This class has been a mixed arrangement of good and bad experiences. But overall, I loved it. I can't say I agreed with everything Anthony discussed, but I have to give him credit, he was honest with us, and he said it like it really was. No bullshit. And I thank him for that.
I got real feedback, and learned real things that are truly important in a professional setting, from a man who has years of experience, and is currently working at one of the top studios in the Industry. I am blessed to have had this opportunity.
Anthony really liked my final book. Although he started at the back….. by the third or fourth page he said, "You'll work." I must have blacked out after that, because I missed him later saying, "Who wouldn't hire you?"
Such a greta honor to hear someone of his experience and artistic eye, to acknowledge me like that. I couldn't believe it.
A great end to a great semester.
Showing posts with label Drawing for Film. Show all posts
Showing posts with label Drawing for Film. Show all posts
Thursday, May 22, 2014
Friday, May 2, 2014
WEEK 13 - Drawing for Film
I didn't have anything to show Anthony this week.
He talked a lot of Problem-Solving in your art.
There is no point in painting a pretty picture, if you haven't solved the problems that still lie beneath the surface. Don't create more problems for yourself.
DON'T BE LAZY!
Draw you characters from every angle. Introduce yourself to your characters. Get to know them!
Where is your drawing/painting going next? Who is doing what with it? Modeling? Lighting?
This changes what problems you have to have solved before calling it finished on your end.
You're supposed to create creative problems for the next link in the chain, but you have to have the problems that the previous ink gave you, all figured out first!
He talked a lot of Problem-Solving in your art.
There is no point in painting a pretty picture, if you haven't solved the problems that still lie beneath the surface. Don't create more problems for yourself.
DON'T BE LAZY!
Draw you characters from every angle. Introduce yourself to your characters. Get to know them!
Where is your drawing/painting going next? Who is doing what with it? Modeling? Lighting?
This changes what problems you have to have solved before calling it finished on your end.
You're supposed to create creative problems for the next link in the chain, but you have to have the problems that the previous ink gave you, all figured out first!
WEEK 11 - Drawing for Film
This week I worked on some shader packets for some Tuner props.
Anthony had great suggestions of just plusing things here and there. Adding story details and such.
Anthony had great suggestions of just plusing things here and there. Adding story details and such.
Friday, April 4, 2014
WEEK 9 - Drawing for Film
I didn't really have anything new to show for this week's class.
But Anthony gave a great tip about designing strong characters:
Think of starting with shapes that have nothing to do with that character. For example, start with numbers, or letters. What does a character look like if they're shaped like the number 5? Or the letter P? Or even shapes like household items. A character that has the same silhouette as a blender, perhaps?
We're taking a trip to Pixar next Tuesday!
But Anthony gave a great tip about designing strong characters:
Think of starting with shapes that have nothing to do with that character. For example, start with numbers, or letters. What does a character look like if they're shaped like the number 5? Or the letter P? Or even shapes like household items. A character that has the same silhouette as a blender, perhaps?
We're taking a trip to Pixar next Tuesday!
Monday, March 31, 2014
WEEK 8 - Drawing for Film
I've decided to switch over to my thesis work in this class, and shelve Bremen for a bit. I need to really focus my efforts on getting my thesis wrapped up. I was nervous but not panicky about showing Anthony my thesis. I was mostly concerned that he would drastically not like it, or have major changes he saw would make the project better. What I didn't really consider was what happened. He liked it! He thought there was some really good stuff going on in many of the pieces. As I anticipated, he noticed a vibe of Presto, and The Blue Umbrella in some of the paintings, but overall, he liked it.
The main thing he focused on were my characters. He liked Albert, but Lucy is just not working. She's not adorable yet. In his words, "She looks like a witch inside of a young girl's body." He's right, but that might have been a bit dramatic. So I need to work on her quite a bit. It would seem.
I still can't quite read Anthony yet, but I think he's liking me more. I was more vocal in class this week, and he pointed that out…. so, who knows!
The main thing he focused on were my characters. He liked Albert, but Lucy is just not working. She's not adorable yet. In his words, "She looks like a witch inside of a young girl's body." He's right, but that might have been a bit dramatic. So I need to work on her quite a bit. It would seem.
I still can't quite read Anthony yet, but I think he's liking me more. I was more vocal in class this week, and he pointed that out…. so, who knows!
Friday, March 14, 2014
WEEK 7 - Drawing for Film
I worked on character development this week.
