Stylization With A Purpose
Stylization with a PurposeThe Illustrative Worldof Team Fortress 2Jason Mitchell
Outline History of Team Fortress Characters Art direction Shading algorithmsEnvironments Meet the Team Post-ship Sneak Peek of the next Meet the Team short!
Team Fortress Mod
INITIAL Team Fortress 2
INITIAL Team Fortress 2M!cied
Team Fortress 2
Why The Unique Visual Style? Gameplay Readability Branding
Read Hierarchy Team – Friend or Foe? Color Class – Run or Attack? Distinctive silhouettes Body proportions WeaponsColor Swatch Shoes, hats and clothing folds Selected weapon – What’s he packin’? Highest contrast at chest level, where weapon is held Gradient from dark feet to light chest
Early 20th Century Commercial IllustrationJ. C. LeyendeckerDean CornwellNorman Rockwell
Early 20th Century Commercial Illustration Chose to adopt specific conventions of thecommercial illustrator J. C. Leyendecker: Shading obeys a warm-to-cool hue shift. Shadows go tocool, not black Saturation increases at the terminator with respect to a givenlight source. The terminator is often reddened. On characters, interior details such as clothing folds arechosen to echo silhouette shapes Silhouettes are often emphasized with rim highlights ratherthan dark outlines
Clothing FoldsJ.C. LeyendeckerThanksgiving 1628-1928J.C. LeyendeckerTally-Ho, 1930
Rim HighlightsRed TerminatorJ.C. LeyendeckerArrow collar advertisement, 1929J.C. LeyendeckerSwimmin’ Hole, 1935
Rim Highlighting
Rim Highlighting
CHARACTER CREATION1.2.3.4.5.6.Character silhouetteInterior shapesModel sheet3D ModelCharacter SkinFinal Character in game
Character Silhouette Building block of character design Identifiable at first read
Interior Shapes Solving interior characterdesign with shadow shapes Keep it iconic Work out design in threequarter pose
Model Sheet Use concept painting asguide Solve design problems usingsilhouette only Solve interior design withshadow shapes
3D Model Match silhouette to modelsheet Solve 3 quarter design withscreenshots / paintovers Model with character in mind
Base Ambient Occlusion map
Character Skin
Final Character 3D model with texture andbasic shading
Engineer Concept
Engineer model
Pyro Concept
Pyro model
Character Shading Algorithm Previous work in Non-Photorealistic Rendering Character lighting equation in Team Fortress 2
Gooch, 1998 Hue and luminance shifts indicate surfaceorientation relative to light Blend between warm and cool based uponunclamped Lambertian term, underlying albedoand some free parameters Extreme lights and darks are reserved for edgelines and highlights( )( )Conventional GoochShading Shading 11 1 1ˆˆ nˆ l (kblue αk d ) 1 nˆ l (k yellow β k d )2 2 2 2
Half Lambert Typically clamp N·L to zero at theterminatorHalf Lambertscales the -1 to 1cosine term (redcurve) by ½,biases by ½ andsquares to pull thelight all the wayaround (bluecurve)We have been applying thiscurve since Half-Life in 1998Similar to Exaggerated Shading[Rusinkiewicz06]Lambertian TermHalf Lambert
Lake, 2000 Lake used a 1D texture lookupbased upon the Lambertian termto simulate the limited colorpalette cartoonists use forpainting cels Also allows for the inclusion of aview-independent pseudospecular highlight by including asmall number of bright texels atthe “lit” end of the 1D texture mapN·L
Barla, 2006 Barla has extended this technique by using a 2D texture lookup toincorporate view-dependent and level-of-detail effects. Fresnel-like creates a hard “virtual backlight” which is essentially arim-lighting term, though this term is not designed to correspond toany particular lighting environment. N·V rN·L N·V rN·L
Character Lighting EquationView independent( )L 1 1 k d a(nˆ ) ci w nˆ lˆi 2 i 1 2 [c k max( f (vˆ rˆ )Li ssik spec, f r k r (vˆ rˆi )k rim)] (nˆ uˆ ) f k a(vˆ)i 1View-dependentr r
View Independent Terms( )L 1 1 k d a (nˆ ) ci w nˆ lˆi 2 i 1 2 Spatially-varying directionalambient
View Independent Terms( )L 1 1 k d a (nˆ ) ci w nˆ lˆi 2 i 1 2 Spatially-varying directionalambient Modified Lambertian terms
