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This is my few time that I model something that is human character and luckily I have Katamati which feature model gallery if you finish a game, a great place to study how they model each piece from as small as ant to as big as entire island.

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The original Universal Shipper that I finish in 2019 during 2nd year. She is base on my really old character I made in 2016. The whole concept is bascially trying to symbolize my journey in my art career.
Main Girl is obviously based on my old character and me. Her delivery package is a metaphor for both learning new style or reaching a certain milestone hence why some package is in difference dimension or art style.

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Animation and render test I did for main character assert which is a universal shipper's package.

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I believe Blender animation would require a lot node editing, luckily I found this video by  Daniel Krafft talking about every single Blender node (v2.8) and their functionality, super helpful for my work.

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All 80+ Blender material nodes explained in under 30 minutes

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Another great inspiration, music video created by Yohei Kameyama also use Blender for modeling and animation

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自主制作アニメーション『ミルキー☆ハイウェイ』本編

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The whole storyboard that I will be doing for this project

Story: Continue right after our girl (Saki) delivers her package in the Drawing dimension and travel through the Stop-Motion dimension to enter the Anime dimension. After that she went back to her original dimension, she get assign more delivery and she also get a promotion in order to travel to new 3Dimension. She went through the usual day and delivery her first package. She end to 811 for glad some drink, when she came out of the store, she find out her package got stolen by mystery thief and she have to chase after the theif to get her package back for final delivery.

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Full SB

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Quick animating story board of what final would look like

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I do plan for 4th art style which is my personally art style when I model my own character but it seem not worth for 30 sec scene with full render and full rigged character.

However, including PS1 art style I will do it for degree show as the work load is already heavy.

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Collab with Sax, Next & Me doing short animation

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I help Sax clear up his Dragon model, rigging, weight painting and prepare to be animation ready model

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I look into how some company like Grab or Lineman give their employee uniform and trying to take a few bite from their design choice and add to my work

I notice that at least for us, the uniform is consist average company's color t-shirt that sometime made by company themselves or white t-shirt then overlay by company jacket. While sometime, they simply wear color T-shirt and one cap.

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Later on I try spice thing up a little, I remember one game I used to play during my childhood is skate game called Tony Hawk's Proving Ground and I remember I discover arm sleeve. and I decide I try to add it to my design since Thailand's sun is insanely hot and stay in the sun every day in middle of street, she would get heat stronk. And I really like it so I take it as offical design as well as people in Discord also like it.

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After I look into ref, I start creating sketch base on what I can consider and take every feature that delivery men commonly wear, along with a few additions I add myself, try to create outfilt that can instantly recognize as delivery person. I also ask for Discord and my classmate to select what they like the most and most of them choose 6th one, personally I also like 6th one so I decided on that design and start improve and adapt further into 3 art styles

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I really want a new fresh look cause she is gonna go for new dimension after all. Based on the 6th design that I (and some other) select I start to adapt them into 3 original art style, bascially upgrade from chibi to full 7 heads tall character.

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After that, I drew them standalone with different pose to see how they would look like with the original color scheme and how I kinda imagine that gonna look like in 3D.

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I improve it further, maybe I could use those to some extend and I was thinking about whether I choose use OG color scheme or new color scheme for fresh look on my character and the world that she gonna travel into.

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Shrek Retold A project create by 3GI
where they gather over 300 artist assign to remake entire Shrek movie. Each person is given 10 sec to any sec depend on scene and remake them in their taste and style. I really like this collaboration as it shown no matter how chaotic and difference artstyle is, in the grand scheme, it can be beautiful.

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The Amazing World of Gumball also known to play with mix media of every animation and web animation style and making parody of animation troop including animation style troop.

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0:00 / 18:02•Watch full video

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All the Animation Styles | The Amazing World of Gumball | Cartoon Network

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Modeling

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Dylan Mellott shared his thoughts on stylized and hard-surface 3D art as well as shared some useful tips and materials for learning.

Dylan Mellott shared his thoughts on stylized and hard-surface 3D art as well as shared some useful tips and materials for learning.

Introduction

Hello folks, my name is Dylan Mellott and I'm a Hard-Surface Artist in the Video Game Industry.

