On Ridiculousness and Herbal Tea

   Had more character stuff thrown at us this past couple of weeks than I ever thought possible. I've previously mentioned the start of our Gladiator project but since then we've had a another character to create, this time in Visual Design. It involved finding folk with interesting features and then using them as the basis for any character you want. I love when I get given that kind of creative freedom. Anyway I've made some alright progress on both accounts but I'll mostly be talking about the Gladiator stuff.
 So far I've found this a lot easier to get started with that every previous Game Production project now whether this is because of me starting to get to grips with 3ds max or because I'm a bit more comfortable with my knowledge of anatomy as opposed to buildings and vehicles. It could be a combination of these things but suffice to say I feel less resistance in regards to getting the outcome I'm looking for.

  Ultimately decided on an enslaved Celtic warrior chick just so I get to throw in a few new influences and not stay strictly Roman. Obviously she's still a gladiator but I get to make some hints at her background which is nice to do whenever designing a character. Bit of woad a lot of ginger whats not to like? So yea it's going pretty well should be finished modelling this week and then we get to play the texture game. 

 Throwing in my final piece for my interesting character as well 'cause why the hell not. She's the wise old hag lady of a village who lives in a nearby bog and may or may not consort with strange and untrustworthy being of a magical nature. 

Rookie of the Year

   Before all this game art stuff kicked off there was one thing I used to love to draw more than anything else. Characters. I say that as though my opinions have changed, they haven't, it's still my favourite thing to do in terms of artistic expression. To this day I'm fascinated as to how to represent qualities, personality, ideals onto a piece of flesh and bone. I mean it's almost countless aspects, some blatant and grand, others subtle to the point of almost infinitesimal proportions.
 It's these that make up the entirety of a persons character, gait, clothing, body language, haircut anything that can express who they are as an individual will come across in some way shape or form. Have you ever noticed, for instance, the phenomenal distance you can recognize an individual who you are on close terms with. Be they friend, lover or mother. Without hearing voice, having the recognition of facial features or being able to make out the specifics of what they are wearing. They will turn the corner of the street a good fifty feet from where you are standing and the way they carry themselves will tell you who it is almost instantly.
 As far as I'm concerned this is the most important thing to consider when designing a character. They have to be convincing, better than any actor, the viewer....or in our case the player must believe everything they are being told from every aspect of that character. Dialogue, design, animation all come together to sell the character as a certainty.

   The reason I bring this up as I drink tea, eat biscuits and listen to Funeral for a Friend is this. We've got to model a character...and this, this above all other things, is the reason that I am here. So admittedly a low poly Gladiator already puts me in a position where I don't have ultimate freedom of design but it certainly gives me enough to make me excited.
 Fundamentally this is a project teaching us to model human anatomy, now I'm pretty good at anatomy from a general standpoint but this is gonna force us to learn how to translate that to the topology of an effectively recognizable 3D figure.

 So I'm going to be trying to keep blogging about this project just because I actually have a decent amount to say on the subject...or at least I feel as though I do. Granted we already have to make a design doc explaining the majority of our project but all the same I can put some of it on here too. Now as well as general anatomy research I went ahead and grabbed a few bits of reference just to get the old idea machine running, this isn't all of it just a little moodboard to get me stated with preliminary sketches.

   As it stand I'm liking the idea a gladiatorial warrior woman, lightly armoured (though not scantily clad) and armed with a trident and net. Though I am looking at a fair few other ideas as well. Mostly because I can already see myself going over the tri limit on unnecessary details. Seriously how could I do extremely low poly dreadlocks? Well in any case, plenty of time to refine my idea.

 

Goodbye Sir Jeffers

   This weeks been an interesting one, an intensive visual design workshop....because well collectively we suck a little too much. I do say this knowing full well in how many areas I fall short, you know, before anyone gets offended. Now for an intensive workshop this has actually been a pretty fun project. Essentially using silhouettes and very basic shapes in order to build up a vehicle design. Seemed a tall order at first until it all started to click. 

 I've never tried either these techniques or designed a vehicle before so this is all fairly new to me and even the digital painting, while something I've played around with is certainly something I'm not that good at. I mean I can't paint with a brush and that seems like a fundamental thing to understand before being any good at the digital equivalent. 

 Ended up creating a glider of sorts, really basic considering how every vehicle I've seen so far from anybody else has been a high tech sort of affair. Though I did find myself inspired by the forms of hand made guitars and violins, that sort of stuff. Seems like it lean't itself better to a more old timey design.

 

   I ain't gonna lie, for a while the design had no purpose. Which is a bit awkward, I mean after all things like this are generally made with a specific goal in mind. Hard to design something if you have no use in mind for it. A little later though things started to take shape. It's a fairly classy looking craft, somewhere between a glider, a gondola and an engraved classical guitar. To me it does look hand made, as though it's a labour of love by a dedicated craftsman.   