Although I'm happy with where some of these characters landed, I'm not happy how I got there. It took me a really long time to figure out how to draw animal characters. I need a LOT more practice. For next week, I'm gonna work on refining these designs, and also do turnarounds for each of them.
Friday, March 7, 2014
WEEK 6 - Drawing for Film
When designing model packets, a good starting point (that they use at Pixar…..) is to build a VERY rough version of the environment/prop/character/whatever in MAYA, turn it around, possibly even light it (for scene especially), take screenshots for the turnaround, and then draw over those models. This way, you're worrying about the design rather than whether your perspective is correct, or if the thing is turning in space correctly.
It was great to hear that this is the general practice when doing model packets. For me, that is always the hardest thing to do, to have to worry about the design AND the perspective simultaneously. Each is hard on their own, but to do both, it REALLY hard. So this technique helps a lot. I'll be using it in the next couple assignments.
If you steal from 3 or more sources….. it's yours.
1 source = copying
2 sources = borderline
3 sources = new design!
Anthony like my model packets for the windmill and cottage designs. He thought the tree idea/design was nice but needed to be moved to the back of the house, so that the robbers could still be hidden from the rest of the world, but also have a nice lookout. Great story note.
For next week, I'll be focusing on character development.
It was great to hear that this is the general practice when doing model packets. For me, that is always the hardest thing to do, to have to worry about the design AND the perspective simultaneously. Each is hard on their own, but to do both, it REALLY hard. So this technique helps a lot. I'll be using it in the next couple assignments.
If you steal from 3 or more sources….. it's yours.
1 source = copying
2 sources = borderline
3 sources = new design!
Anthony like my model packets for the windmill and cottage designs. He thought the tree idea/design was nice but needed to be moved to the back of the house, so that the robbers could still be hidden from the rest of the world, but also have a nice lookout. Great story note.
For next week, I'll be focusing on character development.
Monday, March 3, 2014
WEEK 5 - Drawing for Film
I worked on CHUNKIFY-ING my building designs. Not sure if I nailed it or not.
For next week, I have to do a turnaround and model packet for the selections, and work on some character development for the animals.
This class is tougher to manage, with my thesis that is, than I originally thought it would be.
For next week, I have to do a turnaround and model packet for the selections, and work on some character development for the animals.
This class is tougher to manage, with my thesis that is, than I originally thought it would be.
WEEK 4 - Drawing for Film
Anthony talked a bit about working for an Art Director.
We should always strive to catch the SPRIT of the notes, but not actually follow the notes to the last detail. We should make the idea look as good as possible, and then add our own bit to the process, at the end.
Turnarounds:
The front and back view silhouettes should be identical.
Design the body, not the clothing. Think about the characters in shape. No hair, no clothing…. just shape. Put the clothing and the hair on in the final drawing…. but really spend your time in working out the initial shape first.
No perspective, in turnarounds. Flat, flat, flat!
Always do a default pose. Equalize every variable to create uniform design shapes.
I turned in some cottage, windmill, and cabin ideas. Overall, Anthony seemed underwhelmed by them. They were all kind of a wash, mostly because they were far too realistic in style, for a film about a band of talking, singing, instrument-playing animals.
So I need to work on, what he called, CHUNKIFY-ING! Basically, making everything exaggerated in shapes/silhouette, and infusing personality and character into everything I do.
We should always strive to catch the SPRIT of the notes, but not actually follow the notes to the last detail. We should make the idea look as good as possible, and then add our own bit to the process, at the end.
Turnarounds:
The front and back view silhouettes should be identical.
Design the body, not the clothing. Think about the characters in shape. No hair, no clothing…. just shape. Put the clothing and the hair on in the final drawing…. but really spend your time in working out the initial shape first.
No perspective, in turnarounds. Flat, flat, flat!
Always do a default pose. Equalize every variable to create uniform design shapes.
I turned in some cottage, windmill, and cabin ideas. Overall, Anthony seemed underwhelmed by them. They were all kind of a wash, mostly because they were far too realistic in style, for a film about a band of talking, singing, instrument-playing animals.
So I need to work on, what he called, CHUNKIFY-ING! Basically, making everything exaggerated in shapes/silhouette, and infusing personality and character into everything I do.
Sunday, February 16, 2014
WEEK 3 - Drawing for Film
Quite honestly, I wasn't able to complete very much at all for this week. But while I didn't turn anything physically in….. I certainly did some thinking about the story and the assignment, in terms of what direction I want to take it in.
