






  An important part of the production pipeline that is crucial to talk about it outsourcing. Outsourcing is a huge part of production, and after much trial and error, Naughty Dog seems to have found the best way for us to implement it into our pipeline. Utilizing outsourcing for art helps to keep deadlines on track as well as give the environment artist more time to work on a larger amount of work. For Yemen, most of the outsourcing was done early on to help visualize the look and after a full library of assets was created, putting together whole levels required very little outsource.
However towards the end of production when the levels were near completion, again outsourcing was used to create the large amount of shadow blockers so that almost no final art casts its own shadow, freeing up frame rate which ultimately allows more final art and detail on screen.

  生產線的重要關鍵是很困難去跟外包討論它。外包是占生產很大部分,並且在許多試驗和錯誤後,頑皮狗似乎找到對我們最好的方式,落實到我們的生產線裡。為美術料件統整外包,幫助保持截止日在時程內,也給場景美術更多時間去做工作量較大的工作。對於Yemen,外包大多完成,初期幫助視覺化外貌並且之後道具元件庫被建立,擺放在整個關卡,外包需求減少。

然而產品來到最後,當關卡接近完成,再一次外包被利用於創作大量的 shadow blockers 因此最終的美術料件擁有自己的影子,可以提高"幀速率 frame rate"最終允許更多最終美術品跟美術料件在螢幕上。


  A big part of an Environment Artist’s responsibilities is the invisible environment. That is, all the behind the scenes stuff going on that the artist is responsible for that isn’t viewed by the player. These things include collision, shadow blockers, reflection geometry, and sound designation. While all of these are fundamentally basic to the experienced environment artist, a focus on these will enable the maximum amount of final art capable of being rendered in real time. As stated, shadow blockers were helped with by outsourcing, but early in production we decided to make all prototypes include shadow blockers so that through instancing we eliminate the amount of one off shadow blocker art that eats up time of the outsourcers.

  場景美術最大的責任是看不到的場景。也就是說,所有在幕後的料件正是美術負責不讓玩家看見的。這些料件包括碰撞(collision),陰影阻擋(shadow blocker), 反射幾何體(reflection geometry),和聲音指定(sound designation)。當這些所有是根本的基礎,對於一個有經驗的場景美術,會專注於讓這些能夠使用最大量的最終美術品,以real time方式渲染出來,但早期在生產階段,我們決定製作所有的prototypes 包括陰影阻擋(shadow blocker),因此透過實例化,我們消耗了一個陰影阻擋(shadow blocker)的數量,用完外包時間。

  Collision is created both in prototype and as one offs within a level to suit the needs of the needs of design and also to fix bugs. Reflection geometry is usually low res meshes whose textures are rendered from the higher poly final art that the player sees. Then both geometries are marked to either reflect or not reflect to save frame rate, allowing for real time reflections. Another job of the environment artist at Naughty Dog is to assign sound information to the collision to dictate what sounds are played when a player walks on or touches it.

  碰撞(Collision)是被創造在prototype裡和在關卡裡一次性的(這句不懂),滿足設計需要並且修正錯誤。反射幾何(Reflection geometry) 通常是較低面數,它的貼圖是來自玩家看到的高面數最終美術品而被渲染。然後這兩種面數的幾何,被標記為既不反射,也無法反映降低frame rate,只允許real-time的反射。在頑皮狗裡,場景美術另一件工作是置入聲音資訊給碰撞,去命令聲音播放,當玩家走過或是碰觸。



  Although this has been just the tip of the iceberg of the environment modeling workflow at Naughty Dog, it is easy to see that so much goes into creating an entire environment from conception to what is shipped in the final version of the game. And although this is the way that Naughty Dog does it, that doesn’t mean it’s the best or right way, but simply what works for us and we are constantly analyzing our methods and improving upon them. It is difficult and sometimes tedious work to fully realize a whole environment but also very rewarding. I often tell people that my job is actually to problem solve and that environment art is the fun thing I get to do for doing that job well.

