Armand Baltazar's Illustrated Trilogy "Timeless"

<a href="http://www.armandbaltazar.com/">Armand Baltazar</a>, an artist and senior designer at Pixar, just inked a deal with HarperCollins for a three book illustrated series called "Timeless."<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_GLmfL0QGEemOvorfJd6D15GWingMPeL-rwymew2ZU7EMSoLhKqZpsHfSND_g1TKDvoeYKFDsRmAvvx_D7WjNmt5nBIOwX1TUUW8m13XduLF8xe0M5ks7frpRNTVKeveKMbQ2m9oA0p5W/s1600/Four_friends.sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_GLmfL0QGEemOvorfJd6D15GWingMPeL-rwymew2ZU7EMSoLhKqZpsHfSND_g1TKDvoeYKFDsRmAvvx_D7WjNmt5nBIOwX1TUUW8m13XduLF8xe0M5ks7frpRNTVKeveKMbQ2m9oA0p5W/s1600/Four_friends.sm.jpg" width="292" /></a><br />According to <a href="http://www.hollywoodreporter.com/news/pixar-artist-nabs-three-book-738779">the Hollywood Reporter</a>, the trilogy is "in the vein of <i>Avatar</i> and <i>Harry Potter. </i>The story centers on a boy — joined by a motley gang of friends — who is seeking to rescue his father from a Roman general after a 'time collision' has thrown together the past, present and future."<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibODbhk8niDVRkVjA1rIASsPG5KCD30IdTTRD0cxIsBvxB-4eIUCXsygJaUp1M8gBEgVIf731uS4Oo3ugRBBsXStyOKbp7EiGyT3WtjtOffG3ktuwfk3xtSKedAtoQ730i_PlWvZpEoJ6k/s1600/CHICAGO_THEATER_embed.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="195" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibODbhk8niDVRkVjA1rIASsPG5KCD30IdTTRD0cxIsBvxB-4eIUCXsygJaUp1M8gBEgVIf731uS4Oo3ugRBBsXStyOKbp7EiGyT3WtjtOffG3ktuwfk3xtSKedAtoQ730i_PlWvZpEoJ6k/s1600/CHICAGO_THEATER_embed.jpg" width="400" /></a></div>I asked Armand to share some insights into the inspiration, tools, and process behind his illustrations.<br /><br />He says: "I would describe the look and feel of Timeless as an homage to my heroes from the golden age of illustration: NC Wyeth, Dean Cornwell, Norman Rockwell, Joseph Clement Coll to name a few, with classic influences that range from Ilya Repin, Anders Zorn, to Mariano Fortuny."<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrbSgQpKAhM606TcJaMK3_DyaHq9z6MdMn4SnXubcsJVXHg5MQrhtGquHPaQHQIbR1UyoY3NJerZyzrY9WKTlKnw9EaKPZcaHWBeQ_w-CXSYshH0wKkQCi54k4HcyzeBnQo-qsZ7X0T2up/s1600/Rangers+last+stand-FIX+PRINT2014.sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="184" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrbSgQpKAhM606TcJaMK3_DyaHq9z6MdMn4SnXubcsJVXHg5MQrhtGquHPaQHQIbR1UyoY3NJerZyzrY9WKTlKnw9EaKPZcaHWBeQ_w-CXSYshH0wKkQCi54k4HcyzeBnQo-qsZ7X0T2up/s1600/Rangers+last+stand-FIX+PRINT2014.sm.jpg" width="400" /></a></div>"I started out wanting to paint everything in oil-paint, but having to hold down a demanding full-time studio job made painting late nights and weekends too demanding and impractical. So now the majority of the work for the book is a blend of traditional and digital media."<br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq3KicoWC9zYnZPG_zGnCmYLFqVREqHj4JRNi_eUs50wh_xpGdcj7zdTrGB2MRnJQwGBzPJaox7T_7Y2Gg0Dqt3wCoWsaKA4tos53QBkvDvGYQrFZKVE5YqgMejBb53QS2ZB6XlgXHqrdT/s1600/Timeless_process.sm.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq3KicoWC9zYnZPG_zGnCmYLFqVREqHj4JRNi_eUs50wh_xpGdcj7zdTrGB2MRnJQwGBzPJaox7T_7Y2Gg0Dqt3wCoWsaKA4tos53QBkvDvGYQrFZKVE5YqgMejBb53QS2ZB6XlgXHqrdT/s1600/Timeless_process.sm.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: left;">"I begin with thumbnails. sometimes working all the way through to refined drawings or value comps. But often I'll resolve lighting design in my color keys. I will either scan the thumbnails and drawings into the computer or rough in a watercolor and gouache pass across the top and then scan that in."</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEjJhOx-mUzgQpmDUQ7hyKWWFY7hCkylSuXckHxdINtxi1XUHOvXc9K3ge13VhnXJRw2mtboi0t936VjBfEIpFfzXc6Fmtjo_hENNlwqYEO3Sm6RfxXlmTnA0RH9Qp33SPc_-QwAEgQqRL/s1600/Timeless-Adventure.sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="152" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEjJhOx-mUzgQpmDUQ7hyKWWFY7hCkylSuXckHxdINtxi1XUHOvXc9K3ge13VhnXJRw2mtboi0t936VjBfEIpFfzXc6Fmtjo_hENNlwqYEO3Sm6RfxXlmTnA0RH9Qp33SPc_-QwAEgQqRL/s1600/Timeless-Adventure.sm.jpg" width="400" /></a></div>I paint the paintings digitally using Photoshop and Painter. But I use these digital tools in a way that emulates watercolor, oil painting and traditional animation background painting. Using my drawing, and color-key as a guide, I paint from background to foreground."<br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRiBh9x2ORnO9UdojWGn5eYPozP6UpaExRn8bp5dzgSVUfGlWpukm3wHCVJvQp_H5XZSErSkKfbs28xv4fEYVmSAf4HA06goCmitbM61DGtkcGV111O8Rp0brfx0thPWA0aWAuaD1S8GUH/s1600/BENTLEY+SE5A.sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRiBh9x2ORnO9UdojWGn5eYPozP6UpaExRn8bp5dzgSVUfGlWpukm3wHCVJvQp_H5XZSErSkKfbs28xv4fEYVmSAf4HA06goCmitbM61DGtkcGV111O8Rp0brfx0thPWA0aWAuaD1S8GUH/s1600/BENTLEY+SE5A.sm.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: left;">"I often start blocking in the big graphic shapes of my composition, then my light and dark patterns leaving the shadows as thin simple statements and work towards opacity in the lights. The Flying car painting was painted more like a traditional watercolor saving my lights and working towards darker saturated values and color."</div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgje9abK-2vImwccvKPpbIVNOAT_mJnelOS4DkxHSVxTr1KtxhAtpGMbLF16P-GsapC_M00MpY-ewT2LxXzOSyE8h3r1dQo2hql6zWSE4i5-U7pVO3YkeZxVO3mpP2CxjuuHrr30M0oUrpj/s1600/Timeless_Allosaurus_%23CD8E6E.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="195" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgje9abK-2vImwccvKPpbIVNOAT_mJnelOS4DkxHSVxTr1KtxhAtpGMbLF16P-GsapC_M00MpY-ewT2LxXzOSyE8h3r1dQo2hql6zWSE4i5-U7pVO3YkeZxVO3mpP2CxjuuHrr30M0oUrpj/s1600/Timeless_Allosaurus_%23CD8E6E.jpg" width="400" /></a></div>"I work on the painting in the computer using 2-3 simple ugly brushes that give me the tactile quality I'm looking for. I keep the painting flattened and overpaint and cut back over the shapes as I would in oil leaving the history of the brush decisions when possible."<br /><br />"I especially love doing that when painting characters. Trying to get something that is a mix of Rockwell (painterly) and Frank Duveneck with nods towards impressionist color and light when the scene or lighting design calls for it."<br /><br />Thanks for the insights, Armand, and best wishes on the project.<br />----<br /><i>Before landing his job at Pixar, Armand has worked at ImageMovers Digital, Walt Disney Feature Animation, and DreamWorks SKG. He has worked on The Prince of Egypt, The Road to Eldorado, Spirit Stallion of the Cimmaron, Sinbad, Shark Tale, Flushed Away, The Bee Movie, Princess and the Frog, A Christmas Carol, and Cars 2.</i><br /><a href="http://www.armandbaltazar.com/">Armand Baltazar's website</a>

