# Independent Studio Practice
## Introduction
### Learning Outcomes of the Project

* Synthesize visual and contextual research to express ideas that extend their creative practice.
* Work autonomously to formulate and communicate ideas and intent using visual, oral and written forms.
* Confidently apply game art pipeline processes to create complex work that shows a rigorous approach to planning and time-management.
* Combine advanced creative and technical processes to create innovative game art

### Unit Brief: Fantasy Diorama

**Structure:** Mix of 2D and 3D to work towards the final goal of a modeled 3D character
**What am I designing?:** Main focus on character design, including environment for world building
**Direction of the project?:** One high quality 3D character, with a simple diorama scene. I will create 2D concept art to support my designing process. I would like to experiment with different shaders in Maya and how they influence the visuals of assets.

---

# Pre-Production

## Pipeline Considerations

### Gantt Chart

**Linear Pipeline**
Follows a traditional, sequential progression of phases.
It suits larger studios with more extensive budgets.

**Incremental Pipeline**
Each stage of development builds upon the previous one, layering in complexity.
Often seen in educational and tutorial games.

**Traditional Modeling & Texturing Pipeline**
Classic pipeline where artists starts with 3D modeling, texture & render.
Linear process altogether, using Maya, Blender or Max to model, Substance Painter to texture, then using Arnold, Vray, Redshift or game engine to render.

My approach to this project will be a combination of linear,incremental and traditional game production pipelines. Doing this will allow me to follow the traditional pipeline while also working in a natural progression.
The pre-production stage has started before developing assets, such as solidifying my concept and exploring my main influences, however splitting my character and environment development over different weeks will likely need additional research as I work through 3D modeling.This also includes new mood boards to suit which element I am working on and finding new resources to help my rendering process.
In terms of an incremental pipeline approach, rendering and lighting my final output will be the opportunity to build technical skills which gradually become more complex, particularly experimenting with a toonshader.

---
### Game art pipeline case study: 'Headventures in the Underworld' (2015)

#### Key Source: [Headventures of the Underworld Art Design Document V1.5](https://static1.squarespace.com/static/53360d02e4b0ee18bbb5fe99/t/5705482227d4bda9559a29ce/1459963950485/ArtBible_HeadventureTeam.pdf)

'Headventures in the Underworld' is a 3D isometric action game where the player controls the
Body and the Head of their character separately from each other in order to attack enemies. The style is cartoon and charming and avoids realism in it's environments and characters.

#### Research and Material Gathering

The first step in the 3D the pipeline after establishing an idea is the research stage. At this stage it was decided that the game would be a 3D isometric action game. Here the developers found other games and media that embodied what they were aiming to create, such as 'The Goonies'(1985) and 'Up'(2009). This also shows of the target audience of the game is a younger demographic

It is common for artists to start the iteration stage by gathering mindmaps and moodboards to guide the art they create.

###### Character moodboard

#### Concept design

In the concept iteration stage artists create quick sketches and designs that are then assessed and narrowed down, usually after a review. A final character sheet is made which usually includes colour pallets, final designs and information about characters and environments. The artists here have included a basic turnaround which can be useful when 3D modeling characters.

###### Final character pages


#### Asset creation

In stage three, using the designed concepts, artists model, texture, rig and animate assets to a standard that can be put into the game. For this game, icons were modeled and rendered to be used in-game as icons and objects.

###### Items rendered for ingame use

#### Post production

Post production includes optimizing the assets, debugging and adding lighting into scenes. It is also the stage where UI elements can be designed and implemented.

###### Logo development

---

## Initial ideas and Research

My initial response to the ‘Fantasy Diorama scene’ theme was to focus my project on a unique character design and creating a ‘diorama’ of a place that feels real and makes sense with the characters and world building.
###### Mind Maps from notebook


#### During my idea generation phase, the two ideas that stood out to me most were:

* To focus on ==3D modeling, then 3D printing fairy houses== as the ‘Diorama’ element of the project. My main inspiration would have been ==Nintendo Amiibo==. The intention would have been to 3D model the interior of the houses, like ==low poly doll houses== that open up in a cross section. The 3D printed model itself could have a QR code on the bottom, which when scanned takes you to a 3D walkable version of the house. I didn’t choose this idea as ==I didn’t feel like I could have pulled off that amount of work in the allotted time.== I also think that this ==project is more focused around learning about industry pipelines== and how to optimize your own workflow accordingly, which might have clashed with the amount of experimentation I would have had to do.
* Another strong idea was to look at ==Wendy Froud’s work== as inspiration for a character and world in which I could build assets for. I am incredibly inspired by puppets in my personal interests, and it would involve ==exploring how I could rig my model to act like a real marionette== with strings that affect the model itself. This seems like a strong contender for the project as it ==would allow me to use a professional pipeline== in my work, but also leaves ==opportunity for technical experimentation.== There is also a ==breadth of different media and visual references==to pull from.