View Independent Terms( )L 1 1 k d a (nˆ ) ci w nˆ lˆi 2 i 1 2 Spatially-varying directionalambient Modified Lambertian terms Unclamped Lambertian term
View Independent Terms( )L 1 1 k d a (nˆ ) ci w nˆ lˆi 2 i 1 2 Spatially-varying directionalambient Modified Lambertian terms Unclamped Lambertian term Scale, bias and exponent
View Independent Terms( )L 1 1 k d a(nˆ ) ci w nˆ lˆi 2 i 1 2 Spatially-varying directionalambient Modified Lambertian terms Unclamped Lambertian term Scale, bias and exponent Warping function Albedo( )11nˆ lˆ 22
View Independent Terms( )L 1 1 k d a(nˆ ) ci w nˆ lˆi 2 i 1 2 Spatially-varying directionalambient Modified Lambertian terms Unclamped Lambertian term Scale, bias and exponent Warping function
View Independent Terms( )L 1 1 k d a (nˆ ) ci w nˆ lˆi 2 i 1 2 Spatially-varying directionalambient Modified Lambertian terms Unclamped Lambertian term Scale, bias and exponent Warping function Albedo
View Independent Terms( )L 1 1 k d a (nˆ ) ci w nˆ lˆi 2 i 1 2 Spatially-varying directionalambient Modified Lambertian terms Unclamped Lambertian term Scale, bias and exponent Warping function Albedo
View-dependent Terms [c k max( f (vˆ rˆ )Li si 1sik spec, f r k r (vˆ rˆi )k rim)] (nˆ uˆ ) f k a(vˆ)r r
View-dependent Terms [c k max( f (vˆ rˆ )Li ssik speci 1 Multiple Phong terms per light, f r k r (vˆ rˆi )k rim)] (nˆ uˆ ) f k a(vˆ)r r
View-dependent Terms [c k max( f (vˆ rˆ )Li ssik speci 1 Multiple Phong terms per light krim broad, constant exponent, f r k r (vˆ rˆi )k rim)] (nˆ uˆ ) f k a(vˆ)r r
View-dependent Terms [c k max( f (vˆ rˆ )Li ssik speci 1 Multiple Phong terms per light krim broad, constant exponent kspec exponent (constant or texture), f r k r (vˆ rˆi )k rim)] (nˆ uˆ ) f k a(vˆ)r r
View-dependent Terms [c k max( f (vˆ rˆ )Li ssik speci 1 Multiple Phong terms per light krim broad, constant exponent kspec exponent (constant or texture) fs artist tuned Fresnel term, f r k r (vˆ rˆi )k rim)] (nˆ uˆ ) f k a(vˆ)r r
View-dependent Terms [c k max( f (vˆ rˆ )Li ssik speci 1 Multiple Phong terms per light krim broad, constant exponent kspec exponent (constant or texture) fs artist tuned Fresnel term fr rim Fresnel term, (1-(n·v))4, f r k r (vˆ rˆi )k rim)] (nˆ uˆ ) f k a(vˆ)r r
View-dependent Terms [c k max( f (vˆ rˆ )Li ssik speci 1 Multiple Phong terms per light krim broad, constant exponent kspec exponent (constant or texture) fs artist tuned Fresnel term fr rim Fresnel term, (1-(n·v))4 kr rim mask texture, f r k r (vˆ rˆi )k rim)] (nˆ uˆ ) f k a(vˆ)r r
View-dependent Terms [c k max( f (vˆ rˆ )Li ssik speci 1 Multiple Phong terms per light krim broad, constant exponent kspec exponent (constant or texture) fs artist tuned Fresnel term fr rim Fresnel term, (1-(n·v))4 kr rim mask texture ks specular mask texture, f r k r (vˆ rˆi )k rim)] (nˆ uˆ ) f k a(vˆ)r r
View-dependent Terms [c k max( f (vˆ rˆ )Li ssik speci 1 Multiple Phong terms per light krim broad, constant exponent kspec exponent (constant or texture) fs artist tuned Fresnel term fr rim Fresnel term, (1-(n·v))4 kr rim mask texture ks specular mask texture, f r k r (vˆ rˆi )k rim)] (nˆ uˆ ) f k a(vˆ)r r
View-dependent Terms [c k max( f (vˆ rˆ )Li ssik speci 1 Multiple Phong terms per light krim broad, constant exponent kspec exponent (constant or texture) fs artist tuned Fresnel term fr rim Fresnel term, (1-(n·v))4 kr rim mask texture ks specular mask texture, f r k r (vˆ rˆi )k rim)] (nˆ uˆ ) f k a(vˆ)r r
View-dependent Terms [c k max( f (vˆ rˆ )Li ssik speci 1 Multiple Phong terms per light krim broad, constant exponent kspec exponent (constant or texture) fs artist tuned Fresnel term fr rim Fresnel term, (1-(n·v))4 kr rim mask texture ks specular mask texture, f r k r (vˆ rˆi )k rim)] (nˆ uˆ ) f k a(vˆ)r r
View-dependent Terms [c k max( f (vˆ rˆ )Li ssik spec, f r k r (vˆ rˆi )i 1 Multiple Phong terms per light krim broad, constant exponent kspec exponent (constant or texture) fs artist tuned Fresnel term fr rim Fresnel term, (1-(n·v))4 kr rim mask texture ks specular mask textureDedicated rim lighting a(v) Directional ambient evaluated with vk rim)] (nˆ uˆ ) f k a(vˆ)r r
