Ridgewell Castle Chapel

  One of the primary focal points of castle life is the humble chapel. A place of community for everyone without access to the lord's great hall. Where knight and peasant alike can revere the divine together (unless the knights have their own chapel). These buildings were expensive constructions due to the embellishments made both inside and outside, it was kind of neccessary given that even as structures inside fortifications, they were still places of worship. Glass windows, a wooden alter, tapestries and a lavishly decorated interior. So they weren't always large buildings, but were often well decorated.

  It was somewhat difficult to find a modest example of a castle chapel, those that weren't part of castles later abandoned or integrated into the keep were expanded and embellished as the importance of a castle as a defensive structure lessened towards the end of the Medieval era.

  For Ridgewell Castle I decided to not go too fancy, as this is a castle watching for threats from outside, with amassing wealth only being a priority in the rare times when threats of attack were less likely than remote. But on reflection this current design is hardly the best I could have done for the kind of atmosphere I was working toward. So I might revisit the design later as this is one of the more important buildings of castle life.

  For the chapel design I went for a whitewashed surface as this was a popular thing to do to decorate bare stone. It's a common trope for depicting the middle ages as a time full of bare stone buildings, but more commonly a building would have a whitewash. A lime and chalk paint that was easy to make and cheap to apply. Lime whitewash goes very well with masonry and can make the building much nicer and brighter than basic exposed stone. An important point to consider as this chapel is located far to the north where there would be long dark winters and only a mildly sunny summer. So it would work against the castle's habitability to be drab and gloomy with worn stone.

  The northern location is also the reason for the angle of the chapel's roof. Situated so far north, there's going to be lots of snow and lots of rain. Lots of rain requires good drainage, lots of snow means lots of weight will be put on the roof of the building during the winter as snow settles. A steep roof will make it more difficult for snow to cling to the tiles, taking pressure off the sides further near the apex. The extra 'lip' is useful for drainage. The beams that hold the roof up can rest flatly on the walls of the building while you have an extra section to project drainage off the side.

  Castle roofs in Ridgewell Castle follow this idea due to the location, especially the towers where there are actually two walls - the protruding battlements and then the main body wall. But I find it is also quite aesthetically attractive so it might be very useful on much taller buildings while smaller buildings like huts or shops have a more flush design, as this technique means more money is spent on timber.

  Before I go back to the chapel however I need to play out the rest of the castle as otherwise I'll be stuck on detailing and never make any progress. It wasn't a complete time-sink however as it gave me practice for modular components and elements that could be shared with other parts of the castle including the keep. For other services in Ridgewell I will need, besides reworking the keep:

• stables
• blacksmith
• stonemason
• apothecary
• barracks
• armoury
• granary
• kitchen

  Maybe a couple of other buildings that will come to mind.

  The stable is already partially blocked out. Occupying a position at the far end from the gatehouse that can be seen on one of my earlier progress shots. Current progress however still leaves plenty of other buildings, some of which I suppose could be placed against or within present structures like the tower opposite the keep. As can be sen below.

  The YouTube channel "Shadiversity" has been an incredible resource for this project so far. Shad himself is a house builder by trade who has in recent years applied his knowledge into understanding how castles were constructed and how they function. He does his own research, both primary and secondary such as an authentically-approached wooden castle for his children in his back garden, and has a following as enthusiastic about castles as he is. A good deal of the inspiration I've had on roofing inspiration, and my own investigations, has come from how own research into why many castle roofs appeared to flare outward. It even gave me ideas on how Ridgewell Castle's towers would be roofed.

Return to Architecture with the Fundamentals of Castle Design

  When I hit a rut with character design recently I took a new approach after some refresher time with one of my favourite genres of video game: The city/nation builder. It gave me time to reflect on what I was interested in with 3D design. While I am still willing to happily dabble with character design, I've realised that I've been deeply fascinated in architecture.

  Going back to those roots I continued a fantasy theme by taking on the design of a castle. These are quite fascinating buildings that entertain a passion I've had for cities. A castle is not simply a structure in and of itself. It is a form of settlement, with the lord's keep as a centrepoint but can host several other separate buildings like kitchens, stables, doctors, places of worship, gathering centres, armouries, barracks, prisons and guest houses.

