Chun-Yi Wu: Zodiac Constellation - Aries

The Second pepakura project I have process is Aries, which present as a female goat. This time I have asked one concept artist to drew me a reference then I'll modeling it in Maya. One of my friend was interest on rigging so I basically asked him to rigged as a try work. Which comes out fine with some poly point fixing.

This project have use the basic animation production process to produce the work flow. which is modeling, rigging, posing and it did helps the quality of the work, but slowing down fore each process of works.

 For now what I have done is half of the model printed out

 

After glue all them up Aries is Half way to the finish product, and one code of the Aqua Gem turns the cardboard like the wooden surface.

Chun-Yi Wu: Zodatic Constellation Pepakura Project- Sagittarius

Continue to my pepakura project the Mermaid I had made from last semester as Aquarius. Then this time is Sagittarius. Which it will be look like a Centaur and its going to be a life size 7.5 feet tall. As what I have said, I'm interest on myth and making these pepakura piece is present as my self in the western culture.  I totally use 13 sheets of 2 x 4 ft card board for this main body piece. Which is the largest one I have done since then.

There's problem comes by which is that its not standing properly . It fall off without support so I have use a wood board glue up with it until making a stand for three foot glue on top.

Mo Murphy (MOSS): 3d Print Sculpt

A series of process images on my 3d print sculpt
Title: From the rocks, I rise (working title)

I have been teaching myself ZBrush the past 8 weeks and have devoted a considerable amount of time to this model. I worked with 2 different sub tools in Zbrush in order to maintain a low polygon count for 3d printing purposes. I used a variety of brushes for the sculpt, mostly 'clay buildup' 'move brush' and 'snake hook brush'.

The model itself represents a fictional evil diety arising from crumbles of rock and stone. My inspiration draws from various influences in dark art/ demonic art.

Amanda Marder: Midterms Laser Cut Fabric Sheet Test

 I made a whole sheet of pattern and used the laser cutter to cut it into workable sections.  This material is by far stiffer than the other fabric I have used.  Due to the rigidity there is less play and unpredictability of how the fabric will behave once cut.

 

Final Product:

I used a type of glue that Prof. Scott would to describe as "Elmer's Glue on Steroids" that I brushed on in layers between the fabric over a balloon.  Once the product dried and hardened I popped the balloon and it pulled out clean.  So, it was nice to know the glue doesn't adhere to latex!

I intend to use this technique to create various textile vessels using layers of laser cut fabric. 

Mo Murphy (MOSS): Laser Engraving

I laser engraved my illustration "Soul Sniffer". I plan to experiment with different wood staining techniques to color the panel. I am also wanting to do a negative engraving into linoleum for print making purposes.

This concept comes from a variety of low-brow artistic influences. I am currently working on a frame x frame animation featuring this character.

Vincent Lo: Week 8 "Escaping Time"

At some point or another, we all find ourselves looking back and thinking "Where did all the time go?," and I wanted to visualize that thought in my piece. Also, I've always been fascinated by the concept of time, so I settled on the hourglass as the main subject. The leaking sand in my sculpture represents the time that "escapes" us whenever we lose track of time.

I modeled the hourglass in Rhino using lots of circular curves. I then used loft to create the surfaces. The Chamfer command was used to create highlights on most of the hourglass pieces. I created the sand within Maya simply by smoothing a cube several times, and then using soft select to shift vertices around.

I chose darker materials for the hourglass because I wanted the sand to pop out as that is a focal point for my piece. At the same time, I used a monochromatic color scheme to unify all the components together. To achieve the sand look, I used one of the marble materials with roughness raised to one.

Robert Manriquez; Feminine Serial (Serial Cut midterm)

 Feminine Serial

 It took me a while to figure out what I wanted to do for my serial cut. I knew I wanted to do a figure of some kind so I decided to do a figure laying down. I referenced this image when creating my model. I really liked the curves and straight lines so I wanted to do my take of this piece. I was able to play with the separate shapes in creating the model. I went with the very thin neck large head, off centered neck placement and narrow hips to give my model an offset from reality.

 I created my model in maya using a simple square and manipulating vertices in order to sculpt the body into the proportions I wanted. I built the square polygon and meticulously placed edge loops on all sides of the square. The edge loop intersections automatically create vertices which allow you to manipulate faces or vertices for precise control. After the vertices were created, I pushed and pulled the vertices into place and created the form that I ended up with.

The material I used was a dark wood. The realistic materials I would use would be either marble or wood. I chose the wood material because I prefer the random lines that the tree rings as opposed to marble because the tree rings are more of a controlled random than the scratchy marble patterns. I used a light ash colored wood for the dowels for the sake of a dissonance within the color scheme.