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Illustrator-to-Maya: The Iterative 2D Layout Process After getting a feel of the whole level with our Timeline, we will now build a small library of Proxy Objects that we think we might need (built to scale) so that we can begin our 2D level layout. I tend to be a little on the creative side with my proxy pieces because it helps others visualize what they are looking at when presenting the finished 2D level for review (but the visual prettiness of our Illustrator layout does nothing for us in Maya so simple and ugly is okay too).
Using our Proxy Objects, we can now quickly define a level knowing our limits and restrictions along with the guidelines we've created in the Timeline layout. Using our FPS on-foot Timeline, I created the following first 500 meters of the level:
Using the Pen tool to create the path taken by the player, we measure our distance using the Illustrator measuring tool. In the Info Window after making a measurement, we get the magic number (circled in green) represented by "D". Move the decimal over two places and you have your exact distance in meters (in the pictured example, 26.08 meters). It can be helpful to mark out your measured distance numbers on the 2D map (shown in blue). Again using our Timeline, we can call out all those unique gameplay moments (from the Pacing Bars in the Timeline) that can be described fully at a later date. Knowing where you want to place your gameplay moments, those areas of the level can be concentrated on to fit those events accurately. Compare the following image with the first 500 meters of our FPS Timeline and you can literally see the Timeline embedded into the level itself.
With this in hand, we can sit down with our fellow game/level designers and quickly iterate on the best possible level flow with gameplay in mind. After working on several iterations I have a 2D layout that is approved and ready to begin the process of converting the Illustrator format into a 3D game space. The following is a sample FPS level expected to be about 15 minutes minimum in length with gameplay elements fleshed out:
Focusing back on our Racing level, we can use our proxy objects to approximate our Timeline ideas. As an example, here is the first simple 500 meters of our racing track:
To finish this level, again measure out the distance using the measuring tool to reach our 10 kilometer goal. Using our proxy pieces, create the entire layout from beginning to end. As we create the level we can also define our gameplay moments (with various items like cop cars or explosions) from our Timeline idea which gives us the final result of our first 500 meters:
Other 2D Methods Up until now we've been focusing on very manmade city-like structures, so to show off the versatility of Illustrator, I'll demonstrate a more natural landscape using the same principles we've already discussed. Using the Illustrator Pen tool, we can layout a more organic natural shape where the blue is a river, green are tunnels and brown is open forest. As before, I can use my measuring tool to find out that I've made 2km worth of forest.
Using a Pre-Existing Map Perhaps we want to build a level that resembles a location from real life; this can be easily done by importing a background texture map as a template. As in the example image, I've taken a screenshot from MapQuest.com and then scaled the image to be about the appropriate size that I'd want. With the Illustrator pen tool, I've outlined a lake and the surrounding streets which gives me the realistic and accurate shape of this given location. Before, we've been really complex, but this simple outline shows all that is necessary to import Illustrator data into Maya and to start building your level.
Setting Up For Maya It is usually best to save a separate copy of your Illustrator file that interfaces with Maya. You will want to delete any unnecessary objects that are not directly part of your level layout in this Maya interface copy (it can become confusing if you have a large amount of items). Save this version of your level with all Illustrator options turned off (no compression, no PDF) otherwise nothing will be imported into Maya. Import into Maya Use the following as a guide to import your Illustrator files into Maya:
If you've saved your Illustrator file correctly and imported into Maya as described, you will see new spline data correlating in space to where you've placed them in Illustrator (this is why it's a good idea to use that 0,0,0 spot in Illustrator as your center or starting point). Build Your 3D Geometry If you are using Y-up you will need to rotate your spline data -90 on the X axis for the splines to lay flat on the ground, if you are using Z-up there is no need to do this. Use the spline data in any way that you want to build your low-res geometry by using the splines as a template or extruding them into geometry. The Handoff Typically here at High Moon Studios, I would handoff my low-res geometry to the concept artist who would then create detailed paintings of various points in the map. These paintings, plus the low-res geometry is then handed off to the artist to begin full art production. Conclusion This is an incredibly powerful yet easy approach to creating and designing levels that can be quickly learned as you've seen throughout the demonstration. Depending on your need for detail in your project, these maps can be extremely simple or heavily complex. Even if you want to re-design half of a level that you've already brought up to 3D in Maya, you can quickly do this in Illustrator by moving a few pieces around, re-import that data back into your level and you have your outline of changes right there in Maya with no guesswork involved. After building your level in Illustrator using this method, you will have confidence that the ideas you want to express in your 3D layout will work precisely within budget while accommodating engine restrictions. For a Game Designer/Level Designer, this is an excellent time saving system that will help you design and build the perfect level.
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