### Finalized project theme
**'The MugBurrows'** are a fantasy species of ==creature who live in forests and mangroves.== They are ==four inches tall==, stout and their clothing consists of items and plants they forage during the day. They ==live beside humans, unseen==, just the way they like it. They are ==fearful of humans== as they ==associate them with destruction== of their peaceful natural homes. They ==live in underground burrows== in which they keep warmed with fires, lanterns and animal fur they collect, snagged on bushes around their homes. They are ==deeply in tune with the goings on of nature== in their home forests. While they ==don't possess magical powers==, their empathy for nature blesses them with a ==deep connection and intelligence that modern humans would not understand==. Their knowledge ==calls back to the way early humans used their intuition== and understanding of the world around them to not only survive, but live fulfilling and content lives. The small tasks they perform day to day are what ==help to keep the natural order of the forests.==

### Style
I am aiming for a style that is somewhere in between cartoon and cell shaded models, but with more realistic elements in the textures of the clothes and hair. I would like to keep the whimsical and otherworldly feel while also making my environment seem like something that could be found in real life. To explore the cartoon aesthetic fully I would like to look into toon shaders and how they can be used to evoke a whimsical, childlike style that feels similar to my main artistic references.

---
### Wendy Froud
***'I hope that the person who owns it will respond with a true heart connection. I feel that my work is a sign post to the half forgotten world that we all carry inside of us.'*** - Wendy Froud
https://www.jstor.org/stable/30035375?searchText=Jim+Henson

Wendy Froud is a doll and model maker from Detroit who is known for her character creation and sculpture work on feature films such as The Dark Crystal, Labyrinth and The Empire Strikes Back, along with her Husband Brian Froud. Her dolls and figures have been widely exhibited and collected, and are appreciated by many for the nostalgia they hold for their childhood films. Her work focuses on ideas of whimsy and childhood; that we have an innate connection to feelings of fantasy and wonder that make us who we are, and help provide relief from day-to-day pressures of the reality of adulthood.

###### Wendy Froud. Snail Gatherer mixed media, snail shells


I am personally drawn to Wendy’s work as I find her characters enchanting and I love the way she can make them seem uncanny and otherworldly, but still friendly. They are designed in a way that tells a story of their character, such as their hobbies and what their personality is, all through their expression. I would really like to take those elements of her work into my own designs as I think they could translate into characters that are suitable for a game world. I want to focus on meaningful design in my characters, so I am not including things that don’t make sense to the character and the world around them.

---

### Froud's influence in fantasy films of the 1980's

The Froud’s (Wendy and Brian) style of puppets were incredibly influential in the visuals of many of the fantasy films of the 1980’s, where it was a common practice to use puppetry as means of creating fantasy creatures. In her exploration of the idea of fairy lore as a modern concept with humanistic overtones transmitted media phenomena such as films, Julliete Wood suggests that Froud’s designs made a significant contribution to the visualization of fantasy worlds that transferred painted images of fairies from shakespeare’s interpretations (such as those from ‘a midsummer night's dream’) onto films.^1^

###### Fank Oz (puppeteering Yoda)^2^

Froud’s character feel like they live in our world, even though they are depicted in high fantasy places, which is why I was drawn to their work in my project. I want to take inspiration from them and create my own characters with a similar feeling that they are fantastical, but could be found in the woods behind your house.

---

### Ksheyna Nightswood

Ksheyna Nightswood is a self-taught doll Artist Born in Queensland Australia. Ksheyna has been making her art dolls since late 2009 and specializes in hand-sculpted one of a kind fantasy art dolls. Her dolls are art of a broader story of work called ‘Nightwood’, a fantasy realm in which all her creations live. I am drawn to her work as it is very reminiscent of Froud’s and also has storytelling outside of the artwork itself. The dolls have a friendly but slightly unsettling aura that I think could be very interesting to explore through my own concepts- a combination of two opposing aesthetics. Her work is incredibly expressive and I would like to develop my own skills in that area as my designs are often conceptually good but lack expression that make them come alive.