Armand Baltazar's Illustrated Trilogy "Timeless"

Armand Baltazar , an artist and senior designer at Pixar, just inked a deal with HarperCollins for a three book illustrated series called ...

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How do we move when we breathe?

<iframe allowfullscreen="" frameborder="0" height="338" src="//www.youtube.com/embed/4CRMgPcgKp4" width="450"></iframe><br />(<a href="http://youtu.be/4CRMgPcgKp4">Direct link to YouTube video</a>)<br /><br />How does your body move when you breathe? Well, of course the rib cage expands and contracts, but surprisingly the movement is more up and down than it is in and out, says Michael Black, co-author of a computer graphics study presented at the recent Siggraph.<br /><br />There are many more small but observable movements going on. The arms push out, the head goes back and forth, and the spine flexes. The movements are slightly different for "stomach breathing" compared to "chest breathing," something that singers are very conscious of. One possible flaw in the methodology of this study is that subjects were asked to "breathe normally," a sure way to make them breathe unnaturally.<br /><br />Once you learn to recognize the subtle body changes that accompany breathing, you won't look at a posed model the same way, and you'll notice actors in movies controlling their breathing as part of their performance.<br /><br />Animators will be able to input this breathing data with simple controls, including a spirometer, which records breathing volume. In the future, when actors record their voice parts for CG animated films, they'll be able to record their breath acting as well. That information will yield a more believable and lifelike performance, whether the character they're playing is a realistic human or a talking turnip.<br /><br />The authors are: Tsoli, A., Mahmood, N. and Black, M.J.,<br />The paper is entitled: "Breathing Life into Shape: Capturing, Modeling and Animating 3D Human Breathing"

How do we move when we breathe?

( Direct link to YouTube video ) How does your body move when you breathe? Well, of course the rib cage expands and contracts, but surprisin...

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CGI Film: Hallucination of a Lost 16th Century Mariner

Here's a short 3D CGI film called "Navigation in Dreamtime."<br /><br /><iframe allowfullscreen="" frameborder="0" height="253" src="//www.youtube.com/embed/un2GP6CJOJc" width="450"></iframe><br />The camera drifts through trippy dreamscapes, as ornate golden orbs and tendrils gently morph in shape, pattern, and color.<br /><br />(<a href="http://youtu.be/un2GP6CJOJc">Direct link to video</a>) The animation is by <a href="https://vimeo.com/user23854726">Julius Horsthuis</a>, who imagines that "It's 1596 AD and a ship is frozen in the deep arctic. No help is coming. The Navigators and Cartographers aboard, suffering from hypothermia and frostbite are starting to hallucinate."<br /><br />Fractal-powered software is Mandelbulb 3D. Music is "Soul Medicine" by Mari Boine.<br />If you liked this, check out his "<a href="https://vimeo.com/91253509">Phenotypic Sarcophagi.</a>"<br />Via <a href="http://cgbros./">CGBros.</a>

CGI Film: Hallucination of a Lost 16th Century Mariner

Here's a short 3D CGI film called "Navigation in Dreamtime." The camera drifts through trippy dreamscapes, as ornate golden or...

