SebB: Final Year
Monday, 4 January 2016
Evaluation
There is much more I would have liked to do, my time was in short supply mainly due to my bad organisational skills and partly because of certain things coming up in life. I am pretty ashamed at how my tasks ended up, they don't match my intentions or skills in anyway. My design document could be more specific but I understand what I want to do, and hopefully I got that across well enough for someone else to achieve a similar result. I'm looking forward to getting on to the actual modelling process for the Mage Manor. My Blog has many gaps were I had meant to talk about my decisions and research but again time my management let me down. Almost everything I looked at and gained inspiration from is on my Pintrest page which I have given a link to in Links PDF. I didn't manage to finish blogging what it it was these images had meant to me and how they affected the project.
Lighting

This hole from the well is the only entrance for sunlight into the subterranean cavern below. I feel that this could give a really mystical effect to the cave, by having a strong shaft of sunlight pouring down, the way I imagine it seems to come across better in underwater images. Or perhaps instead an eerie shaft of moonlight.




Perhaps extra lighting could be found within in floating magic symbol alphas, similar as seen in the image above.
Unreal engine examples of what I would like my cave to look like .


Sunday, 3 January 2016
"One Rock, One Cave"
https://www.artstation.com/artwork/zzQ8wThis is the kind of look I want for the rock walls, Irfen Cg from Art Station explains how he made all of the cave part using only one rock model."Creating modular game asset and tillable texture for fast level design in Unreal Engine, The goal is "one rock one cave" ". As my piece is not modular I probably won't end up creating my cave in this way however it is interesting to know how good of a results such a simple method has. I also quite like the lighting of his piece, with the cool coloured background and warm foreground, the fire nicely lights and shows of his floor texture, I need to think more about how my scene will be lit.
Friday, 18 December 2015
Wednesday, 16 December 2015
Lucky Number Seven!
Stop any person in the street and ask them to choose an odd number between 1 and 10. More often not, they will say the number 7.
For ‘lucky 7’ is the world’s favourite number. There are seven days of the week, seven colours of the rainbow, seven notes on a musical scale, seven seas and seven continents.
Snow White ran off to live with seven dwarves, there were seven brides for seven brothers, Shakespeare described the seven ages of man, Sinbad the Sailor had seven voyages. And when Ian Fleming was looking for a code for James Bond, he didn’t go for 006 or 008. Only 007 had the right ring.
This week, a poll of 30,000 people confirmed that 7 is overwhelmingly our favourite number — with 3 in second place. A remarkable ten per cent of those surveyed gave 7 — from the infinite choice of numbers available — as their lucky number.
But why do we prefer some numbers to others? What is so special about 7? And how can something as dry as a number generate such strong emotions?
Our fascination with certain numbers goes back to the dawn of recorded history. For the Ancient Babylonians the most meaningful number was 60. They based their mathematics and calendar around it — and we, many centuries later, have inherited their system. That’s why an hour has 60 minutes, and a minute 60 seconds.
In Ancient Egypt, 12 was considered special. In Egyptian mythology there were 12 realms of the dead. Indeed, 12 crops up throughout history — inches to a foot, pennies to a shilling, months of the year, the number of apostles. A day is split into two cycles of 12 hours.
There are sensible reasons to venerate 60 and 12. Both divide neatly into halves, quarter and thirds, making them ideal units of currency and measurement. But that doesn’t explain why humans are still so hung up on 7 — a prime number that cannot neatly be divided by anything other than itself and number 1.

For ‘lucky 7’ is the world’s favourite number. There are seven days of the week, seven colours of the rainbow, seven notes on a musical scale, seven seas and seven continents.
Snow White ran off to live with seven dwarves, there were seven brides for seven brothers, Shakespeare described the seven ages of man, Sinbad the Sailor had seven voyages. And when Ian Fleming was looking for a code for James Bond, he didn’t go for 006 or 008. Only 007 had the right ring.
This week, a poll of 30,000 people confirmed that 7 is overwhelmingly our favourite number — with 3 in second place. A remarkable ten per cent of those surveyed gave 7 — from the infinite choice of numbers available — as their lucky number.
But why do we prefer some numbers to others? What is so special about 7? And how can something as dry as a number generate such strong emotions?
Our fascination with certain numbers goes back to the dawn of recorded history. For the Ancient Babylonians the most meaningful number was 60. They based their mathematics and calendar around it — and we, many centuries later, have inherited their system. That’s why an hour has 60 minutes, and a minute 60 seconds.
In Ancient Egypt, 12 was considered special. In Egyptian mythology there were 12 realms of the dead. Indeed, 12 crops up throughout history — inches to a foot, pennies to a shilling, months of the year, the number of apostles. A day is split into two cycles of 12 hours.
There are sensible reasons to venerate 60 and 12. Both divide neatly into halves, quarter and thirds, making them ideal units of currency and measurement. But that doesn’t explain why humans are still so hung up on 7 — a prime number that cannot neatly be divided by anything other than itself and number 1.
+5
Hebrew tradition states seven is the number of
intelligence, and there are seven Great Holy Days in the Jewish year.
Elsewhere, the traditional Menorah, pictured, has seven branches.
Thursday, 10 December 2015
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