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Daniel Ortega
#1 Posted : Tuesday, April 05, 2011 8:23:27 PM(UTC)
Rank: FP Student

Groups: Online Classes
Joined: 4/1/2011(UTC)
Posts: 54
Location: Mexico

Ok, took my sweet long time to start posting my work... I must admit, I had some fears, since I saw already the work of some and I got intimidated. Plus, I never ever worked like this in my life.

But I finally got past the fear part and started clocking myself. Here is my first piece, took me 24 minutes start to finish once I had the correct pose. And YES, am a sick puppy and I will go to hell.

 

  specialized love

As you will note on figure 3, I got the idea for the pose, but I was not convinced with the "stuffiness" of the suit, so I did a quick sketch, and made some adaptations based on it. After that, everything went easier. light source on figure 4, and then the final result of my filthy imagination. I promise the rest of my works for this assignment will not be like this. I hope.
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BenLo
#2 Posted : Tuesday, April 05, 2011 8:37:21 PM(UTC)
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Location: Quincy, MA

oh god, oh my god, hahahaha, i am speechless!
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Daniel Ortega
#3 Posted : Wednesday, April 06, 2011 7:06:34 PM(UTC)
Rank: FP Student

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Joined: 4/1/2011(UTC)
Posts: 54
Location: Mexico

Ehmm Thanks for the compliment Ben? hehehe.

 

Anyway, I have to pick up my pace. It's wednesday here already and I still have lots to do.

 

Here are the ones I had a chance to do today, I expect to place at least 6 more later tonight.

 

So... critiques? Anyone? Just easy on the cigar burns, please.

first batch of sil's

As you can see, I work more with creatures than humans. Still, I will do my best to portray whatever comes out of my head. For the moment I don't think I will produce anything more in the vein of the Brothel Furry, so don't worry =)
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Horia Dociu
#4 Posted : Wednesday, April 06, 2011 10:04:18 PM(UTC)
Rank: FP Instructor

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Joined: 2/9/2011(UTC)
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Location: Redmond Wa

A) Reference

B) FOCUS. what are you drawing? What are you TRYING to draw? Stop and think before you rush in, gather some reference, and make smart moves. Drawing without focus and planning is like yelling and calling it singing practice.

 

Check out this great book!!

http://www.amazon.com/Hu...id=1302154311&sr=8-4

...and dont forget that google is your friend. you can find any poses/bodytypes/gear/reference on there. Good luck!
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Daniel Ortega
#5 Posted : Wednesday, April 06, 2011 10:43:27 PM(UTC)
Rank: FP Student

Groups: Online Classes
Joined: 4/1/2011(UTC)
Posts: 54
Location: Mexico
Understood. I should have started by taking a less disperse approach. I guess I always had in mind the final product; that doesn't mean that everyone else HAS TO KNOW where I am going.

I hope the first batch after my failed furry attempt, reflects a bit more of understanding of this silhouette exercise. I went at each figure a lot less concentrated at a final result, and more focused on conveying a quick idea. Still, as I said, this is my very first time trying this technique, so if I messed again, please, please, Tell me so!

And for the human shape, I will keep practicing it. almost 7 years away from doing anything close to resemble humans takes it toll. I hope to have grasped better in the next classes!

Thank you, Horia.
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Horia Dociu
#6 Posted : Wednesday, April 06, 2011 11:01:07 PM(UTC)
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I'd say pick one you like and go for that, and lets see you try the rendering we talked about. The reference comment was toward the first post, the second one needed it bad too, but also it was unfocused. the silhouettes are meant to help you explore visually variations in a design. If you draw a cartoon monkey in a business suit, then a cowboy doing his homework, you're wasting time. You can just think of random stuff, or list it out, no use wasting time drawing it. Drawing is for when you've cornered a goal (a monkey or a cowboy) whatever you want, and you know it purpose (concept, illo etc) and then you sketch and play with shapes so you can enjoy the critic inside of you to help create. Does that make sense? like once you put something down and play with shapes, its not just the creator Daniel, but the editor Daniel working on the piece too. But if its random as crap, you're just doodling for fun, you're not working on exploring for the sake of a focused design. Keep going, lets see you pick one and get into messing w/ the ideas then rendering.

