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Environment Final + Bonus HUD Concept

For my final environment painting, I started from one of my previous thumbnail sketches -

I painted over the top, using photobash packs (dramatic skies, smoke). And also comfyUI for some terrain elements and small details.

To conclude, i'm not fully satisfied with this piece, it feels like it is missing some crucial elements to make it compelling. However, I do like the atmosphere and emotion/mood that I have created here, as well as the massive scale of the huge structures/cannons. The idea is these might be heavy artillery installations + orbital cannons that can shoot other planets.

Bonus

As a bonus, I've created an "RTS Battlefield" environment concept, of how this video game might look, along with a very rough HUD concept. This needs more work but ultimately I did not have enough time.

The terrain/buildings are created by photobashing various images created in ComfyUI.

References

ComfyUI, 2023. ComfyUI: A Powerful and Modular Stable Diffusion GUI. [software] Available at: https://github.com/comfyanonymous/ComfyUI [Accessed 23 August 2024].

photobash. (2024). Dramatic Skies. [Online]. Available at: https://photobash.co/packs/dramatic-skies [Accessed 23 August 2024].

photobash. (2024). Smoke. [Online]. Available at: https://www.photobash.co/packs/smoke [Accessed 23 August 2024].

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Vehicle Final Painting

Much like my previous characters, I started my Final vehicle painting by first re-rendering my chosen 3D coat sculpt in octane, using the layered displacement workflow mentioned in my previous posts.

The result of this is bellow -

I then took this and painted over it in photoshop to achieve the painting bellow. The idea is this is a massive hover-tank/artillery vehicle.

One thing I could have done better is the hovering glows, however unfortunately I didn't have the time to get it looking the way I would have liked.

I used smoke and skies from the photobash packs, referenced bellow.

References

OTOY, 2024. OctaneRender®. The World’s First and Fastest Unbiased, Spectral GPU Renderer. [software] Available at: https://home.otoy.com/render/octane-render/ [Accessed 22 August 2024].

photobash. (2024). Dramatic Skies. [Online]. Available at: https://photobash.co/packs/dramatic-skies [Accessed 22 August 2024].

photobash. (2024). Smoke. [Online]. Available at: https://www.photobash.co/packs/smoke [Accessed 22 August 2024].

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Faction 2 Character Final

For my character painting for Faction 2, I decided to use the same workflow as the character from Faction 1.

I started by re-rendering my previous sculpt in octane for better lighting, that way it can come in handy for photo bashing into my painting.

Bellow of the final result -

In order to get here, I started with my basic thumbnail sketch, photo bashing my 3D sculpt while using comfy UI to add details. I would then manually paint over it and add lighting + finishing touches, this gets me to the result in the image above.

References

ComfyUI, 2023. ComfyUI: A Powerful and Modular Stable Diffusion GUI. [software] Available at: https://github.com/comfyanonymous/ComfyUI [Accessed 20 August 2024].

OTOY, 2024. OctaneRender®. The World’s First and Fastest Unbiased, Spectral GPU Renderer. [software] Available at: https://home.otoy.com/render/octane-render/ [Accessed 20 August 2024].

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Extension and Final Review 21/08/24

Due to personal circumstances affecting my progress over the last few weeks/months I have gained a 7 day project extension. This is my final project review in order to complete this project.

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Building Final Painting

Before starting my final building painting, I wanted to do some re-renders of my previous 3D coat sculpts. For this I used Octane renderer combined with a layered displacement workflow that I learned in my dropship painting -

I then took these into photoshop and painted over them to create a final painting. During this process I experimented further with shape language, the end result was quite different from my 3D renders -

Furthermore, I had done some extra/bonus design exploration, using layer blending and symmetry to create various different designs.

I felt some of these were more promising than my painting however I did not have the time to re-implement any newly discovered design features using this workflow.

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Learning Reflective Evaluation

This blog post will be my learning reflective evaluation, where I identify and reflectively evaluate my new learning over the project.

