Thursday, November 20, 2014
Ginger Dall Assignment 11
So I probably pushed my concept of an explorer more than necessary. My character is a very quiet/shy girl, but with an adventurous mind. She escapes to the woods to read, and imagines herself dancing and playing in the sunlight, fulfilling her own dreams. Who said the hero had to be bold and brave?
Rebeca Alvarez- Assignment #11
Tangaroa- Maori God of the Sea/Underworld discovering a statue dedicated to him
Stacey Sleight - Character/Environments
(In this episode, Stacey realizes the true meaning of Christmas and that she doesn't know how to use Photoshop.)
Environment (unfinished)-Melissa Vance
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| Disclaimer: I have never used photoshop before. I am still working on this. |
Tuesday, November 18, 2014
Preserving the Energy of a sketch
“what holds the imagination back more than anything else is sloppy seeing. We must see first, then we may safely imagine more; vagueness and blurred seeing are not the same as inspired transformation of reality. - Robert Fawcett
“It is ironic that the adversary has so much influence over some who view themselves as creative. President Brigham Young once said that the adversary never had an idea of his own. Lucifer perverts, not creates. he distorts doctrines. If we want proximity to creativity and individuality in our lives, lucifer can tell us nothing of such things. - Neal A. Maxwell
"Creativity comes from the spiritual realm, The brain is a receiver, not a source."
Walter Stanchfield - capturing energy:
"Let's for a time put away the pens and bring out the soft pencils. For a couple of sessions let's throw caution to the winds and have a graphite orgy. Forget (for now) the subtleties we have been striving for and go for bold. Try still to capture the gesture, but in the most flamboyant manner. Be extravagant, be bold, be loose, be adventurous, even careless. Try to make the most powerful statement you have ever made, with no thought of right or wrong, good or bad."
Be Bold! - make a statement, and then DON'T LOSE IT!
There is great power in a gesture, loosely scribbling till you find the emotion you are looking forward to. there is an energy, honesty and spontaneity there. eventually however, you will have to tighten up that drawing. How do you tighten a drawing w/out loosing that freshness?
Glen Kean ties down a drawing.– what to do after you scribble and get your gesture-http://www.youtube.com/watch?v=JA7Naf0RF4M&feature=related
Johannes Helgeson: from gesture to finish - http://photoshop-beginner-tutorials.com/johannes-helgeson-character-design-aladdin/
Here are some awesome roughs from Tarzan: found here http://animationart.tumblr.com/tagged/tarzan
Color- in character design
Just some notes:
Color Language - we are trained from a young age to associate colors with different sensations or knowledge (tactile, emotional etc.). for example blue is sad, red is angry or in love, yellow is happy, green is growing, black is bad or tough, white is good or robotic or sterile etc. Also that when red and blue are together that can mean hot and cold, good and bad, different teams etc.
CONTEXT: A single color can have various meanings depending on it's context. Red for example.
Red = heat, blood, courage, patriotic, off, scary, medical, danger, healthy, tasty etc.
different cultures may interpret some colors differently - for example people in the U.S. associate the red white and blue to patriotism, courage, heros etc (just look at our superheros!) where'as another country may use different colors to emblemize patriotism.
Color is often not noticed by the audience, but it affect's the viewer's perception of a character. Think about how easy it is to identify a hero vs. a bad guy vs. as sidekick? recognize someone's minions, innocent villagers, royalty etc.
ICONIC COLORS - Less is more - use a small selection of iconic colors to make your character distinctive.
MAIN CHARACTERS/PROTAGONIST
Primary Colors - plus green
these are your classic color combos. - they are the dominant colors in any color scheme and are thus often attributed to the main character.
SECONDARY CHARACTERS
Tertiary colors - are secondary to Primary colors - they are less dominant and often are used in secondary characters.
VILLIANS
opposite or contrasting colors. note how often the villian is the opposite color of the Hero. (ex Red vs. Green: peterpan and captain hook, Pacha and Kuzko, Thor and Loki, Robin Hood and Prince John etc.)
Discussion - why is oddly colored skin so often used for villains?
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or by COMPETING COLORS such as Red and Pink. two colors that don't go well together, that fight each other and can give a sense of discomfort. This is more subtle and takes other elements to make it work (note hair color and type as well)
OR BY COLOR ASSOCIATION - Yellow isn't a typical "bad guy" color, but in this film, yellow is a danger color. Sabor the cat is yellow. once Sabor is defeated, a new villain is introduced. The first time the viewer sees Clayton, he is speckled with leaf shadows - like sabors spots. also note his neck tie which is the same color and shape as Sabor's tongue.
COLORS INDICATE HIERARCHY - either in a class system, good/bad, personal development
MINIONS
Associated colors - we are trained to associate groups of colors with teams. it is thus easy to recognize in a line-up who belongs with whom - or in the case of the antagonist and protagonist, who is the opposite of whom.
TEAMS
SATURATED = STYLIZED
DESATURATED = REALISM
however stylized (realistic vs. exaggerated or cartoony) your design, you can strongly tip or influence it closer towards realism or stylization by the color saturation you choose to use. Bright pure colors are more cartoony and remind us of crayons, toys and candy, while desaturated colors, browns, grey and neutrals will seem more grungy and realistic.
EARTH COLORS - drab, calm, peaceful, predictable
some color wheels (Complementary, split, Triadic, tetradic color schemes) -
Some articles:
Colors in Game Design - by Anjin Anhut
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