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The Musicians of Bremen
The story is set in the countryside of 1940s Germany. Donkey, our main character, is a working animal on a windmill farm. But when the main windmill is broken beyond repair, he leaves his quaint farm to follow his dream…. being a professional one-mule band. So he sets off for Bremen, where stars are born (apparently).
Along his way he meets Dog and Cat, a young musical, husband-and-wife duo. Dog plays the upright bass, and Cat plays the concertina. Even though Donkey isn't looking for more members in his one-mule band, he figures the company might be nice, since the duo is already heading for Bremen anyway. And off they go down the road, where they meet Rooster. Although Rooster has a horrible singing voice, he can peck a mean glockenspiel. And so, down the road they go.
When night falls, it begins to rain, so they decide to sleep under a old oak tree for cover. Donkey and Dog attempt to build a fire, but the twigs they've gathered are much too damp. Rooster flies his way up into the oak tree and from his perch, he sees an old cottage in the distance. Smoke rises form the chimney. They gang decides it might be better to see if they can spend the night in the warm house, rather than freeze in the forest. Plus, there are hungry wolves in the forest, and no one particularly wants to get eaten tonight.
They make their way to the cottage, but when they look inside they see a band of robbers drinking and playing games in celebration of their recent heist. Mounds of gold in burlap bags are strewn around the room. The band of animals sees this and decide they would like to perform for the robbers. To help them with their celebration. So they set up outside, and start to play. Unfortunately, they haven't had much time to practice (at all), so they sound awful. The robbers mistake the blaring for the cops, get spooked, and stumble out the back door and drive away in their getaway car. The animal sees this (poking around the corner in stacked fashion), and decided to wait inside for the robbers to return from their errand.
The robber return to find a bunch of animals sleeping in their cabin, and send the brute to go take care of them. The brute enters the dark house and can't see anything. He decides to light a lamp, and in doing so, steps directly on Cat's tail. Cat leaps up and scratches the brute's face, causing him to fire his pistol, which wakes up Dog, who bites the brute's leg, which makes the brute yell in pain, which wakes up Donkey, who kicks the brute in gut, sending him flying through the window, which causes Rooster to let out a guttural scream, which scares the living daylights out of the brute and sends him running into the hills.
The animal band is altogether confused by what has happened, but are awake nonetheless. They decide to jam for bit. Afterwards, they decide to watch over the house and money until the robbers return. And they lived happily ever after.
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For this week, I'm going to be working on character development for the animals. Maybe basic silhouettes for the three robbers. I'm also going to explore the robbers' cabin. Doing an isometric view of the room layout. And finally, work on the story beats a bit more to include the new character designs.
-------------------------------------------------------------
The Musicians of Bremen
The story is set in the countryside of 1940s Germany. Donkey, our main character, is a working animal on a windmill farm. But when the main windmill is broken beyond repair, he leaves his quaint farm to follow his dream…. being a professional one-mule band. So he sets off for Bremen, where stars are born (apparently).
Along his way he meets Dog and Cat, a young musical, husband-and-wife duo. Dog plays the upright bass, and Cat plays the concertina. Even though Donkey isn't looking for more members in his one-mule band, he figures the company might be nice, since the duo is already heading for Bremen anyway. And off they go down the road, where they meet Rooster. Although Rooster has a horrible singing voice, he can peck a mean glockenspiel. And so, down the road they go.
When night falls, it begins to rain, so they decide to sleep under a old oak tree for cover. Donkey and Dog attempt to build a fire, but the twigs they've gathered are much too damp. Rooster flies his way up into the oak tree and from his perch, he sees an old cottage in the distance. Smoke rises form the chimney. They gang decides it might be better to see if they can spend the night in the warm house, rather than freeze in the forest. Plus, there are hungry wolves in the forest, and no one particularly wants to get eaten tonight.
They make their way to the cottage, but when they look inside they see a band of robbers drinking and playing games in celebration of their recent heist. Mounds of gold in burlap bags are strewn around the room. The band of animals sees this and decide they would like to perform for the robbers. To help them with their celebration. So they set up outside, and start to play. Unfortunately, they haven't had much time to practice (at all), so they sound awful. The robbers mistake the blaring for the cops, get spooked, and stumble out the back door and drive away in their getaway car. The animal sees this (poking around the corner in stacked fashion), and decided to wait inside for the robbers to return from their errand.
