MayaGameEnvironments

This is a book with a solid focus, and I feel like it accomplishes it’s goal nicely. Basically what Maya Studio Projects is about is creating environment objects and props for games (as the title implies). There are 9 chapters, and each one chooses a different object to model. McKinley is very detailed in his explanation, and really shows each and every step needed to follow along. Some of the objects modeled include walls and floors, foliage, weapons, vehicles, buildings, lamps, and a simple object animation. Supposedly there is a DVD companion, but I got the Kindle e-book and usually don’t bother with looking at the discs.

What I like most about Maya Studio Projects: Game Environments and Props by Michael McKinley is that the book is very much geared toward game artists. While pre-rendered art and game art do require the same skills, there is a slightly different thought process and flow when you are working within the limitations of a real-time game engine. The author does not assume you are using any particular engine (though Unreal is named a few times) and the techniques can be used in almost any modern engine. However, the instruction steps are very much tailored for Maya. While this is great if you want to follow along, step for step, it may make it more difficult if you use another package. Also, I typically like to just read along and sometimes I felt the author was too specific in each step, making it harder to extract the general philosophy of modeling. This can be a pro or con depending on what you are looking for. I would have also enjoyed more pictures. Sometimes as much as 10 or 12 steps were made in text alone and it can be slightly confusing without a demonstrating photo.

To sum it up, this was a fine book and I learned a little bit. I would not say it was exceptional, but there was nothing grossly wrong with it. Certainly, if you are looking to create props with Maya (especially man-made objects) this is not a bad place to start. If you are using Maya LT for game development, this is a very relevant book since it (thankfully) doesn’t use really any of the features missing in the LT version. One slight disappointment, McKinley doesn’t actually show you how to make the nice art on the cover. Can’t hold that against him, though. I’d consider this a great beginner’s book, and should help to get you started with 3d game modeling.

MayaTips

This was a short book, so I’ll give it a short review. Basically, 101 Autodesk Maya Tips is exactly what it sounds like: a compilation of quick tips for using Autodesk Maya. Some of the tips are as brief as one sentence, but a few are more involved. It seemed like the majority of the content was based around Mel scripting, and various ways to automate particular tasks. I have not worked with Mel scripting much, and am still trying to wrap my head around the interface and UI of Maya. Girard does, thankfully, include some more basic tips as well.

With a book like this, I was not expecting any grand revelations. The goal appears to be just to highlight some shortcuts and methods for getting more out of Maya. Certainly, I can’t complain about the price (at $3) and I finished the book in probably about an hour. All in all, I guess only really a handful of the tips were immediately useful to me, though it was great to see what’s possible. For that, I found it worth the meager cost and time investment. Hopefully you will find some value too in this quick read.

 

Today I will show how to create a textured spinning cube using Unreal Engine 4. Making a cube spin is basically what I consider the “litmus test” of 3D engines. How long it takes you to figure this out will show how convenient or capable the engine is. While I might have skipped this test (by jumping straight into creating Pong) I thought it was worthwhile to go back and try it. Hopefully this tutorial will be helpful to some of you just getting started.

UE4_Rotate_Cube

First thing you should do is create a new blank project. I chose to make the project with the starter content (and deleting the furniture) however that won’t be important for this guide. Next look on the left-hand panel, make sure you are in place mode (the icon with the cube), and look under basic and find Cube. Now drag the cube into the scene. It will probably start inside the floor, so just press Q to go into move mode and then drag it up a little.

UE4_Rotate_Import

Since looking at a gray model is not that exciting, lets add some texture. In the Content Browser on the bottom, right-click in the empty area and select “Import to /Game…”. Then find your image file and press Open.

UE4_Rotate_Tex

You should see the new texture appear in the browser. Now drag this texture onto the cube model. You’ll see this automatically create a default material for you. With the cube still selected, click “Movable” in the Details panel on the right.

UE4_Rotate_Comp

The next step is to create the component Blueprint. You can do this by clicking the green “+Add Component” button on the top of the Details panel. Choose “New Blueprint Script Component”. In the pop-up window, pick Scene Component, click Next, type a name in, then click “Create Blueprint Class”.

UE4_Rotate_BP

In the new Blueprint window, you can delete the “Event Initialize Component” (though you can also leave it alone, won’t matter in this case). Pull off the output execution pin on “Event Tick” (it’s the white arrow looking thing on the upper-right). You should see a menu open. Start typing “rotation” and then pick “Add Relative Rotation”. In the Y field for “Delta Rotation” type in “1” and press Enter. Pull off the “Target” pin and type “parent” then click “Get Attach Parent”. Now you can save and compile the script.

UE4_Rotate_Play

Switch back to the main editor window and press “Play”. That’s it! Hopefully this tutorial was useful to some people (please let me know in the comments). I plan to produce more of these in the future, and they should gradually get more complex as I get more familiar with the engine.