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Daniel Ortega
#7 Posted : Wednesday, April 06, 2011 11:21:46 PM(UTC)
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Joined: 4/1/2011(UTC)
Posts: 54
Location: Mexico
Ooh. Got it. I was doing a number of figures, but I'll stop at these and start working on visual variations for just one as you told me. I like the cowboy and the elder crab, I guess I'll go with either of those or maybe a creature that was in the planning. Whichever figure I choose, I'll play with variations in weight, shape, muscular mass, etc.

Thanks again!
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Daniel Ortega
#8 Posted : Thursday, April 07, 2011 1:02:16 AM(UTC)
Rank: FP Student

Groups: Online Classes
Joined: 4/1/2011(UTC)
Posts: 54
Location: Mexico

Oh wow, its almost 4am here. Nevermind, I THINK I finally got it through my thick skull, and narrowed it down to the Elder Crab, and started working on variations of it. I went with five this time, trying to think what a crab clan would perceive as the distinctive characteristics of an elder for them. (please don't mind the typos, I am a bit tired now).

I went with 3 main characteristics, besides age (which, granted, would be difficult to perceive for an animal with its skeleton on the outside): weight, shell size, pincer size.

 

Weight would mean a prosperous individual, who is beyond survival now and therefore can use only his cunning to stay ahead.

Shell size is a symbol of status and territory: the bigger the house, the more important the individual. Since an oversized shell becomes impossible to carry, it means that it has stablished at that place and is stable and beyond petty squanders.

A huge pincer would be the closest resemblance to age for many crab species; a big pincer means a strong individual, who has survived many battles without losing it and growing it again. by making it huge, it represents the individual has grown past a certain age where it is no longer seeked for battle but for its wisdom.

 

In the end, I added adorning characteristics like the runes to give the crabs an air of mysticism and to reinforce the idea of ages wisdom, and a scepter to make the idea of commandeering more clear.

 

Now all is left is to chose one of these for the next steps! Anyone, any ideas? Horia? Did I did right this time? =)
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Daniel Ortega
#9 Posted : Monday, April 11, 2011 12:34:20 AM(UTC)
Rank: FP Student

Groups: Online Classes
Joined: 4/1/2011(UTC)
Posts: 54
Location: Mexico

Woo. This was a long week. It took forever to add color to the image I selected; I was never satisfied with how it was placed, until I decided to go crazy with the color and don't mind too much a blotch here and there (my work always demanded for clear, defined lines).

So here it is, Elder Crab #1 -picked from the rest just because I wanted to explore it first:

As Horia said, happy accidents happened. I am more satisfied with how this is going now. Still!! I NEED CRITIQUES! Comment please =)

 

 
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CheeWong
#10 Posted : Monday, April 11, 2011 12:54:29 AM(UTC)
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Location: London
Hey Daniel,

I dig the work going into the designs.

Going forwards, perhaps some additional explorations for

1/ Design - how the shell represents a abode. So it could have a pot/pan hidden within. How objects are strapped/attached to the shell. How it might look defensively if the lil critter pops inside could be looked into. Would the opening be just a oval, or have a hidden reinforced door. Would the opening be narrorwer perhaps. For the Japanese vibes to be explored further - perhaps look at elements of Shinto ritualism, some moss (Odaigahara has some good natural scenery refs), barnacles and secondary inhabitants attached (as minions/symbionts?)

2/ Rendering - It probably helps if exploration of the underlying structure eg. How the main torso of the shrimp/char looks, articulation and form. Once these are rendered into a solid form (with 1 main light sourcer perhaps), this will help with "read" if one were to squint at a distance. Only then a mixture of texture and colour overlays will help sell this process (using the FuturePoly) approach to rapid creature/character iteration. In this regard, dont using pure black or pure white, for it to work well!

