Beteckning:________________

Faculty of Engineering and Sustainable Development.

Game Art Workflow: Open-source and Commercial Programs

Zebastian Aspenfelt June 2012

Bachelor Thesis !" Credits C Computer #cience

Creative Computer Graphics Examiner: Sharon La enby Supervisor: !orsten "onsson

Game #rt $or%flo&. 'pen(source and Commercial )rograms

$% &e$astian Aspenfelt 'acult% of (ngineering and #ustaina$le )e*elopment +ni*ersit% of G,*le -.! /0 G,*le #weden
(mail: Ncg09zat@student.hig.se

#bstract 'or %ears game companies ha*e $een using different programs for the creation of the newest most inspiring games1 A short presentation a$out different programs used for game art is pro*ided with ke% aspects in de*eloping art for games in character production1 One aim is to showcase the potential of open-source programs1 Two pro2ects with two different characters were created for games testing the workflow $etween open-source free application and also commercial programs1 The results of the pro2ects are discussed and then the document focuses on e3plaining what the negati*e side of open-source programs is and wh% the% should not $e used1 After the discussion a conclusion is made e3plaining the similarities and differences $etween open-source and commercial programs1

*ey&ords: +lender, )ixologic -brush, open(source, #dobe )hotoshop, #utodes% .aya, Gimp, #lchemy, )ixologic Sculptris, commercial, game

Table of contents
/0ntroduction.............................................................................................................../ 12uestions .................................................................................................................../ 3+ac%ground ...............................................................................................................1 4.ethod.......................................................................................................................5 67esults....................................................................................................................../8 5Discussion ................................................................................................................11 7eferences..................................................................................................................14

Introduction

4an% programs are a*aila$le for artists in the current computer age1 The e*olution of digital art has made it possi$le to achie*e the spectacular results of modern computer games1 A goal is to see if free applications ha*e de*eloped the functions necessar% to use them in a production $ased game industr% while focusing on the creation part1 The document will not discuss after initial creation part for e3ample rigging or animation1 This is to restrict the su$2ect and ha*e clear path of e3ecution1 B% creating two different characters with different assets in the form of items the different workflows will $e discussed and seen to with the free open source and commercial programs1 The% will ha*e the same construction rules applied to them in order that the% can $e treated in the same manner1 The characters will ha*e an uni5ue art fla*or that focuses more on st%le than realism1 A knight will $e created using the commercial programs and a Wi6ard will $e created using the free applications1 )ifferent characters were chosen $ecause of *ariation1 The importance lies in the rules for the pro2ects1

Questions

This document will tr% to answer wh% different game companies do not use free applications for their game de*elopment1 To understand wh% a 5ualitati*e action research is made $% doing two pro2ects which uses the same rules $ut not the same tools for game creation1 The main 5uestions are as follows: What are the ke% differences $etween free applications stated and the commercial ones7 Are free programs suited for professional work or onl% meant for ho$$%ists7 Wh% should artists not use the free applications7

Background

'or %ears game companies ha*e $een using different programs for the creation of the newest most inspiring games1 The% ha*e different s%stems of working and man% companies use their own workflows for creating their games1 To understand how the% function in creating games the research must first focus on how the actual terms work and what the different ke%words mean as well as how the% are implemented in to the work en*ironment1 8n order to discuss different workflows and how actual game art will progress into a game the knowledge a$out it needs to $e sorted out1 8t will not $e in detail there are a great man% methods in which workflow can $e discussed and that is too much information to process inside this document and will not $e the main focus of the paper1 Through different programs manuals and online documentation the necessar% information can $e found for their different a$ilities and tools1 )ifferent inter*iews will $e used in con2unction with e3planations of the different methods and technologies1 There are also some differences $etween games and mo*ies that need to $e considered1

3.1 Concept art

The main purpose with concept art is to design different elements for a game pro2ect1 A Concept Artist works in con2unction with the Art )irector to $ring an idea into a *isual concept that can $e understood $% the )e*elopment Team1 Concept art is created in man% different forms from the traditional pen and paper st%le to a more digital approach9 it is design in its most simplest form1 A concept artist responsi$ilit% lies in deli*ering the ke% *isual de*elopment from the $eginning of game de*elopment to the end1 +suall% the directors for the game will hand out documents descri$ing what the game is a$out and how it works as well as the theme of it and what kind of st%le it should follow1 :!; To help with the initial sketching process which could $e the most difficult part there are different processes that help the creati*e mindset1 Alchem% is a program de*eloped to help artists with the first initial sketching and $ase shape generation1 8t works with a ke%$oard mouse pen or e*en a microphone1 Alchem% is $ased on the creati*e process and not finished artwork1 :<; 8n digital painting there are two different methods to create artwork1 One is named Bitmap images and the other =ector graphics1 Bitmap images are pi3el $ased images where e*er% pi3el is assigned a color on the screen1 :>; A $itmap image is $ased upon a rectangular grid where each pi3el is colori6ed1 These are defined $% a red green and $lue channel1 :- Ch1 !0 pp1 !!?; The% are e3cellent for different shades of colors therefore the% are used mostl% in digital painting1 The% work $% using resolution and with a lower pi3el resolution the more 2agged the image will $ecome1 :>;

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The 5ualit% of a $itmap image is determined $% the resolution of the image which means the total amount of pi3els in the $itmap image1 =ector graphics is images created with the use of *ector shapes1 The% are resolution independent and can $e resi6ed1 Therefore the% are particularl% good to produce logo art and art where the si6e can $e in reshaped man% wa%s1 :>; =ector graphics use mathematical e5uations to represent images with lines points and cur*es1 :- Ch1 !0 pp1 !!/-!!-;

3.2 Modeling
To understand what modeling is one must first understand what a Pol%gon is what @on-+niform Aational B-#plines B@+AB#C are and what #u$di*ision surfaces are1 A Pol%gon is a shape in >) space represented through connecting points $% what is called (dges1 The (dges are connected and $uilds a face which is the main $od% of the Pol%gon1 The points are called =ertices1 :?; Three sided Pol%gons are called Triangles and are often used in game engines1 There are four sided Pol%gons called Duads and fi*e sided or more called @-gons1 :?;