View-dependent Terms [c k max( f (vˆ rˆ )Li ssik spec, f r k r (vˆ rˆi )i 1 Multiple Phong terms per light krim broad, constant exponent kspec exponent (constant or texture) fs artist tuned Fresnel term fr rim Fresnel term, (1-(n·v))4 kr rim mask texture ks specular mask textureDedicated rim lighting a(v) Directional ambient evaluated with v kr same rim maskk rim)] (nˆ uˆ ) f k a(vˆ)r r
View-dependent Terms [c k max( f (vˆ rˆ )Li ssik spec, f r k r (vˆ rˆi )i 1 Multiple Phong terms per light krim broad, constant exponent kspec exponent (constant or texture) fs artist tuned Fresnel term fr rim Fresnel term, (1-(n·v))4 kr rim mask texture ks specular mask textureDedicated rim lighting a(v) Directional ambient evaluated with v kr same rim mask fr same rim Fresnelk rim)] (nˆ uˆ ) f k a(vˆ)r r
View-dependent Terms [c k max( f (vˆ rˆ )Li ssik spec, f r k r (vˆ rˆi )i 1 Multiple Phong terms per light krim broad, constant exponent kspec exponent (constant or texture) fs artist tuned Fresnel term fr rim Fresnel term, (1-(n·v))4 kr rim mask texture ks specular mask textureDedicated rim lighting a(v) Directional ambient evaluated with v kr same rim mask fr same rim Fresnel n·u term that makes rim highlights tend tocome from above (u is up vector)k rim)] (nˆ uˆ ) f k a(vˆ)r r
View-dependent Terms [c k max( f (vˆ rˆ )Li ssik spec, f r k r (vˆ rˆi )i 1 Multiple Phong terms per light krim broad, constant exponent kspec exponent (constant or texture) fs artist tuned Fresnel term fr rim Fresnel term, (1-(n·v))4 kr rim mask texture ks specular mask textureDedicated rim lighting a(v) Directional ambient evaluated with v kr same rim mask fr same rim Fresnel n·u term that makes rim highlights tend tocome from above (u is up vector)k rim)] (nˆ uˆ ) f k a(vˆ)r r
View-dependent Terms [c k max( f (vˆ rˆ )Li ssik spec, f r k r (vˆ rˆi )i 1 Multiple Phong terms per light krim broad, constant exponent kspec exponent (constant or texture) fs artist tuned Fresnel term fr rim Fresnel term, (1-(n·v))4 kr rim mask texture ks specular mask textureDedicated rim lighting a(v) Directional ambient evaluated with v kr same rim mask fr same rim Fresnel n·u term that makes rim highlights tend tocome from above (u is up vector)k rim)] (nˆ uˆ ) f k a(vˆ)r r
View-dependent Terms [c k max( f (vˆ rˆ )Li ssik spec, f r k r (vˆ rˆi )i 1 Multiple Phong terms per light krim broad, constant exponent kspec exponent (constant or texture) fs artist tuned Fresnel term fr rim Fresnel term, (1-(n·v))4 kr rim mask texture ks specular mask textureDedicated rim lighting a(v) Directional ambient evaluated with v kr same rim mask fr same rim Fresnel n·u term that makes rim highlights tend tocome from above (u is up vector)k rim)] (nˆ uˆ ) f k a(vˆ)r r
ENVIRONMENT DESIGN Creating a compelling,immersive world Team distinction throughmaterial hue/value/saturation. Impressionistic painterly look
CONTRASTING TEAM PROPERTIES Red Warm colors Natural materials Angular geometry Blue Cool colors Industrial materials Orthogonal forms
Red base in 2fort map
Blue Base in 2 fort map
ROUGH SHELLEarly game screenshot
CONCEPT2D Paintover
ART PASSFinal in-game screenshot
Impressionistic texturesShot from Spirited Away
Miyazaki – Brush Width Foreshortened Can easily imagine a 3D cameramove between these 2D views ofthe same spaceBackground plates fromSpirited Away
World texturingTexture mapIn-game Screenshot
World texturingTexture mapIn-game Screenshot
World texturingTexture mapIn-game Screenshot
World texturingTexture mapIn-game Screenshot
Model texturingTexture mapIn-game Screenshot
Class Character Defined personalities andarchetypes up front Consistent voice casting In-game taunt animations andcontext-sensitive emotes “So much blood ” Meet the Team shorts Character vignette moviesrendered with game engine Game assets except: Up-rezzed hands More facial morph targets More facial wrinkle maps We find ourselves mixing theterms “Class” and “Character”