As I reach the conclusion of my major study project, it is imperative to reflect on the learning journey that has shaped my final artefact. Using Gibbs’ Reflective Cycle (1988) as a framework, I will critically evaluate the process, outcomes, and personal growth throughout this project, grounded in external criteria such as audience expectations, professional standards, and the purpose of the artefact.

Description The project began with an ambitious goal: to create a comprehensive artbook supporting a video game prototype that would showcase my skills as a concept artist, blending 2D and 3D techniques with emerging technologies like AI-driven tools. The artefact was intended to serve two primary audiences: industry professionals, as a portfolio piece, and potential investors or collaborators interested in the game concept. The initial vision was clear, but as the project progressed, challenges emerged, leading to outcomes that, while educational, did not fully meet my personal expectations.

Feelings Reflecting on the experience, I am torn between satisfaction and a sense of missed potential. On one hand, the learning curve was steep, and the skills I acquired - particularly with new tools like ComfyUI and 3D Coat have expanded my creative capabilities. On the other hand, a slow start to the project, partly due to underestimating the time needed for experimentation and iteration, meant that the final artefact did not reach the level of polish I had envisioned. This led to a mix of frustration and pride; frustration at the missed opportunity to present a more refined artefact, but pride in the substantial progress and knowledge gained.

Evaluation In evaluating the success of the final artefact, it’s essential to consider the external criteria. Feedback from peers and mentors indicated that the artbook demonstrates strong conceptual foundations and innovative use of AI in the creative process. However, it was also noted that some elements lacked the final polish expected in a professional portfolio piece. Gaining feedback from peers and professionals from my past career in VFX, provided valuable insights. They appreciated the ambitious scope and the blend of techniques but suggested that the visual consistency and cohesion could be improved.

This aligns with the professional criteria I set out to meet - creating a portfolio that not only showcases technical skill but also resonates with the expectations of industry standards. The artefact was successful in demonstrating my learning journey, but it fell short in achieving the level of finish required for a professional portfolio.

Analysis Using Driscoll’s (2007) model, the question “So What?” becomes central. The critical learning point here is the importance of time management and early planning, especially when integrating new technologies into a project. The artefact’s outcomes were shaped by my decision to focus heavily on learning new tools mid and early-project, which, while beneficial for my growth, detracted from the time available for refinement and polish. Comparing my process to industry expectations, it’s clear that while innovation is valued, execution and presentation are equally crucial.

Conclusion Reflecting on the outcomes, I recognize that the artefact serves as a strong learning tool rather than a final portfolio piece. The process highlighted the need for a balanced approach, where innovation and experimentation are paired with sufficient time for refinement. Had I started the project with a more structured plan with perhaps less ambitious scope, the final artefact might have better aligned with my initial goals.

Action Plan Moving forward, I plan to adopt a more structured methodology for future projects, drawing on what I’ve learned. This includes setting a clearer initial vision & plan, incorporating regular user testing, and balancing exploration with execution. Additionally, I will continue to refine the skills I’ve gained, particularly in integrating AI into my creative workflow, ensuring that future artefacts not only reflect my growth but also meet the high standards of the concept art industry.

References

Borton, T., 1970. Reach, Touch and Teach: Student Concerns and Process Education. New York: McGraw-Hill.

Driscoll, J., 2007. Practising Clinical Supervision: A Reflective Approach for Healthcare Professionals. 2nd ed. Edinburgh: Elsevier.

Gibbs, G., 1988. Learning by Doing: A Guide to Teaching and Learning Methods. Oxford: Oxford Further Education Unit.

Johns, C., 2006. Engaging Reflection in Practice: A Narrative Approach. Oxford: Blackwell Publishing.

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Character Final

Before creating the final painting of my character concept, I re-rendered my previous 3D sketch in octane. This serves to better improve the appearance of my artefact and also to use in my painting by photo bashing.

Bellow is my final painting. It is made using both 2D, 3D and AI (ComfyUI) techniques.

Underneath is a rough screengrab of how my digital painting interface looks like. I'm able to share my screen to comfyUI and get realtime second by second ideas/feedback for what I could change (and i'm able to adjust just how much of my sketch I want comfy to adjust, e.g. 10% or 50%).