###### Vodden - Troll doll

###### Colbert the Brownie

###### Tilia

'As I got older my love for fantasy and art only grew. I became captivate by Pre-Raphaelite art, the expressions and the way the fabric fell fascinated me. I also became interested in learning to draw Anime/Manga style characters, which has left a influence upon my current art form in the way I create quite long and thin fairies with somewhat bigger heads, slightly larger eyes and long thin anime style fingers and limbs.'^3^

---

### The Legend of Zelda: Breath of the Wild - Cell shading

'Breath of the wild' has a unique style in it's characters that combines elements of realism with anime-like aesthetics. The game shows a semi-realistic art style that blends detailed textures and environments with character designs that have a more stylized, animated appearance. Combining traditional cel-shading rendering with pastel colours and soft lighting crafts a hyper-stylized world that blends cutting-edge graphical capabilities with artistic visuals.

###### Princess Zelda and Link

###### Goron designs- The Legend Of Zelda Breath Of The Wild Creating A Champion^4^

Breath of the Wild was the first game I really connected to in this style, and I would like to explore how I could replicate the shader technique for myself.

---
### The Neverhood

"The Neverhood" is a cult classic point-and-click adventure game released in 1996 for Microsoft Windows. Developed by The Neverhood, Inc. and published by DreamWorks Interactive. it stands out for its unique art style, stopmotion animation and quirky sense of humour^5^


While the style I am aiming for in my project will have semi- realistic aspects, I am inspired by ‘The Neverhood’s quirky style and surreal and whimsical atmosphere which is similar to the intentions of the Froud’s artwork. In my game, the narrative and setting reflect these ideas, hopefully encouraging players to explore fantastical realms and encounters.

---

## Concept Art

### Rough Iteration and moodboards

###### Main character moodboard

Based on my references and moodboards for the character, I began the process of iteration, exploring different ear, eye and nose shapes before moving into more realized concepts.

###### Ear shapes

###### Eye shapes

###### different nose


---
### Developing on initial experimentation

#### First character design - baby Mugburrow

###### Adding more expression

###### Final sketch

#### Second character type- more spooky

#### Exploring from the first design - Adult Mugburrow

###### Final Sketches with details and items


These designs were very strong together.

#### Fourth Design- Tortoise inspired Wizard

I used Grand Master Oogway from 'Kungfu Panda' as a reference for how I wanted the body of this character to look. I wanted to balance it between looking like a tortoise and being anthropomorphized in a friendly way.


###### Face and hat options


##### Blocking out the body


###### Positioning him the way an old man would stand

###### different nose options

###### Final options

#### Companion character sheet


In addition to my main character, I also designed a few smaller, less detailed companion characters, in case I had trouble modeling one very detailed character.

###### Mini character iterations based on forest seeds

###### Coloured mini character

#### Prop design


###### Prop design page


---
### Final concepts

###### coloured final character design

###### first attempt at side profile and edited proportions sketch


###### Side profile

###### Final character sheet

Moonburr Mugburrow is part of a settlement of Mugburrow's in the forest of West Handley. His main quest is to protect and culture his forest home, analysing the plants and soil to ensure he can keep them happy. His day usually involves taking clippings of plants with his knife, collecting food for his meals and journelling any changes in the forest. His biggest threats are Humans, who are known to be destructive to his beloved forest.

# Production

## Character modeling in Zbrush

### First attempt at a base body

Using my character design as reference, I tried to form a body base using the IMM primative bush on Zbrush following the tutorial by Craig Perko^6^

<iframe width="560" height="315" src="https://www.youtube.com/embed/A12N23Yy8q4?si=bJZ5JwuLlsYLEBjZ" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe>


To further block out my character and the different elements following this tutorial :

<iframe width="560" height="315" src="https://www.youtube.com/embed/AZiQNjjci_I?si=GpS1c26oh-EPdrYu" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe>

###### Experimenting adding clothing onto base model

###### Smoothing the body base

###### checking even topology

#### New approach for base body

My first attempt at a body base was not going well, I was finding it very hard to translate what I have learned modeling anatomically correct bodies into something stylized. Instead of taking up a lot of time modeling my own base, I downloaded a pre made mesh modeled by Carlos Heredia^7^

##### [ Base by Carlos Heredia ](https://www.artstation.com/marketplace/p/9aGM2/chibi-base-mesh)
---

###### Adding basic features to the face using separate subtools

---

### Modeling hair

I had to experiment a lot with the method and visual of the hair as at this point, I had not decided whether I wanted my character to lean more into realism or stylized.