Throughout this article I'm going to be walking you through some of my overall philosophy on creating Stylized 3D Art (and some things to consider for 3D in general) but before we do that I'll give a glimpse into my background and how I got into this Industry.

Where do you come from? Where did you study?
I grew up in a very rural village in Pennsylvania and only started to take interest in art at the very end of High-School. A mentor of mine pushed me towards furthering my education so I took the leap to go to game art school for my BSc. Even though I had a curriculum and classes, the vast majority of my practical learning took place in Art Forums like Polycount, LunchCrunch, and Ten-Thousand Hours.

Connecting with other artists online was a huge factor in my growth and eventual employment, and it's something that I keep up with to this day.
What companies have you worked at? How did you get into the game art in general?
My first ever professional gig was working as a 3D Artist at a company called Marxent, which is a commercial AR and VR company. I modeled various household props and created tiling textures of the floor and wall tiles that you could purchase at a Home Goods store like Lowe's or Home Depot.

While I wanted to work in the Game Industry, this job kept my skills sharp and I got to work with a lot of young and motivated individuals. I even learned Substance while working there and I was fortunate to have an opportunity like that right after school.

As I mentioned, I had my heart set on working in Games and so every day for a year I went home after my day job and worked on my portfolio. Eventually, this would pay off when I got my first Industry gig as an Associate Weapon Artist at Hi-Rez Studios. My first game was Paladins: Champions of the Realm and I'm very appreciative for my first project to have been a stylized one. On Paladins, I learned how to push shape language, look for tone variation in materials, and how to hand-paint. These skills would come to serve me to this day and on every project that I've worked on.

After Hi-Rez I went to work at DICE LA on Battlefield 1 and Battlefield V. It was really interesting to go from hand-painted and stylized art to immediate switch for photorealistic weapons and gadgets. Having that photoreal skillset really rounded out my overall approach to making art, and during my time there I was fortunate to be under the guidance of two stellar hard-surface artists who'd been working in games for decades. The team at DICE LA pushed my quality bar to new heights and I gained a deeper respect for every step of the 3D process. I have a ton of appreciation for the team there and the level of fidelity they set to accomplish.

Eventually, working on both stylized and photoreal projects led me to have a great admiration of both workflows and it's all ended up informing the artist that I am today. Ultimately, this experience took me to new territory with The Mentor Coalition where I currently mentor anyone who is interested in learning more about 3D fundamentals and how to create stylized 3D artwork.

I love working with TMC and it's a pleasure to stand alongside great industry talent who are all putting themselves out there to help people grow. I love to support artists in their journey and it's been an experience I've thoroughly appreciated.

A Few Aspects of Stylized Art

There are a few broad principles to be aware of when it comes to making stylized art, but some of them extend to art in general. I like to break it down into three overarching sections.

This is the first and foremost element to be aware of. This might be a term that you've heard fairly often, but really the essence is what sort of "feeling" you get when you look at an object.

There are many things to consider when manipulating shape language, but it's important to keep reminding yourself about the feeling you're trying to get across. Once you know your intent, look at objects in the natural world or other artwork that might evoke that feeling and introduce similar elements into your work.

We can use these elements to play to our viewer's expectations (round characters being stereotypically jolly or friendly) or we can even use them to subvert our viewer's expectations (round characters but with strong, secondary triangular components to give a sense of uncertain danger).

Take for instance the designs of Sully and Mike from the Monster's Inc. universe and note how rounded they are. Any pointed and potentially dangerous elements have been reduced in size or rounded-off, this lends to the idea that these characters are more inviting or safe to be around. These are the kinds of ideas we can utilize in our work to emphasize our intent.

Before moving on, I'm giving a small shout-out to silhouette here as this goes hand-in-hand with shape language and describes what the solid image of a given object is. Typically this is represented as a full-black image that shows the outline of the object in question. Silhouette provides the viewer with a sense of form at a distance. It's a way to immediately read an object and impart how you might need to react to it. You can use shape language in tandem with silhouettes to sell your intent even further.

Did you push or reduce your forms to exaggerate your intent? Did you use color and tone to emphasize what you want your audience or viewer to feel? What are you trying to highlight and in what way?

A favorite reference of the last two points is Moby Francke. I specifically reference his work because he utilizes the importance of readability, simplicity, iconic design elements, and intentional use of color. Notice in the references below how Francke exaggerates parts of the body, hands, head, and weapons. Combining these components makes his work stands out as being unique and captivating.