Hope that helps somewhat
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Daniel Ortega
#11 Posted : Monday, April 11, 2011 9:28:32 AM(UTC)
Rank: FP Student

Groups: Online Classes
Joined: 4/1/2011(UTC)
Posts: 54
Location: Mexico
Hey Chee, thanks for the critique!!

I like the abode idea. Originally it was not meant to be anything else but the crab's shell, and maybe hint at a throne of sorts, but as you mention, since there is a Japanese vibe imbued in the design, why not make it sort of a Shinto shrine? Then the elder acquires a higher meaning and becomes not only the wise, but also the keeper of the crab clan traditions and rituals(whatever they might be for them). On the same vein, I doubt this old crab has any means of defense in its shell; it has become a more peaceful creature with time, more attuned to Shinto/Buddhist precepts. That doesn't mean that the clan will not try their best to protect it, though! I will add a couple of clan guards to reinforce that idea (maybe throw in a human for height comparison).

About the attached objects, you brought into light once again a problem Horia detected: I know how certain things work -its my idea after all-, but that doesn't mean everyone else has to know about them! Too many years flying solo, I guess. I imagine everything either stuck in place, or tied by ropes, which, again, I didn't even hint at!! Maybe show some cracks where the flags stand, and place a couple of chains/ropes here and there?

Love the suggestion for the moss and barnacles, will detail those today.

Am at a loss on how to improve the torso look, though. Hermit crabs are after all very weak and simple designed on their torsos; hence the need for a "borrowed" shell.
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CheeWong
#12 Posted : Monday, April 11, 2011 10:54:08 AM(UTC)
Rank: FP Student

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Joined: 3/30/2011(UTC)
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Location: London
Try some crude construction lines and deconstruct Le hermit crab.

eg. Ovoid head, two or three part ovoid torso? is there a central slit analogous to a sternum, how would the appendages articulate - through a basic set of 3-4 muscles (analogous to the quadriceps in the thigh). Or perhaps go the whole hog and look into hermit crab physiology and how the exoskeleton works :)

here is the homework that may help

http://books.google.co.u...nepage&q&f=false
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Daniel Ortega
#13 Posted : Tuesday, April 12, 2011 11:27:55 PM(UTC)
Rank: FP Student

Groups: Online Classes
Joined: 4/1/2011(UTC)
Posts: 54
Location: Mexico

This time I had a bit of time to explore the week's assignment, and went at it trying not to force the lines to converge into something since the beggining. I let the little strokes here and there dictate the final form, and boy was it hard. Nevertheless, I think a couple of them came out as something interesting:

 

I also tried not to go into detail and sketch from a distance; particularly I like #3, 4, and 6.

Later I will try to develop one of these into a larger image and with better detail.
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Daniel Ortega
#14 Posted : Thursday, April 21, 2011 1:50:42 AM(UTC)
Rank: FP Student

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Posts: 54
Location: Mexico

Still behind schedule, but I managed to finish for week 2 assignment... This was HORRIBLE. Years and years doing nothing but simple cartoons for newspapers took his toll, and left me a blabbering idiot with a veeery slight idea about perspective. Or many things, for that matter. Nevertheless! I finally took a dive and managed to put this together... Its a more refined image from my #6 thumbnail. The main idea was to try to imagine a japanese influenced home, placed in  a swamp land... gave it some functionality, and some estetic.

 

So... critiques! Tear it apart people!Swamp Asian House
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Sandra
#15 Posted : Saturday, April 30, 2011 8:47:36 PM(UTC)
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Location: Australia

l really like the direction of this house, my eye keeps going over the curve of the roof and l am happy :D
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Daniel Ortega
#16 Posted : Saturday, April 30, 2011 11:09:20 PM(UTC)
Rank: FP Student

Groups: Online Classes
Joined: 4/1/2011(UTC)
Posts: 54
Location: Mexico
Thank you Sandra, I will continue later with that if I even want to catch with the other guys... checked your thread, you have some very interesting stuff too :D
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CheeWong
#17 Posted : Sunday, May 01, 2011 12:50:28 AM(UTC)
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Location: London
Heya Daniel,

Here are some thoughts that may help boost the design to the next level.
Disclaimer: these aspects of design are purely my own opinion, maybe some of it will resonate.

