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Academy of Art Character and Creature Design Notes

Academy of Art Character and Creature Design Notes
'Artists Spotlight Feature' In addition to the normal Q&A interviews I'll be including spotlight features on artists whom I feel show a high standard of quality and originality in regard to creature and character design. In this case I would like to introduce you to three very talented ladies who you may or may not know and if you don't, you should know of them.... I'm featuring the three of them together because aside from their unique and appealing styles, understanding of anatomy and attention to detail, they all know each other and have collaborated on a personal joint project. So without further ado, I'll start by introducing you to each of them and provide you with a little background history concerning their education, experience, their collaboration on their creature project and their relation to each other.

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Disney's "Tangled" Character Design Development. Once "Rapunzel", then "Rapunzel Unbraided", and now "Tangled", Disney's 50th animated Feature film, set for release November 28th, has gone through many changes throughout it's years in development. One thing that hasn't changed much, though, is the artistic influence of two artists in particular. One was the French Rococo painter Jean-Honorer Fragonard, specifically one of his best known works; “The Swing” which inspired the lush fairy tale world that Rapunzel inhabits. The second is animation legend Glen Keane, who was the original driving force behind the film. Glen's masterfully solid, appealing, expressive and passionate animation and drawings are admired across the globe. He is currently being honored with a gallery exhibit in Paris and is touring with a retrospective of Disney Art in Australia.

Artist Interviews Damon Bard has posted some huge images of his Kung Fu Panda II and How to Train Your Dragon maquettes on his web site here... Pressure-sensitive freehand drawing of vector paths that are editable with the Illustrator Width tool? Reiterating a bit of what you've posted in your question..... By far the best tool I know of for Illustrator where natural drawing is concerned is DrawScribe from www.astutegraphics.com. Edit as of Jan 2014 DrawScribe has been folded into Astute's DynamicSketch plug in, same functionality shown here (plus more) but with a new name. This does everything you've outlined, as well as remaining standard AI art. It merely provides a different method for creating that AI art. (Of course it's easier if you zoom in to select those finicky width points. ;) )

8bitengine [update] check out my review on Tangled here In an earlier post I raised the 2D vs 3D debate again and questioned whether we would ever reach the lifeliness of 2D animation in 3D. I have only seen the trailers and the snippets, but I think the new Disney movie “Tangled” might be the future for 3D animation. I watched the trailers and there’s something about the animation that has a resoundedly Disney golden years vibe. It is the first movie in years that actually looks like Aladdin (or other Disney Classics) in 3D.

How to make birds fly good 10. Put some effort in Now we have gone some way to creating a realistic cycle, but what if we have to show our character flying under strain? Perhaps carrying something heavy. In this situation there is a temptation to revert to the up/down ratio problem I showed before, with the wings rotating faster down than up. Would this happen? Model Sheets 101-Part 2 We continue with our overview of model sheets as my students head into the last few days on their final projects. Part one can be found here. Expression Model Sheets are sometimes specially created as such, but often are compiled from scene samples, both in rough form and from final line/ clean up drawings. Note how some of these sheets include full body poses. Flash FX Animation: #10 Energy Strikes Now for the fun part -- color and special effects. First, I changed the BG to a dark color just so we can see it better. Then with the Edit Multiple Frames button activated, I re-colored it all white. Remember, what gives these energy bolts their color is their glows, the core base is usually white, just think about what gives lightsabers their color, it's not the 'blade' itself but the glow around it. Now select all those layers and drag them over to a new layer underneath (hold ALT while dragging select frames to instantly duplicate those keys). Then find the Filters tab, usually next to the Properties window,

Uncategorized « Davidlambert120's Blog I did a little more tweaking on the Carla head and applied an overlay of her skin from the photographs I previously took. All in all I’m fairly happy with the result. The eyes are still completed with the paint tools available in mudbox rather than using the actual eye in the photo, but I think there is enough realism to be convincing. Topology is something that is very closely linked with the area of 3D modelling, especially when it comes to animating the models. Animating was something that I didn’t have to think about when it came to creating my model, subsequently my model would be completely inappropriate for this purpose due to the polygonal mesh being a complete mess.

How to Draw Caricatures: Relationship of Features This series of “How to Draw Caricatures” tutorials are a just a small taste of a larger and much more in-depth book I wrote called The Mad Art of Caricature! The book is 175 full-color pages, lavishly illustrated and contains greatly expanded explanations of the concepts presented in these tutorials, as well and a great deal of additional material on caricaturing other facial features, posture, hands, expression and more, techniques on drawing from live models, doing caricature for freeplace illustration and for MAD Magazine. This is a must have book for anyone interested in caricature, cartooning or humorous illustration. You can order it online here. Part Two: Relating the Features Previously I mentioned how the relationships between features are the driving force behind caricature:

Rigging Dojo » Broadcast Archive Rigging Dojo Live : Power Python for Maya (Plus) by Jason Parks Learn some of the key features that Python and PyMEL have to offer as well as how some professional Integrated Development Environments can change the way you write tools and increase the production speed of all your art pipelines. Rigging Dojo Live : Modular Character System (MCS) under the hood with Jan Berger Get a peek under the hood of this much anticipated rigging system for Autodesk Maya and learn what makes it such a super cool rigging solution. Rigging Dojo presents: Anatomy for rigging and modeling with Jeff Hesser

Digital Painting 101: Mixing Paint @mihai.birsan Yes, Photoshop CS5 do have this feature, but its now really that easy to use comprare to ArtRage, Corel Painter or Paint Tool SAI etc. The article above are the most essential way to do color mixing/ Blending by yourself, and useable across many painting application too. Sometimes it is good to get away from the gradient tool and selections. I find that when I am using the brush tool I get a rougher/gritty feel. It adds to some of my projects. Mental Ray » 5/6 » Computer Graphics Introduction: In this ‘Making Of’, find out how to create the character, Tiny, from the old school cartoon classic: “Battle of the Planets”.. Created In: 3D Studio Max, ZBrush and Photoshop.Concept: From my childhood memories I can remember watching Battle of the Planets after school, and as I grew up I thought about these characters, and they are now cooler than ever – amazed by their strong colours, bold designs and iconic silhouettes. So, I decided to create a character from the G-force team, choosing Tiny, simply because I think he’s probably the last choice people would make out the 5 members, yet he has one of the most unique designs and forms. As references, I gathered whatever I could find on the Internet. Main references included cover illustrations by Alex Ross, and screen captures of the original TV show.Modelling: Initially, I blocked out the general form of the character in 3D Studio Max, to find the right proportions. Fig.01

PSG Art tutorial Foreword I believe there is logic behind why a picture works or not. I also believe that humans are meat machines, and that one day computers will be able to emulate humans and what we do. Since logic can be formulated into rules, guidelines and theories, these can be shared. I will attempt to do so here. Note that I have just empirically deduced the theories I present here, and that I'm a highly fallible meat machine.

Keane Art It’s weird, it seems that when you run up against a problem, you always think it’s because “oh I’m not good enough”. But- it’s not that, it’s just that you’ve kind of hit the limit of your knowledge, and you’ve got to go out and observe and get and find and discover and nothing more. Those are really great, those are the best times- when you feel like you stink and you can’t get it- that’s like, man, now the world is open and you’re ready to learn something new and you gotta go, you gotta take advantage of that. I have been Inspired by your art for years.

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