Bellow are a few iterations of this painting. As I go back and forth between photoshop and comfyUI, I change the style and design elements of my painting and further explore styles and shape language.

Furthermore, I can photobash my 3D render into my painting and get comfy to better integrate it into my painting lighting-wise.

References

ComfyUI, 2023. ComfyUI: A Powerful and Modular Stable Diffusion GUI. [software] Available at: https://github.com/comfyanonymous/ComfyUI [Accessed 17 August 2024].

OTOY, 2024. OctaneRender®. The World’s First and Fastest Unbiased, Spectral GPU Renderer. [software] Available at: https://home.otoy.com/render/octane-render/ [Accessed 17 August 2024].

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Personal Reflective Evaluation

This is my personal reflective evaluation, where I will present a reflective evaluation of my personal methodologies of practise, knowing, making and creating.

Throughout my journey in the MA Concept Art course, I have developed and refined my creative process, integrating both traditional and cutting-edge digital methodologies. My approach is grounded in a blend of sketching, 3D modelling, and digital painting, each stage designed to enhance and build upon the previous one.

My creative process typically begins in one of two ways: either with thumbnail sketches in Photoshop or with 3D sculpts using software like ZBrush or 3D Coat. The choice between these two starting points depends on the nature of the concept I'm working on. If I'm focusing on ideation and exploring different forms, I gravitate towards thumbnail sketches, which allow for quick iteration and experimentation. However, for more complex designs that require a deeper exploration of volume and space, I start directly in 3D. 3D Coat, in particular, has been a recent addition to my toolkit - a software I learned during this course. Its intuitive tools and voxel-based modelling system have opened up new possibilities in my workflow, enabling me to quickly block out shapes and refine details.

Once the initial concept is established, whether through 2D sketches or 3D sculpts, I proceed to a more refined stage. This involves either a detailed painting in Photoshop, where I build upon the foundation laid by the thumbnails, or a more intricate 3D model. This stage is critical as it transitions the raw concept into something more tangible and detailed, setting the stage for the final touches.

The final step in my process is a detailed paint over in Photoshop. This stage is where everything comes together - textures, lighting, and final adjustments are made to ensure the concept is fully realized. It’s also at this stage that I incorporate one of the most transformative tools I’ve learned to use: ComfyUI.

ComfyUI has revolutionized the way I approach photo bashing and image enhancement. By setting up a workflow where I can sketch on one screen while ComfyUI, using fast models like SDXL Turbo, provides real-time suggestions, I’ve been able to streamline the creative process significantly. This technique allows for a dynamic interaction between my manual work and AI-generated suggestions, making the process akin to photo-bashing but with far greater precision. The AI suggestions often match the lighting and style of my work, making them easy to integrate into my painting.

Beyond this, ComfyUI offers additional features that have been invaluable, such as the ability to upscale and enhance images to any size I choose. The capability to render locally, without relying on online services, provides both flexibility but also ensures a faster and more secure workflow. Furthermore, the fact that ComfyUI is free only adds to its appeal, making it a powerful tool in my creative arsenal.

Reflecting on my methodologies, I’ve found that integrating new technologies like ComfyUI with traditional practices has not only enhanced my efficiency but also expanded the creative possibilities available to me. The synergy between manual artistry and AI-driven tools has allowed me to push the boundaries of my work, creating more polished and dynamic concepts than I could have achieved with traditional methods alone. This MA course has been instrumental in helping me evolve these practices, and I look forward to continuing to refine and expand my process in future projects.

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Career Development: Navigating the Future as a Concept Artist

For this blog post I want to look at the forefront and future of career development in concept art.

The role of a concept artist is evolving rapidly, driven by advancements in AI, new digital tools, and changing industry demands. To stay relevant and competitive in this dynamic field, concept artists must continuously adapt and develop their skills.