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Recreating a Painting in 3D

<div><iframe allowfullscreen="" frameborder="0" height="253" src="//www.youtube.com/embed/z0KH-IhBTiQ" width="450"></iframe></div><div><br /></div>Zsolt Ekho Farkas created this 3D interpretation of a painting by Hungarian painter<br /><a href="http://commons.wikimedia.org/wiki/Gyula_Bencz%C3%BAr">Benczúr Gyula</a> (1844-1920).<br /><div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjikLKPZZ5wdAsvh1SgUV80c4PtyDFYESxAmoUOzeHmVsVSN1O-WKlgrHcJgG99Nt04O7-WVKT9CRuqEwGB_UWGjESQSWFT5Z5wJVUHBM-uRv6wq_Iz06aTqxZqECbmdQ6kMhklznhP0GAO/s1600/Benczur.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjikLKPZZ5wdAsvh1SgUV80c4PtyDFYESxAmoUOzeHmVsVSN1O-WKlgrHcJgG99Nt04O7-WVKT9CRuqEwGB_UWGjESQSWFT5Z5wJVUHBM-uRv6wq_Iz06aTqxZqECbmdQ6kMhklznhP0GAO/s1600/Benczur.jpg" width="400" /></a></div><br />The painting depicts the recapture of the Buda Palace in 1686 from Ottoman army. It took a month for Mr. Farkas to model all 32 figures, plus another five weeks to digitally paint and prepare the masks and layers. With the smoke and music, the moving-camera parallax, and the focus pulls, the scene jumps right off the canvas.<br /><div>(<a href="http://youtu.be/z0KH-IhBTiQ">Direct link to video</a>)</div></div>

Recreating a Painting in 3D

Zsolt Ekho Farkas created this 3D interpretation of a painting by Hungarian painter Benczúr Gyula  (1844-1920). The painting depicts the rec...

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Fractal-Powered CGl Film

<iframe allowfullscreen="" frameborder="0" height="253" src="//www.youtube.com/embed/m2KQmOibO-0" width="450"></iframe><br /><br />This video of morphing and turning space rocks was created not by sculpting or modeling in the usual way, but rather by using fractal mathematics. (<a href="http://youtu.be/m2KQmOibO-0">Video link</a>).<br /><br />One of the principles of fractal geometry is self-similarity, where large forms are composed of smaller and smaller components that share the same geometry. This is a design principle found in nature in rock forms, cloud shapes and branching forms. Fractal powered digital graphics provide a a tool for building worlds for animation and computer games.<br /><br />The video was by Julius Horsthuis, rendered in Mandelbulb 3D, with music by Maurice Horsthuis.

Fractal-Powered CGl Film

This video of morphing and turning space rocks was created not by sculpting or modeling in the usual way, but rather by using fractal mathem...

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CGI eye simulation

<iframe allowfullscreen="" frameborder="0" height="253" src="//www.youtube.com/embed/TAZIvyAJfeM" width="450"></iframe><br />Here's a remarkably believable computer rendering of a human eye by <a href="http://www.chrisj.com.au/">Chris Jones</a>, using Lightwave, Sculptris and a little Krita. He wrote the music, too. <div>----</div><div><a href="http://bestofyoutube.com/">Via Best of YouTube</a><br /><br /></div>

CGI eye simulation

Here's a remarkably believable computer rendering of a human eye by Chris Jones , using Lightwave, Sculptris and a little Krita. He wrot...

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Are we out of the Uncanny Valley?

<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/CNdAIPoh8a4" width="420"></iframe><br /><br />Popular Science put together this video summary of the phenomenon of the uncanny valley in robotics, computer animation, and games. (<a href="http://www.youtube.com/watch?v=CNdAIPoh8a4">Link to video</a>)<br /><br />The term "uncanny valley" was coined by Japanese roboticist Masahiro Mori in 1970. It refers to how artificial characters become more and more attractive as they become more realistic—up to a certain point, when they become creepy and repellant.<br /><br />Another example is the rampaging baby in Pixar's early experiment "Tin Toy." (<a href="http://www.youtube.com/watch?v=wtFYP4t9TG0">Video link</a>)<br /><br />A <a href="http://www.scientificamerican.com/article/why-uncanny-valley-human-look-alikes-put-us-on-edge/">Scientific American article</a> suggests some explanations for why these failed lookalikes put us on edge. The phenomenon might be related to the unconscious switchover that happens when we believe something to be truly human. Our rising empathy in what we believe to be human can be betrayed by a simple failure of eye contact or head movement, invoking our concern or disgust at seeing a fellow human who is ill.<br /><br /><iframe allowfullscreen="" frameborder="0" height="253" src="//www.youtube.com/embed/v4YLH4NwBI8" width="450"></iframe><br />A related dreadful feeling happens when we see a Madame Tussaud waxwork, only to discover that it is real. This video shows such a prank as fan girls pose with what they think is their favorite boy band. (<a href="http://www.youtube.com/watch?v=v4YLH4NwBI8">video link</a>).<br /><br />Masahiro Mori's paradigm suggests that there's a way out of the valley on the far end, as we approach very accurate simulation. Are we there yet? Have you seen anything recently in the realm of robotics or CGI simulation that you feel is truly appealing? If so, please let me know in the comments.<br /><br />Previously on GurneyJourney:<br /><a href="http://gurneyjourney.blogspot.com/2013/04/activision-develops-real-time-face.html">Activision reveals real-time face simulation</a><br /><a href="http://gurneyjourney.blogspot.com/2011/04/bert-untooned.html">Bert Untooned</a><br />

Are we out of the Uncanny Valley?

Popular Science put together this video summary of the phenomenon of the uncanny valley in robotics, computer animation, and games. ( Link t...