@+AB# are interconnecting splines that is named @on-+niform Aational B-#plines which essentiall% means that @+AB# can ha*e multiple knots @+AB# can represent e3act conics1 B-#plines means cur*es1 :?; #u$di*ision surfaces are when surfaces are di*ided to pro*ide a smoother surface1 8t works $% di*iding the surface in 5uads1 These are then a*eraged o*er the surface1 This keeps the silhouette and pro*ides more geometr%1 :"; When modeling an artist is creating different shapes using Pol%gons or @+AB#1 These shapes or o$2ects are called meshes1 A mesh is an o$2ect containing either Pol%gons or @+AB#1

3.3

UV mapping

An += mapped model is a model that has += space coordinates assigned to it1 These coordinates follow the + and = a3is1 This is to show the user that the% are in the <) space1 :?; += points reside in a <) coordinate s%stem where the% function similar to representation points in an image for the >) o$2ect1 :?; When artists ha*e modeled a mesh it needs to $e += unwrapped which is to colori6e the mesh and pro*ide it different te3ture maps1 += mapping can $e created automatic or manual with different mapping techni5ues1 As seen from 'igure ! this is a t%pical e3ample of an += space1

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Figure 1. UV apping inside !f Aut!des" #a$a 2012.

3.

!culpting

)igital sculpting is used for detailing surfaces of o$2ects1 This process is used $% the artist to achie*e realism and $etter details1 This process mimics its real world counterpart and tries to simulate it1 With the help of digital sculpting artists can de*elop their creati*it%1 When using digital sculpting the mesh is di*ided and could $e su$di*ided into man% million Pol%gons1 :0; #culpting often produces too man% Pol%gons to use in other applications and thus it $ecomes too cum$ersome to handle for Game engines in order to calculate in real time1 Therefore different te3ture maps were de*eloped to gain the details of high Pol%gon meshes1 :0; To simulate these details two te3ture maps are commonl% used9 @ormal map and )isplacement map1 A @ormal map creates an image of the sculpted detail and when it is applied on the lower resolution mesh it makes the low resolution mesh look as if it has much more details1 8t o*erwrites the @ormals which essentiall% are different surface points that calculates the light of the o$2ect1 The low resolution mesh gains the @ormals of the high resolution o$2ect1 :0; )isplacement maps will postpone the calculations of the high Pol%gon mesh until the rendering phase mostl% used in mo*ies for time sa*ing1 :0; )igital sculpting is taking a model and treating it as real world cla% which the user then can sculpt upon1 :/ CE1 / PP1 !.!;

3." #ame Mes$

A game mesh has restrictions upon it for when a meshFs geometr% is su$di*ided it looks smooth howe*er it takes more calculations to achie*e its smooth surface1 This creates a pro$lem for Game artists $ecause games are restricted to certain amounts of processing power1 8t is limited to hard dri*es s%stem memor% and processors1 :/1 Ch1 ? Pp1 !"-!0; This is sol*ed $% different te3ture maps that will help to simulate the details and the restrictions made on game meshes1 The restrictions are $ased on what t%pe of game the compan% is de*eloping1 :0; :/1 Ch1 ? Pp1 !"-!0;

3.% Te&turing
Te3ture mapping is a method of simulating details on Pol%gons using images1 :- Ch1 " pp1 ?.; A te3ture is an image which the artist uses on the surface of the game model to achie*e fine detail and also color information1 There are man% te3tures a game artist use to create the suita$le model for a game1 3.%.1 Color map This Color map adds color to the te3ture map and is a $asis for te3ture maps1 :/ Ch1 G pp1 !<G; 3.%.2 'mbient occlusion map An Am$ient Occlusion te3ture map is a map that $ounces light to calculate where different elements of the o$2ect are lit1 :/ Ch1 - pp1 !<>; 3.%.3 (ormal map A normal map has three different colors red green and $lue1 The% represent the three different a3es in >) graphics1 :/ Ch1 - pp1!!-;

3.) Mo*ies and #ames differences

There are man% differences $etween creating mo*ies and creating games1 One such difference is the ma3imum num$er of Pol%gons allowed and the resolution of the te3tures1 :G; 4o*ieFs ma3imum Pol%gon count is far greater than those of games1 This is $ecause in games a high frame rate is desira$le where the game is actuall% an interacti*e renderer which renders gamepla% $ased on the users input1 :G; A frame rate of >. frames per second is sufficient howe*er 0. frames per second is more desira$le for the game1 This common rule applies to Console s%stems and also PC s%stems1 :G; 8t is desira$le to render the games in realtime1 :G; )e*elopment o*er the %ears has pushed the $arrier farther for the game industr% making the games more detailed than e*er1 Although the% ha*e not %et achie*ed the same look as mo*ies in realism for mo*ies are rendered images composed in a later stage where games are interacti*e and happen in real time1 :G; The use of different techni5ues has pushed the le*el of realism for games and also $% cheating with the *isual effects1 :G; A common practice is to model a high resolution o$2ect with man% su$di*isions and later on create multiple o$2ects with different le*els of detail which are then used in the game in con2unction with the high resolution detail from the high resolution o$2ect using different te3ture maps and techni5ues1 :G; A mo*ie does not need a whole o$2ect for its rendering1 Therefore mo*ie pro2ects sa*es time $% onl% creating what the consumer is going to see1 This is a $ig difference when it comes to how games work1 A game needs to $e interacti*e thus game o$2ects usuall% need to $e enclosed and all parts should $e *isi$le1 :G;

"

Met$od
Two pro2ects were e3ecuted to see if open-source and free applications could $e used to create a similar art asset for games as commercial programs are in toda%Fs game industr%1 The decision for what to create fell upon two different characters and their items1 One character was to $e created $% the commercial programs and another with the open-source and free applications from concept to finished character with uni5ue items for $oth1 A knight was chosen for creation $% the commercial programs1 This is $ecause a knight is an armored warrior often depicted as a chi*alrous warrior of good1 A wi6ard was then chosen to $e created $% the open source and free applications for wi6ard and witches were often depicted as e*il and m%sterious in man% folklore tales1 A wi6ard and a knight are the opposites of each other and that was *er% fitting for the e3periment for the% were e5ual in artistic st%le and had the same rules applied to them1 The following programs were used: Commercial: Autodesk 4a%a <.!<1 A commonl% used application in the gaming industr%1 :?; Ado$e Photoshop Cs ?1 A $itmap image manipulator with digital painting capa$ilities1 :>; Pi3ologic &$rush ? A<1 A popular sculpting software used in the gaming industr%1 :!!; Free applications: Alchem%1 :<; Blender <10<1 One of the most popular open-source >) applications1 :!.; :!>; Pi3ologic #culptris Alpha 01 A free sculpting tool with )%namic Tessellation1 :!?; Gimp <1-1 A free open-source $itmap image manipulator program one of the most popular open-source softwares1 :!.; :!";