#### First attempt

My first attempt was to have the hair as one solid piece, adding a spherical subtool and using the snakehook brush to manipulate it into the shape I had designed in my concept art




Both of these attempts were ugly and didn't come across as hair at all. Rather than looking stylized they ended up looking chunky and out of place

---

#### Second attempt

On my second attempt I tried following a tutorial by [Ana Carolina Art: ](https://www.youtube.com/@AnaCarolinaArt)

<iframe width="560" height="315" src="https://www.youtube.com/embed/smBp4wp-DPw?si=VIle0a7KbMZy0ZLb&amp;start=567" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe>

###### Creating base scalp


###### Adding hair stroke polygons using the Curve Alpha tool

###### Building the spike elements


This method works but the hair needs to flow from the scalp to the hair tuft so I needed to refine how I was to attach the cone to the hair base.

---

#### Third attempt

For this attempt I used the method from attempt two, but attached base cones to the sculpted scalp subtool to create the foundations for the hair strokes to lay on.

###### Sculpted scalp


###### Base cones added and manipulated using Move brush

These cones didn't need to look perfect as they were acting as a base to use the curve alpha brush on top.

###### Adding hair strokes using the curve alpha brush in different width to create texture


###### Entire head finished, mirrored from one side

###### Wireframe of this attempt

This method was the most realistic that I tried, but due to the variety of stroke sizes and a lot of overlapping from the brush it was causing issues in my topology. I wasn’t able to re-mesh this hair properly without it getting deformed and losing the definition. It also had issues being mirrored as I wasn’t experienced with using the brush so there was a lot of misplaced hairstrokes scattered around.

---

#### Final successful method


This time I used bigger sections using the curve alpha. While it has less detail, it has better topology and I had more experience using the tool so it looks cleaner and intentional. It also makes more sense with the style of the face and body,


Here I also made sure to keep my subtools organized and named so I would be able to accurately mirror the hair cones over without having too much overlapping which was causing issues in attempt three

#### Clothes

I decided to simplify the outfit my character wears as I was having a hard time creating the leafy fabric of the original design. While it is simpler, it also meant I was able to keep even topology over my model which I thought would be more important further in my process when I go to rig and skin the character.

###### Final character model

###### Final model wireframe

## Scene and object modeling in Maya

### Furniture

To create my diorama scene, I first created a moodboard using images of fairy houses people have made in real life. It is a very popular craft among miniature artists to create using found objects like twigs and moss. I used these as reference because I think it makes the scene more believable to a forest as each object is to scale.

###### Furniture and Diorama scene moodboard

###### Furniture in scale with my model

### Diorama scene

###### First block-in of the diorama

###### experimenting with pre-saved Maya brushes in environment

I scrapped this as it looked bad and was terrible for polygon count.

## Rigging model

One of my goals for this project was to work on creating more expressive characters so I wanted to experiment with rigging my character so I would be able to pose him interacting with the environment. I decided to use the quick rig feature as I wasn't going to be animating him and it wasn't crucial to have a perfectly accurate rig. To do this I followed the official Maya 2023 automatic character rig tutorial^8^