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Waterlogue App

Tomorrow a fun new app for the iPhone and iPad will be released called <a href="http://www.waterlogueapp.com/">Waterlogue</a>. The app interprets a photo to look like it was painted in watercolor.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmZkAZg7LyOf5txdGb0C_J1EYHjkX8CKzS7urjMbolijvHcaptuT_Ggd79JdVuIm5lq0oogjv7dOx7-O1GQbpqbLvvkQSYfdPgqBgdFLW0-b_RA0mi5KS-GVs5Urdkp9Z-No7mYUWlSuie/s1600/Waterlogue.Teapot2.sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmZkAZg7LyOf5txdGb0C_J1EYHjkX8CKzS7urjMbolijvHcaptuT_Ggd79JdVuIm5lq0oogjv7dOx7-O1GQbpqbLvvkQSYfdPgqBgdFLW0-b_RA0mi5KS-GVs5Urdkp9Z-No7mYUWlSuie/s400/Waterlogue.Teapot2.sm.jpg" width="400" /></a></div><br />The developers let me play with an advance version of it. I started by taking a photo of our teapot using our iPad. Then Waterlogue started dissecting the image in real time, searching out contours, dropping in blotches of color, and applying watercolor-like effects, such as a wet-into-wet color bloom. Like magic, and it's accurate with ellipses!<br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIqrWT1YTEKjB72X2YCrW8hFCfH_ecZWIdZAz6QZ7LkaA8_nIpdtpJU6ej1qWkwS2iY4OaR6-6AHjwF8xAX9JWJHQjZSjxq3e630YR4hiIPwwUdYA-qMjVqDnK0iVu1J3rJpS6QmrhamJh/s1600/Waterlogue_J.sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIqrWT1YTEKjB72X2YCrW8hFCfH_ecZWIdZAz6QZ7LkaA8_nIpdtpJU6ej1qWkwS2iY4OaR6-6AHjwF8xAX9JWJHQjZSjxq3e630YR4hiIPwwUdYA-qMjVqDnK0iVu1J3rJpS6QmrhamJh/s400/Waterlogue_J.sm.jpg" width="300" /></a></div><br />It goes beyond typical Photoshop watercolor filters because it has more visual intelligence, and more of the feel of the real paint. But of course you can still sense the photo behind it.<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqCAVP5x5S-uUTa97bAX_Pq9MxDtPCCX1e4GHD7fl_IyGnTi0LV2VzlOwdQi89euVqZ2hMwPOEgGcAGWaucPcw0ysdhWm494RFJjHAxAVDmCB0Xx3IViM3H6vwFyn7rFVafQ-PsgUjuMJn/s1600/Waterlogue-Shanghai.sm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqCAVP5x5S-uUTa97bAX_Pq9MxDtPCCX1e4GHD7fl_IyGnTi0LV2VzlOwdQi89euVqZ2hMwPOEgGcAGWaucPcw0ysdhWm494RFJjHAxAVDmCB0Xx3IViM3H6vwFyn7rFVafQ-PsgUjuMJn/s400/Waterlogue-Shanghai.sm.jpg" width="300" /></a><br />Here's one based on a photo of me sketching on the streets in Shanghai. The app gives you several different painting styles to choose from. My favorites were Natural, Luminous, and this one, Travelogue. Like a sketch, it leaves unpainted lines at the top, and little white dots in the darks.<br /><br />The app was designed by John Balestrieri and Robert Clair, who are readers and commentators on this blog. Of course it's no threat to traditional artists (unless the art that someone does is little more than an app), and no substitute for actual sketching. To my mind, it's just a fun new way to think about image-making.<br /><br />You can pick up a copy of the app when it's released tomorrow, or sign up today for a reminder at the <a href="http://www.waterlogueapp.com/">Waterlogue</a> website.

Waterlogue App

Tomorrow a fun new app for the iPhone and iPad will be released called  Waterlogue . The app interprets a photo to look like it was painted ...

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Fluid dynamics effects reel

<iframe allowfullscreen="" frameborder="0" height="253" src="//www.youtube.com/embed/r-p4K4Q-yCQ" width="450"></iframe><br />Artists in the digital realm continue to create fresh visual wonders. Here's a fluid effects reel by Jesse Pitela that shows off some amazing splash and flow dynamics. <br /><br />I'm not sure exactly how this stuff works, but I'm guessing it involves some sophisticated simulations involving momentum, air resistance, surface tension, and gravitation. Plus a wonderful artistic sense of timing, lighting, and composition. (<a href="http://youtu.be/r-p4K4Q-yCQ">Link to video</a>) Thanks, <a href="http://www.youtube.com/user/TheCGBro">CG Bros.</a>

Fluid dynamics effects reel

Artists in the digital realm continue to create fresh visual wonders. Here's a fluid effects reel by Jesse Pitela that shows off some am...

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Postvisualization

<iframe allowfullscreen="" frameborder="0" height="315" src="//www.youtube.com/embed/_oEACVRTCB8" width="420"></iframe><br />In big-budget live action movies, an increasingly important part of the CGI pipeline is a step called "postvisualization," which means a series of shots with low-res digital effects created <i>after </i>principle photography.<br /><br />(<a href="http://youtu.be/_oEACVRTCB8">Direct link to video</a>) This documentary explains the advantages that postvis gives the director and editor to allow them to make good storytelling decisions and bid the effects accurately before the expensive rendering of the final shots. <br />----<br />Via <a href="http://www.youtube.com/user/TheCGBro?feature=watch">CGBros</a>

Postvisualization

In big-budget live action movies, an increasingly important part of the CGI pipeline is a step called "postvisualization," which m...

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Aaron Becker's "Journey"