.1 +ules for t$e pro,ects

The two pro2ects restrictions were $ased on a low Pol%gon character $asis with high restrictions to te3ture map si6es and triangle restrictions1 8t is to keep the production as simple as possi$le1 This sa*es time howe*er it still uses the programs full capacities for game art creation1 Characters and items will $e created following these stated game rules: 4a3imum triangles for character: "...1 4a3imum te3ture si6e for character: !.<?3!.<? pi3els1 4ain asset for character Bon the knight the weapon1 The mage the staffC 4a3imum triangles: !"..1 4a3imum te3ture si6e for main asset: "!<3"!< pi3els1 #econdar% asset ma3imum triangles: "..1 4a3imum te3ture si6e for secondar% asset: "!<3"!< pi3els1 0

.2 Concept art
There are se*eral programs on the market to this date which are esta$lished $% their different tools and assets1 #ome more suita$le for rough sketches others more suited for refined artwork and finished digital paintings1 Corel Painter is one such program where finished digital artwork can $e created easil%1 8t is also one of the leading programs in the industr% when it comes to digital art1 8t works in a techni5ue where it simulates how a real world painting would $e created1 Autodesk #ketch$ook Pro focuses more on the initial sketches and designs than finished artwork1 Therefore it is a reall% powerful program for design de*elopment in concept art1 This is a program most often used for sketching and is reall% de*eloped in that area1 Ado$e Photoshop is similar to a #wiss knife1 8t is originall% a powerful photo-manipulation program focused on ad2usting and adding effects to photographs1 8n later de*elopment of this program it is also used for digital art and sketching1 8t has it all9 it is a great program for concept art as well as also $eing good for te3ture editing1 The program of choice for the e3periment was Ado$e Photoshop for it has man% ad*antages and was later also used for te3turing models1 The pro2ect started $% doing some Hin Art on pen and paper for de*eloping ideas on the knight concept1 After the initial sketch was completed the concept art mo*ed on to phase two where Photoshop was used instead which can $e seen in 'igure <1 The sketches helped the design to read on the digital can*as where a new Hine Art was made1 The first pass was rough similar to the pencil sketch $ut e*ol*ed to a more refined line work with more detail added to it1 The ke% aspect was to keep an o*erall st%le and shape of the drawing thus keeping the ke% design intact1 =alues were later $locked in to flush out the knightFs three dimensional form1 A coat of arms was added with a homage toward E,lsingland9 it is the same coat of arms1 The character recei*ed new la%ers with the option O*erla% which $rightens the colors underneath it1 A similar techni5ue was used when shading the character1 A la%er modifier called 4ultipl% was used which multiplies a la%erFs color *alue to achie*e a much darker color1

Figure 2. %he &night c!ncept art ade in Ad!be 'h!t!sh!p.

After this some time was spent on flushing out the main asset of the character hard surfaces were the main focus1 A great man% silhouettes were created using onl% $lack and white1 One silhouette was chosen o*er the others and used in Photoshop for refinement1 Weapons and assets were created in a similar method as the main character with an emphasis on silhouettes and core o*erall design1 When using Photoshop for concept art it is almost essential to ha*e a pen-ta$let de*ice with pressure sensiti*it% which ensures a more eas% process and a much more comforta$le workflow1

.3 Base modeling
The modeling of the knight $egan $% $locking out the a*erage shape1 A method was used called Bo3 4odeling where the artist starts modeling with a pol%gon cu$e1 The cu$e has different sides which in turn can $e e3truded along their light normal *ectors and also the manipulator a3is1 This creates new geometr% which then can $e refined on a per *erte3 le*el of the model1 8n Autodesk 4a%a e*er%thing that changes the modelFs geometr% generates histor% on it1 This histor% can $e used to re*ert $ack to old instances on the model and it also helps with some of the connections of the different tools within Autodesk 4a%a1 When the $ase had $een esta$lished on the knight a tool named insert (dge Hoop Tool was used to refine a much $etter topolog% for sculpting1 This tool uses an edge to detect where all connecting edges are and then inserts an (dge Hoop where it connects an edge and a couple of *ertices1 An o$2ect can alwa%s $e mirrored and then welded $ack therefore onl% one side of the knight was created1 This process of working sa*es a huge amount of time1 After some sculpting refinement the $od% was imported $ack into Autodesk 4a%a as seen in 'igure >1 There the clothesF $ase meshes were created using a similar method1 Ad2ustments were made to make them fit the knightFs character and o*erall form1 The sculpt mesh was created and all $od% parts were constructed in a similar fashion

e3cept the helmet1 The top part is a separate piece from the lower part and its surface is hard therefore it would not $e sculpted1

Figure (. )ase !deling inside !f Aut!des" #a$a 2012.

'or the knightFs weapon which in this case is a 4ace the concept art was used as an image plane to help with the mesh1 8t was to ensure the proportions sta%ed true to the concept1 Onl% one wing was created this sa*ed a great deal of time when constructing the $ase mesh1 When the design of the $ase mesh started a great deal of importance was focused on the topolog% for the mesh1 This was $ecause of time management a sculpt topolog% was created and also a low pol%gon Bpol%C topolog%1 The lowpol% and the sculpt mesh shared the same += #pace for easier map transfer later on in the te3turing process1 Base mesh modeling with Autodesk 4a%a is fairl% straight forward and an eas% and fast process with the tools easil% accessi$le in the standard interface1 With customi6ation of the program different hotke%s can $e assigned and make a reall% good workflow1

UV mapping

Autodesk 4a%a can $e used as a += mapping tool1 The += Te3ture editor has a range of different tools to speed up the workflow1 +=Fs can $e created using Automatic += mapping which automates the += process1 8t pro2ects the +=Fs through different planes located around the o$2ect1 This tool is $est used with o$2ects that do not re5uire much in the wa%s of += mapping and could $e a fast solution if it is going to $e used more manuall% for comple3 += mapping1 The artist must stitch and correct the different += shapes that are generated1 :?;