  They were designed as places of power. Centers of control for a local lord and a headquarters for a local garrison. From the first castles of the 11th century to the chateau-forts that followed the dominance of the cannon and the subsequent obsolescence of their ability to protect. Their design varies wildly from location-to-location. Climates and availability of materials can greatly influence their design. But they also have a particular fondness in role-play gaming like the tabletop or computer RPGs as somewhere for players to call home. Not just because of the prestige of the structure and somewhere to receive guests, but the aforementioned fact they contained many facilities from stable to kitchens, putting everything an adventurer (or adventuring group) would need in once place.

  In short, nothing seems to make a player feel safer than to be within two or three layers of curtain wall and all the resources they could ever need to keep themselves supplied and prepared.

  At present, the only part of the current fort I dub "Castle Ridgewell" near completion is the curtain wall. As I wanted to balance between fantasy and realism (in a Game of Thrones kind of way), I pored through just what kind of tricks were used in the construction of the typical castle, and what architectural features were common as these were primarily fortifications.

  I've had to bear in mind the thickness of the walls, the use of machicolations (an afternoon's work by themselves), where any potential enemy might reach the walls. Layers of defence, how to funnel various forces, defensive tricks and the strategic location of various assets. This is still a home, but one that needs to be well protected.

  This particular example is imagined as something that has been held by a family for something like four generations. Not obscenely wealthy as the owner is something like a baron or a count, but with a home in a key position on the borders of the kingdom. Not luxurious, but definitely heavily reinforced. So my plan is to not go crazy with curtain walls even though further walls can be made by recycling the assets I have already designed. The towers for instance, can be switched form being enclosed towers to open at the top (though how this is done I should have programmed in before duplicating).

I have considered roadmap for the castle's development giving me an idea of what to do next:

• Redesign the keep's layout.
• Block out outer defenses.
• Block out resource buildings (chapel, blacksmith, granary, armoury).
• Resculpt rock face in Zbrush.
• Block out possible props.

I plan to stream the project's progress for anyone interested in watching this come together. I've got the software for it and it's good to get what I'm working on out there. Star Drake Projects will make a comeback after a long while of inactivity in the near future.

External sites

https://www.twitch.tv/draco176

WIP: Concept art for Human Warrior

In recent weeks I've taken an interest back in drawing with Photoshop. It's been useful for generating ideas for character modelling practice which I have been keen to develop. To get a better idea of how to put my ideas across I've been studying sketch-style concept pieces, trying to work out just how to get a more convincing design and image, especially when it comes to the face.

The left-hand face below is when I started earlier today. Rather dissatisfied with how flat it looked. I looked online to get some inspiration, coming across a rather nice sketchy look. Using this painting as a basis I took a very different approach to create what would become the face on the right-hand side. It started with just the face, blocking out large patches of shadow and filling in the gaps with detail such as eyes, mouth and wrinkles. I thought it came out so well I tried the technique on the hair and headband, resulting in a very different hairstyle (and face) when you compare the two side by side.

It's been surprising to figure our the difference comes from one afternoon of analysis.

There is still plenty to work on with the image. His lower body has only been blocked out. His sword-hand and the attached hilt are somewhat completed and his cloak only has some basic blocking to it. After that comes colour.

Fantasy World Map now with Cities

  It's been an interesting divergence lately to work on maps for fantastical locations. After my last posting I had two key ideas to make the map more authentic.

  The first was to create a more thematic-looking set of icons for the various locations. Instead of Ordinance Survey like set of icons I had the idea of shorthand visuals: One hut for hamlets, two for villages, three for towns, a mage's tower for an academy, castles, castle-towns and do on to better fit the more old-time mythical style of the rest of the map. The sits sit much more neatly than the original black marks, and I have a few brushes for future projects of a similar style.

