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The use of Silhouettes in Concept Design

The use of Silhouettes in Concept Design
Silhouette thumbnails are among the most helpful and productive methods of design when it's necessary to produce a large quantity of variations of concepts within a short period of time. It's not a method used by all concept artist and it's certainly not a necessity to design a creature or a character purely based off of a silhouette shape. That doesn't go to say that all designers don't subconsciously focus on shapes and designs that make a strong impact on the viewer. We often refer to a silhouette as a black outlined shape, much like a shadow. Whether consciously or subconsciously we are always designing through the use of interesting dominate shapes that work well together. Typically the use of this type of design is a pre-production phase of concept art that is generally only seen by the artist or art director if working on set or in-house. (Note: Designs by Ben Mauro, copyright Sony Pictures Animation) Ben's work can be found at The Art of Ben Mauro Related:  Animation/ CG researchConcept art

Drawing, Sketch, Art & design Welcome to The Computer Graphics Society Pencils, Pixels and the pursuit of Awesomeness By Bryan Tillman Now I want to talk about shapes. I know what you are thinking: Well, I’m glad you asked that question (if you didn’t, you should have). So what do you see here? Stability Trust Honesty Order Conformity Security Equality Masculinity These are the most common things people think about when they see a square shape. Here is an example of a square shape being used in character design. What do you see here? I don’t know how many triangle people or character designs you have seen, but the triangle shape is present in people’s faces. Let’s do one more for good measure. What do you see here? Can you think of some of the meanings behind a circle? Do you see the circle shape in this character’s face? Some students have told me that these meanings aren’t really the focus of a character. Excerpted from Creative Character Design, by Bryan Tillman. © 2011, Elsevier, Inc.

20 character design tips | Character design Character design can be a tricky illustration beast to tackle. You may know how to draw dynamic characters, but designing your own character from scratch involves a lot of creative thinking. Although many of the classic characters familiar to us all through cartoons, movies and advertising look simple, that simplicity usually belies the many hours of work that have gone into their development. From Mickey Mouse's famous three-fingered hands – drawn to save production time when he was first developed for animations in the 1920s – to the elegant simplicity of Homer Simpson, character design has always been about keeping it simple. Get Adobe Creative Cloud But aside from clean lines and easily readable features, what else are you going to need to know about character design? Getting started can be the trickiest part in any character design project, but once you've got some ideas these tips will help you breath life into your creation. 01. Think about your audience. 02. 03. 04. 05. 06. 07.

AG Artworks | Ahmed Gamal's artistic portfolio A new angle on parallel languages: the contribution of visual arts to a vocabulary of graphical projection in video games « G|A|M|E It is fair to argue that in the short history of game studies, the concept of graphical projection has not been used in all its dimensions. In a way, we might even say that the idea has been systematically overlooked. Therefore, in order to fully express the potential of graphical projection in game studies, we have to properly define the vocabulary used to describe its various forms. The main idea is to use terms in keeping with the traditional perspectives from which they derive. Out of which tradition—mathematical, scientific or artistic—should we envision graphical projection? If we take, for example, the principle of Albertian perspective, the fundamental idea was more concerned with creating a working tool to coordinate the space of the frame than an artistic or philosophical concept. Indeed, Albertian perspective is a mathematical construct as the perception combines the perfect vantage point (of the artist and the viewer) and the vanishing point (where all lines converge).

little girls R better at designing heroes than you Little Girls Are Better At Designing Superheroes Than You is a project where superheroes are drawn based on the costumes of young girls. This submission is drawn by the talented SaEun Moon at This submission is Amazing Girl! This submission is Leopard Girl and her sidekick, Mouse Girl, drawn by the talented SaEun Moon at Little Girls Are Better At Designing Superheroes Than You is a project where superheroes are drawn based on the costumes of girls. This submission is Super Z and Super L. This submission was kindly drawn by the talented artist, Angie, of Angie Arts! Prints Available Just to let you know, if you’re interested I now have some Little Girls Are Better At Designing Superheroes Than You prints available. Unfortunately, they are limited to images I actually bothered making in high-res (so not much of the early stuff, sorry!!) Thanks for following~ Unfortunately, the evil Dr. Say hi to Super Baby Princess Sophie! How sweet

Top 40 character design tips - Part 1: Animal based characters | Animation Nothing comes from nothing. It’s an oldie but a goodie, and as far as character design goes, the final word. Characters require a story, a world and a purpose. Once you have this, ask yourself: what should his/her/its body plan be? Are there teeth on show? What accessories are needed? There are, of course, a number of important techniques that can be applied to any design: keep things simple, always ensure you have a strong silhouette, start with general shapes and work towards detail. Here, we speak to a range of character artists, each exploring their own worlds using expressions unique to them. 01. “Take advantage of what psychologists know about how we react to each other – things like the baby-face effect and the five personality factors, which are openness, conscientiousness, extraversion, agreeableness and neuroticism. 02. “Bring some contradictions to your characters. 03. “Many of my illustrations have come from doodling. 04. 05. 06. 07. 08. 09. 10. Next Page: Don't... 11. 12.

FZD School of Design (1) Anthropomorphic character design in animation and sequential art: The symbolic use of the animal to portray personality | Tim Jardim 3 |Page character is. On this scale I shall place inanimate objects on one end andhuman beings as the opposite extreme.Examples of inanimate objects include cars, clocks, candlesticks, mechanicalwindup teeth and many other examples that can be found in anythingbetween Saturday morning cartoons and Walt Disney blockbusters. Examples such as Pixar‟s Luxo Jr . and Cars are anthropomorphised inanimateobjects. . the lamps are still undeniably lamps and movein the manner a lamp is expected to move, but they are infused with humanpersonality and emotion in the manner in which they move (Figure 1). Pixar has taken the effect further, building an entire world around these cars,but has also added voices and faces to the characters, linking them evenmore to the humans they represent, and further from the cars they are (Figure2).If we were to move up this proposed scale one might place animals as wesee them in the wild. The Lion King (Figure 3) and Finding Nemo Watership Down

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