Planar += mapping is where the +=s are pro2ected using 2ust one plane for an o$2ect1 This can $e defined in an% a3is and also used on Pol%gonal faces1 This is a good starting point for += mapping when the artist wants more control of the work1 :?; C%lindrical += mapping works $% pro2ecting +=s using a c%lindrical shape1 8t wraps around the o$2ect and is $est used with shapes that can $e enclosed1 :?; #pherical += mapping uses a sphere for pro2ecting the surface of the o$2ect in a similar fashion as c%lindrical mapping1 This method is $est used with round e*en o$2ects1 :?; Autodesk 4a%a has a multiple amounts of tools for sewing stitching straightening unfolding displa%ing etc1 These += tools are commonl% used with all the mapping methods specified a$o*e1 8n the workflow process of the pro2ect a planar pro2ection was first made on the o$2ect that had 2ust $een modeled1 8t pro*ides a good $asis for further work on the specified o$2ectFs +=s1 (dges in Autodesk 4a%a were selected to $e defined as += seams for the te3ture1 A tool called Cut += (dges was used to split the += $orders to help the later process with +nfolding and Aela3ing the += shapes1 +nfolding is made $% selecting +=s to Pin and when these +=s are selected the% are used to pin the +nfold1 When the +nfold has $een pinned it unfolds across the o$2ectFs surface and keeping the pinned +=s untouched1 The smooth += tool is useful for unfolding and rela3ing manuall%1 8t uses a slider to specif% the amount of unfold and rela31 :?;

." !culpting
The commercial program used for sculpting in this pro2ect is Pi3ologic &$rush1 :!!; 8t contains man% different tools for the sculpting process1 These are far too man% to state and list in this document for there are man% methods to work in the sculpting area1 The $asic 8dea and concept is that it tries to simulate real world sculpting in its application howe*er with digital cla%1 8t is not howe*er e3actl% similar to its real world counterpart1 The program takes awa% man% o$stacles and has features that real sculpting has not such as s%mmetr% Istead% strokeJ Bla6% mouseC and man% more capa$ilities1 Pi3ologic &$rush has man% different capa$ilities as stated $efore1 There are howe*er some workflows that can $e used in Pi3ologic &$rush for creating game assets and characters1 There are also different procedures to actuall% $uild $ase meshes inside of Pi3ologic &$rush1 The program uses a )%namic Tessellation method of working and also a #u$di*ision la%er workflow1 'or te3turing the program has access to Pol%painting Pro2ection Painting and 8mage Pro2ection1 'or the commercial pro2ect Pi3ologic &$rush was used on some of the o$2ects that needed detailing1 The complete main weapon was sculpted as well as the ro$e chain-mail $oots and glo*es1 The sculpting process can $e seen in 'igure ?1

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Figure *. +culpting inside !f 'i,!l!gic Zbrush.

On the glo*es and $oots a shape was esta$lished with the $asic mo*e and standard $rush1 When the $asic shape had $een $locked out for the items more details were made using the -a ian +tandard $rush which cuts in the surface1 'or $uilding more shape .la$ %ube $rush was used which adds $o3 like shapes to the o$2ect for a more structured approach1 'or refinement of the surface /p!lish and %ri -$na ic were used which smoothes the surface $ut still maintains its sharp edges1 'or the chain-mail a different method was used1 The o$2ects that were imported into Pi3ologic &$rush alread% had +=s mapped on them which were used as an ad*antage $ecause Pi3ologi3 &$rush has a surface noise generator1 8n this generator an option can $e selected to use the o$2ectFs +=s to assign a new noise which in turn can $e controlled $% a te3ture1 A chain-mail te3ture was applied to create the noise and thus creating the chain-mail1 'or the ro$e a similar workflow was used as on the glo*es and the $oots1 +tandard $rush was used to define shape add a su$di*ision when needed and after a su$di*ision had $een added a new la%er of deformation and details was formed1 Then mo*ing on the ne3t la%er also using -a ian standard $rush for cutting in folds into the surface the + !!th $rush was used to create the smooth cloth instead of /p!lish which maintains sharp edges1 This smoothing method $lurs them making it good for te3tile and clothing work for the models1 :!!;

.% TopologAutodesk 4a%a was used as a topolog% tool with its in$uilt modeling features it presents1 The main workflow for the first pro2ect utili6ed mainl% a workflow where topolog% and += mapping was of utmost importance at the same time1

!!

When the +=s were laid out in their correct += space for the o$2ects in a coherent and 2oined te3ture map found commonl% in games emphasis was made on changing the o$2ectsF geometr% to a more presenta$le method for game engines1 When the +=s had $een laid out a duplicate of the sculpting model was created for each model that needed this such as the ro$e arms $oots etc1 The main form was kept $ut (dge Hoops unnecessar% for the general form was deleted where the whole character and weapon could keep the necessar% triangle count1 There are se*eral other techni5ues for creating new good topolog% for games inside of Autodesk 4a%a1 One such is the 4ake Hi*e function which makes one o$2ectFs geometr% a snapping point for other o$2ects1 This wa% it ensures that e*er% new geometr% snaps and fits the general form of the o$2ect it is $ased upon1 Another method can $e used inside of Autodesk 4a%a which is called Transfer Attri$utes1 )ifferent meshes with different topolog% and different +=s can $e transferred to each other1 This is accomplished $% a user interface and has the options to transfer =erte3 @ormal position =erte3 position and also += position1