  The second idea was partially inspired by how some fantasy maps embellish a representation of an important site. A recent example being the stand-out representation of Erebor on a map from Peter Jackson's The Hobbit. On this map, that focus was given to the capitals: The port and temple of Kirstan, the royal citadel of KharKanas, the fortress-gates of Drongo and the marbled spires of Istri. While KharKanas is much larger compared to the others, I figure it justified as the Conglomerate Empire has a whole continent to itself.

The client was certainly happy with the end product and it has got me thinking about the environmental or architectural side of my creative ideas.

(WIP) A Fantasy World Map

One of the projects I've received lately is a world map for the setting of my brother's upcoming D&D campaign. Can't say I've done much of this sort of thing save for the occasional more science fiction like map, but it was good drawing practice all the same.

The current deal is for a map that can be printed on A3, so I'm working in a CYMK format at 300 DPI. It's pretty big. It could have been A2 but by the sound of where he's playing his game an A2-sized map might be too big for the table.

I wouldn't call this finished though. The world could do with roads connecting the various settlements and after some discussion with him I'm considering reworking the locations on the map to better fit the current graphics. Special thumbnails have been discussed representing the world's various capital cities or important locations and maybe the sea could do with something like waves.

Or sea serpents... The world doesn't stop at the edges of the map.

Character Design Project

   The last month I've been deep in Maya and Zbrush with character crafting. My original inspiration was a character I had drawn up for Dungeons and Dragons with friends, but despite having a rather short life (dying twice in quick succession to a blast of light from a much more powerful magician), he made impression enough that I have fond memories of my experience with him.

   So, with such an impression I drafted him as the first for possibly a whole line of such characters, and a showcase for anyone who might like a similar result.for their own player characters. Posable, usable in animations and quite possibly a source for 3D printing if the setup is right.

   Magic users have had quite a compelling allure to them - masters of mystic arts, scholars and academics who shape reality. This talent, and a lack of armour for their class gives the opportunity to make them one of the more casually-dressed character types in games of D&D. Other classes certainly have a style, but one way I find magic users fun is how they can bring court style and artisan outfitting to an adventure.

   For this particular character, this connection to courts was key to his design as the background for him was of an aristocratic family in decline. This particular member of the ruling classes, who I called Varthen, took to travelling the countryside after becoming an adult. Funding his travels with money made performing tricks which come innately to him at various villages with the occasional performance in a town pub. As well perhaps as other services that come from magical ability coming naturally to him or having a formal education.

   These two factors: A noble background and a life on the road, created a character who was of privileged status but lived with few of the trappings. While I could have taken the angle of just a few trinkets to show his wealth, such as a signet ring or a necklace, I thought he'd go a little more flamboyant. Namely he would still be in touch with the fashions at court, and underneath a (relatively) simple coat would be a silver-threaded blue velvet doublet, linen shirts and silvered leather boots. Underneath a simple overcoat is a man of proud upbringing, who could weave his way through the royal circles if he so wished.

   He's not fully human, more a half-elf. While this does make him rather Eldar-esque, elves in the D&D settings are often far more fairy-like than Lord of the Rings. Half-elves have often been described as a miawy point between human and elven beauty, so a half-human-half-elf is more along the lines of a handsome or beautiful human with somewhat pointy ears. To an elf, they'd look ugly with rather puny ears.

   Most importantly it was really fun to design his outfit, particularly the designs of silver and padding on his luxurious buttoned doublet.

  The other fun thing was learning tricks to rig up large pieces of fabric in the absence of ncloth programs. Varthen has two arrangements to make this work: The lower half of his coat has a grid of controls that link to nine different chains of bones while his half-cape is controlled by a single chain of bones much like a tendril coming from his shoulder.

   There was a lot more work than I initially thought but that is part of the learning process. Some of the most fun things to work on were his hair, eyes (which are rigged with a blendshape to dilate), the pattern on his doublet and getting familiar with the rivet tool. Which I've found can be far more than a way to pin an object to a specific point on a mesh.

   With him done, I've had various ideas on my mind where to go next. Such as offering various components for sale like his coat with attached rig or a blank version of his head. But also considering less human characters like dwarves, tieflings or lizardkin.

