Anabel Saise : Experimental

Showing posts with label Experimental. Show all posts

13/12/2018

'A Boy and his Shadow' Minor || Matt Paintings and Environments

I have made a few notes based on my storyboards and animatic attempts so far, though some events may change, the environments have always been the same, even props I have already made are supposed to fit into this space. Therefore I have begun matt paintings, orthographs, some modelling in proportion to my character, lighting experiments... which will be covered in this post.

Orthographs and Environment building

After blocking out everything the scale changed a bit to accomodate the fact this is a stage where characters are going to need to move about. I haven't done many models or textures yet as I intend to make my pre vis using this, and it doesn't need to be too elaborate for that purpose. When the space transitions, I'm going to use this specific model as a reference.

The memory photo

This was a vital storytelling element, and also an opportunity to use the original art style of my drawings.

The computer screen and the drawings that fill up the walls will be done soon enough, I have already begun creating some basic computer startups with the title incorporated into them.

Matte Paintings

View from outside the bedroom window. I realised that it was supposed to be raining outside, so I decided not to use this one.

Skybox on the outside, perhaps it should have a more 'after the storm' sort of look to it, as it will look more dramatic.

One I re styled as a production art based on my storyboards.

12/10/2018

'A Boy and his Shadow' Minor || Some Production Art and Animated Experiments

via GIPHY

I was thinking about animating the characters of my animation to see how they might move in terms of their habits or in the case of the ghost, how to shift and change form. The timeline window in photoshop helped me realise some of these movements when I was animating my production art. If I were to pursue this exercise, the final animations could benefit from the study and look less mechanical.

08/05/2018

'A Boy and his Shadow' Premise 2018 || 3D Modeling the Boy Part 3: Hair and Head

SO instead of doing exactly what I said what I'll do in the last post, I decided to experiment with the eyes a bit, to see what it would look like in 3D

I tried doing a rudimentry pupil using an area light, but I worry that this looks a little too beady for an eye; still I'll attempt to do the rest of the model and if it doesn't look right I'll just remodel it with a more generic looking eye.

Started work on the hair; thinking about the texture of this dreadlock looking one on the centre. I would like most of my textures as realistic as possible, but it might be the case that I make the hair more flat and even just to keep it cartoony or non-specific. Maybe I'll give the arnold hair shader a try, just to see what the result could be.

This is a start, theres a big bald patch on the back, but right now I'm thinking more of how the hair bunches up before sprouting away into more 'dreadlocks' off the sides of the head.

To see the surface of the head more easily as I modeling the hair, I used a flesh tone.

The hair is fully blocked in now, but it is still in need of further treatment; the lack of smaller hairs by the ears and at the nape of the neck will need to be modeled in as to make it more natural looking. Also I've fixed the hood so it meets in the middle now, will add a zip later when I do all the little details.

04/05/2018

'A Boy and his Shadow' Premise 2018 || 3D Modeling the Boy

I have edited the proportions of the boy to make him look more like a preteen in this second version of my orthograph.

The model looks like its coming together ok, the next session should see some progress on the head and face, although the hair will require some extra thought to make it more convincing.

06/03/2018

Mudbox || Mask and Avocado Offerings Still Life

Experimental scene using a more complicated object, I think that a more interesting object like a mask helps to tell a story without words in combination with an environment like this one, with the green velvet being a factor of royalty.

via GIPHY

This was the second sculpt of the mask featured, with the first being a rough in order to better understand the topology of the initial drawings. Improvements included the separation of the mask portions, and the inclusion of internal faces.

via GIPHY

The mask is based off of an old design I drew in 2016, it belongs to a character that resembles a plague doctor. By reworking this design in Mudbox it helped to rework the proportions so it works in 3D space, hence further assisting in the creative process of character design for computer animation.

31/01/2018

Film Practise || Butch Cassidy and the Sundance Kid (1969) Fake Title Cards

Add caption

These title card are based around the palette of the desert and sunset, and I have also

kept the theme of western in there as well.

Note: I couldn't make the title card for Paul Newman as my computer does not have the same font used in the ones above. It would've been a light pink, with a silhouette of gold bars around the corner in the same fashion.

23/11/2017

Life Drawing || Silhouettes and Posing

Coloured pencils are useful for providing a mild study of figures, but it is difficult to produce anything feasibly good without simple hardship of labour, therefore it was important to apply artistic licenses where necessary in the sketches underneath. By sampling this in the early stages it helped to focus my mind on more important issues regarding style.

Neon Sharpies (scented) really helped these models pop, in study of silhouettes and the avoidance of parallels in the body, the final result highlights a need for identifiable characteristics in animation.

21/11/2017

Character Design Workshop || Environment and Setting

To create this scene, based on the phrase 'It's alive!', I utilized a low angle shot with a tilted camera. The idea behind this kind of framing is to indicate an uneasy atmosphere involving playing with a lot of power, in this case lightning.

By drawing in this fashion I learnt something about cameras in general; they are there to conjour a kind of presence within the story, and so therefore they should act in rhythm to the human eye, so when a camera tilts to either side, the head follows the eyes. If something is off the right hand side of the screen, the camera should tilt towards the subject.

It is also important not to mix up shots with each other, in my drawings, I had an extreme close up and a long shot in the same scene. It could result in a sort of sensory overload on part of the audience, so it is important to keep things focused on one thing at a time.

14/11/2017

Character Design Workshop || Props and Pirates

First exercises involved identifiable props that can be quickly associated with a character, so much so, that the object would look wrong in the hands of another character. Working from the image of Wreck It Ralph from the iconic movie Wreck It Ralph (2012), I developed several rudimentary, construction themed weapons that best suited his hillbilly like character.

The second exercise revolved around the idea of sidekicks in a pirate context, specifically those of the 17th century. I had the idea of fish pirates, marine life that has risen up from the depths to pillage the land. Although this idea was received, it was advisable to look more at the clothes pirates wore in order to make individuals more convincingly rugged.

09/10/2017

'Party on! Kaiju' || 10 Studies of Kaiju and Other Reptiles

In order to have an accurate representation of the reptilian characteristics present in most of the movie monsters, I drew pictures of some crocodiles and lizards in biro. this activity helped me understand the formation of scales around the animal and the feral characteristics such as the posture of the animal.

After this study, I felt it was also appropriate drawings to the subject, therefore I drew two Kaiju monsters called 'Biollante' (Godzilla vs. Biollante, 1989) and 'King Ghidorah' (Ghidorah, The three Headed Monster, 1964). Biollante is a rose bush fused with Godzilla DNA, and 'King Ghidorah' is a giant mutated dinosaur from the future. I found that it is not only design that makes the monsters look cool, but also the context in which they are presented.