.) Te&turing
The te3turing process uses man% methods and means1 The program chosen for the task was Ado$e Photoshop C# ?1 #ome of the approaches this program can $e used for te3turing are $% utili6ing its >) tools where the artist 2ust imports the >) mesh and paints directl% on the surface of the o$2ect and then transfers to the += space1 Another approach is to link the program to another application in which Ado$e Photoshop $asicall% is used to paint on parts of the surface in snapshots which is called Pro2ection Painting1 There is also a method where artists paint directl% on to the +=s of the o$2ects where this process is referred as hand-painting te3tures1 :>; 8mage Based Te3turing is when an artist uses different pictures and images to create the te3ture in the += space1 :-; The com$ination of using 8mage Based Te3turing and hand-painting the te3ture was used on the character and the items1 The process was started $% $aking out different Am$ient Occlusion te3tures for the character and the items1 These were later used to find the o*erall shape of the o$2ect in the += map space1 4ultipl%ing the Am$ient Occlusion te3ture from the high Pol%gon parts with the color la%er pro*ided the o$2ect with more shading1 +sing different la%ers and different $lending modes is a ke% workflow strateg% to achie*e a compelling look1 A hard $rush was used which is standard for Photoshop and a soft round $rush for $lending different color *alues1 The painting of the te3ture went smoothl% and a ca*it% te3ture from the high Pol%gon o$2ects was used to create a good effect on all cre*ices and indents on to the te3ture1 8mage Based Te3turing was used for different small scratches and dents on the te3ture1 The te3turing work on the main item was created in Pi3ologic &$rush as seen in 'igure "1 Pol%painting was mainl% used and the maps were later e3ported and ad2usted in Ado$e Photoshop1 The focus was mainl% to maintain as a close resem$lance to the concept art as possi$le using the same colors and mood of the te3ture1

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Figure 0. %e,turing inside !f Ad!be 'h!t!sh!p.

.. Concept art
8n 'igure 0 Gimp <1- was used for the concept art in the free applications1 There are se*eral others that can $e used for the purpose of creating concept art: .ypaint: A free open-source painting program that tries to simulate real world painting $ut in the digital format1 +ni5ue minimalistic +ser 8nterface B+8C that helps the artist to sta% focused on the task at hand1 Gimp: The free open-source program of choice which is *er% similar to Photoshop in man% regards1 8t uses a Aaster $ased image editing workflow and can $e used as an image editor1 #lchemy: A program made for the first essential sketches1 8t is an inno*ati*e tool that can use man% different techni5ues to achie*e a great sketching workflow1 Big shapes were $locked out and focus was dedicated to silhouette and form1 Afterwards some rough shapes were $locked in where focus was gi*en to the characterFs items1 Hine Art was used with an emphasis on form1 4an% forms were created for the items onl% the $est ones were chosen for the Concept1 An artist needs to create man% shapes and designs $efore the actual design can $e selected1 These help the Art )irector to choose the one which will fit the pro2ect $est1 8n this case there was no need to work with other people1 Therefore a shape could $e chosen immediatel%1 After the initial sketching phase the color phase started9 using simple color techni5ues and shading in order that the concept art could $e understood with a clear *ision in its simplicit%1 A gra% pallet was used for the character fitting with the mood of the design1 )ifferent la%ers were used to create different alterations

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of the Concept Art1 O*erla% and multipl% filters on the different la%ers were utili6ed which work in the same manner as descri$ed in Photoshop1 'or the creation of the concept art in Gimp the same rule applies use a pen-ta$let for ma3imum effecti*eness1

Figure 1. .!ncept art 2ith 3i p 2.4.

./ Base modeling
'or the modeling of the second pro2ect the multi-purpose program Blender was used for all modeling1 :!>; 8t $egan with a cu$e which was di*ided to add more geometr% to work with using a tool called Hoop Cut and #lide1 This tool can $e used to insert (dge Hoops9 the mouse wheel decides how man% at a time1 The Gra$ tool helped to define the general form of the $ase mesh1 )ifferent o$2ects were created from man% cu$es to $e defined later this helped keep the character on the same o*erall detail le*el1 Therefore it kept the st%le and shape of the concept art which was important for the same kind of design was used on the other pro2ect as well1 'igure / demonstrates the $ase model1 (3trude is a command in Blender which uses a function that e3trudes a 'ace (dge or =erte3 in an% gi*en a3is1 This was reall% useful with Blenders in$uilt function that allowed one or man% a3es to $e locked pre*enting transformation on the other a3es or locking it where no transformation could change that a3is1

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Figure 5. )ase !deling inside )lender 2.12.

A face can $e created inside Blender with a push of a $utton which made it eas% to close off different holes in the mesh if the modeling re5uired it1 With the plugin called Hoop Tools modeling $ecame much easier for in this plugin man% different tools were added which the default Blender application does not ha*e for modeling1 The% are as follows: Bridge: Bridges two faces edges *ertices together and the function can use different data in how man% su$di*ision it shall use to $ridge1 :!>; Circle: This tool mo*es different *ertices into a circular shape and can also use the flatten function1 :!>; Cur*e: 8t turns an (dge Hoop into a smooth cur*e1 :!>; 'latten: 'lattens *ertices1 :!>; Hoft: Hofts man% loops to each other can $e used to create continues loops1 :!>; Aela3: #moothes the (dge Hoop so it $ecomes more continuous1 :!>; #pace: #paces *ertices e*enl% o*er the (dge Hoop1 :!>;

The character was di*ided into different parts9 glo*es $oots hat face e%es staff $ook $eard and potion-$elt1 This made it easier to know which part needed a sculpting topolog% for the $ase mesh and which ones needed game topolog%1 The hat ro$e face and $eard were to undergo sculpting in order to ha*e more topolog% that was e*enl% spaced and consisted mainl% of 5uads1

.10 UV mapping
'or the += map process Blender was used1 8t has an in$uilt seam functions where the user can mark the seams and use them for unfolding the +=s1 A seam can $e drawn and also con*erted from an edge1 After seams ha*e $een selected the o$2ect was

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selected and unwrapped1 Blender has man% tools for += mapping1 += sculpting works in a similar fashion to regular sculpting where it uses different $rushes to mo*e rela3 pinch etc1 This is a great method to manage +=s more artisticall%1 There is a tool called 4inimi6e stretch which interacti*el% reduces the stretching with the +=s1 #eams were marked on all o$2ects one at a time and then unwrapped if needed the minimi6e stretch tool was used to reduce the stretching1 After all +=s had $een generated for all of the different parts the o$2ects were com$ined and then the += shapes were composed into one te3ture file or += la%out1