  雖然這只是在頑皮狗裡,場景模型工作流程的冰山一角,不難看出,有許多從事製作一整個場景,從構思到最後遊戲組裝完成的版本。並且雖然這方法是頑皮狗的做法,但不代表它是最好的或是對的,而只是甚麼適合我們,並且不斷地的分析我們的方法並且改善它。這是很困難並且有時候很無聊的工作,去做充分實現整個場景,但也非常有效益。我時常告訴別人,我的工作時實際上是解決問題並且場景美術是很有趣的事,而我可以做這件工作做好。


Special thanks to Designer Eric Schatz, Texture Artists Jeremy Huxley and Adelle Bueno, Lighting Artist Eva Krzeminiski and the numerous other talented artists, designers and programmers at Naughty Dog.

特別感謝: 設計師  Eric Schatz, 材質美術  Jeremy Huxley and Adelle Bueno 燈光美術 Eva Krzeminiski 以及許多在頑匹狗其他的有才華的美術,設計,程式人員





 

David Ballard
I’m an Environment Artist with 5 years of experience in the game industry. Titles I have worked on include Section 8,Uncharted 2 and Uncharted 3. I worked on the train level, over a dozen vistas and a few multiplayer maps in Uncharted 2 and was responsible for the Yemen single player levels in Uncharted 3.

本文作者

我是一位在遊戲界有五年經驗的場景美術,有參與過Section 8,Uncharted 2 and Uncharted 3















2014年1月4日 星期六

The Comicon Challenge 2014 參賽規則 Final Stand - GameArtisans.org Main Challenge #9 – The Comicon Challenge 2014


COMICON挑戰2014截止日期
- 23時59分00秒下午東部時間星期一,2014年2月24日 -

 資料來源 : COMICON Challenge 2014

THEME STORY SAMPLES

FINAL - Torn, beaten, and broken, the citizens of Metropolis gaze at the body of superman in disbelief as he lays there in the cratered street... deathly still. With fires raging all about and extra-dimensional soldiers appearing everywhere and destroying everything in their path, the city is in desperate need of a hero. However, this evil mega army, ruled by an iron clad god... no, there is no hope. Heroes lay dead all about. Blood of innocents decorate the ash ridden streets. There is nothing that can be done. Metropolis, and all its citizens, and soon the world, are doomed! But then.... ever so slightly, the rocks where a mighty hero was once thought dead, begin to stir. First an arm, then another.... Superman, all beaten and torn slowly gets up. There are no cheers, no sounds of relief, and no cries of joy. All who stand there and all who have been watching the battle unfold on the morning news ... a fragile hope in everyone begins to mount with the rise of a once fallen man. Superman then looks up. His next attack, for better or for worse, will be .....

主題故事範例

最後-撕裂,咬碎和破壞,大都會的市民不敢置信地凝視著超人的身驅當他倒在坑坑洞洞的街
道上.......如死一般.隨著熊熊烈火擴大並且異次元士兵出現在任何地方毀壞在他們路上的一
切,這城市在危機中需要一名英雄。然而這邪惡巨大的軍隊,由一位鋼鐵包裹的神掌控....沒
有,沒有希望,英雄們全部陣亡,無辜受害著的血點綴著灰燼充斥著街道。但然而....儘管很輕
微,石頭在一位曾被認為死亡的威能英雄上,開始滾動,首先是手臂,然後是其他.....超人,
所有被咬和撕碎慢慢起來,沒有鼓勵,沒有安慰,沒有感動得哭聲,所有人站在那,從晨間
新聞看著戰爭開打,一個脆弱的希望在每個人裡面,隨著一位曾經墮落的人開始上升,超人
往上一看,他的下一次攻擊,是更好或更壞,將是......