Further reading

Artstation entry: https://www.artstation.com/artwork/N5bkON

Developments with 3D Modelling: Making Clothes, Characters and Accessories

When I started using Zbrush I had no idea what I would be doing with it after my first year. I had gone in with a handful of ideas and creature designs, and yet one of the most interesting uses I've had for it lately is clothes and accessories. But the versatility has been amazing so far.

The character I have been designing over the past couple of weeks has been mostly of a personal design. A rather newbie sorcerer character I designed for use in Dungeons and Dragons, but made such an impression on me and my friends that I thought why not actually create him in all his adventurer status.

He had a short existence. Having a few adventures, befriending some lizards before dying twice to the same spell shot twice, but that's how you create memorable stories. You do stuff you don't forget. And as a result it's been hard to get him off my mind even after I've given him an existence in 3D software.

The current model has come a long way. I've been planning to rig him for posing as well as looking into a cost-effective renderer for far more polished images, since my current version of Maya is without Mental Ray. With the practice I've recently had with the other elf, it might only take a couple of days. The most complicated area to work out has been how to rig up the robe, as the version of Maya I currently use is also lacking the use of the Ncloth feature. Which means loose items will need their own rig. Such as The large sleeves (not too difficult) and the coat ('challenge' might be an understatement). But what is lost if I do not at least try?

To get him to move, that would be very cool.

In other news, I have had great success in a much fancier version of the character's signet ring. It might be too detailed for a practical model but that's not to say there is no chance it could be used for anything.

I've been musing about going public with these designs. Selling pieces of them, or at the very least their templates, as 3D assets. Artstation has over the last few months offered this as a feature in the form of a virtual marketplace. This I think I can do alongside a possible career in custom 3D character models, where I could set up a website to sell these templates, or specific items, as a separate shop.

The ring is nice, I have had some favourable responses to it. I don't see much harm in offering it ors its template for anyone interested.

Alpha maps, hard surface modelling, understanding hardness, It is all building into what I love about the virtual. That feeling that with the right tricks, anything you can possibly imagine is in fact possible! Who knows, I might be able to submit the ring to a 3D printer or plastic moulder and get the accessory (and others) created in real life. Could there be avenue in costume jewellery design perhaps?

The ring does have an existence in Maya. I had to replicate the shader in Maya as it did its properties translate well when transferring between the two programs. But it still has its shine. Good gold is not an easy material to mimic.

Detail shots of the signet ring can be found on the Artstation submission: https://www.artstation.com/artwork/v1EaqA

Artstream 20/08/2016: Minotaur

  Over August I felt I needed to do a little brushing-up on my painting skills. As painting is a skill one has to practice to maintain, not just to develop, I keep feeling like I'm not painting enough. This Minotaur was a half-finished development from a previous streaming session that I ended the stream on half-finished. So my decision was to go back and see if I could finish it, or at least improve it. The current result I'd rate as decent, I think I am getting a better handle on of light patterns, brushes and adding a creature into the background. I still have a ways to go but it's an improvement; with every picture it feels like I am getting a better grasp of digital painting.

Adaptaion B: First Day Modeling

   With orthograph designs in place I used today to get to work on the creature. I think progress with the head is good so far although there are a number of triangles I'd like to shift away if I can. That'll be something to consider over the next day or so. Other than that I would say the head is around 60% modeled: I need to add the interior of the mouth, clean up the geometry especially around the horns, UV map it and then mirror it before moving on to the torso. I also have the tongue to make.

 The frill is so far where it is most complicated, as I have tried to convey the idea this is fused to the head. Where it joins the head still needs a little work however, but I am making progress on that consideration, and where to clean up the geometry.

  In regards to the tongue I figured that given this was a long ,rather prehensile thing it needed ot be quite muscular. Which, in turn would make it look quite fat at the base and possibly the midsection, tapering into a tip where the smaller mouth is. For an extra "disgusting" factor, perhaps during the animation this mouth salivates, that or it glistens. Either way the idea being there's a "sliminess" to it partially based on one suggested idea that these creatures use their saliva to stick their eggs underneath sofas, behind appliances and the like.