How did fans react?NC SoftVolitionBiowareBlizzardNihilisticEA LA
Where do we go from here? Successful multiplayer games live for a long time Regular updates via Steam Shipped 28 times since the Beta in September New features, code optimizations and exploit fixes This is why we built Steam & Steamworks in the first place Steam is not just a digital distribution system Can ship updates extremely quickly and fully engage the community Extend experience for dedicated players Maps Game modes AchievementsNew Medigun concept Unlockable weapons in Team Fortress 2 Can ship more quickly than new maps and game modes
Meet The Scout Things to look for Distinct character classes Shape and ShadingAnalogous color palette Painterly world texturing
Conclusion History Characters Art direction Shading algorithms EnvironmentsMeet the TeamPost-shipMeet the Scout
References Barla, P., Thollot, J., & Markosian, L. 2006. “X-Toon: An Extended ToonShader,” NPAR 2006 Gooch, A. A., Gooch, B., Shirley, P., and Cohen, E. “A NonPhotorealistic Lighting Model for Automatic Technical Illustration,”SIGGRAPH98. Lake, A., Marshall, C., Harris, M., and Blackstein, M. 2000. “StylizedRendering Techniques for Scalable Real-Time 3D Animation,” ACMPress, New York, J.-D. Fekete and D. Salesin, Eds., 13–20. Jason Mitchell, Moby Francke and Dhabih Eng, “Illustrative Renderingin Team Fortress 2,” ACM Symposium on Non-Photorealistic Animationand Rendering, 2007
Reading List Art History, Cinematography & Graphic Design Painting with Light by John Alton The Science of Art: Optical Themes in Western Art fromBrunelleschi to Seurat by Martin Kemp Secret knowledge: Rediscovering the Lost Techniquesof the Old Masters by David Hockney On Reflection by Jonathan Miller Anything by Edward Tufte or Marcel Minnaert
Questions?
CHARACTER CREATION 1. Character silhouette 2. Interior shapes 3. Model sheet 4. 3D Model 5. Character Skin 6. Final Character in game. Character Silhouette Building block of character design Identifiable at first read. Interior Shapes Solving
for fast exemplar-based colorization inspired by stylization networks [9, 20]. The proposed architecture consists of two parts: transfer sub-net and colorization sub-net. The trans-fer sub-net is an arbitrary fast photorealistic image styliza-tion network which can solve the distoration problem and
akuntansi musyarakah (sak no 106) Ayat tentang Musyarakah (Q.S. 39; 29) لًََّز ãَ åِاَ óِ îَخظَْ ó Þَْ ë Þٍجُزَِ ß ا äًَّ àَط لًَّجُرَ íَ åَ îظُِ Ûاَش
Collectively make tawbah to Allāh S so that you may acquire falāḥ [of this world and the Hereafter]. (24:31) The one who repents also becomes the beloved of Allāh S, Âَْ Èِﺑاﻮَّﺘﻟاَّﺐُّ ßُِ çﻪَّٰﻠﻟانَّاِ Verily, Allāh S loves those who are most repenting. (2:22
Petitioner’s counsel indicates he will file a dismissal only once this return on the Order to Show . mattress cushions, mattress toppers, bed pillows, bed bolsters, beds for household . otherwise) that utilizes a font, script, stylization and/or overall look and feel that
Typography Typography, simply put, is the stylization of alphabetic characters. One method of typography that is used in documents is to establish the importance of information using font size, color, style, or position (Lloyd, 2013). Headlines in the newspaper and pullout quotes are good examples of subtle type influencing a reader. Communication
Resort Hotel in Waisai, Raja Ampat Christina Widjaja1* Bambang Deliyanto2 Augustina Ika Widyani1 1Interior Design Department, . elements and the form of furniture which is a stylization of natural forms. Modern Natural is an interior style that is applied in this design which is a design style created in 1920-1950, based
The design of animated characters has been investigated in the context of adult perception and opinion. Many anima-tors believe that characters should be stylized and made less realistic in order to be more effective pieces of art [2]. Addi-tionally, stylization provides opportunities to manipulate ex-pression and appeal.
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