###### Editing the quickrig settings to suit my model


###### Quick rig and skeleton

###### Hip rotation


###### Range of leg motion


###### Arm and leg motion


###### Uploaded to sketchfab with rig
<div class="sketchfab-embed-wrapper"> <iframe title="Rigged Mugburrow" frameborder="0" allowfullscreen mozallowfullscreen="true" webkitallowfullscreen="true" allow="autoplay; fullscreen; xr-spatial-tracking" xr-spatial-tracking execution-while-out-of-viewport execution-while-not-rendered web-share src="https://sketchfab.com/models/89832e6176204c1fad12000cef7821c3/embed"> </iframe> <p style="font-size: 13px; font-weight: normal; margin: 5px; color: #4A4A4A;"> <a href="https://sketchfab.com/3d-models/rigged-mugburrow-89832e6176204c1fad12000cef7821c3?utm_medium=embed&utm_campaign=share-popup&utm_content=89832e6176204c1fad12000cef7821c3" target="_blank" rel="nofollow" style="font-weight: bold; color: #1CAAD9;"> Rigged Mugburrow </a> by <a href="https://sketchfab.com/poppywade?utm_medium=embed&utm_campaign=share-popup&utm_content=89832e6176204c1fad12000cef7821c3" target="_blank" rel="nofollow" style="font-weight: bold; color: #1CAAD9;"> Poppywade </a> on <a href="https://sketchfab.com?utm_medium=embed&utm_campaign=share-popup&utm_content=89832e6176204c1fad12000cef7821c3" target="_blank" rel="nofollow" style="font-weight: bold; color: #1CAAD9;">Sketchfab</a></p></div>

My final rig didn't end up having a wide range of motion due to the quick rig method being most accurate on anatomically correct human models. Due to the proportions being different, and also having issues with skinning due to all of the mesh being the same object it resulted in mesh issues when the joints are moved too much.

## Rendering and shaders

### Cel-shading examples in other games.

The use of cel-shading in 3D games was a popular style in games of the early 2000’s. It is a highly stylized visual art form that uses computers to give 3D animations a hand-drawn, 2D appearance.' The style first emerged and is commonly associated with Japanese anime films of the late 1990's. cel-shading in 3D was commonly used as it was charming and stylized as well as having the added benefit of needing low processing power to generate.

###### 'Jet Set Radio' (2000) released for Sega Dream Cast

As the demand for 3D animated games increased, so did the popularity of cel-shaded games. Companies needed to create cost effective games that could run steadily on early video game consoles of the time, such as the Nintendo Game Cube, and early versions of the Playstation.The technology hadn't been developed to explore the hyper-realistic RPG's that are favoured nowadays. Attempts to create realism (while impressive at the time) looked similar to each other and haven't held up to the constantly developing technical advances in modern graphics. In contrast, games from the time that adopted stylized cel-shading, have a timeless feel to them. I want to explore this concept in my 3D to help solidify my original intention of something whimsical and childlike. I will use my cel-shader to invoke a sense of nostalgia in the player.

###### 'Okami' (2006) released for Sony Playstation 2

### Experimenting with toonshaders in Maya

![Uploading file..._qfr0meesc]()

To replicate the cel shading style inside Maya I used the Arnold render and applied the AItoon material to my model. Without any editing any of the attributes or adding things to the material in the node editor I was able to get a simple outline and colour onto my render. I also applied an Aiskydome to my scene to ensure I had consistent lighting while I worked on the shader.

###### Render with basic texture applied

To ensure Arnold rendered the lines of the toonshader I had to change the filter type to contour in the render settings. The width determines the weight of the lines

###### Aitoon applied without any editing

I followed the official Arnold for Maya practice tutorial '[Making of Sophie'](https://help.autodesk.com/view/MAYAUL/2024/ENU/?guid=arnold_for_maya_toon_am_Making_of_Sophie_html) to create the effect, but applied the techniques to my own model rather than using the pre-made 'sophie' ^9^. This technique uses tonemaps and interpolation changes to create the cel effect

###### ai ramps to tonemaps on the base colour

###### node editor

###### First pass rendering the shader

After my first pass I needed to tweak aspects like the edge thickness and the specular weight to create a more polished effect.

###### Close up of the edge and shader detail


I decided to take the edge effect off the hair due to the density of the edges, it looked distracting and made the colour look too dark.

###### Playing with outline colour options


###### Final toonshader render

## Lighting the scene

To accurately see the toon highlights I applied to my shader you can't use a skydome as it is too diffused. Instead I used a directional light which I inputted directly into the 'stylised highlight' portion of the toon shader. This means the cartoon highlight is directly rendered in relation to the light, however it needs quite a lot of tweaking to get the balance right between a nicely lit scene and still being able to see the highlight effect

###### first attempt lighting my character

Before I could edit my scene and get a final render, my file got corrupted and would crash Maya everytime I went to open the file. I tried to export what I could into another maya file but I wasn't able to get a final render of my final environment and character using the toonshader and a lit scene.


My autosave files would not open on Maya at all, and when they did it would show the warning and open with majority of the interface missing.
I believe this issue was caused due to relying on my university onedrive cloud to store my work, as it means the files are constantly being downloaded and uploaded to the cloud. It is likely that I may have logged off the computer before onedrive had saved fully.