<br />Blog reader Aaron Becker created the bestselling picture book <i></i><br /><div style="display: inline !important;"><i><a href="http://www.amazon.com/gp/product/0763660531/ref=as_li_qf_sp_asin_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=0763660531&linkCode=as2&tag=gurnjour-20">Journey</a><img alt="" border="0" height="1" src="http://ir-na.amazon-adsystem.com/e/ir?t=gurnjour-20&l=as2&o=1&a=0763660531" style="border: none !important; margin: 0px !important;" width="1" />. </i></div><i></i>He told me that he builds digital maquettes before doing his finished illustrations in traditional watercolors. <br /><br />I invited him to do a guest post explaining the process, so here it is: <br /><div><br /></div><div><div class="MsoNormal" style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 12.800000190734863px; margin: 0px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs5FHEwWeswS59wo5d7y6CEiz762_sBuho3oJW2PCJN1MfyswS-djdR29ZWPTY78ijaBZ3BKs3IcsUrWdiLXQJEl0CgYJjsd8lJb_aiS5GogS7s0kbui3z15shqJ-iX2jm2WgkVRn4qpik/s1600/journey_01.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs5FHEwWeswS59wo5d7y6CEiz762_sBuho3oJW2PCJN1MfyswS-djdR29ZWPTY78ijaBZ3BKs3IcsUrWdiLXQJEl0CgYJjsd8lJb_aiS5GogS7s0kbui3z15shqJ-iX2jm2WgkVRn4qpik/s400/journey_01.jpeg" width="400" /></a></div><div class="MsoNormal" style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 12.800000190734863px; margin: 0px;"></div>"Journey began as this large scale drawing, completed over the course of two afternoons three summers ago."<br /><div class="MsoNormal" style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 12.800000190734863px; margin: 0px;"></div><div class="MsoNormal" style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 12.800000190734863px; margin: 0px;"><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLC7beIzfADn8_acnODLCDgfuYvdgAlFZadqnJhtoqpvGB_QBSusVLmCpVgKk7dJ0NwG-2OzbKdc9A5hXsrpWSBU5RIvdzHM3JCqzsjriG3bL9v04Uxf0T_kfESOSas3nKFlcSRKXWTTSU/s1600/journey_02.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLC7beIzfADn8_acnODLCDgfuYvdgAlFZadqnJhtoqpvGB_QBSusVLmCpVgKk7dJ0NwG-2OzbKdc9A5hXsrpWSBU5RIvdzHM3JCqzsjriG3bL9v04Uxf0T_kfESOSas3nKFlcSRKXWTTSU/s400/journey_02.jpeg" width="400" /></a></div><div class="MsoNormal" style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 12.800000190734863px; margin: 0px;"></div>"Once the story had been roughed out, I returned to the original drawing and built this 3D model in Maya as a proof of concept – to see if I could replicate the spirit of the drawing as a detailed digital model. I would use this to help with perspective and lighting, and went on to build similar models for other environments in the book."</div><div><br /><div class="MsoNormal" style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 12.800000190734863px; margin: 0px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxiW2CJAHjSvdkgbHWbI05-rf6edlfON9N7JK7arqW0rgWedVfa7ZZ5wx8-XFHK_mx1VgkWbQVtN1Xu74eSQ8t_GibbBS63KRMp5Lu1dCoHc1-b4Uw8sqY1C1rR1oNJtQYWNlUNMoe9igD/s1600/journey_03.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxiW2CJAHjSvdkgbHWbI05-rf6edlfON9N7JK7arqW0rgWedVfa7ZZ5wx8-XFHK_mx1VgkWbQVtN1Xu74eSQ8t_GibbBS63KRMp5Lu1dCoHc1-b4Uw8sqY1C1rR1oNJtQYWNlUNMoe9igD/s400/journey_03.jpeg" width="400" /></a></div><div class="MsoNormal" style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 12.800000190734863px; margin: 0px;"></div>"At this stage, I’ve added significant detail to the 3D model with a new scanned pencil drawing. This light overlay gets printed out onto 300 LB Arches watercolor paper using my Epson large format printer."<br /><br /></div><div>"This allows me to dive into the watercolors with the confidence that my composition and perspective is spot-on. I prefer the heavy stock for watercolor as it minimizes warping and allows for fantastic control over the amount of moisture while applying pigment."<br /><br /><div class="MsoNormal" style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 12.800000190734863px; margin: 0px;"></div><div class="MsoNormal" style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 12.800000190734863px; margin: 0px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjomScHY7pg4ADJyfZpl3xEQBVJCOdeNW2eSH_88uCBCdq2awaNKwZAEcC5itMF28gI2h5WNFpgw1enVBrmU8_M1IMjhDTZG8P0VWT24fFeITi074gCUPx5sB0gWEYSZjem-M8wDzdSBpNB/s1600/journey_04.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjomScHY7pg4ADJyfZpl3xEQBVJCOdeNW2eSH_88uCBCdq2awaNKwZAEcC5itMF28gI2h5WNFpgw1enVBrmU8_M1IMjhDTZG8P0VWT24fFeITi074gCUPx5sB0gWEYSZjem-M8wDzdSBpNB/s400/journey_04.jpeg" width="400" /></a></div><div class="MsoNormal" style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 12.800000190734863px; margin: 0px;"></div>"From there, it’s a matter of old-school pen and ink and watercolor. I do the pen and ink first, making sure to give myself the freedom to change anything from the pencil underlay should the spirit move me. That said, I find the more I’ve decided conceptually ahead of time, the more I can concentrate on pure technique at any stage of the image-making game."</div><div><br /></div><div>"Watercolor is applied in several washes from light to dark and then finished up with shadow details. I try to minimize the use of any masking fluid as I find this changes the quality of the paper for subsequent washes. Gouache was used for all of the punchy red and purple bits throughout the story."<br /><div class="MsoNormal" style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 12.800000190734863px; margin: 0px;"></div><div class="MsoNormal" style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 12.800000190734863px; margin: 0px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA-q33m8D4IxR4m8bWX9AF3se1_8vHLGRFURsAT2W-y2CaaZRywKOIV9COuciFHDh4NTD_b5SzaHlUwV-EUFH7BCqiClRU2oxjzjXANGSe-02D6ZM5ZCSPW9aOoLhkoMTV-vVTy0nTrMHu/s1600/journey_05.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA-q33m8D4IxR4m8bWX9AF3se1_8vHLGRFURsAT2W-y2CaaZRywKOIV9COuciFHDh4NTD_b5SzaHlUwV-EUFH7BCqiClRU2oxjzjXANGSe-02D6ZM5ZCSPW9aOoLhkoMTV-vVTy0nTrMHu/s400/journey_05.jpeg" width="400" /></a></div><div class="MsoNormal" style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 12.800000190734863px; margin: 0px;"></div>"When it came time to create the book’s video trailer (see below), I went back into the 3D model and camera-mapped the watercolor painting onto the geometry, like a virtual slide projector covering a foam-core model. After separating the painting into several layers (background, towers, castle walls, etc) I was able to move a virtual camera in Maya and bring the image to life."<br /><div class="MsoNormal" style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 12.800000190734863px; margin: 0px;"><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEFtlIwJ5rm_7RzEABqH3mBDKV_xs818dS7Ei1wJSdmxP2T3QqrrwF6BubPyTQbE9ubcm-LsBWpDQlSSdNK_8HjHPbr9Ta2vt0qpLNWqsw8Mcupa7Hx8fod5zIeVN1k76HooGbDJNbnzaB/s1600/journey_06.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="75" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEFtlIwJ5rm_7RzEABqH3mBDKV_xs818dS7Ei1wJSdmxP2T3QqrrwF6BubPyTQbE9ubcm-LsBWpDQlSSdNK_8HjHPbr9Ta2vt0qpLNWqsw8Mcupa7Hx8fod5zIeVN1k76HooGbDJNbnzaB/s400/journey_06.jpeg" width="400" /></a></div><br /></div>"Some details, like the waving flags were hand animated and projected onto transparent “cards” in Maya. This entire technique is similar to how matte paintings are now done in feature films. Having come from a film background, I wanted to utilize as much of the tricks I had learned as possible, while retaining the hand-made feel of the watercolor paintings. In the end, there are no shortcuts when it comes to dipping a brush into pigment and placing it on the page. Hope you all enjoy the finished product!"<br /><br /><iframe allowfullscreen="" frameborder="0" height="281" mozallowfullscreen="" src="//player.vimeo.com/video/69113063?title=0&byline=0&portrait=0" webkitallowfullscreen="" width="500"></iframe> <a href="http://vimeo.com/69113063">JOURNEY by Aaron Becker (official trailer)</a> from <a href="http://vimeo.com/user10610975">Aaron Becker</a> on <a href="https://vimeo.com/">Vimeo</a>.<br /><br />Here's the book trailer Aaron created.</div><div><br /></div><div>Find out more about Aaron Becker's work at <a href="http://www.storybreathing.com/">http://www.storybreathing.com</a> or on <a href="http://www.facebook.com/aaronbeckerillustration">facebook</a>.<br /><br />Be sure to read the comments on this post, which explain a variety of inexpensive software options, such as Sketchup and Blender.<br />-----</div><div>You can pick up the book online at:</div><div>Amazon: <a href="http://www.amazon.com/gp/product/0763660531/ref=as_li_qf_sp_asin_tl?ie=UTF8&camp=1789&creative=9325&creativeASIN=0763660531&linkCode=as2&tag=gurnjour-20">Journey by Aaron Becker</a><img alt="" border="0" height="1" src="http://ir-na.amazon-adsystem.com/e/ir?t=gurnjour-20&l=as2&o=1&a=0763660531" style="border: none !important; margin: 0px !important;" width="1" /></div><div>or <a href="http://www.barnesandnoble.com/w/journey-aaron-becker/1114194323">Barnes and Noble</a><br />Or you can order a signed copy from <a href="http://www.odysseybks.com/">Aaron's local independent bookseller, Odyssey Books</a>.<br />Thanks, Aaron!</div>

