Introducting the art pipeline
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The document introduces the art pipeline at Staffordshire University. It outlines the university's strong background in 3D art and game art courses. It provides examples of notable alumni working in the game industry. It then details the various game art modules offered from the foundation year through to masters level. It focuses on the first year Introduction to 3D Modelling module, describing the goals, projects, and challenges students face in learning 3D art pipelines. It discusses how the university uses Unreal Engine 4 to help students understand workflows and see their work come together in a game engine. Finally, it considers ways to further improve student motivation, engagement and understanding of key 3D art concepts.
Introducting the art pipeline
- 1. INTRODUCING THE ART PIPELINE AT STAFFORDSHIRE UNIVERSITY@ STAFFORDSHIRE UNIVERSITY David Edwards
- 2. Introduction • We have a strong 3d Art background here at Staffordshire University • We have always had a core Game Art route through our flagship, BSc(Hons) Computer Games Design award. • This is now supported with our BA(Hons) Games Art award.
- 3. Our Alumni Michael Knowland Sr Character Artist - Avalanche Studios Nick Elliot Environment Artist - Playground Games Ben Wilson Environment Artist – Massive Entertainment Liam Tart Environment Artist - Creative Assembly Madina Chionidi Character Artist – DICE 2015 Ones to Watch: Philip Gilbert 2015 Ones to Watch: Mark Circus 2015 Ones to Watch: Alex Zemskov
- 4. Games Art @ Staffs Games Art is a key aspect Games Design/Technology Program Area Foundation Introduction to Modelling and Rendering 1st Year Introduction to 3d Modelling for Games 1st Year Fundamental Art Skills for Games 2nd Year 3d Character Modelling for Games 2nd Year Games Shaders and Texturing 2nd Year 3d Hard Surface Modelling 3rd Year Advanced 3d Modelling 3rd Year Individual Games Project 3rd Year Individual Games Portfolio Masters Advanced Character Prototyping Masters Advanced Games Environment Design & Research Masters Advanced Vehicle and Weapon Prototyping Foundation Photoshop for Games Development
- 5. The Module For the majority of our students this is their main Introduction to world of 3d Game Art at Staffordshire University. It’s a 30 credit module taken from September to May.1st Year Introduction to 3d Modelling for Games 3 Hour Teaching slot Introduction Short Theory Lecture Practical Application Short Theory Lecture Practical Application Exercise Round Up
- 6. The Goal This year students undertook a portfolio consisting of 2 components: Semester 1: Low Poly Mobile Environment, with diffuse only textures, 1500 tri limit per-asset. 1st Year Introduction to 3d Modelling for Games
- 7. The Goal This year students undertook 2 components of portfolio: Semester 2: Unreal Engine 4 table top diorama of 3 elements. Complete PBR workflow. 1st Year Introduction to 3d Modelling for Games
- 8. A New Challenger has entered the Game However, the module is still remains one of our greatest challenges…. To take students from this… To this…
- 9. Who are these n00bs?! 60% of our students come to Staffordshire University from B-Tec college courses, with the remainder entering from A- Levels, or as mature students through access courses. However! How “Games related” the college course is questionable, and there is currently no set standard.
- 10. Who are these n00bs?! So we have students who may have: • Completed 2 years trying out all aspects of game development. • Completed only a 1 or 2 modules around 3d Art or Game development • No experience of games development at all However, these students have the UCAS points to enter straight onto the undergraduate course.
- 11. What do they need to know? Is that all? 3d Modelling Tools 3ds Max/Maya UI Sub-D modelling Triple Edge Looping Normal Mapping technology xNormal Normal Mapping methodology UV Mapping Creating Tiling Textures Creating Tiling Textures UV unwrapping Double Turbosmooth Shape Form Proportion Silhouette Lighting 3-point Lighting Presentation Optimization Smoothing Groups Colour Theory Fundamentals of Environment Design Photoshop Good Taste Camera Terminology Composition Materials Exporting to Unreal Game Engine Limitations Texturing process A basic design process
- 12. Unreal Challenges Unreal presents students with a great opportunity to work with a AAA Game Engine… …However it also presents us with challenges which need to be overcome when introducing students to the art pipeline.