Possibly my favorite part of the three overarching points. For this section, I want to specifically point towards Dota 2, as in some ways they've sort of standardized the idea of using functional gradients in games via their extensive art guide.

Gradient is one of those things that has a ton of utility. It can be used both in color and in grayscale, but the understanding of gradient, in a nutshell, is that it has at least two major functions in stylized art:

Firstly, it establishes contrast by highlighting brighter values while pushing back darker values. We can use this to draw attention to more important elements while tamping down less important ones.

Secondly, it establishes a layer of basic depth via value and tone variation. This can be used overall across an entire piece or only on very specific elements.

In the context of a game, the gradient can be very important for an isometric or top-down camera like you'll find in Dota 2 or League of Legends. It helps to distinguish characters not only from one another but also from the environment that they are in.

In the context of individual art pieces, the gradient can be used to effectively introduce simple variation. This will help to make your work appear layered, allowing you to then build upon it with a greater effect.

Before we move on to the 3D and Technical portions I want to emphasize that there is a large spectrum on how to approach stylization. Rarely will you find stylized art that doesn't combine multiple elements of art fundamentals. I encourage you to always look at a wide range of art, and ask yourself what speaks to you!

Modeling Workflow & Philosophy

When it comes to modeling there are a lot of ways to approach how to build shapes and assets. However, what doesn't change are basic considerations in regards to your models and your work.

One of the most essential things to remember is that your responsibility as a 3D game artist is to ensure that your work not only looks as polished as possible but is also highly optimized to perform well at runtime.

At the risk of sounding like a cranky old dude, I'll often hear students and beginning 3D artists toss around the phrase "engines can afford so many more polygons now!" This is a bad mentality and will lead to a lot of unnecessary bloat in your models, much frustration with your work, and a lot of glares from your Tech Artists. New tools or engine updates do not afford us the ability to forget about being meticulous in our work. We must always strive to deliver our best quality at our highest degree of fidelity and optimization.
How do you work with the geometry?
When I start a new model I always keep the topology super low. I build what is essentially going to function as my game resolution mesh that I can manipulate very easily and non-destructively. It's extremely important for me at this stage to avoid adding a ton of details or subdivisions. I want to solve nearly all of the problems in the game resolution mesh instead of trying to solve them in the high poly later. This helps to keep the high poly process very simple and I can up-res or down-rez very easily from there.

High Poly Workflow

My high poly workflow is pretty simple. For stylized art where I want very specific control over the way my bevels read when smoothed, I usually end up doing my holding edges by hand. Sometimes I'll use a "double turbosmooth" method in 3ds Max but usually, I'll always go in and hand-edit it afterward. Adding edges by hand is time-consuming, but if we have simple and clean topology then it's a snap.

When it comes to more complex operations where I might have to cut something in, I might use a boolean and fix the geo afterward. Most of the time I end up drawing vertices or lines and cutting the shape out to fit the concept or design as needed. My overall approach here is that I want as little cleanup as possible. I like to work with modifiers in 3ds Max and approach my work in layers. This lets me work in a really flexible way where I can just turn on or off elements as needed. Basically, I invest the time up front to speed up the steps later.

UVs

When it comes to UVs for hard surface, the main thing to be aware of is that you want to keep your UV edges straight where possible as this will allow you to pack your UV islands more closely. Also, bear in mind that you really only need 6-8 pixels of space between islands to prevent texture bleeding when you mip your textures down.
*If you're unfamiliar with what Mipping is, it just references a texture that becomes progressively lower in resolution. Usually, this is used to reduce render time and is a cost-efficient way to help with memory loads.
My workflow mainly focuses around trying to keep as few UV Islands as possible. This helps for clarity when editing UVs but also reduces the number of vertices created by splitting your UVs. Every so often you'll need to go and add more UV splits due to erroneous shading or odd normals, but I always try to start large and break it up from there.

These days we have access to things like IPackThat and RizomUV. These software solutions are used to great effect, I personally usually end up using a mix of packing software with editing by hand afterward. I like to know what I'm getting and if there is an error I need to correct later on I know why, where it came from, and where it's located. I definitely encourage you to learn these tools, but having a thorough understanding of UVs first will be very important. Again, new software solutions do not afford the ability to become less meticulous!

