More Character Design

 

After the feedback from the presentation I wanted to quickly nail down these character designs before I started modelling again. Its very important to have references for when you’re modelling and if you get the opportunity to design concepts that you had in mind, that are more imaginative and more faithful to your original vision, all the better. I had a certain idea of how I wanted the characters to look so I tried my best to digitally preserve my ideas as accurately as possible. I’m almost always happy with the final outcome of my drawings but it always takes me longer than I would like it too, sometimes I get embarrassed about how long I could spend on a certain drawing so I tried to preserve the fundamentals of the character design as well as I could in as few drawings as I could, I didn’t wanna spend weeks drawing and I had other stuff to be getting on with. I had an animatic to finish and some clothes design to continue on with. I was happy with how they turned out and I think they will be a good guide when modelling. I can still use photographs as reference images as well, but I can use these as a reminder of how I want the facial feature proportions and measurements to be.

 

Character Modelling

Background Character

Its been almost a year since I’ve sculpted on Zbrush, so I wanted to start off with modelling the background character so there was less pressure to have a perfect model right off the bat. This character will feature predominantly in the background of the animation so I didn’t have to worry too much about detailed facial features or a great deal of muscular details. I had to focus primarily on the form and making sure it was accurate because although you won’t see the details of the facial features, you’ll clearly be able to see the design, the style and the silhouette of the figure. The anatomical incorrectness can be off putting so it was important for everything else to be accurate.

I wanted to go for something a little more interesting. Instead of the characters being similar in size and shape, I wanted a bit of diversity. That being said, the larger form may come to be more of a nuisance. I considered the idea of using a thinner, longer and more emaciated looking characters in the background to give more of an efficacy and influence to the stockier and larger, more muscular, main antagonist. It means I can just duplicate the model and change the clothing a little. I believe 2 thinner background characters will look less distracting than 2 obese characters. Its a late consideration but I think I’ll halt any further progress on the model until I consider it further during feedback with the tutors.

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I try to keep my process as organic as possible. I like the keep a similar process to natural clay sculpting and replicate those similar methods of building upon the model and the form. I create a basic sphere and use the movement tool to manipulate and shape the sphere into the form of the torso and additionally using the same method for both of the limbs and then I duplicate, mirror & weld. Dynamesh is a great tool and I use it to get the very basic shapes down first but I like to use ZRemesher to really distill the shape of the body down to its quintessence and basic structure. Once I have that down I can add details and extra necessary extremities. I also like to separate the limbs into separate polygroups, it helps with the ZRemeshing and when I model clothes on top of the character its easier to take away any unnecessary parts of the model beneath to reduce the size of the file.

Main Antagonist

With the main antagonist I was going with a rather stylised form, accentuating the features; the big shoulders and big chest, the large hands, etc. I just needed to get the right shape and form down because the clothes will be covering him and I don’t need to worry much about the muscular anatomy.

I just used the lasso select to out line the form of the clothing and then I extruded and separated it as a separate subtool. I used the standard and the clay build up to add in some wrinkles, using different techniques. I actually quite like how the jacket sits and think it looks quite natural. I might however consider using marvellous designer and see how that looks. I’m hoping to get feedback on the models next time I have a tutorial.

 

Colour Research

Paper Girls

Paper girls is a time travel adventure steeped in nostalgia. I like the diverse kaleidoscopic range of pastel colours the comic uses. I understand completely that this veers considerably from the nature of my animation but the techniques that Matt Wilson uses can be translated to my animation. His consideration of his use of colours and how he quite beautifully imbues one or 2 colours in the entire image or page. Its an interesting technique and one that I want to incorporate into my animation.

I like how the pages of the comic use a restricted colour palette. There isn’t an excessive amount of colours and the careful consideration of what colour is being used can emphasise the scene, the mood and the emotion, what have you. It conjures a mood, the colours invoke an implicit interpretation or explanation of the scene and this is a powerful use of colour. As seen in the image below as well, the skies are a big part of the scene and if you refer back to my storyboards you can see that the skies are a big part of mine as well. Its a large part of negative space that you can fill up with stimulating colours that if considered conscientiously, can denote a lot of implicitness. The right evocation of emotion in my case can contribute to a more lugubrious and heavyhearted scene.