How to Stay Relevant in an Industry Impacted by AI and New Technologies

In Building a Future with AI Skills: The Next Frontier in the Technological Landscape, Devskiller (2023) states that AI is increasingly integrated into creative workflows, assisting in generating initial concepts, automating repetitive tasks, and enhancing creative exploration. However, the unique human elements of creativity—such as emotional depth, narrative development, and cultural context—remain irreplaceable. By learning how to collaborate with AI, concept artists can enhance their productivity and push the boundaries of their creativity.

Essential Skills for the Future of Concept Art

In Top Skills for Digital Artists in 2024, TealHQ (2024) it states that proficiency in advanced digital art software, 3D modeling, and animation are crucial skills for concept artists. Understanding AR/VR content creation is also increasingly important as these technologies become more prevalent in game and film development. Additionally, strong visual storytelling and conceptual thinking skills remain vital for creating engaging and innovative art that resonates with audiences.

Building a Portfolio that Showcases Adaptability to New Trends

In Concept Artist Career Guide: 2024 Edition, JobzMall (2024) it states that a strong portfolio is essential for showcasing your adaptability and skill set. Including a diverse range of work that highlights your expertise in traditional concept art, as well as your ability to integrate new technologies like AI, AR, and VR, will make you more attractive to potential employers. This approach demonstrates your ability to navigate the future of digital art effectively.

By staying informed about industry trends, continuously learning new skills, and building a versatile portfolio, concept artists can thrive in an industry that is constantly evolving.

This is relevant to my work because I agree that as a concept artist, it is crucial to continually evolve and master the latest tools and technologies available. In an industry that is rapidly changing due to advancements like AI and AR/VR, staying relevant means being adaptable and proactive in learning. My portfolio should not only showcase my current skills but also reflect my ability to integrate new technologies and adapt to emerging trends. By demonstrating this versatility, I can effectively position myself for future opportunities in the dynamic field of concept art.

References

Devskiller (2023) Building a Future with AI Skills: The Next Frontier in the Technological Landscape. Available at: https://www.jobzmall.com/careers/concept-artist (Accessed 14th August 2024)

JobzMall (2024) Concept Artist Career Guide: 2024 Edition. Available at: https://www.jobzmall.com/careers/concept-artist (Accessed 14th August 2024)

TealHQ (2024) Top Skills for Digital Artists in 2024. Available at: https://www.tealhq.com/skills/artist#:~:text=Most%20Important%20Artist%20Skills%20in%202024%201%20Creative,…%208%20Time%20Management%20and%20Project%20Completion%20 (Accessed 14th August 2024)

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Review 14/08/24

This will likely be my final Review. I've made a new Gantt chart for the final push! Everything is done apart from 5 "Final" sketches, and a few development sketches.

There is a lot to do, I've split it into AM (orange) and PM (blue) this time, in the first half of the day I will focus on my blog, video and design document. In the second half I will be working on my Character concept which I would like to make as good as possible. The other "final" concepts will have to be done in haste in order to accommodate.

I want to take the first few days to make further improvements to my blog and design document.

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The Influence of NFTs and Blockchain on Digital Art

Non-Fungible Tokens (NFTs) and blockchain technology have brought about a significant transformation in the digital art world, offering artists new ways to create, authenticate, and monetize their work. Among the most notable examples of artists leveraging this technology are Beeple and Ben Mauro, whose successes have highlighted both the potential and the complexities of NFTs in the art industry.

This is relevant to my work because NFT's could be something I create in the future, furthermore I could be working for a game company that is utilizing these technologies, thus it is important to understand how they work and look at examples of other artists and how they've used them. In the examples above, both Mauro and Beeple have utilised this technology to gain extreme amounts of capitol.

What are NFTs, and How Are They Changing the Landscape of Digital Art?

NFTs are unique digital assets that use blockchain technology to verify ownership and authenticity. This innovation has fundamentally changed the way digital art is valued and traded. Beeple, also known as Mike Winkelmann, made headlines in 2021 when his digital artwork "Everydays: The First 5000 Days" was sold as an NFT for a staggering $69.3 million at Christie’s auction house. This sale underscored the immense potential of NFTs to transform digital art into a lucrative market, where digital creations can be bought, sold, and owned like physical assets (Cointelegraph, 2021).