Texturing Process

For texturing these days I use several different software choices and it's pretty dependent on what my goals for the given project are.

Substance Painter offers a lot of flexibility in terms of non-destructive workflows and procedural materials. The catch here becomes that things look procedural out of the box and it requires a lot of hand editing and masking to really make something look unique. Overall though, it's one of my favorite tools to use.

3D Coat and Photoshop are my go-to tools for making handpainted art. The color blending tools in 3D Coat and the ability sync to Photoshop makes the combination of these two tools a strong force in the stylized artist's toolkit.
*One additional thing I'll mention is interesting new tools like SoMuchDiffuse that give you some hand-painting flexibility in Substance Painter. New options like this could open new doors for the stylized 3D artist.
Stylized PBR

This is a topic that I have a particular love for. In modern games, we've just begun to touch the surface of what PBR has to offer, and there is still so much room for development and evolution. You could definitely say that I'm just a bit excited to see where we take stylized PBR in the future of games.

My overall approach when it comes to practical application is to do whatever it takes to make the asset look good within its own context. I know that sounds kind of broad, but ask yourself "What are the goals of this project?" My best words of wisdom are that I encourage you to experiment and to draw inspiration from many sources. Breaking convention can sometimes lead to great surprises!

The whale, anchor and the stripped part of the gun were a lot of fun. Painter gives great freedom to work in flexible and nondestructive manners. For these specific elements, I layered several Fill Layers together to isolate specific channels so that I may manipulate them to my needs.

First I begin by creating a Fill Layer of the color I'll be using as my base. Then, I create a Mask on that Fill Layer where I stamp an Alpha or draw in the shape I want.

Then I simply layer on an isolated gradient and finish with a stroke layer to underline the decals.

For the Whale decal, it's a bit more complicated but it's a fairly similar approach.

For the outline, short of drawing an alpha by hand in Photoshop or something similar, there isn't an easy method of approach. In this instance, I drew it by hand with pen pressure turned on so that I could get varying thickness in my lines.

From there I layer on additional elements until I match the look of the concept. As you can see from the gif below, I separate each element on to its own Fill Layer. That way I can keep my layers self-contained in case I need to make large scale edits.

Overall Advice for Learners

My best overall advice honestly is to try many different kinds of art. Every single piece of art I've done has informed my abilities as an individual and every style I've tried has in some way connected built off of previous projects. Learning how to hand-paint helped me make better realistic materials. Making realistic models helped me learn where to focus on shape language for stylized pieces.

For stylized specifics, there is a big range, but I'll list a couple of strong tutorials below:

For hand-painting, the talented Yekaterina has incredible breakdowns of painting models from scratch.

For stylized PBR, I recommend Marc Brunet's introduction.

Again, I strongly encourage you to try many different methods and multiple approaches. You never know, you might just introduce the 3d community to a whole new way of approaching stylized art!

Please feel free to reach out to me directly if you have any questions or if you'd like to connect!
Contact Info

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Dylan Mellott shared his thoughts on stylized and hard-surface 3D art as well as shared some useful tips and materials for learning. Dylan Mellott shared his thoughts on stylized and hard-surface 3D art as well as shared some useful tips and materials for learning.

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learning the processes maybe I can appear them to my work

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The term art instantly conjures images of colourful paintings on a wall but this is just one small facet of the vast ocean of art techniques and styles.
Whilst some artists prefer a flat surface to work with, whether that is a canvas for painting or a paper for drawing, others prefer three-dimensional art for which there are various styles. Here are some forms of 3D art:
Clay Modelling

Traditional clay techniques require a kiln so air-drying clay may be an easier option, but is soft and more malleable making it unsuitable for some items for which traditional methods are more efficient. Made from clay mineral and other raw substances, ceramic clay is a water-based substance which is fired to produce earthware, stoneware, porcelain, and terracotta. Ceramic clay has been used by civilisations all over the world for centuries.

Oil-based clays on the other hand are made from a combination of oils, waxes, and clay minerals; the oils in the clay do not evaporate like water allowing oil-based clay to stay malleable even when left for a long period of time in a dry environment. The malleability of oil-based clay can be influenced by heating or cooling as high temperatures decrease oil viscosity.