 At some point mid way through the design I just happened upon the thought of that Red Bull event where folks from all over create those completely impractical flying machines and throw themselves off a pier. Now I got to thinking, what would be a more dangerous idea. Throwing yourself off a waterfall would do it, a big one at that. So the concept arose of a sport in which people build these, crafts that they really do put effort and dedication into and then try to fly off the edge of a furious torrent of cascading water and land into the river below, seeing how fair they can make it. Adds a nice aspect to it as well if you consider messing it up means the loss of a craft you could have spent a year putting together yourself. Alright idea I thought, still can't paint mind. 

 

Gesture is One Third the Battle

   Now I ain't been using the blog entirely as effectively as I could be. We got told pretty early on that besides blog tasks and the documentation of various aspects of our work, that we should use it as an expression of our creative identities. What makes us tick so to speak. Now there's a thousand things I could talk about but I think I've finally come across something that I actually want to share.

 It's no secret to anyone who knows me that I really enjoy our weekly life drawing sessions, hell just drawing the figure in general is a nice treat. There's a tonne of techniques that come into these lessons but I'm going to get into gesture drawings for the time being. Gesture drawings are a great way of telling if someone has a good knowledge of most aspects of figure drawings. You have to get all the rhythm down in an incredibly limited amount of time and with minimal but entirely effective mark making. When done well gesture drawings are immense pieces of work in their own right, it's almost musical, bringing to mind the blues masters who started to bare their soul with three chords and a guitar with four broken strings. When you can get that quality with what seems to the ignorant eye to be a monumental level of simplicity you've pretty much cracked it. Which is difficult for me as a progressive metal head to say. I'm usually all about the technical.

 Can get round to showing you what I wanted to now anyway. I found this animator called Ryan Woodward while I was having a raz round for some gesture drawing exercises. On the side he does a body of work called Conte Animated. Which as the name suggests are gesture drawings completed with conte sticks. You know what you can just have a look see.

  How cool are those? It's a hypothetical question I suppose but I can't get enough of them. For sure a technique I want to try for myself. I mean I'm sure there are other artists that approach their gestures in a similar way but I just love the sense of form he managed to get with the blocks of tone that he throws in. Just badass. Even took some of these gestures and made an animation out of them. I'll throw that below along with a link to his two websites. Check it out you won't be sorry.

http://ryanwoodwardart.com/

http://conteanimated.com/

Elements

   You know what? 3D work is kinda fun...I mean I still ain't great at it but I'm starting to enjoy it all the same. Probably a good thing too considering it might land me a kick ass job. Course I still suck at it pretty bad but I dunno just the tiniest bit is starting to click and that feels pretty good. Just have to stick at it with a bit more vigor and I reckon I can get somewhere with it.

 So here we can see a couple of trees and the building 

I had to re-submit. Even added all those lovely bumps and specs that I completely ignored the first time. So yea, that's all this time round. 

A Cluster Of Rogues

   I met this fella a couple of months back, tall guy, nice little beard, really Irish. Anyway after hanging out a few times he tells me "Liam, I've got a project on the go and I'm trying to gather a group of extraordinary individuals to complete it." Unfortunately both the Power Rangers and the A-team have pretty tight schedules so he settled for me and a few other roguish types.
 Now he had this long running idea of making games, setting up a little Indie company or something. So us few that he asked were all pretty eager, I mean we came on our respective courses to make games so why wouldn't we be. Just made sense to be making games in our spare time, show a bit of initiative.
 A couple of weeks later our Gaffer pops up and says he's put down the idea for a business bursary; meaning that a presentation gets done and ten different businesses get a 250 quid to start up. Thirty one ideas went in and our group was one of the lucky few to get that bit o' cash monies. Can't grumble can you?
 But here's where it gets interesting. Turns out there was a round two to all these shenanigans. An extra 500 quid up for grabs and in the terms of highlander there can be only one. Well I ain't one to drum up any kind of suspense but for some reason they chose t'old MadDonkey Games didn't they. Who'd have thought it eh? So apparently we're gonna be making games now.  

   

http://www.maddonkey.co.uk/

Icarus Lives

   Two posts in one night. I guess I can only waste so much time looking at doge memes. Recently in our life drawing sessions we've moved onto tonal work. You know the standard cover your paper in a neutral grey and then work in with a rubber and charcoal to build up your range of tone. Now this is great for me because I suck something special at tonal variation. Plus the skills are easily transferable, I'll run into problems at some point if I can only visually record things with line, I mean it essentially means by the time I make it to painting I'll be fucked. Hampers my ability to represent three dimensional form something awful as well. So here's my second round of tonal charcoal drawings in relation to human figure. You'll have to forgive my abysmal camera work but you get the idea.   

      Concentrating purely on tone so I don't have to slag myself off for not measuring properly and mucking up my proportions. Well I keep having this problem that even though I am working tonally I don't push either the lights or darks enough to really sell the idea of the three dimensional. When I'm actually working on them I have the repeated feeling that I'm pushing these extremes too far but as you can see with the finished result it isn't the case. Gonna have to remember that the next time.