STAND - It has been ages since he last walked the arctic snows of the north. In the distance lays his final destination – a fortress of ice. To be here today, it was an achievement laced with great sacrifice. A journey that required a separation from the comfortable riches of the world, and an initiation into a new level of skill, awareness, intellect, and all that comes with it... Power! The doors shudder open. 10 years. A trial of patience and endurance... he laughs. Soon, he will be rewarded. With an armored cybernetic arm, he pulls out a green crystal from his coat and inserts it into a crystalline panel centered in a massive room. The lights dim, the earth shakes, and an image of a proud figure appears. With an ancient rusty old voice, the figure speaks. “What do you want?” Holding back a smile, the journeyed man states “To become a Kryptonian!" A process normally impossible for humans, he begins to laugh, for he has found a way through science. He takes off his arctic coat. A complex suite of cybernetic armory is revealed. With the power of science, together with the infusion of Kryptonian power - soon he will become known on earth as a God! Minutes later, the process is complete. He leaves the fortress and as he walks back towards civilization, he quietly whispers to himself... “I, Lex Luther, have finally returned!”

再起-已有些歲月自從他最後走過北方的北極積雪,在遠方佇立著他的最後終點站 - 冰凍堡
壘。今日至此,是一項成就點綴著偉大的犧牲。一場要求與世界舒適的財富分割的旅行,並
且一個啟動進入新層級的技能,意識,智能,它們全部聚集於它.....力量!大門顫動的打開。
10年了,一場毅力和耐心的考驗....他笑著。不久他將被讚揚。利用裝甲型智能手臂,他在巨
大的空間中,從大衣取出一顆綠水晶並且裝入水晶面板中心,光線驟暗,地面搖晃,並且一張驕傲人像影像現身。伴隨一種古老粗野的聲音,人像說:你想要做甚麼?不苟言笑,旅者說:成為一位氪星人。對人類這加工通常不可能,他開始笑了。他透過科學找到方法了。他脫下他的雪地大衣,一身智能裝甲的複雜服裝顯現,結合科學的力量,加上氪星人力量的注入 - 很快他將成為地球上眾所皆知的神!幾分鐘以後,加工完成,他離開堡壘並且當他回到文明都市,他靜靜地向自己低語... 我,雷克斯路瑟,終於回來了!


WHAT IS REQUIRED IN BRIEF
Final – Create a hero or villain in his last moments, during one epic final battle. The hero should be beaten, torn, and only have enough power left to do one final strike!
Stand - Create a hero or villain who is returning after being gone for a long period of time, or who is rising for the first time, all shiny and new (optional: new costume?), to face an epic battle. For better or for worse, this new or returning hero/villain is set to change the world!
Be creative, let loose, and have some fun. Good luck to all who join Comicon Challenge, 2014!

簡述需求
最終 - 創造一位英雄或是敵人,在他的最後一刻,一場經典最終戰役。英雄應該被挨揍,撕裂,並且只剩下一點力氣做最後一擊。
再起 - 創造一位英雄或是敵人,在離開一段時間後,再次回歸,或是第一次昇起,全新的閃亮的(選擇:新的服裝),去面對一場史詩般的戰鬥。無論是好是壞,這個新英雄/敵人是被設定改變世界。
有創意,更開放並且有些樂趣。祝參加 Comicon Challenge的大家好運!

For Questions, Answers or Technical support, please visit here:
要問問題,須回答或是技術支援,請拜訪以下
To create a thread for this challenge, go here:
為這個挑戰賽建立一個討論串,請到
http://www.gameartisans.org/forums/newthread.php?do=newthread&f=15 
Thread title should be: Comicon 2014 | 3D (or 2D) | Username | Chosen Character
討論串的標題應該是 : Comicon 2014 | 3D(or 2D) | Username | Chosen Character