.11 !culpting
Two programs were used for the sculpting part of the open-source pro2ect1 These programs were Blender <10 and Pi3ologic #culptris1 The main item that the character was going to ha*e was to $e sculpted inside of Pi3ologic #culptris1 :!?; This program uses a simple and streamlined interface that onl% has a fi3ed amount of $rushes1 8t is powerful through its )%namic Tessellation workflow and similar tools in line with Pi3ologic &$rush1 Blender has a in$uilt sculpting tool which uses a num$er of different tools and $rushes at its disposal1 When using the 4ultiresolution modifier a mesh can $e sculpted in different su$di*isions1 8f topolog% is a pro$lem when sculpting inside of Blender there is a re-mesh modifier which transforms the o$2ects topolog% into 5uads for a $etter sculpting geometr%1 These tools com$ined with the different modeling tools made Blender into a powerful sculpting software1 The staff of the character which in this case is the main item was imported inside of #culptris and then the $ase form was achie*ed1 The Gra$ tool was used fre5uentl% as much as the inflate tool to pro*ide it with more form1 8nflate works in a techni5ue where it adds geometr% to the o$2ect and enlarges it in a spherical fashion1 This is like adding cla% to a model in real life sculpting and pulling the cla% outwards in all directions1 :!?; 8t works great with Pi3ologic #culptris in$uilt )%namic Tessellation which can add limitless amount of geometr% and thus more digital cla% which can $e seen in 'igure -1

!0

Figure 4. +culpting in +culptris Alpha 1.

The main shape of the staff had taken form and 'latten Crease and )raw tools were used to modif% the gi*en geometr%1 Crease cuts in to the surface and was used as a tool for adding dents and cre*ices to the wooden staff1 )raw is a standard $rush which adds geometr% and forms the surface of the o$2ect1 'latten creates flat surfaces and was used to roughen up the silhouette1 Pi3ologic #culptris was used in a similar workflow for the face of the character1 :!?; 8nside Blender the ro$e was assigned a modifier named 4ultiresolution9 working from the lowest su$di*ision le*el to the highest $locking out the rough shape first with the I')rawJ $rush which performed the same as the IdrawJ $rush in Pi3ologic #culptris1 General shapes were formed and then the% were smoothed out with the #mooth $rush which rela3es the geometr% and made good $ig folds in the fa$ric of the ro$e1 Crease is also a $rush a*aila$le to Blender which performs the same as in Pi3ologic #culptris1 The main reasons for using two different programs for sculpting were their different capa$ilities mainl% $etween the su$di*ision workflow and the d%namic tessellation workflow1 Pi3ologic #culptris could easil% e3port and import OBK files from Blender which made the process easier to work with1

.12 TopologBlender was the program of choice for the topolog% process with the open-source applications1 8t has a num$er of different features that can $e used for good game topolog% creation such as the #hrink Wrap 4odifier which is a modifier that can $e added to an o$2ect that makes the o$2ect fit the surface of another o$2ect1 :!>; This was used on some parts of the ro$e when new topolog% was needed1 Another tool is the Grease Pen which can $e used to paint directl% on to a surface of an o$2ect1 :!>; This generates new o$2ects $ased off the surface of the first one1

!/

#napping on to a surface using BlenderFs in$uilt snapping feature can $e used to create new geometr% in con2unction with Blenders uni5ue e3trude which rotates the Pol%gons that are e3truded helps with a nice e*en workflow1 'or the += map process Blender was used1 8t also has an 8n$uilt #eam function where the user can mark the seams and use them for unfolding the +=s1 A seam can $e drawn and also con*erted from an edge1

.13 Te&turing
8n 'igure G Gimp was used for te3turing1 With Gimp hand-painting and image $ased te3turing can $e used1 A += la%out was imported from Blender to Gimp and there the painting of the te3ture started1 )ifferent maps were $aked out from Lnormal which e3ported Ca*it% maps Am$ient Occlusion and @ormal maps1 :!<; These could later $e imported to Gimp where the% could $e used with the la%er function inside of Gimp1 4ultipl% was used for the Ca*it% maps and Am$ient Occlusion1 The te3tures were mostl% hand painted and 8mage Based Te3turing was used on some of the o$2ects1 A #pecular map and Glow map was also created for the final model1

Figure 9. %e,turing inside !f 3i p 2.4.

"

+esults

The results are presented and the programs are compared1 A comparison is made !-

$etween the programs and their differences1 The image shown $elow in 'igure !. is the created two characters and is the final result of the pro2ects1

Figure 10. 6esult !f the t2! pr!7ects.

".1 Comparison
Blender and Autodesk 4a%a ha*e man% differences concerning workflow1 One aspect is the Autodesk 4a%a interface1 Although it can $e customi6ed and used for the ad*antage of a game asset modeler it is not as fle3i$le as the free counterpart1 8n Blender e*er% little $utton and window is customi6a$le and can $e sa*ed into different presets where the user later has access to them1 All fonts colors and essentiall% e*er%thing can $e customi6ed1 .odeling The modeling workflow is different inside of Blender than Autodesk 4a%a1 Blender works a great deal more with hotke%s from the *er% $eginning1 8n Autodesk 4a%a menus are used for man% things howe*er e*er%thing can $e assigned one or more hotke%s1 This makes Blender faster from the $eginning howe*er Autodesk 4a%a can $ecome as fast or e*en faster depending on the user1 Customi6ation with scripts is the same for $oth programs $oth Blender and Autodesk 4a%a uses P%thon and has a $uilt in interpreter that can run these scripts1 This makes the possi$ilities endless for $oth programs1 Blender uses a modifier workflow in which it can stack different modifiers on top of one other and achie*e something similar to a la%er $ased workflow1 These modifiers can $e turn on and off1 Autodesk 4a%a uses a histor% $ased workflow where*er the user creates an action this $ecomes a part of the o$2ectFs histor%1 This can $e used to modif% and shape similar o$2ects and thus making la$or intensi*e tasks easier1