 

Alan Moore

Because of the bitter and sorrowful characterisation of my animation I wanted to look at a novel with a more depressive and ill-fated overtones. Although Moore indulges in more of a horror motif, I thought that although Moores is fictionalised horror my narrative doesn’t wander far at all from non-fictional horror. I thought that looking into the colours and lighting that Moore uses in his novels could be a good indication of how I could evoke a frightening, eerie and chilling mood or ambiance to my animation.

Jacen Burrows similarly uses a restricted palette a lot of the time. The sky with its apocalyptic connotations and subliminal associations, plays a large part in the cover art of providence. Moore is another good example of the powerful and visual metaphorical usage of colour and light to evoke certain moods and in this case, a forsaken malevolence. I’m hoping to employ these use of techniques to my own animation and take inspiration from Moore and Burrows. I can replicate African skies but with some creative liberties and a respectful adherence to continuity I can use colour to invoke a little metaphorical malevolence and fear in my scenes in accordance with the narrative. It will be more difficult without dialogue so I need to employ all the methods I have to contribute directly to my intentions.

I’ve also included some powerful images from Moores Providence & Neonomicon as an example of menacing lighting (below). The lighting in these instances is a symbolic representation of the characters malevolence, his evil. The lighting draped of the face concealing their identity can also make the audience skeptical, untrustworthy, anxious or frightened of the character and through the use of these lighting techniques incorporated (hopefully successfully) into my own animation I can add a wickedness, a viciousness and corruptness to the antagonist.

American Vampire

Light plays another important role in animation. Another influence of mine was a graphic novel I read recently called American Vampire. I liked the ominousness and the mysteriousness of the lighting (above). How the lighting evoked an enigmatic and macabre mood throughout the novel. It lent itself well to the menacing and eerie personality of the novel. The characters in the stills above are still silhouetted but the light adds a new dimension of appeal to the image. More meaning, more symbolism, more allure, impression and impact. Light can add more dimensionality, rather than always having my characters completely silhouetted, I hope to experiment similarly to this with light.

Waltz With Bashir

Yuan suggested this film to me as an example of an animation that tackles more serious themes and isn’t for children but rather for adults. Waltz with Bashir is an animated war documentary drama about the 1982 Lebanon War and the story of Ari Folman when he served as an infantry soldier. This movie is truly like no animation I’ve seen. Its a beautiful work of art and its style and design is quite dissimilar to that of any other animated film. Its use of colour and light techniques in order to enhance the experience of the film and embellish the message is remarkably done. The film is able to use light and colour metaphorically and symbolically. I can apply techniques similar to these were applicable and use similar imaginative and creative methods to help really imbue that message and the emotions I’m trying to evoke. I also hope to incorporate a diverse colour palette in my own and that each part of my film can have its own palette.

Pitch Presentation

 

My presentation consists of pretty much everything I’ve recorded thus far in the blog. I covered the initial idea process and then the development of the storyboards and influences in the research that I did as well as the considerations I made after the feedback I had with the tutors a couple weeks before the pitch. Just a brief overview of the commencement and getting feedback on the narrative and any continuity errors or plot holes that the tutors might have recognized. They also give feedback on what might be time consuming, what reconsideration’s we should make and constructive critiques so that we can stay within time constraints and continue steadily down the road to completion.

 

Feedback From Presentation:

• Consider adding of some strong colours at the right moments to add more expression
• Tenebrism art movement – to see contrast between black and colours
• Start developing some of the visuals and do some experimentation/test + Restructure the storyboard (Prepare the props)
• don’t exaggerate body proportions for the silhouettes too much – stay closer to the realistic body proportions threat or antagonist can be represented through props
• Consider Render time (Grass can take some time to render)

 

Reflective Statement

I was really happy with the feedback that I got. There wasn’t much regression at all and the tutors seemed really quite pleased with how the project was coming along and the conscious, rather responsible considerations I was taking  in service to the consistent progression of the project and the deliberation in the analysis of any possible set backs and time constraining impediments that will inevitably arise. I think its important, as I’ve learned throughout my university and placement experience that it is resourceful and responsible to anticipate hurdles. They conclusively resolved any concerns that I had about the project, like the style, the colour of the skies and some continuity issues I was concerned about. Ultimately I had any queries I had answered and informed about how I should continue to progress and what the next important steps are.