ADDITIONAL NOTES
其他注意事項
1. Remember, Archie is not an "action" hero and Garfield is not a super villain - they don't have weapons and they don't save or attempt to destroy the world. However, Wolverine, Battle Angel Alita, The Phoenix, Flash, Cyclops, Superman, Batman, Gambit, Daredevil, Electra, Joker, Magneto, G.I.Joe, Ninja Turtles, and many many more are all glorious examples of exactly what we are looking for during this challenge. The only restriction: one of your final images MUSTinclude an original small comic book cover or page of the character you choose to create. Simply find a cover or page online that contains your character, and stick it on one of your final images to pay respect to the original character and/or creator.
1.記住,Archie(一個高中生的在高中的故事 註解 )不是一個"動作"英雄並且加菲貓不是一個超級惡棍。他們沒有武器並且他們沒有拯救或是傾向毀滅世界。然而,金鋼狼,銃夢,火鳳凰,閃電俠,獨眼龍,超人,蝙蝠俠,金牌手,夜魔俠,幻影殺手,小丑,萬磁王,C.I.JOE,忍者龜,和很多很多光榮的例子,是我們在這次挑戰賽找尋的。只有一個限制,你的最後成品,必須包括原註漫畫封面,或你所選的角色頁面。只須在網路上找到一張封面或頁面有含你的角色,並且附在你最後完成的作品,向原始角色和/或創造者表示敬意
2. Expressions, camera angle, and final pose, is extremely important for this uniquely strong themed challenge. Keep this in mind. A t-pose model or idle posed concept illustration - not good!
2.表現張力,拍攝角度,和最後姿勢,是極為重要對這獨特強大的主題挑戰賽。請牢記在心,一個T-pose模型或是待機姿勢概念的插圖 - 並不優~
3. Characters originating from video games or movies are not allowed for this challenge (Tomb Raider, Star Craft, etc).
3.角色原始來自電視遊戲或是電影不被允許在這次挑戰賽(古墓奇兵 蘿拉,星際爭霸,等等)
4. Keep gore and nudity to a decent level please! Don’t get Comicon banned in various countries!
保持血塊和裸露在一個適當的程度,拜託!不要讓Comicon被在其他國家禁止。
5. This is a w.i.p (work in progress) based challenge. Posting your w.i.p art in a personal thread on the forums, is ABSOLUTLY MANDATORY. Artists who show no work till the end may be disqualified.
這是一個以W.I.P(在製品)為基礎的挑戰賽,貼上你的W.I.P草圖在論壇個人的討論串裡,這是絕對強制。藝術家直到結束都沒有展出任何作品也許會被取消資格。
6. Artists wishing to enter both 3d and concept art categories, must create a new idea for each entry. Example, if you make Superman for a 3d category entry, you cannot make the same character for a Concept Art Entry.
藝術家希望參加2項3D和概念的藝術項目,必須要為每項創造一個新的點子。舉例,如果你做超人參加3D項目,你不能用同一個角色參加2D概念藝術。