The robber return to find a bunch of animals sleeping in their cabin, and send the brute to go take care of them. The brute enters the dark house and can't see anything. He decides to light a lamp, and in doing so, steps directly on Cat's tail. Cat leaps up and scratches the brute's face, causing him to fire his pistol, which wakes up Dog, who bites the brute's leg, which makes the brute yell in pain, which wakes up Donkey, who kicks the brute in gut, sending him flying through the window, which causes Rooster to let out a guttural scream, which scares the living daylights out of the brute and sends him running into the hills.
The animal band is altogether confused by what has happened, but are awake nonetheless. They decide to jam for bit. Afterwards, they decide to watch over the house and money until the robbers return. And they lived happily ever after.
-------------------------------------------------------------
For this week, I'm going to be working on character development for the animals. Maybe basic silhouettes for the three robbers. I'm also going to explore the robbers' cabin. Doing an isometric view of the room layout. And finally, work on the story beats a bit more to include the new character designs.
Friday, February 7, 2014
WEEK 2 - Drawing for Film
We turned in our rough value beats for our stories, this week.
Up until the night before, I had decided to work on a story called The Wreck of the Zephyr….. which was a charming little starry about flying sailboats. But it never really felt like it would take off (ha!).
And then I met with Sherrie on Wednesday, and she pointe it out…. the story doesn't necessarily have a natural marketability. It's a tough sell for mass appeal. Which is something that I need to always be thinking about; Both, in general, but especially for my portfolio. I need to prove to studios that I have the ability to create art for mass appeal stories, and create characters that appeal to all generations, and will therefore, inevitably, make those studios very happy financially.
With this is mind, I went home and decided to throw away everything I had worked on for the last couple days and start over. This was at 11PM, the night before the assignment was due. And it felt great. It felt right.
I decided to work on a German folktale called The Musicians of Bremen. Sherrie actually mentioned it, and it sparked my interest. I think it'll a fun little project, that I have a feeling will get very big fast. Ugh.
In class, Anthony liked the idea. Which was incredibly rewarding. A very gifted Art Director responded positively to my work. What?! He obviously had thoughts. And the fact that the print was unforgivably dark, did not help in reading the panels. But overall he felt it was a good start.
This week I'll be focusing on designing the characters a bit more, creating an isometric drawing of the robber's house, and rethinking some of the boards with this new research and development.
Up until the night before, I had decided to work on a story called The Wreck of the Zephyr….. which was a charming little starry about flying sailboats. But it never really felt like it would take off (ha!).
And then I met with Sherrie on Wednesday, and she pointe it out…. the story doesn't necessarily have a natural marketability. It's a tough sell for mass appeal. Which is something that I need to always be thinking about; Both, in general, but especially for my portfolio. I need to prove to studios that I have the ability to create art for mass appeal stories, and create characters that appeal to all generations, and will therefore, inevitably, make those studios very happy financially.
With this is mind, I went home and decided to throw away everything I had worked on for the last couple days and start over. This was at 11PM, the night before the assignment was due. And it felt great. It felt right.
I decided to work on a German folktale called The Musicians of Bremen. Sherrie actually mentioned it, and it sparked my interest. I think it'll a fun little project, that I have a feeling will get very big fast. Ugh.
In class, Anthony liked the idea. Which was incredibly rewarding. A very gifted Art Director responded positively to my work. What?! He obviously had thoughts. And the fact that the print was unforgivably dark, did not help in reading the panels. But overall he felt it was a good start.
This week I'll be focusing on designing the characters a bit more, creating an isometric drawing of the robber's house, and rethinking some of the boards with this new research and development.
Tuesday, February 4, 2014
WEEK 1 - Drawing for Film
This class is going to test me, for sure. Being able to work with Anthony Christov, an current Art Director at Pixar, is an amazing opportunity, and entirely daunting. He seems like very relaxed, great-spirited guy…. but there is still a lot of pressure. Hopefully that will relax as we start working on assignments.
For the entire semester we'll be working on a short story of our choosing: Creating visual development for the story, developing characters, color script, thumbnails of the story beats, etc.
I'm excited, but also very much feeling overwhelmed at the thought of it.
For the entire semester we'll be working on a short story of our choosing: Creating visual development for the story, developing characters, color script, thumbnails of the story beats, etc.
I'm excited, but also very much feeling overwhelmed at the thought of it.
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