The house designs have a great potential as a starting base.
The key to capitalise on these is to iterate a bit more once you have a master design.

You design can be broken down into a larger curved roof , paired with a dome like adobe.
Functionally, the larger could be a pub/living quarters/main reception whilst the side housing - for storage/smoke room/cooking room etc.
With this additional side notes, you can tweak and tweak further to add "supporting design elements" that help gel the overall design - which represent the"main cast".

(kind of like the way you have a Tree: A branch, A set of twigs, main roots, main body, ground. To make it a believable living entity, there might be moss, lichen, supporting roots, the way the tree branches branch every 1/3rd, the height and growth of certain branches which leave a goodly underpart of a tree without growth, and finally the detritus and bracken of dead things below.)

ITERATIVE PROCESS

For a example - in a normal studio environment, it is normal to produce 20-30 fast loose iterations.
This is so, one can explore enough depth and range of designs to provide a broad spectrum to choose from.

Once this initial phase is done, the client/AD will choose a few elements for a second round of iteration.
Small tweaks, and a technology/cohesion test is carried out - i.e does this bunch of building styles fit into the universe of the style to be established/established.

Next, surface material and textural quality is explored.

Even further, a bunch of supporting elements are factored into make it believable.

Lastly, a set of supporting views are provided for the modeller/texturer which may be produced inhouse or outsourced. Small close ups of surface materials, annotations and scale reference are provided to ensure that the main key notes of the assets are adhered to. Otherwise, the deviations may be interpreted differently (and in the case of outsourcing to easter europe, or far east there is often no room for interpretation)
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Daniel Ortega
#18 Posted : Sunday, May 01, 2011 1:13:09 AM(UTC)
Rank: FP Student

Groups: Online Classes
Joined: 4/1/2011(UTC)
Posts: 54
Location: Mexico

Oh man, if you could only see me, I was almost clapping like a trained sea lion when you described the functionality of the house... for the first time in a long time my piece is readable at first glance. all is not lost...

You caught me precisely at the next step, I was precisely planning all the little details as you said: the moss, water damage, etc.

I am doing some insight right now and I see that I lack the confidence in my brushes. That said, I just saw your comment about going at it with only two brushes... which is perfect for me because I hate to change brushes much. So I guess that my next step, more than working with the color, the details, etc. is working with my confidence and put my efforts into sticking with a couple favorite strokes, and see how it goes from there.

My mantra HAS to be "Dont be afraid of failing. Embrace your errors so you can learn from them. Make as many mistakes as you can, while you can".
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CheeWong
#19 Posted : Sunday, May 01, 2011 4:52:00 AM(UTC)
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Hi Daniel,

I'll pace you if you like. Currently, am returning to the week 2-3 design aspect of architecture and post the process of how architecture is iterated upon.

One thing to keep in mind is a slight distinction between design and illustration/rendering.
Good design can lead to a believable illustration, but often a believable illustration can hide a bad design (or have no design but just looks pretty).

Taking that next step as a artist, requires a mixture of both. Question is, where do you want to stick all your accumulate skillpoints into for the next 3 months?
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Daniel Ortega
#20 Posted : Sunday, May 01, 2011 10:39:31 AM(UTC)
Rank: FP Student

Groups: Online Classes
Joined: 4/1/2011(UTC)
Posts: 54
Location: Mexico
Thank you for the offering Doctor :)

This weekend am using the little free time I might have to work on things, but the process you posted on your thread was a great inspiration.

I'll start advancing this further and see what you thing of it later :)
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