Author: Magdalena Szlapczynski

“Carpet with shine”

Before beginning my material, I had the idea of making a carpet or blanket. I followed this tutorial of a medieval fabric and deviated from it. The main parts of the tutorial’s medieval fabric was followed. On the medieval fabric, the ornaments were shiny and had shiny laces, I kept similar to that idea and instead made really reflective stripes on the cloth that I made. The blue parts of the cloth are textured with a cloud node with a perlin noise, making it look very soft, and there is also a wave-curve node into it giving it a sort of wave.

This tutorial was really great for beginning because it featured all of the maps, and showed how to make two separate materials onto one. It went over perlin noise, randomness, gaussian noise, and there were a lot of blend nodes.

I followed this tutorial: https://youtu.be/Gkzxq7SV1Gw

Screenshots of work:

Zoomed into the material. Had to change the resolution before uploading as the website has a max of 5mb. Zooming into the material you can see all the laces and overlaps of the wool.

The weaved wool on the blue material: This was made by combining the “weave” functions with blend. Gaussian noise was added and it was warped with the combined weaves to look natural like a fleece of sorts.

The weaved wool on the purple material: This was made very differently. This was made by first getting a shape and stringing it into a straight weave, then it was gridded sideways.

The purple and blue material were both made differently and treated differently throughout the tutorial. I deviated a bit to make my own sort of fleece as I didn’t want a medieval look but rather a more natural sort of carpet or blanket. I also really enjoyed the shine, and added thicker lines instead of ornaments like flowers or small animals. You can really see the reflections and difference between the two materials when both are nearly evenly thick across the material.

There are also folds in the material, but they are made very subtle and it is difficult to tell immediately.

Throughout the process of making my scene, I wanted to include my Maya skills by moving around a rig of a character and using UV maps for one of the objects within my scene. In Unity, I made my terrain have a material and used its diffuse, normal, and mask map.

My composition is meant to be related to fantasy, I have a big interest in Pokemon so I used models from the games but added shaders to them. The scene is meant to be a wolf-creature who just cut a tree log in half, adventuring with a side companion. There is gold in the scene, a currency common within fantasy-games. The skybox is a simple field with a city at the back, and I made the terrain realistic with a unique rock-like ground.

NOTE: I tried making the emissive material work but it was not. Might need some help with it. Looked online but couldn’t figure out why. I have done it before in Unity though and had particles glow as well but in an old assignment.

Final Images:

Process Work:

Cited Sources:

Skybox:https://polyhaven.com/a/clarens_night_02

Materials Website:https://freepbr.com/latest-pbr-texture-uploads-2/

Materials Used:

https://freepbr.com/materials/armored-dragon-scales-pbr/

https://freepbr.com/materials/light-gold-pbr-metal-material/

https://freepbr.com/materials/rusted-steel/

https://freepbr.com/materials/jagged-rocky-ground-pbr/

https://freepbr.com/materials/fancy-brass-pattern1/

https://freepbr.com/materials/stylized-animal-fur/

PNG Textures Used:

LINK: https://images.unsplash.com/photo-1616108738832-504f7b6addf2?ixlib=rb-4.0.3&ixid=MnwxMjA3fDB8MHxwaG90by1wYWdlfHx8fGVufDB8fHx8&auto=format&fit=crop&w=987&q=80

https://unsplash.com/photos/4u629vFD3vI

LINK: https://www.nicepng.com/png/detail/52-520161_h7-slider-1-img-1-tree-stump-top.png

Model Website:

https://www.models-resource.com/

(Models to be used for learning purposes) Model Link: https://www.models-resource.com/

https://www.models-resource.com/nintendo_switch/pokemonswordshield/model/51744/

Link to my project: https://editor.p5js.org/magszla0202/sketches/ZoCL_mWgd

“Breathing Sword”

I had a few issues making the code work, it was difficult for me to figure out how to exactly do the bump mapping. Figuring out the camera angle and positioning the model within the canvas was successful. The model chosen for this was not the best in terms of shading, I wanted to try making the object look more realistic, but the handle of the sword seems to not have been affected with the actual blade and appears separated. Both sliders can still be used to manipulate the sword, changing how displaced the sword becomes. I wanted to make a more visual appealing piece with this assignment.

  

Week 04, Magdalena Szlapczynski

First Shader
https://editor.p5js.org/magszla0202/sketches/b2OBNe1vk

For this shader, Patricio’s simplex 2D noise was used to create a distorted effect. It was difficult to make it move exactly how I’d want it to, so I was messing around with what I was able to achieve with it. The image was duplicated and rotated around into four sections to make a psychedelic image of these mystical horses. I played around with multiplying the pixels in the frag shader. I made the distortion go faster and tug itself around the canvas.

Second Shader
https://editor.p5js.org/magszla0202/sketches/iFVye1Q_N

The difficulties I experienced with this shader is that there is a white fine line in between where the image gets mirrored. It was hard for me to pin point the issue and I couldn’t rid of it. But overall it looks like something that can be repetitive which is what I was going for, as the middle part would be the pink fading into the blue sides of the artwork.

 

 

LINK TO MY P5.JS: https://editor.p5js.org/magszla0202/sketches/50hIqaosQ

(I finally figured out how to post on the blog again, it never works for me. TBH tech and I don’t get along, my laptop broke around 2 weeks ago and i’m charging it off a Nintendo switch adapter cable)

My Midterm project was based around the latest Dreamworks movie “Puss in Boots: The Last Wish” because I had seen how well it done, seen it myself, and gotten very inspired by it’s fantasy aesthetic. In the scenes I made, Puss plays his guitar like a fantasy bard, rides a Horse too big of his own size, and shoots a gun along with the song. Much more was planned to this, including a sword fight and him going through a romantic forest with another cat. I wanted to make most of shaders to give a fantasy-like and unnatural look.

Most of the work I do has a lot to do with 3D modelling and animation, and I got really intrigued by how I could grab a model online, rig it, get animations onto it, then export it as one frame. To make things simple, I made it flip through two different frames of the same action- which is similar to some of the fights in the Puss in Boots movie where some of the frame rates are cut / they did framerate modulation
(https://wavemotioncannon.com/2016/12/31/an-introduction-to-framerate-modulation/), but they are done very well.

Images below are some work in process.

Week 01 Homework
Shader Art 501
Magdalena Szlapczynski

My first experience with the medium was a bit difficult, this is because I only ever coded within Java and Javascript. Most of the coding I have done has been within p5.js as it is a great way to visualize what is happening with the code and if I want to work within a canvas. There is a clear resemblance with p5.js and the Book of Shaders. I personally have a preference for working in visual studio code but after familiarizing myself with the Book of Shaders editor I am looking more forward to coding within it. The first gradient was simple, but there were a few difficulties. I wanted to rely on cos and sin, as affected with time can make consistent values, if you imagine those values being affected by the static sin and cos graph. The look going for the shader is a peach-like warm tone, with the sunset yellow and oranges blending into a soft and light pink. The red channel stays consistent, the green channel makes a sort of spread across the canvas with sin and cos, this was done for experimentation, and finally the blue channel makes the shader appear lively with the switching between orange and pink. The cos on the green channel makes half of the screen have the gradient, adding the sin makes it spread more to the left side. Red and green make yellow, adding the blue makes a sort of light pink. There has to be a good understanding of color on the screen when playing with shaders. The second shader was much easier to make, as the values are simply affected by either the mouse or time with the use of the mix() function. I wrote two gradients for this part of the assignment because I was experimenting. Essentially they are the same. The time affecting the shader appears to be much more gentle and satisfyingly blending through yellow and red.