- 13. Academic Challenges The module is designed to measure the students against 5 Learning Outcomes Learning Outcome 1) Apply appropriate techniques to create, and modify, 3d game assets by evaluating and applying a variety of industry production techniques. Application Enquiry 2) Demonstrate knowledge and understanding of 3d modelling techniques, texturing methods, material and shader generation in game asset production. Problem Solving 3) Effectively communicate the design process, use of current industry technologies, and workflows used in the production of the game assets. Communication 4) Reflect upon suitability of the game assets for the chosen game engine through comparison with professional works, and critically evaluate the piece and determine improvements. Reflection
- 14. Challenges for Introductory Students • Choosing the right project • Understanding the Basics of Asset Development • Knowing the basic pipeline • Knowing how to tweak that pipeline for a specific solution • Implementing a suitably complex solution • Time
- 15. Choosing the Right Project Students view The module leader One of the biggest problems student face is knowing the scope of a project from the start. Considerations include: • Complex geometry • Specific UV unwrapping methods • Unconventional normal map baking processes, • Elaborate material set ups • Precise lighting settings It can take considerable experience to be able to choose a project at the right level.
- 16. Understanding the basics “If you can dodge a wrench, you can dodge a ball” Basics of 3d Modelling High Poly Modelling Normal Mapping Techniques Game Mesh Unwrapping Smoothing groups Bakeoptimization Texturing methods Export to Unreal Hope it worked* *Success modifier is applied for the more practice you have of undertaking this process.Understand what you’re trying to do
- 17. A Clean pipeline To keep things simple, we try to encourage students to adhere to a clean production pipeline when working through their projects. Presentation of final assets Lighting Cameras Scene Composition Texturing Bake Normals Bake Projection Maps Create Textures Set up materials Test Metallic/Roughness Low Poly Suitably Optimised Appropriate smoothing groups Chamfered edges Normal map considerations High Poly Sub-D/DTS Mesh Floating Geometry Necessary Detail Normal Map considerations Design Process Block out Mood Board Colour/Value Designs Silhouette Constant review for quality in Unreal
- 18. Specific Solutions One of the main issues students face is knowing when they should deviate from the techniques they think they know, to something more unconventional. “Should I cut that shape in, or use floating geometry?” “Is that going to normal map, or should I low poly it?” “Is that curve going to project ok, or does it need to be rounder?” “How should I modify the cage to avoid this skewing?” “Should I chamfer that edge to get a better bake?” “Should I use overlapping UVs on this?” “How do make this bit translucent, but that bit reflective?” So if I do all that, it’ll work?
- 19. Not to mention… All of this is before you consider some of the more Intermediate, or Advanced topics which may help solve these problems. • Light Maps • IES Lighting profiles • Camera settings • Matinee • Master Materials/Material Instances • Layered Materials • Post processing • Physics simulations for Cloth assets • Set dressing (Particles, Volumes, backgrounds) • Cinematography considerations
- 20. How the students used UE4… UnrealEngine’s Marketplace, example content, and content browser helps students to understand the size and scope of projects. Example content, like Alumni Liam Tart’s Sci-Fi Bunk, enables students to inspect meshes, textures, and materials up close.
- 21. Academic Challenges Students use the example content as part of their research into limitations, production methods, and comparable assets from the industry. They document this through asynchronous discussion forums, mood boards, references and blockouts.
- 22. How the students used UE4… The .FBX pipeline into Unreal Engine 4 really helps students to see their project come together. Students are encouraged to constantly export their meshes and normal maps to Unreal to check for errors.
- 23. How the students used UE4… Materials and Materials Instances helps students quickly create a more visually interesting diorama.