---

# Final Project review

Upon final review of this project I have found that my skills in 3D modeling have increased significantly from work I have done before. In particular, the process of trial and error modeling my character's hair allowed me to assess my work and find what was wrong and how to correct it accurately. Ultimately it meant I was able to balance technical accuracy with the style I was aiming for in the model. I am very disappointed that I wasn't able to get a final snapshot of my diorama scene due to having time constraints when resolving the issue.

###### Stylized hair modeling - Mugburrow hair compared to previous work

I approached the art design pipeline the way I had planned, using a combination of linear and incremental techniques. This meant I was able to follow the traditional pipeline for guidance in where I should be taking the project, but also was able to use what I had already developed to explore more complex techniques in my rendering process, rather than doing a standard simple textured render using a skydome.

###### Basic render compared to custom shader

To expand upon this project I would have liked to explore adding more detail into the textures of my model, such as using substance to add a realistic element. It could also be interesting to explore other pipeline processes that use more frequent review processes throughout development instead of following the traditional workflow. Something I would like to work on in my practice is the iteration stage of my concept art, as I find it difficult to create a large variety of designs once I have settled on a concept and references. I would also in future like to alot part of my workflow time to troubleshooting towards the end, should something similar happen to my files in the future and I need to find external IT help to resolve them.

## Bibliography
1. Wood, J. (2006). 'Filming Fairies: Popular Film, Audience Response and
Meaning in Contemporary Fairy Lore', Folklore, 117(3), pp. 279–296. Available at: http://www.jstor.org/stable/30035375

2. Godbey, C. (2018) A conversation with Wendy Froud, Muddy Colors. Available at: https://www.muddycolors.com/2018/11/a-conversation-with-wendy-froud/ (Accessed: February 7, 2024).

3. Ksheyna Nightswood Artist bio (no date) artofnightswood. Available at: https://www.artofnightswood.com/artistbio (Accessed: February 7, 2024).

4. “The Legend of Zelda Breath of the Wild creating A champion” (no date). Available at: https://archive.org/details/TheLegendOfZeldaBreathOfTheWildCreatingAChampion.

5. ldGamesDownload (2019) The neverhood, Old Games Download. OldGamesDownload. Available at: https://oldgamesdownload.com/the-neverhood/ (Accessed: February 7, 2024).
6. ZBrush: Blocking out characters fast, for beginners (2020).
7. (No date) Artstation.com. Available at: https://www.artstation.com/marketplace/p/9aGM2/chibi-base-mesh (Accessed: February 7, 2024).
8. Help (no date) Autodesk.com. Available at: https://help.autodesk.com/view/MAYAUL/2023/ENU/?guid=GUID-6CAEA6C2-D4F9-422D-8E0F-522171B47C35 (Accessed: February 7, 2024).
9. Help (no date b) Autodesk.com. Available at: https://help.autodesk.com/view/MAYAUL/2024/ENU/?guid=arnold_for_maya_toon_am_Making_of_Sophie_html (Accessed: February 7, 2024).

### Wider Reading

Headventures in the Underworld - Game art design document-
Mostert, D. et al. (no date) Art Design document v1.5, Squarespace.com. Available at: https://static1.squarespace.com/static/53360d02e4b0ee18bbb5fe99/t/5705482227d4bda9559a29ce/1459963950485/ArtBible_HeadventureTeam.pdf (Accessed: February 7, 2024).

An introduction to how game development pipelines work-
Makovsky, M. (2023) An introduction to how game development pipelines work, GamesIndustry.biz. Available at: https://www.gamesindustry.biz/an-introduction-to-how-game-development-pipelines-work (Accessed: February 7, 2024).

3D Animation Pipeline: A Start-to-Finish Guide (2023 update)-
Dreamfarmstudios.com. Available at: https://dreamfarmstudios.com/blog/3d-animation-pipeline/ (Accessed: February 7, 2024).

Public Game Design documents -
Behance (no date) Behance.net. Available at: https://www.behance.net/search/projects/game%20design%20document (Accessed: February 7, 2024).

Arnold User Guide (toon)-
Help (no date c) Autodesk.com. Available at: https://help.autodesk.com/view/ARNOL/ENU/?guid=arnold_user_guide_ac_surface_shaders_ac_toon_html (Accessed: February 7, 2024).