It’s really quite amazing how quick and easy it is to work with Unreal. Using straight C++ and DirectX, one would be lucky to make a textured spinning cube in 2 hours, let alone 2 minutes. It really speaks to the robustness of the engine. Of course, I still have a long way to go in terms of learning the engine, so please follow me on this journey (and pray I don’t give up on this one).

VideoGameArt

So I am actually not looking to try to break into the game industry as an artist. Why did I read this book? Well, I am very much interested at upping my game when it comes to real-time graphics and content creation as a hobby. Computer graphics are just fascinating to me, and the best engine and shaders in the world will not save a shabby piece of art. This book seemed like a good way to get into the artist mindset. To top things off, the sticker-price was a palpable $12 dollars and the cover art looked great (important when taking art direction).

Basically what the book amounts to is a series of chapters, each one describing a particular game art profession. Some of the jobs detailed include: concept, environment, character, ui, and marketing artists. Every chapter includes a job description, explanation of the process or workflow, example images, an artist profile, and finally a mock “help wanted” ad that could be for the position. The format is informative, and I think would be very helpful for a student looking to get into the industry as an artist. Certainly, you don’t have to be a student to find worth in this book and I personally feel it is a great choice if you are at all interested in video game art.

The author, Sam R. Kennedy, is a game artist himself and shares a some of his (quite impressive) work within these pages. Nicely, the photos on the Kindle e-book were in color. This is quite important, and in my research I did stumble upon some game art instruction books from people with questionable artistic ability. Of course, you don’t need to be da Vinci to make a 3d model (especially not when working from good photos or concept art) but I can’t help but wonder what I’m doing taking advice from an amateur. That was not the case with this text. Kennedy is a veteran and has worked at Ubisoft on Tom Clancy games and the like. I felt pretty comfortable accepting his opinions.

All in all, I was happy with the purchase and I’m glad to have the book in my collection. If it helps me (even a little bit) in improving my art that’s a net positive. In any case, it was inspiring and that’s enough for me.

GameArt

I’ve been trying to get back into making art (I did go to art school, after all) and this seemed like a well reviewed book. Plus, the Kindle edition was very reasonably priced at $12. Drawing Basics and Video Game Art: Classic to Cutting-Edge Art Techniques for Winning Video Game Design by Chris Solarski is not a long book (at 240 pages) but it’s well worth reading.

It almost seems like it’s two different books sandwiched together. The start is with basic drawing techniques and a study of classical artists. Anatomy, proportions, perspective, composition and layout, etc. Then the second part is more of a study of modern games with things like how color sets a mood, use of different shapes to evoke feelings, horizon lines, etc. It’s all very interesting, and I think would be helpful to not just artists but anyone working in gaming.

Just be aware, the book doesn’t really teach you how to be a good artist. There are various topics covered that can certainly help an artist, but there is little direct instruction (outside of the brief introduction at the beginning). I don’t think that was the author’s intention, and there are really tons of more general art books out there if you are so inclined. Drawing Basics and Video Game Art is more about theory and I feel the author is successful in that aspect. Solarski also managed to get screenshots of many popular games to analyze in the text, and thankfully all the images were in full color on my Kindle Fire tablet.

Overall, I liked the book and I think you will too.

3DWithMaya

In what has to be one ridiculously long title for a pretty straight-forward book, Getting Started in 3D with Maya: Create a Project from Start to Finish – Model, Texture, Rig, Animate, and Render in Maya is actually not a bad place to start if you’re trying to get into 3D. Adam Watkins manages to pack all the crucial steps of 3D modeling and animation into 9 concise chapters. I enjoyed the flow of the book, and felt that every important detail was explained. The author teaches just enough to get to the next step, and it’s all done in a logical order and progression. If you are just getting started with 3D, or if you know another package and are new to Maya, I think this is a excellent book to pick up.

Watkins begins by explaining the general workflow and with the Maya philosophy (including a few somewhat comical hardware recommendations even though the book is only a couple years old). He continues with architectural modeling, organic modeling, UV layout, textures and materials, lighting and rendering, rigging and skinning, and finishes up with animation. Clocking in at around 448 pages, the book is not particularly short but I found I was able to get through it quickly. Each chapter was just the right size to read in one sitting, and the text was engaging enough to make me want to come back the following day.

I definitely feel like I learned a thing or two by reading this book, and it has helped me to better understand the Maya workflow. Most 3D packages are huge, monolithic pieces of software, and no single book could cover everything. However, Getting Started in 3D with Maya covers the basic things you need to know in order to get started (so the book is true to it’s name). If I had one complaint, it’s that I thought the art direction could have been better. This book won’t teach you to be a masterful artist but I guess that wasn’t the goal or scope of the text. In any case, I would certainly be interested in reading more from the author as I feel he has a clear and honest style that is easy to learn from. Recommended.