Aaron Becker's "Journey"

Blog reader Aaron Becker created the bestselling picture book  Journey .  He told me that he builds digital maquettes before doing his finis...

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Extracting a 3D model from a 2D photo

<iframe allowfullscreen="" frameborder="0" height="253" src="//www.youtube.com/embed/Oie1ZXWceqM" width="450"></iframe><br /><br />In this remarkable demonstration, Daniel Cohen-Or and colleagues demonstrate a method of digitally inferring a three-dimensional solid from a 2D photo. (<a href="http://youtu.be/Oie1ZXWceqM">Direct link to video</a>). This could be a big timesaver for digital modelers and matte painters.<br />--------<br />Thanks, Rob Nonstop

Extracting a 3D model from a 2D photo

In this remarkable demonstration, Daniel Cohen-Or and colleagues demonstrate a method of digitally inferring a three-dimensional solid from ...

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Digital animation by Matthias Müller

<iframe allowfullscreen="" frameborder="0" height="253" src="//www.youtube.com/embed/-AkFvd-3e50?list=UU-1rx8j9Ggp8mp4uD0ZdEIA" width="450"></iframe><br />Here's some mesmerizing digital animation of pulsing, fluid-like forms timed to music, by<a href="http://matthiasm.de/"> Matthias Müller</a>. (<a href="http://www.youtube.com/watch?v=-AkFvd-3e50&feature=share&list=UU-1rx8j9Ggp8mp4uD0ZdEIA">Video link</a>)

Digital animation by Matthias Müller

Here's some mesmerizing digital animation of pulsing, fluid-like forms timed to music, by Matthias Müller . ( Video link )

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Logo Animation from Mud and Cardboard

<iframe allowfullscreen="" frameborder="0" height="338" src="//www.youtube.com/embed/xJdrlZTht_U" width="450"></iframe><br />If you ever need to animate your logo for video, you have two choices: spend thousands of dollars on a high-tech digital motion graphics that will look fake and dated in five years, or make it yourself for next to nothing out of cardboard, wire, and mud. (<a href="http://www.youtube.com/watch?v=xJdrlZTht_U">Direct link to video</a>)<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo5_n-8SmNAonDy1eoFNtikidV15Ok-TEhrHtOZJBwLcxab2C9YCdwlxNK0MYu1lohA9IkSF1OpGIsTa3cMUlzCxOOIqf3lVeqawFA5TtNt10OG1cyrbvU9cGOgXQMeO1GZ5iz8w7ORL7i/s1600/DIY+Logo+Animation.sm.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" height="341" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo5_n-8SmNAonDy1eoFNtikidV15Ok-TEhrHtOZJBwLcxab2C9YCdwlxNK0MYu1lohA9IkSF1OpGIsTa3cMUlzCxOOIqf3lVeqawFA5TtNt10OG1cyrbvU9cGOgXQMeO1GZ5iz8w7ORL7i/s400/DIY+Logo+Animation.sm.JPG" width="400" /></a><br />Here's me and Jeanette behind the scenes during filming.<br /><br />With a lot of filmmakers looking for practical, in-camera effects, this is the best way to get logo animations grounded in reality.<br /><br />This analog technique is also a good way for artists using CGI to quickly and cheaply generate reference of real effects little nuances of wind vortices in smoke, cast shadows, etc, which would be hard to imagine in purely digital simulations.<br /><br />What I plan to do with this re-usable frame is to shoot it in a few different environments, such as in front of a roaring bonfire or in the middle of a fern garden.<br /><br /><iframe allowfullscreen="" frameborder="0" height="253" src="//www.youtube.com/embed/pK_1ApX_31I" width="450"></iframe><br />Here are some of the real animated logos for inspiration (<a href="http://www.youtube.com/watch?v=pK_1ApX_31I">link to video</a>).<br /><br /><div class="separator" style="clear: both;"><b>Other news</b></div><div class="separator" style="clear: both;">For those of you following the "How I Paint Dinosaurs" video— we've now got the digital download also at <a href="https://sellfy.com/p/nNyt/">Sellfy</a> that accepts Paypal. You can <a href="https://sellfy.com/p/nNyt">access it directly at this link</a>. It's also available <a href="https://gumroad.com/l/dinos">via credit card at Gumroad</a> and as a <a href="http://kunaki.com/Sales.asp?PID=PX007IXP77">DVD at Kunaki</a>. </div><div class="separator" style="clear: both;"><br /></div>

Logo Animation from Mud and Cardboard

If you ever need to animate your logo for video, you have two choices: spend thousands of dollars on a high-tech digital motion graphics tha...