Procrastination Thumbnails

 

Unfortunately this week my computer died on me (2014-2019). So while I left it in store to have my files retrieved I felt at a loss, I didn’t truly realize how much I used my laptop until it was gone. All I had in my bag was 3 notebooks and a small drawing tablet, so I thought that I would do a couple of thumbnails to get an idea of how I wanted the skies to look in conjunction with the silhouettes of the soldiers. I wanted to experiment with different colours but still stay in the restraints of the time of day that I decided on. I wanted the continuity to be consistently authentic so in truth I didn’t have that much room for experimentation. I like the orange and yellow backdrop but truthfully I like the purple too, in the original concepts that I had in my head I usually pictured it as purple but I think I might try and incorporate both if I can by diluting the purple a little bit and having it blend in with an orange horizon. I can consider this when I’m settling on colour palettes and experimenting with swatches next week.

Planning

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I did Gantt chart for the rest of the semester at the suggestion of Brain, it’ll give me a good idea of how to approach the next few months and what I want to be doing, to be where I want to be, come the new year (which is in a good position). By the first couple of weeks of January I want to be fully animating my characters to be put into my environments. I understand that this isn’t going to go exactly to plan and that I’ll have to take into consideration, set backs and complications but I’m hoping that I can stick to this plan.

Character Design

I started doing some new sketches today, taking a more realistic approach and staying within the confines of realistic body proportions. That being said however I was still able to do some interesting body types within those newly established constructs. I remember last year when ‘special guest speaker’ Gerard Dunleavy came in to speak about concept Art & Design, and how he disclosed that a lot of the time, part of his process was to work on interesting shapes and silhouettes for characters. It was important to have an interesting looking character and by working on the fundamentals of the character development like creating appealing, striking, attractive and/or compelling forms it could add so much to the improvement of the drawing. Considering how a lot of the characters in my film will be fully silhouetted or enshrouded in ominous shadows I thought it was important to have the right interesting forms and shapes of my characters. Hence this is the reason behind the experimental array of shapes and forms I sketched out, exploring cruder, harder angles and otherwise more organic round shapes and how the forms of the bodies can (like most elements of storytelling) have implicit or analogical signification or connotations to them.

I tried to narrow down the style a little more with the antagonists. Sketches of the Background soldiers (on the left) and the main antagonist (on the right). With the background characters I didn’t want their characterisation or style to take away from the leading and more menacing antagonist, so I diluted any prominent or distracting characteristics that would divert any attention away from the main soldier. I tried to go with long arms but a more athletic and robust anatomy but all still very much within the restrictions of realistic body proportions. With the background characters I’m very happy with how the sketches turned out, its pretty much on point with what I had in my mind but I was also contemplating wether the 1 or 2 additonal background characters are in fact necessary. Would it be so much more work for me just do do something that didn’t really contribute any important prerequisite’s to the film. I think I’ll discuss this further at my next feedback meeting.

With the main antagonist, I wanted to create a larger, more intimidating physique. A big upper chest, big shoulders and corresponding body proportions. I did exaggerate the characteristics a little more than I intended but I thought it would be easier to curtail them in Z-brush rather than adversely trying to enhance them and haphazardly start guesstimating correct, large, anatomical measurements. I think the size should be okay, accommodating to the sensitivity of the story but still give the a more assertive, intimidating nature to the character.

These are just pretty standard sketches of regular body proportions (on the left) They were design concepts for the main protagonist at the end of the film after he is notably more grown. I think perhaps he looks a little more mature than he is suppose to look so I might refine these sketches a little and reduce his size and stockiness. The boy is going to have a pretty standard, realistic, anatomical look to him, nothing too characteristically out of the ordinary.

The figures on the left were really just something I was having a little fun with. Taking some inspiration from more 2D films and exploring more interesting and curious forms, really accentuating the long thin arms and the thin, scrawny torsos and legs to get an interestingly, exaggerated renditon of the character. Fun to draw, fun to look at but nothing I will be using in my final designs.

First Bit of Feedback

After showing Henry and Yuan my storyboard and script idea they generally concurred that it was good thus far and I was allowed to progress forward with the production of the project. We had a quite a conversational back and forth; I disclosed some things I was   apprehensive about and decisions that I was enthusiastic about and we each deliberated resolutions to problems and prepositions. I discussed the technical compromises and shortcuts I planned on, to cut down on time a little and avoid having to do extra (perhaps unnecessary) rendering.

