I also found a list of words that are Slang terms, along with their definitions that can REALLY aid you in making your story and dialogues sound more realistic in creating a steampunk world. I hope you will enjoy it and find it as useful as we did. Redmage and I went through the list of words and alternated between howling with laughter and exclaiming in delight at the sheer RICHNESS and COLOR of the language. It’s a great page titled “HOW TO SPEAK 19TH CENTURY”. So on a whim I decided to go looking for some resources for those of us who enjoy writing and reading steampunk, but would like to have a flavor of authenticity to the words spoken by our characters. People look at you strangely when you use words like this. The common response we get when we use them is “WHUT?” And the words are not that uncommon….like “vexed”.
I got into an interesting conversation with Redmage about words that we both use, that people, typically, do not. But it is the English removed from us by over 100 years. Yes, I am quite sure you are saying….”it’s English, duh!” Well, after the fact, yes it is.
So we are going to talk about the language you would wish to use in a steampunk story. If you’re new to 3D character creation, be sure to watch Maddie Spencer’s Introduction to ZBrush 2020 workshop and Eric Keller’s Introduction to Maya 2019 workshop.Augin Character Development, Finding Ideas, Inspiration, Steampunk, Writing 0Ĭrafting the Vernacular is all about creating a language. However, the workshop is also suitable for anyone - at any skill level - to discover new ideas and see the complete creation of a 3D creature from start to finish. The videos in this workshop have been sped up to cover a vast amount of material, with the goal to share industry-preferred workflows, methods, and techniques for creating 3D creatures. He also shares a simple fur workflow before rendering out the final result using V-Ray for Maya. He shares his V-Ray shading network and discusses the power of RGB masks, and reveals how lighting can dramatically enhance the sculpted details of 3D models.
In the final stage of the 3D creature creation pipeline, Babak takes the painted creature into Maya to set up an effective lighting environment. He discusses the other maps required for shading and reveals how they are generated and facilitate more shading possibilities. With the ZBrush model complete, Babak shares his ZBrush PolyPainting techniques and the process of exporting maps for further texturing work in the industry-favorite 3D painting tool, Mari. Babak reveals some of his favorite ZBrush tools that help him divide up models and maximize efficiency, and he discusses his decision-making and design choices throughout the process. The drawing is taken as a rough idea for a 3D model into ZBrush, where all further design decisions are made. The 5-hour workshop begins with a sketch - in this case, a concept based on macro photography of a silkworm.
CHARACTER CREATION WORKSHOP TV
With over a decade of experience working in film and TV and credits including Avengers Infinity War, Guardians of the Galaxy, and Game of Thrones, Babak’s workshop offers workflow insights and industry techniques that will help you create your own fantasy characters and creatures - from sketch to final render. Turn your ideas into fully realized 3D illustrations with these workflow tips and tricks by industry VFX artist, Babak Bina.
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