The Potential for Concept Artists to Monetize Their Work Through NFTs

For concept artists, NFTs offer a groundbreaking opportunity to monetize their work. Ben Mauro, a well-known concept artist in the gaming and film industries, successfully sold his "Evolution" series as NFTs, generating $2 million in just seven minutes. Mauro’s experience highlights the viability of NFTs as a new revenue stream for digital artists, allowing them to reach global audiences and retain control over their work in ways that traditional methods do not (Decrypt, 2021).

Challenges and Controversies Surrounding NFTs in the Art World

Despite these successes, the integration of NFTs into the art world is not without controversy. Critics have raised concerns about the environmental impact of blockchain technology, as well as the speculative nature of the NFT market, which can lead to volatile pricing and market bubbles. Additionally, issues related to copyright and intellectual property remain contentious, as the decentralized nature of blockchain makes enforcement challenging.

I have chosen slightly older references for this blogpost, as these significant events happened during the last financial crypto bull-cycle which took place around 2020-2021. I expect there will be new similar events taking place within the next bull run expected in 2025.

References

Cointelegraph (2021) Beeple NFT Auction Closes at Record-Setting $69.3M. Available at: https://cointelegraph.com/news/beeple-nft-auction-closes-at-record-setting-69-3m (Accessed August 14th 2024)

Decrypt (2021) How a $2 Million NFT Drop Changed Artist Ben Mauro’s Life. Available at: https://decrypt.co/61647/ben-mauro-nft-drop-evolution-interview (Accessed August 14th 2024)

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Faction 2 vehicle thumbs

Next I used 3D coat to create faction 2 vehicle thumbnail sketches.

These are a very rough exploration of shape language for a potential tank or artillery vehicle.

My goal was to think more about form than functionality and to try to find a shape language that appears functional but alien, and mechanical but mysterious.

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Faction 2 character - 3D sculpt

I wanted to take things into 3D so I created a digital sculpt of the character I liked most from the loose sketches prior.

This isn't a full body sculpt, only a portrait sculpt to help explore the main shape language of the character.

Feel like there is still room for improvement, but either way I can use this in my final painting.

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Faction 2 - Alternative character sketches

I wasn't 100% happy with the direction of my characters in my previous thumbnail sketches, so I decided to do some other sketches on my iPad, not necessarily based on the previous ones.

This is a good way to explore alternative forms and ideas, furthermore sketching on my iPad seems quick and comfortable to do.

Below are a few of the ones that are more based on the thumbnails from before but with a bit more detail.

I liked the middle one the most, as the shape of the head looked quite interesting, however still felt like there was more exploring needed.

Below are a few other sketches, not based on the thumbnails from before. These are totally freehand exploration of forms that I may or may not use in my next sketches.

Like the thumbnail sketches from before, I felt these were hit and miss. Found it a bit challenging to come up with the right forms for this character design.

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Environment thumbnails

One other thing on my list was an environment concept, to start this I created some thumbnail sketches -

I then took a few of these and made more detailed paintings -

I like the last one the most, as it displays huge mountain sized weapon system structures, this could make for a cool concept that fits my game world and is fun to draw.

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Building sketches Part 2

Based on my prior sketches, I decided to go into 3D coat and design a few potential 3D designs. I liked the idea of angular surfaces as these give a clear modern and sleek look. This type of angular design also gives a functional form as it helps kinetic projectiles to ricochet.

Bellow is the first pass of my 3D sketches:

While not perfect, these provide a good base to further iterate on.

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Building Sketches

I wanted to make a start on the building concept for faction 1 so thought a good place to start might be with some silhouettes.

The idea is this building will be dropped off from the massive dropship I designed previously and unpack itself into a tank/factory of some sort.

Out of these silhouettes I like numbers 25 and 26 the most, as they have the kind of angles present in many military vehicles. The sides are sloped in order for better protection against kinetic ammunition and to increase the chance of ricochets.

I had shown these to Neal Patty and he suggested 25 can be the packed version of the building and this unpacks to 26. This is a cool idea, I will continue with this and do a few more sketches!