THE ART OF PIRANESI'S PRISONS By Kym Mumford9 & ~” Be a wo Be Zz © O Project Proposal Normal Maps| Caceri dinvenzione Texturing Giovanni Battista Piranesi Lighting (Composer: Morgan Pearse Final renders Texturing tests Purting things together Basie Structure Lighting and shadow rests (Character texture tests and de Drawing deratis (Character texturing teste Now basi structure Modelling progress UY mapping3 < nm & oe oO KR QO es ° of = Through researching Piranesi and his “Carceri d’invenzione” I formed the opinion that his Imaginary Prisons were about his time in Rome, His feeling of being trapped, and his failure at achieving his dream of being an Architect. By combining his 16 etchings into one environment the idea is to collaborate with a. Composer who will give their own personal response to Piranesi’s etchings musically. I will then in turn respond to the music in terms of devising the animation itselfa ma zZ < 4 on e 2 =) e < a IZ, Z 2] Q Oo Piranesi was born in Venice during the 18th Century, he stud ied as an architect under his uncle, At one point he lived in Rome where he lernt the art of etching and engraving Piranesi never achived his dream of becoming an established architect, even though he was only ever commissioned to design one building, and he eventually became known for his etchings, but still refered to himself as an architect. The imaginary prisons series was arguably his most famous series of work influencing a number of artists still to this day There were two editions of his imaginary prisons the first set never made much of an impact and today there are very few remaining prints. 10 years later he reworked them adding deatil and atmosphere that the original etchings lacked, also an additional 2 etchings were added to the series.B ee < ol oq Zz 5 & = COMPOSER: Morgan Pearse is a composer based in Los Angeles, CA. Originally form Sligo, Ireland, and an alumnus of the prestigious Berklee Collage of Music in Boston. After graduating with a degree in Film Scoring, and moving to Los Angeles, he worked as an assistant on the movies Wanted and Hellboy II: The Golden. Army- both scored by Danny Elfman. Morgan has kindly agreed to collaborate with me on this project, and has composed a 3 minute long piece of music for my animation. http://www.morganpearse.com/[tried a number of different media including hand drawn textures and in the end I decided on using pen on paper. The hand drawn textures had a certain quality to them that the photoshop ones lacked. however there was still something missing to them, so I started experimenting with the toon shaderUsing multiple toonshaders and altering the settings I got an effect that I like. The final image on the ~” [6 a as 0 z ef - = < ta Ee right is how I intend to texture the prison environment.To help piece together all 16 etchings into one environment I tried to make connections within the paintings. 4 oo am ee 3 e ~“ e) S am be 0 4 & Ke ~ on4 oo ic Gc tu Q © Ee a) OQ Z iL Ee 9 Z Ee be ~ —Creating a basic structure in Maya is a much easier way of sta oh ee ~ = UO > ee Be ~ Y ” < caFUNLONALS OISV_~” eB Ps Ee QO 4 E Lc Q al Another part of the environment that would encounter problems because of the CG element is the shadows. So it was nessesary to do some lighting tests to see how I could overcome this problem.~” eB Ps Ee QO 4 E Lc Q al This is not the final lighting the only purpose of this lighting was to create shadows that I could then convert to textures and edit~” Ee a 5 < ae ”N It was necessary to UY map part of the structure before I Baked out the textures. Once baked out I experimented with painting the shadows.| The first test I did didn’t come out how I wanted it to so it was necessary to try it out again, but the process takes quite a while and considering these are just tests I decided to go back to the pillar and try it out on the pillar. The pillar also has textures for it already which would allow me to try baking out the shadows onto a textureVT ait number of figures, however they are not the focus of the im: -y are quite expressive representations of characters. So I decided to do a few texturing tests to see if [could and emulate the style of the characters within a CG world. I used a model that I had previously made. I have not quite yet achieved the look Lam going for and will do further tests ” e wn ma -e Q Sj oe - e >< i) e A 3) 0 < os < = OUOne of the problems I encountered while testing out textures on the model I had previously done was that it was to complex. So directly taking the character designs within the etchings I have done these zi Q a Q ot as 0 < og < ae UO drawings. In Maya I will be modeling different versions of a simple character and doing texturing tests on those models, this way I can see what I can get away with in terms of simplicity. 20QLILING VARIATIONS \ POSSIMEE PELLAR TOP VARIATIONS A few of the things that were overlooked when I made the basic structure is how the ceiling would ” S < a QO 9 Z z 4 QO look and what details such as the lamps would look like. In order to help myself for when I got to the modeling I decided to draw these details,STIVLIG ONIMV Ud” S < bo a 9 Z z 4 aa” Ee QO Zz oe x is) kK es a Q <= m4 < ao O$154, DNIALXIL WILOVUVHDS.LSIL ONIUA.LXIL WILOVUVHZDw of - Ee 3 en = ~”N 9 a < cQ = (5) Ze airs 10, within the basic structure I had built is not longer valid. This isa layout of the new structure that I will be continuing on with,At first [ wasn’t going to rebuild this as Ihave gone past this stage, but in the end Lfelt it was important because it would be pointless testing out initial camera movments in a basic structure that is no longer relevant. While building this I got the scale wrong so parts ofthe structure should be smaller than they appear, Also I decided not to w 4 - ce 5 ee Ee n YQ Bw < a = 7) Z, ‘model some of the more complicated elements like the celeing since this structures only purpose isto test out the initial camera moyments,SsdUDOUd ONITIIGOWSsdUuDOUd ONITIIGOWSsduDOUd ONITTIGOWSsdUDOUd ONITIIGOWSsdUDOUd ONITIIGOWSdVW TVWYONSdVW TVWYONO Z = E »< LW ee FO TON VARVERV OVARY YY TV Terre VEAVERVANVENVADVAS VOYONINLXILOg Z oc > Ee >< — Ee‘While applying the textures to my model I noticed that some of them were slightly streched and b hoped Thad of pap will ne on to this problem daring my majo project. Alco I did apply the toon shader to the I don't believe it fits with the environment at ion tothe texturing problemQ Zz E ae Q -LIGHTINGONILHDIT