Oil-based clay is used by animation artists who frequently have to move and bend their models, it can be used as a modelling material for prototypes and the reproduction can be constructed from more durable materials.

Here are a few famous oil-based clay trademarks:

Plasteline (or Plastilin) was patented in Germany by Franz Kolb in 1880, was developed by Claude Chavant in 1892, and trademarked in 1927.

Plasticine in 1897 by William Harbutt in England.

Plastilina (Roma Plastilina) uses a one-hundred-year-old formula.

Paper clay has a small percentage of processed cellulose fibre added increasing the tensile strength of the clay and allowing dry to dry and wet to dry joins. Paper clays form a firm, lightweight sculpture and can be used unfired.

Polymer clay, which actually contains no clay minerals, cures when heated from 129 °C to 135 °C (265 °F to 275 °F) for fifteen minutes per six millimetres. It is used by artists, hobbyists, and children, it is also popularly used in animation.

Pottery

The process of forming vessels and other objects with clay and other ceramic materials which are fired in order to harden them, pottery is one of the oldest human inventions predating the Neolithic period. Archaeologists generally refer to pottery as being clay vessels, models, and other products of the same material are known as "terracottas".

Some of the oldest pottery remains date back to 29,000-25,000 BC discovered in the modern-day Czech Republic

Ancient pottery remains were also found in China (18,000 BC)

Eastern Russia (14,000 BC)

Jōmon Japan (10,500 BC)

Sub-Saharan Africa (94,00 BC)

South America (9,000-7,000 BC)

Middle East (7,000-6,000 BC)

The fact that pottery was produced at such an early age shows the importance of owning vessel for humans, whether it be for storing food and drink or for use in religious rituals, pottery has played a major role in the lives of humans even before settlements were established.

The process of producing pottery involves forming a clay body into the desired shape and firing it at high temperatures ranging from 600-1600 ° C in order to increase its strength and rigidity. Clay-based pottery can be categorized into three groups: earthware, stoneware, and porcelain.

Historic specimens of all three groups were either glazed or unglazed for various purposes and regarded as either "fine" ware, expensive, well-made, and decorated vessels generally used by wealthier city folk, or "coarse" ware, rougher, normally undercoated vessels commonly used by poorer villagers.

The reason why clay pottery has been useful to man throughout the ages and even today lies in its properties. Clay, which is the basic material of pottery, can be molded into almost anything and retains the shape. The process of firing hardens clay making it indestructible to the substances that corrode metal and damage organic materials.

Water will eventually destroy a simple sun-dried clay vessel if stored within, however, when fired to about 500 °C (900 ° F) a chemical change takes place allowing water to be stored in the vessel without it being damaged.

Clay vitrifies at temperatures of 1,600 °C (2,900 ° F) but if mixed with a substance that vitrifies at a lower temperature, the will retain its shape while the other substance vitrifies forming a nonporous, opaque body known as stoneware.

Clay with added feldspar or soapstone heated to a temperature of 1,100 °C-1,450 °C (2,000 °F-2,650 ° F) forms a translucent product known as porcelain. Earthenware generally isn't vitrified and is coarser.

It should be noted that stoneware and porcelain are descriptive terms and not definitive; in the western world porcelain refers to a translucent substance whereas stoneware is not, in China, however, porcelain refers to any ceramic that gives a ringing tone when tapped, besides, some thinly potted stoneware are slightly translucent and some heavily potted porcelains are opaque adding further complication to the terms.

Pyrography

From the Greek words pur (fire) and graphos (writing), Pyrography means "writing with fire" and is also known as wood burning. Pyrography involves decorating wood or other materials using an object heated in fire enough to be able to apply burn marks.

Generally light coloured woods like sycamore, basswood, beech, and birch are used and after the design is burned in they can be coloured. Hard-shell gourds are commonly used for pyrography and vegetable-tanned leather can also be used but not regular leather, modern tanning methods use chemicals that are toxic when burned.

Traditional pyrography uses any metal object, such as a poker, heated in a fire to be used on wood. Modern pyrography machines exist however, here are some of them:

Solid point burners - this machine has a solid brass tip that is heated via an electrical element and operates at a fixed temperature.

Wire nib burners - features a writing nib heated via electricity, and has temperature control options. Some models have interchangeable nibs for different effects.