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Google's research on machine perception

Google is making huge strides in artificial (or machine) vision. Until now, most machine vision systems have been used on robotic assembly lines and other highly controlled environments.<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBx8hQimsamLVjOjacs8kp8aeZURU7sI_YU8UkX3bnmjW_Hfr5KvU9rOQlEyS9cUyK9zXQVGbc2IKc1WwL8K_6CpEDCZlpak4x25jLHVWa9MQc81UndaZKFYa846OGZmsKIL2Gf4pmIf8Z/s1600/googleimagerec.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBx8hQimsamLVjOjacs8kp8aeZURU7sI_YU8UkX3bnmjW_Hfr5KvU9rOQlEyS9cUyK9zXQVGbc2IKc1WwL8K_6CpEDCZlpak4x25jLHVWa9MQc81UndaZKFYa846OGZmsKIL2Gf4pmIf8Z/s1600/googleimagerec.jpg" /></a><br />One of Google's goals is to bring machine vision into the real world and see how well it does recognizing objects. Above are images of both specific and general objects gathered into sets based on features that the computer is trained to look for. Extracting these features from a digital image—or from a live video capture— can be immensely complex and subjective, especially when an object is seen in various angles and lightings. <br /><br />As it improves, machine perception will help with driverless cars, so that the car can read street signs, look for garage sales, or distinguish black ice from a wet street. It will also be valuable for Google Street View to be able to know what it's looking at, and Google Glass to aid users in recognizing things at superhuman levels of ability: for example, to know the make, model and year of every car in your visual field.<br /><br />It won't be long before machine vision surpasses ours in certain respects, and it already does so in many ways.<a href="http://googleresearch.blogspot.com/2013/06/fast-accurate-detection-of-100000.html"> One recent study demonstrated</a> a machine system that could extract 100,000 features from a scene, while a comparable human could extract only 10,000. Part of the computer's advantage comes from GPS location-based information that gives it context to make such observations.<br /><br /><iframe allowfullscreen="" frameborder="0" height="253" src="//www.youtube.com/embed/AXGxZUno5qY" width="450"></iframe><br />To make progress in this field, Google has been supporting scientific research in visual perception, and hosting experts in the field to give lectures, which you can watch online. This one (<a href="http://www.youtube.com/watch?v=AXGxZUno5qY">video link</a>), by Dennis Proffitt brings out the point that non-human creatures definitely don't see the way we humans see. The frog, for example, is predisposed to see moving edges, moving dots (read insects), and changes in illumination.<br /><br />Later in the talk (at 20:00) Proffitt describes a study that demonstrates that a right-handed person perceives their right arm to be longer than their left arm, and at 36:00, he shows that a person's estimate of walking distance to visible objects is directly correlated to their physiological health. At around 48:00, he suggests that our perceptual systems compresses vertical dimensions depending on the size and position of the screen or canvas.<br />----<br /><a href="http://research.google.com/pubs/MachinePerception.html">A list of Google's online resources about machine perception</a>

Google's research on machine perception

Google is making huge strides in artificial (or machine) vision. Until now, most machine vision systems have been used on robotic assembly l...

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Video with "graphic novel" look

Is it possible for a computer to process a video so that it looks like a comic book?<br /><br /><iframe allowfullscreen="" frameborder="0" height="375" mozallowfullscreen="" src="http://player.vimeo.com/video/40756303?byline=0&portrait=0&color=7accf0" webkitallowfullscreen="" width="500"></iframe> <a href="http://vimeo.com/40756303">Friday Lunch</a> from <a href="http://vimeo.com/tinrocket">Tinrocket, LLC</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />This video by <a href="https://vimeo.com/tinrocket">Tinrocket</a> (<a href="http://vimeo.com/40756303">Direct link to video</a>) demonstrates a beta version of a "graphic novel filter" that can be applied to video images. The software has a few tricks that go beyond a normal Photoshop filter, and those tricks are part of a patent application that's currently in the works.<br /><br />The magnified visual "noise," the low frame rate, and the stark simplicity of the black and white imparts an artistic effect. This happens not only because the images superficially remind us of the appearance of human-created drawings, but because the computer software simulates some of the organic processes of human visual perception.<br /><br />In the coming years, with advances in computer processing and progress in our understanding of human vision, we will see additional automated filter apps that can alter timing, proportion, color, and detail so that video footage can be morphed into various artistic altered realities.<br /><br />Thanks, John Balestrieri

Video with "graphic novel" look

Is it possible for a computer to process a video so that it looks like a comic book? Friday Lunch from Tinrocket, LLC on Vimeo . This vid...

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Siggraph highlight reel of CGI innovations

<iframe allowfullscreen="" frameborder="0" height="253" src="http://www.youtube.com/embed/JAFhkdGtHck" width="450"></iframe><br />Siggraph is the forum for sharing innovations in computer graphics and interactive techniques. This highlight reel shows some of the recent breakthroughs. It sort of makes visual sense even if you don't understand all the technical jargon.<br /><br />Thousands of professionals in the industry will be converging on Anaheim, California this July for <a href="http://s2013.siggraph.org/">Siggraph's 40th international conference</a>. (<a href="http://youtu.be/JAFhkdGtHck">Direct link to YouTube video</a>)

Siggraph highlight reel of CGI innovations

Siggraph is the forum for sharing innovations in computer graphics and interactive techniques. This highlight reel shows some of the recent ...

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IllumiRoom extends the game screen to the whole wall.

<iframe allowfullscreen="" frameborder="0" height="253" src="http://www.youtube.com/embed/nGGMv9RnJIA" width="450"></iframe><br />(<a href="http://www.youtube.com/watch?feature=player_embedded&v=nGGMv9RnJIA#!">Video link</a>) IllumiRoom is a home entertainment projection device that extends the action of a game beyond the screen and onto your living room wall. It even scans and learns the furniture in the room and distorts it to enhance the game.

IllumiRoom extends the game screen to the whole wall.

( Video link ) IllumiRoom is a home entertainment projection device that extends the action of a game beyond the screen and onto your living...