!G

Both Autodesk 4a%a and Blender ha*e good access to plugins which helps the programs to attain certain a$ilities that the% usuall% do not ha*e1 One e3ample is that Blender does not support @-gons which Autodesk 4a%a does $% default1 Therefore a plugin needs to $e implemented in Blender called Bmesh :!0; which adds se*eral modeling capa$ilities to Blender and ena$les @-gons1 The modeling aspect for games of this comparison makes it indeed possi$le to model using a free application1 9: mapping 8t is possi$le to += map with free applications1 8t e*en functions on a similar le*el as Autodesk 4a%a Blender has full capa$ilities to += map in the same manner1 There are some differences $ut this is alread% co*ered throughout the workflow process of this document1 Therefore it is safe to assume that Blender can $e used to model and += map for game character creation and asset creations1 Sculpting When the sculpting took place two different free programs were used for the process to achie*e the results1 These two were Pi3ologic #culptris and Blender and the commercial was Pi3ologic &$rush1 The ke% differences $etween using Pi3ologic #culptris and Blender were in the fact that the% do not ha*e the same capa$ilities as Pi3ologic &$rush1 8t is suffice to sa% these programs could $e used to create the sculpted geometr% howe*er the% are not on par with Pi3ologic &$rush in workflow effecti*eness1 Another pro$lem noticed with Pi3ologic #culptris is that it has pro$lems handling man% o$2ects at the same time1 8t sol*es this $% 2ust com$ining the meshes with its )%namic Tessellation1 :!?; This is not good for character art where the character ha*e man% different parts that will need to $e added or su$tracted from the character1 8t will also cause pro$lems later in the pipeline if something needs to $e changed therefore the whole com$ined o$2ect needs to $e changed1 Blender has a pro$lem achie*ing the same high Pol%gon count as Pi3ologic &$rush1 The latter is a$le to su$di*ide $illions of Pol%gons with its in$uilt tools1 This is not possi$le within Blender as of now the ma3imum allowed Pol%gon count depends on the Computer used for the pro2ect1 4a3imum allowed Pol%gon count means the ma3imum amount $efore the program is unusa$le and the workflow is se*erel% affected1 Blender could attain a$out !" million Pol%gons $efore it was una$le to work with1 This is with the s%stem spec of: 8ntel i/ processor >1./GE&1 :!/; !< GB ram Two #H8 connected Geforce GTL ?0. Graphics cards1 :!-;

Therefore the conclusion is sculpting can $e created in free applications $ut the% are not as powerful nor ha*e the amount of tools that the commercial programs seems to ha*e1 <.

!exturing Te3turing was created using Gimp <1- and Ado$e Photoshop1 These two tools were e5ual in the respects that the% could $e used easil% and efficientl%1 Ado$e Photoshop is more powerful though and ha*e a much more streamlined na*igation s%stem for scaling and rotating the image1 8t also contains a num$er of filters which Gimp does not ha*e1 The same two tools were used for Concept art and the% were 5uite e5ual $oth had great $rush customi6ation and access to different pressure sensiti*it% options for e*er% $rush a*aila$le1 Both programs are highl% customi6a$le with their user interface and hotke%s which is a great asset for the workflow1 The conclusion is that Gimp could $e used for Concept art and te3turing also with no pro$lems1 8t is sufficient $ut not as powerful1 The topolog% tools featured in Blender are *er% creati*e and powerful and the% are e5ual to Autodesk 4a%aFs tools for retopolog%1 8n conclusion to the two different pro2ects that ha*e $een made commercial programs ha*e more features which can $e used to create game art1 That does not mean the free applications do not ha*e a chance to compete with them for the% are sufficient in the creation of the game characterFs and asset creation1

".2 Conclusions
Two of the research 5uestions were: What are the ke% differences $etween free applications stated and the commercial ones7 Are free programs suited for professional work or onl% meant for ho$$%ists7

The ke% differences $etween the free applications and the commercial ones are that some of the free programs are not as ad*anced or ha*e as man% tools a*aila$le to them1 The support and help is much easier o$tained with the commercial programs than with the open-source ones1 'or e3ample Blender has a $ig communit% with users and de*elopers that can help the artist if pro$lem arises1 :!G; This does not howe*er guarantee that the pro$lem is sol*ed onl% that it lacks a fast answer to sol*e a pro$lem1 The user themsel*es decides if the pro$lem is worth sol*ing and the artist might not e*en $e a$le to find an% help1 This makes it a ke% difference from commercial programs1 Take Autodesk 4a%a for e3ample9 the application has an online help support with staff and different le*els of support for different customers1 This depends on the su$scriptions the game companies ha*e1 :<.; 'ree programs are suited for professional pro2ects1 There are e*en some pro2ects that ha*e $een de*eloped using onl% free applications1 One such e3ample is Mo 'rankie1 +sing an open source free application for the artistic approach a game emerged1 :<!; Therefore it is indeed possi$le to create Games using onl% open-source applications1

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".3

1$- not open2source3

As pre*iousl% stated the pro2ect created with free and open-source applications was a success1 'ree applications and open-source can $e used to create game art1 There are some slight pro$lems with using these programs howe*er the answer to the research 5uestion is not a simple one to answer1 Wh% should artists not use the free applications7

The free applications and software programs do not ha*e access to the support or the education as commercial programs ha*e1 The largest artistic learning sites )igital Tutors and the Gnomon Workshop does not ha*e an% open-source application training1 )igital Tutors pro*ide courses in #culptris which is a free application $ut is de*eloped $% Pi3ologic1 :<<; :<>; The education is not as relia$le for open-source and free applications1 There are some sites that teach these software programs1 An e3ample is Blender Cookie a site which is similar to )igital Tutors in man% respects howe*er it onl% concerns itself with Blender1 :<?; This does not howe*er mean that e*er% open-source or free application has access to the education needed1 Commercial programs are more popular products with a sta$le de*elopment and thus more education with $usiness profits in mind1

4iscussion

The pro2ects themsel*es went *er% well1 There were no crashes or pro$lems in the working process1 The programs were reall% intuiti*e to use and fun to use which made the process of creating the characters much easier1 The reason wh% different characters were used for the pro2ect is that it is the actual rules and restrictions that are important in game art1 8t is hard to replicate a character twice which looks e3actl% the same especiall% with sculpting which has a *er% artistic input1 Both characters used the same t%pe of materials such as soft organic or hard structural etc1 which made it unnecessar% to use the same character for the pro2ects1 Eowe*er it was more fun to work with for it made it possi$le to see the characters with fresh e%es1 'eatures that ha*e $een learned in this research are that there is not much of workflow that separates the commercial programs and the open-source and free ones1 8t is 2ust a matter or preference to what software the artist would like to choose for the 2o$ ahead1 The% could $e sa*ing mone% $% using onl% free applications $ut this might not $e the most cost efficient method1 8t might take longer to train the artist to use the free application if the% alread% ha*e the knowledge of another1 8f the application crashes in one particular scenario and no support can $e o$tained the artists working on the game are stranded1 Game art is a challenge for an% artist $ecause of its restrictions and this is something that surel% will e*ol*e in the coming %ears1 Eowe*er the rules functions similar to a $udget and helps the artists decide what art and st%le that the% are supposed to create1