3D Guidelines
Recreate a super hero or super villain with one of the following themes - "Final" or "Stand."
重建一位超級英雄或超級惡棍和下列主題之一 "最終" 或 "再起"
Model Guidelines: 
模型指南 :
  • For Comicon 2014 and only for 2014, Unlimited polies, unlimited texture sheets, all shaders, all game engines, all 3d program softwares, any lighting solutions, are yours! Use them as you wish for your “single” character and pedestal (optional). However, your final model should still be professionally looking unwrapped, on a single or on multiple sheets. View Example Sheet (by Neil Blevins)
  • 對於COMICON 2014年只有2014年,不限面數,不限的貼圖張數,所有著色器,所有的遊戲引擎,所有的3D軟體,任何燈光解決方案,都是你的!隨你使用他們,為你的角色和基座(選配)。但是,你的最終模型仍然應該是專業的UV展開,在一個或多個欄。查看範例(by Neil Blevins)
  • No pets, animals, and no extra characters in any shape or form. If an additional life form, entity, robot, citizen, alien, bird, insect, dust mite, duck, carebare, living germ, or anything else that resembles an additional entity of any and all kinds in your presentation is found, you will be asked to remove it. Period. Create a single character. Nothing else!!!
  • 沒有寵物,動物,而且沒有額外的任何形狀或形式的角色。如果一個額外的生命形式,實體,機器人,公民,外星人,鳥,昆蟲,塵蟎,鴨,carebare(不會翻),活體細菌,或其他任何類似的和所有種類在你的作品中被發現,你會被要求將其刪除。期間。創造一位單一角色。沒有別的!
The Constraints:
限制條件:
  • A pedestal (not floor) may be included. This pedestal also has unlimited polies and texture sheets..
  • 一個底座(非地板)也許會被包含。底座也是不限面數和材質張數
  • 2-sided polies with two separate uv channels are permitted.
  • 雙面模型有2個分開的UV channels是被允許的
  • No joint or team entries and only one 3d entry per artist.
  • 不允許合作或是團隊參賽並且只能個人3D參賽
  • Your entry must be specifically created for this challenge. Do not use any ideas, sketches, or art from previous personal works.
  • 你的參賽品必須是為這挑戰賽特地製作的,不能使用來自以前個人作品的點子 草圖 或是作品。 
Submission Guidelines:
交件指南:
Main Beauty Shot
主要的效果圖 
  • You are free to do whatever post effects you like on this image. You can create multiple angles of your character or just one big version of your character. You can include painted environments, skies, effects.. basically, anything!
  • 你可以自由地做任何你喜歡的後製在這張圖上。你可以創建你的角色多角度或者只有一個你的角色大的版本。你可以包括繪環境,天空,效果.. 
  • Image Dimensions: up to 1600w x 1600h pixels and 500k file size.
  • 圖片尺寸:最多1600 W 像素x 1600 H 像素,500k 的文件大小。
Presentation Shot
展示圖 
  • This image must contain one full front pose and one full back pose of your character. Optional: Poses can be placed on one large or two small pedestals (pedestals have unlimited polygons and texture sheets. A hover board, vehicle, etc, is not a pedestal).
  • 此圖片必須包含一個你的角色的完整正面姿勢和一個背面姿勢。可選:姿勢可以放在一個大的或兩個小的底座(底座有不限的面數和貼圖張數,浮空滑板,車輛等,並不是一個底座)。
  • Post effects from 3d softwares or 2d programs like Photoshop are NOT allowed in this image. The only adjustments allowed are: Brightness/Contrast, Levels, Sharpness, color balance, Curves, and Hue/Saturation.
  • 在此階段的圖像後製從3D軟體或2D軟體如Photoshop等是不允許的。唯一允許的調整:亮度/對比度,色階,銳度,色彩平衡,曲線和色相/飽和度。
  • Image Dimensions: up to 1600w x 1600h pixels and 500k file size.
  • 圖片尺寸:最多1600 W 像素x 1600 H 像素,500k 的文件大小。
Construction Shot
施工圖  
  • This image should depict how your character was made. You can include wireframe shots, high res models, multiple angles or just one big wire frame shot.
  • 這張圖應該描述你的角色是怎麼做的。你可以包括線框圖,高面數模型,多角度,或只是一個大的線框圖。
  • Image Dimensions: up to 1600w x 1600h pixels and 500k file size.
  • 圖片尺寸:最多1600 W 像素x 1600 H 像素,500k 的文件大小。
Texture Sheets
貼圖張數  
  • Use this image to show the texture sheets used on your model. Must include diffuse and normal map. Other sheets are optional.
  • 使用此圖顯示在你的模型中使用的貼圖張數。必須包括漫反射和法線貼圖。其他貼圖是可選的。
  • Image Dimensions: up to 1600w x 1600h pixels and 500k file size.
  • 圖片尺寸:最多1600 W 像素x 1600 H 像素,500k 的文件大小。
Concept/Skethes + Comic book cover
概念/速寫 + 漫畫書封面
  • If you have any sketches or concepts for your creation, include them on this sheet. In addition... it is mandatory to include a comic book cover, or a page of the comic your character is from, on this sheet.
  • 如果你有任何為你創作的速寫或概念,包括他們在這表裡。此外... 它是強制性的,包括一本漫畫書的封面,或者你的漫畫人物是從某頁面,也同在這張表。
  • Image Dimensions: up to 1600w x 1600h pixels and 500k file size.
  • 圖片尺寸:最多1600 W 像素x 1600 H 像素,500k 的文件大小