Laser cutters - Although normally used to cut objects with precision, laser cutters can also be set to scorch. With the software facility allowing images to be burned directly on to wood and the capability of burning thin materials such as paper, laser cutters are the most efficient machine for pyrography.

There are different categories of wood that pyrographers use for different purposes. Softwoods from coniferous trees have a finer texture and require less heat to burn than hardwood from broad-leaved trees, making them perfect for beginners.

Wood Carving

A form of art involving wood being cut with a knife or being shaped with a chisel and mallet to form a figure or sculpture. Since wood is vulnerable to decay, insect damage, and fire, little evidence survives of ancient wood carving even though the practice is known to be extremely widespread as it is easier to work with than stone.

Wood is light and can take very fine detail but does not last long, it is unknown how the totem pole tradition developed as a way of presenting stories of ancestors. Most of the important sculptures of China, Japan, Africa, and Oceania are made from wood. Elaborate masks, particularly in Africa were wooden and intricately designed.

There is much that is unknown about ancient wood carving, making it one of the hidden and mysterious facets of art.

3D Papercrafts

Paper is very versatile and can be folded, curved, bent, cut, glued, moulded, stitched, or layered. As of modern times, the mass production of inexpensive paper which was unknown to the ancient world has led to papercrafts being a vital part of the education of children.

Not only is paper very cheap, but it is also the easiest material for children to work with for making 3-dimensional objects as opposed to wood, ceramics, and metals. Paper provides children with a safe platform to express themselves and most schools around the world incorporate 3D paper crafts in their curriculum.

Paper is also used for creating beautiful 3D models in Japanese origami.

Quilling which involves rolling, shaping, and gluing strips of paper has been popular since ancient times where paper taken from the edges of books was used. The origins of quilling are disputed however with some historians believing it started in Ancient Egypt whilst others claim it started during the Renaissance.

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The term art instantly conjures images of colourful paintings on a wall but this is just one small facet of the vast ocean of art techniques and styles. Whilst some artists prefer a flat surface to work with, whether that is a canvas for painting or a paper for drawing, others prefer three-dimensional art for which there are various styles.

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Someone in Unity Forum leave a small guide on how to start with PS1 character model

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A technical and in-deep video on how iconic PS1 "warp" graphic come from, this help me understand how to remake it in Blender animation (have to look for guide)

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0:00 / 12:35•Watch full video

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Why PlayStation 1 Graphics Warped and Wobbled so much | MVG

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Difference topo lead to difference deformations, very help for my 3D modeling. While look around for topo life hack. I try look into PS1 model style.

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0:00 / 3:24•Watch full video

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I remember few year back, when I was replaying GTA 3 on PS2 emulate, I notice their body part is actually separate piece connect by rigg bone.
This is actually common practice in the older game,s especially during the PS1 and PS2 era. This type of model is use to prevent common deformation issues with very low-poly model so instead, they separate each body part in order to make model overlap when moving around, that way it create more naturally " deformation "

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(https://sketchfab.com/3d-models/claude-2001-6164e6d2cd9845599923b457e1d95521)
And due to low graphics and barely any lighting interact with a model, that separation is not visible during normal gameplay or even close up. This pushes me to use this method along with lighting during "PS1" art style part.

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While actual PS1 game (like Metal Gear Solid), using this method is way more visible but that is due to technical limit at the time. This make realize that imperfection is what create iconic PS1 style graphic.

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Here I color the with color that almost resemble older color scheme. At first I like the color so far and I'm about to settle it there but talking with my tutor and Kannitta (Pam) I have a change of mind into.....

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A final color after some discussion with tutor and Kannitta, and to be honest I love this color even more it does settle well with new color scheme I'm going for.

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I was thinking how chibi art style color would look like. Then I come cross another childhood game called "Katamari Damacy" which have a chill and simplistic mood and tone to it, like a Japanese clip art (Called  いらすとや. (Irasutoya))I also look for other game that has similar mood and tone and Pepsiman is another one with Japanese clip art tone that I also like alongside with Viewtiful Joe which is shift from soft to little contract like American comic color at the time.

