An exploration into 2D and 3D art

In the final week we rendered our turnaround video and reviewed the completed project. Seeing Genevieve beside the finished riverboat brought the whole Crimson Leopard world to life. The character’s confident stance and oversized hat showed her outgoing personality, while the boat’s curved Art Deco panels reinforced the shared design. Although I wish we had more time for detailed textures, I’m proud of how the clean topology and lighting made the models read clearly without them. From a technical standpoint, this project taught me Maya fundamentals like blocking, edge flow, subdivision, and cleanup. From a collaborative standpoint, I learned the value of dividing tasks early and maintaining open communication to keep style consistent. Overall, this six-week process gave me confidence in my ability to turn stylised 2D concepts into polished 3D assets. Despite the rushed texturing phase, the final result captures the energy and extravagance described in the Crimson Leopard production b...

During week five, we merged our assets and began final scene assembly. My teammate imported the completed boat model while I placed Genevieve in a neutral standing pose beside it. We coordinated lighting and scale to ensure the two pieces felt like part of the same world. Textures were only added near the end of the week, so our time to experiment was limited. Even with minimal textures, the forms held up well because the modelling captured the design’s rhythm and proportions. This made me reflect on the importance of workflow planning: texturing late left less opportunity for fine-tuning, but our strong base models kept the presentation looking good, even with minimal colours. Communication with my teammate remained smooth; we exchanged feedback weekly and adjusted both assets to preserve the authenticity of each of the models.

This week was about polishing Genevieve’s details and preparing the model for texturing and posing. focused on refining smaller features such as the feather boa, hat folds, and dress edges. I used Maya’s Insert Edge Loop and Soft Selection tools to adjust curves and improve the character's overall form. Although our plan included adding textures, most of our attention stayed on modelling until late in the process. I kept the UVs simple so materials could be applied quickly later. Our group checked scale consistency between the character and vehicle and created a shared colour reference using palette images from the production bible. Finally, to be presented on the turntable clip, I started rigging the character.