<<

4o*ies and games are reall% different when creating computer graphics for them this is something that pro$a$l% will change and in the future for the games will ha*e much more added realism1

%.1 Conclusion
The open source programs and free applications are sufficient to create game art with the same rules applied to them1 #culpting is not as ad*anced $ut can $e used for detailing the surface of high Pol%gon o$2ects1 What are the ke% differences $etween free applications stated and the commercial ones7 There are differences in support and education $etween free applications and commercial programs1 The workflows are not 5uite the same and the free applications seem to not $e as powerful as the commercial programs1 Are free programs suited for professional work or onl% meant for ho$$%ists7 'ree applications can $e used for more than ho$$% work and should $e considered when planning a game pro2ect1 The% ha*e the tools necessar% to get the 2o$ done1 Wh% should artists not use the free applications7 The free programs do not ha*e the t%pe of support and education as the commercial ones1 Commercial programs ha*e a more sta$le de*elopment and $usiness models in mind1 There are some reasons wh% open-source and free applications should not $e used1 These are howe*er minor and there is reall% no reason wh% open-source applications should not $e used1 The workflows are similar and can $e used in con2unction with other applications1 The main conclusion is to use whate*er program that suits the task ahead1 A tool is a tool and it is the artists themsel*es that creates the stunning game art1

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+eferences
:!; B1#toneham1 /!2 t! create fantas$ art f!r c! puter ga es1 A N C Black1 Euntingdon GBA <..G Page !.1 :<; O1)1)1Willis and K1Eina1 Alche $8 9,peri ents in interacti:e -ra2ing; .reati:it$; < +erendipit$1 CNC F.G Proceedings of the se*enth AC4 conference on Creati*it% and cognition @ew Mork1 <..G Pages ??!-??<1 doi: :!.1!!?"P!0?.<>>1!0?.>?<; :>; Ado$e1 B<.!<C Photoshop help1 A*aila$le: http:PPhelp31ado$e1comPphotoshopPtopics1html :?; Autodesk1 B<.!!C Autodesk 4AMA help1 A*aila$le: http:PPdownload1autodesk1comPglo$alPdocsPma%a<.!<Pen_usPinde31html :"; K1Bol6 and P1#chrQder1 6apid e:aluati!n !f .at ull=.lar" subdi:isi!n surfaces1 We$>) F.< Proceedings of the se*enth international conference on >) We$ technolog% @ew Mork1 <..< Pages !!-!/1 doi: :!.1!!?"P".?".<1".?"."; :0; T1Palamar1 #a$a Feature .reature .reati!ns B<nd editionC1 Course Technolog% Boston +#A <..- Pages: /.-/>1 :/; A1#1 Ward1 3a e .haracter -e:el!p ent8 -igital +culpting f!r the 6ealti e Artist 1 Course Technolog% Boston +#A <..-1 :-; (1Aodrigue61 .! puter 3raphics Artist. Glo$al 4edia )elhi 8ndia <../1 :G; K1)argie1 B<../ 4a%1C #!deling techni>ues8 !:ies :s. ga es1 Presented in AC4 #iggraph Computer Graphics newsletter *olume ?! issue <1 A*aila$le: http:PPwww1siggraph1orgPpu$licationsPnewsletterP*olume-?!-num$er-<Pmodelingtechni5ues-mo*ies-*s-games :!.; T1Walker1 B<.!. 4archC 20 !st p!pular !pen=s!urce s!ft2are e:er. A*aila$le: http:PPwww1tripwiremaga6ine1comP<.!.P.>P<.-most-popular-open-sourcesoftware-e*er-<1html :!!; Pi3ologic1 B<.!<C Zbrush ?:er:ie21 A*aila$le: http:PPwww1pi3ologic1comP6$rushPfeaturesPo*er*iewP :!<; Lnormal1 B<.!<C @n!r al Fa>1 A*aila$le: http:PPwww13normal1netP'a51asp3 :!>; Blender1 B<.!<C )lender Features1 A*aila$le: http:PPwww1$lender1orgPfeatures-galler%PfeaturesP :!?; Pi3ologic1 B<.!<C +culptris Features1 A*aila$le: http:PPwww1pi3ologic1comPsculptrisPfeaturesP :!"; Gimp1 B<.!<C Antr!ducti!n t! 3i p1 A*aila$le: http:PPwww1gimp1orgPa$outPintroduction1html :!0; Koseph (agar1 B<..G 4a%C ) esh1 A*aila$le: http:PP$mesh$lender1wordpress1com :!/; 8ntel1 B<.!<C Antel .!re i5 'r!cess!r1 A*aila$le: http:PPwww1intel1comPcontentPwwwPusPenPprocessorsPcorePcore-i/-processor1html :!-; @*idia1 B<.!<C 3ef!rce 3t, *10 Features1 A*aila$le: http:PPwww1geforce1co1ukPhardwarePdesktop-gpusPgeforce-gt3-?0.Pfeatures :!G; Blender1 B<.!<C +upp!rt F!ru s1 A*aila$le: http:PPwww1$lender1orgPeducation-helpPsupport-forumsP :<.; Autodesk1B<.!<C Aut!des" #a$a +er:ices < +upp!rt 1 A*aila$le: http:PPusa1autodesk1comPadskPser*letPinde37site8)R!<>!!<NidR!/!?0-0> :<!; Pro2ect Apricot1 B<..-C Ab!ut 'r!7ect Apric!t1 A*aila$le: http:PPwww1%ofrankie1orgPa$out-apricotP

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:<<; )igital Tutors1 B<.!<C -igital tut!rs inde, page1 A*aila$le:

http:PPwww1digitaltutors1comP!!Pinde31php
:<>; The Gnomon Workshop1 B<.!<C %he 3n! !n 2!r"sh!p Ande, page. A*aila$le:

http:PPwww1thegnomonworkshop1comPS
:<?; CG cookie1 B<.!<C )lender c!!"ie Ande, page1 A*aila$le:

http:PPcgcookie1comP$lenderP

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