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For "PS1" dimension art style, I want to aim for really retro look on top of already dated looking model, I really like pixel art style old limited color PC of 80s that run less color than 16 bit or even 8 bit color. The example I show here is from modern vintage game called "Retro City Rampage" one of very few game that did pixel animation sprite correct and not just rotate pixel like PNG image, this game will be great resource for me to study. Also I'm experimenting a color on my ps1 character to see how she gonna look under color scheme that emulate Commodore 64 computer.

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I'm watching this highlight from NIJISANJI EN VrChat Stream to study how they animate or at least how chibi would be act with shortening body parts

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0:00 / 12:42•Watch full video

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This VRChat collab is full of wholesome and cute moments [NIJISANJI EN]

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Small color script to see if it look alright with new color scheme and I actually like it a lot than I expected.

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with all the color and set up I am prepare for modeling and ultimately animate now

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Referencing GTA 3 modeling method and my own, I start working on model. It is simple 5 head tall model. Face is the hardest part here since I have to make trangle as much as I can, and trying to match a drawing version as well but I manage to do by keep twist it until iti is

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Next gladly recommend me a program called 3DCoat which is basically a texturing program alternative to other program such as Substance Painter.

Sadly I didn't use this program for texturing since I am unfamiliar with the program and it would be delay my workflow but I will be looking into it again soon.

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From video I watch, I try to work around node editing + looking for help online, I able to make node setup that able to render object in 2 shades. Both of them is identical and can appear to every object in my work.

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UV and Texturing of PS1 art style. As you see I mostly use shadow by shading rather than relies on lighting in 3D only

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However chibi style use no texture shadow at all since dimension she is in does contain light to reflect on and creat 2D like effect already.

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Now it is time to appear those texture to in the model and using similar technique to PS1 texturing which is create detail adding extra polygon by using alpha and PNG texturing like front of her hair.

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Both model in companion with default lighting

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I do like left one better but I feel like her head is way too big and it look funny in actual work, also hard for her to ride a bike. so I decide to reduce her head size to reasonable size.

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Same as previous one, this is shader test and turnable for my character when she enter PS1 dimension.

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Turntable of Chibi character design including shading test. I really like the two-tone shading and since she is going to semi anime dimension as the first destination

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Base of bike that I adapt from online

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Same as her model I try to make it low poly as much as I can

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Bike UV and Texture

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Chibi style riding a bike

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Car model I did for prop in the scene

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She ask me for help with 3D scene that she gonna use in her work so I help her with technical problem.

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First 3D session of this work is when she about to enter the city. This is my first animate a landscape and huge scene, so there will be problem.

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I'm trying to find a way to create huge landscape without blowing my PC. My resolution for this is that I create repeatable plane and draw a tileable texture then I'm using Array modifier to create copy of itself that connects and can be change easier

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Final render of the scene

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Second scene is zoom out to see the whole city, I personally like this scene alot. One of the video game gimmick is that, they always take place in the lonely island in the middle of nowhere. so I made chibi city a standalone island city. The city itself I use addon called GIS where they will scan real world map and convert building and road on the map into 3D model so I use map of Bangkok as backdrop city block and base for building of my scene.

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Render

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Simple Texture with ocean as animate png sequence.

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This scene is quite packed and busy with a total of 1000 frames to render. Again I use scan map of Bangkok as the backdrop and base building. The new problem I'm facing during this scene is toggle to what to render what not at the right time. I use a car I model for this scene as well

At this part, she encounters heavy traffic at the only entrance to the city. make her wait for hour while facing some dirty driver behavious.

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Final Render

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Smaller than previous one but as compact as last one. This scene foreground building, I'm using same technique as first scene which is Array Modifier to copy build into single row, camera might be point at those building it does space in case I have to change animation.

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I also use green screen as transition to next scene since next scene is taking place in difference block from where she riding to save a time.

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Render

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Another huge scene, transition from green screen into western townhouse to delivery her first package. The building is once again Array copy. This scene of ours main character finally have full animation play out.

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Render

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The follow up scene right after she fall, where she is finally going to delivery package to this sus man. Switch ours girl and sus man POV.

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Render

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A fun little scene where after she enter 811 store, she go and pick my older assert which I use for my last year work, Snailpot Soda. This scene is quite experimental on lighting using Eevee render engine, which is a engine that use Cpu to render real time lighting in exchange lesser realistic lighting but insane faster render time.

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RENDER

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Final Render