2D Guidelines

Create an illustration that depicts a super hero or super villain with one of the following themes - "Final" or "Stand."
創作一幅描述超級英雄或是超級惡棍和下列主題之一 "最終" 或 "再起"
Main Beauty Shot
主要的效果圖
  • A final illustrated color concept of your glorious Action Hero/Villain.
  • 你的英勇的動作英雄/惡棍的一個最終彩稿。
  • Image Dimensions: up to 1600w x 1600h pixels and 500k file size.
  • 圖片尺寸:最多1600 W 像素x 1600 H 像素,500k 的文件大小。
Progress Shot
流程圖
  • A Step-by-step process image of how you made your final illustration. This image must contain sketchs as well as a few images showing the process leading up to your final main illustration.
  • 一張你如何完稿的階段流程圖,此圖必須包含草圖以及一些圖像顯示引導你最終主圖的過程。
  • Image Dimensions: up to 1600w x 1600h pixels and 500k file size.
  • 圖片尺寸:最多1600 W 像素x 1600 H 像素,500k 的文件大小。
Optional Extra Images
可選附加圖片
  • You are free to submit up to 3 extra images of your choosing. Can be wips, extra work-in-progress shots, area specific highlights, additional sketches, etc.
  • 你可以自由地提交到你所選擇的3個額外的圖像。可以WIPS,額外的工作圖,區域的具體亮點,額外的草稿等
  • Image Dimensions: up to 1600w x 1600h pixels and 500k file size.
  • 圖片尺寸:最多1600 W 像素x 1600 H 像素,500k 的文件大小。
Special Notes:
特別注意
  • No Joint entries.
  • 不能合作參賽
  • One 2d concept art entry per artist.
  • 一件2D作品一位藝術家
  • Your entry must be specifically created for this challenge. Do not use any ideas, sketches, or art from previous personal works.
  • 你的參賽品必須是為這挑戰賽特地製作的,不能使用來自以前個人作品的點子 草圖 或是作品。 



Regulations and Policies
法規與政策
  • Comicon Challenge is open to all artists in all countries.
  • COMICON挑戰賽是開放給所有國家的所有藝術家。
  • All art, sketches, and photographs submitted in or during the Comicon Challenge remain yours to do with as you wish. You retain all rights, ownerships, and/or copyrights for your work.
  • 所有的美術作品,素描,照片被提交或在COMICON挑戰賽。你保有你的作品的所有權利,擁有權,版權
  • Judges' decisions are final and no correspondence will be entered into.
  • 評審的結果將會是最終的決定,沒有其他方可以介入
  • No late entries will be accepted. Game Artisans will not be held responsible for late or missing entries for any reason whatsoever. It is the sole responsibility of the entrants to make reasonable allowances for upload times and to plan accordingly.
  • 沒有遲交作品會被接受, Game Artisans將不負責因任何原因遲交或遺失參賽作品,這是參賽者的責任作出合理的認可上傳時間,以及相應的計劃。
  • Game Artisans reserve the right to cancel, extend or amend any part of Comicon Chalenge’s rules, or deadlines.
  • Game Artisans保留取消,延期或修改任何部分COMICON Chalenge的規則,或最後期限的權利。










2014年1月1日 星期三

Happy New Year 2014--

  WOW, 2013 has gone, so fast. Let me check it what i have done and what happens to me this year.

1. I has read a English novel, The dark knight.

2. My jogging distance arrived to 21 km and i joined a 5km Qingtiangang running race.

3.Go to Italy for honeymoon

4.Go to china for meeting SWD fans and climbing Taishan Mountain of the  Five Sacred Mountains

   in Shandong.

5.Level up ! More work come to me! XD

6.Use ZB to make a character .(I try a workflow that only use ZB to scuplting full character.)

7.I am happy to join the pre-production of the game.

8.Writing this blog !! keep to publish once week.

9.Daily sketch comes back again !!


Happy New Year !!



Motion Graphic : Bing-Yu Wu
Illustrator : Yu-Dan Xie
Music : Xin-Rui Wu
Ink footage : Casekarlos Villarreal Kwasek