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WPI Game Development

<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvPt7QIxJzelfUZmYDg7-lBoFTsUVAo0jpyf0V1vZ1uwVCq1YOul4PvNuH88wn3QigzKhDtp-SG9RcLxdmEnT40hHmrZhHVCXcpzoEeHnuI5I06NfHh36oq3fqy91mXpwUkYM6FZwwBrfc/s1600/WPI+Gurney.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvPt7QIxJzelfUZmYDg7-lBoFTsUVAo0jpyf0V1vZ1uwVCq1YOul4PvNuH88wn3QigzKhDtp-SG9RcLxdmEnT40hHmrZhHVCXcpzoEeHnuI5I06NfHh36oq3fqy91mXpwUkYM6FZwwBrfc/s320/WPI+Gurney.JPG" width="320" /></a>On Thursday I visited the Worcester Polytechnic Institute (WPI) in Massachusetts as a guest of the department of <a href="http://www.wpi.edu/academics/imgd/about.html">Interactive Media and Game Development</a> (IMGD), where I gave a  lecture on Worldbuilding.<br /><br />The IMGD program at WPI is designed to provide students with both programming expertise and art knowledge so that they're well rounded in their approach to interactive design.<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-CxLPJt_wBaowLhW2TuO0Lmafval428Be8XXhJJEVKl5dtA6GMtO1DZDxUW-HjKNsOOJ0hY84hDYlQjLkdG-F2OXm-IAa4kkMNLhcjkGSXgIaAtVaxiqYl6wvaRw4xXhyphenhyphenrcMDU_luwosg/s1600/WPI+Britt.sm.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-CxLPJt_wBaowLhW2TuO0Lmafval428Be8XXhJJEVKl5dtA6GMtO1DZDxUW-HjKNsOOJ0hY84hDYlQjLkdG-F2OXm-IAa4kkMNLhcjkGSXgIaAtVaxiqYl6wvaRw4xXhyphenhyphenrcMDU_luwosg/s320/WPI+Britt.sm.jpg" width="320" /></a>One of the professors is<a href="http://www.wpi.edu/academics/imgd/faculty.html"> Britt Snyder</a> (left, with a <a href="http://schellstudio.com/">Jordu Schell </a>sculpt between us). Britt has worked as an artist in the field of video game development for the past 13 years, with clients like SONY, Blizzard, Liquid Entertainment, Rockstar, THQ, and many others.<br />He teaches 3D modeling, digital painting, and concept art.<br /><br />WPI was one of the first to develop a program in game design, and is one of the top-ranked academic programs in the field. Since the department is part of a larger engineering school, there's always a focus on blending art and technology, with an eye on fostering close working relationships between artists and programmers.<br /><div><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-M_ThQFufwWYF-hqFE08BSKO5_y1CJfVHvlEjKGM2YnfmBTleYvMbrUdcMAifP9t4OstUUDkVa30AyipsfNLwpnWzPCiOwMMUPAH4stTx4iAHSI7Ypak6FviJ9uMSeKCtiUSDyOstcgS8/s1600/Phase+Space.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-M_ThQFufwWYF-hqFE08BSKO5_y1CJfVHvlEjKGM2YnfmBTleYvMbrUdcMAifP9t4OstUUDkVa30AyipsfNLwpnWzPCiOwMMUPAH4stTx4iAHSI7Ypak6FviJ9uMSeKCtiUSDyOstcgS8/s320/Phase+Space.jpg" width="265" /></a>Students get to jump right in and participate in hands-on projects and collaborations, creating games, virtual environments, interactive fiction, art installations, collaborative performances. They are encouraged to invent entirely new forms of media.</div><div><br /></div><div>I was thrilled to be invited by PhD candidate <a href="http://users.wpi.edu/~wangjia/">Jia Wang</a> to try out the virtual reality mo-cap lab, dubbed "Phase Space."</div><div><br /></div><div>I am wearing a stereoscopic head-mounted display and holding a tracking constellation (basically a souped up Wii controller with very precise tracking points). </div><div><br /></div><div>The myriad sensors mounted on the outer frame follow  the exact 3D movements of my head and hand-held wand, turning me into a St. George with a sword facing off against a dragon, or whatever. </div><div><br /></div><div>Small fans mounted on the outer frame can generate the effect of wind, so that the player can feel completely immersed in a virtual environment.</div><div>------</div><div>WPI <a href="http://www.wpi.edu/academics/imgd/about.html">Interactive Media and Game Development</a></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-M_ThQFufwWYF-hqFE08BSKO5_y1CJfVHvlEjKGM2YnfmBTleYvMbrUdcMAifP9t4OstUUDkVa30AyipsfNLwpnWzPCiOwMMUPAH4stTx4iAHSI7Ypak6FviJ9uMSeKCtiUSDyOstcgS8/s1600/Phase+Space.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a></div></div>

WPI Game Development

On Thursday I visited the Worcester Polytechnic Institute (WPI) in Massachusetts as a guest of the department of Interactive Media and Game ...

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Lighting with Unreal Engine

(<a href="http://www.youtube.com/watch?v=MOvfn1p92_8">Direct link to video</a>) One of the reasons I'm glad to be a traditional painter in a digital age is that there's so much to learn from my fellow artists who are on the cutting edge of computer graphics.<br /><br /><iframe allowfullscreen="" frameborder="0" height="253" src="http://www.youtube.com/embed/MOvfn1p92_8" width="450"></iframe><br />In this video, Epic's senior technical artist Alan Willard takes us on a walk-through demo of <a href="http://en.wikipedia.org/wiki/Unreal_Engine">Unreal Engine</a> 4, a digital toolset used by a lot of game developers. The game engine offers designers the ability to modify parameters and see how they look in real time. <div><br /></div><div>Even if you don't use such tools or play such games, there's a lot to learn from the increasingly sophisticated vocabulary and way of thinking about the effects of light and smoke and surfaces and particles in the 3D game world.</div><div><a href="http://ginadraws.blogspot.com/">Thanks, Gina Florio</a><br /><div><br /></div></div>

Lighting with Unreal Engine

( Direct link to video ) One of the reasons I'm glad to be a traditional painter in a digital age is that there's so much to learn f...

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