One of the main points we discussed was the style, Yuan said that because it was a sensitive subject, the style was important and it needed to be right. She suggested that the best approach would be to do it as realistic as possible, model with realistic proportions and avoid any stylisation, it could be misconstrued in the wrong way. It resolved my doubt and I was happy to pursue the more realistic approach to the style.

Henry also suggested that I research the metaphorical representations of animals in Africa and use a more appropriate animal to represent the analogies of freedom and innocence. He additionally proposed that perhaps the antelope wasn’t necessary at all and I should just use the butterfly as the visual analogy, instead of using 2 things. He recommended that it would be cleaner and less confusing to do so, as well it would be one scene that I could conclusively just omit, saving me extra time.

Henry also advised that I begin developing colour palettes for the storyboard . He gave me a good website called Kuler- Adobe Colour that creates colour palettes with the colour wheel, hex or image. You can browse lots of colour combinations and it provides good inspiration so it’ll be a fun tool to use for experimentation and generally make my life easier.

Additionally both Yuan and Henry suggested that I make a Gantt chart to manage my time and use as post-preparation for the project, it’ll help me stick to a solid and beneficial timetable that I can plan my week around and use as a guide to how far and accordingly I’m coming along. I was also informed that it would be smart to create an asset list so I know everything that I will have to model. Henry instructed that I categorise the models, what will be hero props? (A hero prop is a prop that is used on screen for closeups and has all the necessary details so it can be shown up close on camera. This means that it has e.g. working features like lights or moving parts, opposite to a static or stunt piece) and what are background props? Which in this instance can include characters.

He also articulated that I should decide and write down what will be 3D and what will be 2D, I should consider rotoscoping as an option, for instance when the antagonists are walking across the screen silhouetted. It could save time and less animation would be necessary.

All in all I think it was a successful exchange of ideas and ultimatley I walked away with a cleaner form of narrative and more effortless, less complicated ways of creating the scenes.

Character Design

Sketches

Antagonist

Boy- Facial Expressions

 

These are some sketches that I had done before I completed the storyboard. Some sketches of the antagonists design and facial expressions of the boy, attempting to capture the exaggerated effects of the face and what it is that demonstrates a particular emotion. I thought perhaps drawing it out and researching the dynamics behind the actions would help me better understand it and inevitably help me when it came to rigging and animating the face during production. With help from Uldis Zarins’ book on Anatomy of Facial Expression I was able to dive extensively into the topic.

For the antagonists design I thought that I could and should  use accentuated features to visually communicate a sense of antagonism and sense of foreboding malevolence and ominousness. The character is important and I initially thought that I could use big muscles, a big torso and a wide-mouthed sinister grin to convey what I thought was important to convey about the character, especially considering I’m not planning on using any dialogue, just music. All of this being said though, after I sketched out my ideas; the large chins, strong jawlines, big muscles and bodybuilder-esque physique, I wandered if it was appropriate, if it could easily be misinterpreted as inconsiderate of the subject matter, unintentionally would it come across as offensive and conclusively, was it ultimately the wrong style to go for?. Although I liked the clean cut angles, the accentuation and stylisation I had to choose what was right, not what I liked. I thought that before disregarding them completely I would show them at my next feedback meeting, perhaps it could spark some sort of inspiration as to what the right style would be. Currently I’m in a process of elimination and furthermore trying to nail down that correct style.

A quick exchange with Alec

Just before the feedback I had an opportunity to explain to Alec what I was doing and briefly show him some storyboards. He informed me that he had heard on one of the podcasts he listens to that in ’98 when Kojima was making Metal Gear Solid for the PlayStation 1, that the team had trouble with the eyes on the characters and due to the limited (in comparison to now) technological resources it was difficult to keep that realistic aesthetic to them. So as a solution to the problem they used shadows over the eyes to make it more mysterious and ominous in conjunction with the theme of the game which ultimately worked well and quite appropriately. He suggest that I do the same, he thought it could work quite well with what I was going for and I agreed, decisively I settled on it as part of the style which additionally would save me any concern over how the eyes look in the scene, considering how I’ve already been perturbed over the how the eyes will come out.

Metal Gear Solid (PS1) 1998