- 24. How the students used UE4… Unreal Engine 4 helped the students produce some of the best pieces of work we’ve ever seen from the 1st year
- 25. Building on Success Whilst we have achieved a good level of success this year there is more that we can do: • Motivation and Engagement • An introductory language • Snapshot video tutorials • Concise and accessible documentation • Student Expectations
- 26. Motivation and Engagement Motivating and engaging students on such a large module (169 people) can be tricky. Not everyone loves games art after all. External talks from industry artists give students direct access to new, and alternative information. In some cases a big wake up call. Inspiration and Design - Ollie Clarke, Modern Dream The Art Pipeline, and Getting into the Industry – Scott Homer
- 27. An Introductory Language Its very easy for us experienced artists and lecturers to forget just what it’s like not knowing anything. Finding a way to communicate effectively with students is key. Normal Maps A normal map is usually used to fake high-res geometry detail on what is actually a low-res mesh. Each pixel of a normal map is used to transfer the normal that's on the high-res mesh onto the surface of the low-res mesh. The red, green, and blue channels of the texture are used to control the direction of each pixel's normal. The pixels in the normal map basically control what direction each of the pixels on the low-poly model will be facing, controlling how much lighting each pixel will receive, and thus creating the illusion of more surface detail or better curvature. The process of transferring normals from the high-res model to the in-game model is often called baking. (TechArtists.org2010) Or A normal map uses colour values to modify how a mesh receives light, thus giving the impression of more detail.
- 28. Snapshot Video Tutorials One solution to help engage struggling students is to create a library of snapshot videos tutorials. Students could dip in and out, to access specific information At only a couple of minutes in length, the videos would cover only the necessary steps to complete an action, e.g. This is the swift loop tool. Links would still be provided to externally hosted tutorial content. These are typically longer, or part of a series.
- 29. Concise and Accessible Documentation One of the great things about Unreal Engine 4 is the large volume of clear and accessible documentation. Students can be easily directed to this to get an overview of the whole pipeline, and explore new areas.
- 30. Student Expectations One of the biggest issues we do face is managing the expectations of the students. What we expect of them, and what they expect from us. Staff expectations Student expectations 300 hours of work. ~12.5 hours per week. Industry Standard Software Practicing of techniques and methods taught Professional level lectures and tutorials Reading of methods, pipelines and techniques by artists Clear Assessment Criteria An enthusiasm for creating good game art Example assignments Access to support and help when needed Access to PCs outside of class time
- 31. Future Challenges Scope; We only have a year to get across all the basics, but still have students who can make content by the time they enter the second year. Updates; UE4 is really flexible we need to ensure we’re keeping up with all the latest technological improvements. Limitations and getting it wrong; This may be the first game art module a student has taken. They need to know they can, and will make mistakes, but that’s ok.
- 32. Thank you • D.J.Edwards@staffs.ac.uk • @Daaaaavve • @staffsgamestech Contact Any Questions?
- 33. Introducing the UE4 Art Pipeline to students • Introduction • Who are the students • Typical student profile • What’s their background – 60% of students from a B-Tec courses (content ranges from 2 years in a range game-dev modules, to 1 module in 3d/Photoshop) • What do they already know? – 40% students potentially know very little, if anything. Grades to enter the main undergraduate course • Pro-active response/action to their skillset • Elephant in the room – Interviews • Introducing Game Asset development to students • What do they need to know? • 3d Modelling in Max/Maya, Unwrapping, texturing/Photoshop, lighting/presenting work, • Art techniques – shape/form, proportion, likeness, design process, colour, lighting, silhouette, design principles, • UE4 Challenges? • Time? • Understanding the basics? • A Clean pipeline? • All the other stuff – light maps, lighting, cameras, set dressing, cinematography, • Academic Challenges • Are they on the right course/award • Does it meet their expectations • Motivation and engagement • Possible solutions • Snapshot video tutorials • An introductory language • Concise and accessible documentation • Have Interviews