Wednesday 29 February 2012

Compositions...

My weakness at the moment is the composition, and after my tutorial with Alan I had a go at drawing a couple of different compositions out:


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One of the ideas Alan suggested is to have a third of the image cut off by the entrance of her lair. It could be a pile of bones and treasure she's collected to welcome the viewer, as they peer around it they see the big dominating cauldron in the mid-ground and then something unsettling in the background (maybe a silhouette of the sea snake pets she has). My favourite of the 4 is the 3rd I think. I like the idea of the eye bouncing from the pile of treasure and bones on the right to the cauldron on the left and then to the undecided presence in background. I'll do some more soon to finalise it and have a better go at perspective soon.

Sunday 26 February 2012

Maya Tutorials: UV Games Character & Collision Dynamics...

Games Character UV Layout:


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Bowling dynamics:

Rain Dynamics:

Spark Collisions:
I'm still working on getting the effects to render properly on here so here's a playblast and still image to prove it's



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More Cauldron Structure Experiments...

I took a few of my mirrored ink images and tried to mimic some of the shapes they had:

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They're getting there! I like different elements in each image, such as the ceiling covered in skulls and bones in the second attempt, but I also like the curved shape around the cauldron in the final image and the web/vine-like seaweed holding up a chain of bones in the first. I'll try combining some of the successful shapes, and maybe a few more structure designs based around other ink images. Interesting times for sure! :D

Cauldron Designs...

Some very basic and uminpressive shapes for the cauldron as a place to start:

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Using the third and fourth shapes I then had a go at modelling some bone structures around them:
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I'm toying with the idea that her pot could actually be a big shell but I quite like the plain simple pot surrounded by detail.  I'll keep at it and move on to using the shapes my ink experiments made as a basis for the structures. More soon! :)

Saturday 25 February 2012

@Phil @Alan A New Focal Point?

After having another look at my artists I've seen that in all of their illustrations there's a focal point, usually a character/figure. As my piece is purely environmental, I'll be using an object from the story as my focal point, namely a cauldron/pot that she uses to make her potions in. I think it'll make a big difference to the impact of the scene and it gives me something to design around.

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The cauldron can be a character in itself, with lots of ornamental bones and containers with various ingredients surrounding it. I imagine the vials hanging upside down as it's under water and they wouldn't necessarily sink, and the cauldron in the centre resting on skulls and bones. The drawings based on the Sedlec Ossuary I did earlier are a pretty nice basis to work from too.  It's exciting, and something I can use to drive forward now so onwards hopefully! :D

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Friday 24 February 2012

Sea Witch's Bone Lair...

Okay, I've been afraid of my own pen again this week. I've been having a go at drawing some thumbnails and all of them were horribly generic so to get going again I've been working with a lot of bones. Basing it on some of the images of the Sedlec Ossuary and a whale skeleton, I just had a go at drawing some props and another room concept:

Rib-Like concept:


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Sedlec Ossuary influenced design- Bone chain:



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Bone bed/pedestal:
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Bone Chalice/Cauldron:



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A couple more concepts influenced by bones:
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They're not great at all yet as they're not even remotely in the right style but I just NEED to get this thing moving! More prop and lair concepts will be on the way shortly!

Monday 20 February 2012

Maya Tutorials: Finished Games Character & Particle Dynamics...

Maya Model:

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Fireworks:

Oil Barrel:

Dissolving Can:

Satoshi Kon's 'Paprika' (2006)...




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Fig. 1 Paprika Poster.
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Satoshi Kon's Paprika is a mind-melting dream-like animation that is much more of an experience than an exploration in narrative.  It is vibrant and thrilling with a fantastic soundtrack to support its very strange but wonderful visuals.  Paprika is only Kon's fourth feature length animation, but it is clear from the fantastical visuals that he is very talented at timing and creating atmosphere, whether it is an unsettling or dream-like one.  Mark W. MacWilliams explains that "Kon worked under Akira creator Katsuhiro Otomo...In fact, it was Otomo who recommended Kon as the director of Perfecmact Blue [Perfect Blue]. Kon has gone on to direct other critically acclaimed films, most recently, Papurika (Paprika, 2006)" (MacWilliams, 2008:58) Perfect Blue, an animated crime thriller, was Kon's directorial debut. The fact that Katsuhiro Otomo, a very successful director and writer himself, recommended Kon for the job is a big suggestion about how good he was, and his films since have been just as powerful whether for their visuals or narrative.


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Fig. 2 Warped dream hallway.

The central theme in Paprika is the use of dreams as a vehicle into the minds of others.  A new machine has been invented that allows for the wearer's dreams to be recorded onto a computer and watched back.  This leads to the machine gaining too much power and, with sinister help, unleashing dreams into reality.  Frenchy Lunning expressed that "Paprika reinvents some well-known concepts— that dreams are windows into other realities and have great power, that the boundaries of self are not set by consensus reality, that troubles stew in the worlds revealed by dreams, and that dreams can be accessed like playing a DVD with the bio-psycho-electronic DC-Mini machine in the film." (Lunning, 2009: 326)  Dreams have always been considered significant when it comes to understanding the subconscious mind.  Although some believe them to be just jumbles of thoughts from the previous day, others consider them to be revealing of the person's inner desires.  To see a dream in the real world would allow the viewer to glance through a window into the dreamer's reality while they are sleeping. To then put this onto a DVD and watch it back combines the ethereal dream realm with a harsh mechanical reality that leads to a much more convoluted and unpredictable reality.  It is this convoluted reality that was caused by the twisted desires of the films villain. As MacWilliams divulged, that Paprika is "a disturbing science fiction feature film about the possibilities of psycho-terrorism." (MacWilliams, 2008:275) The film's villain, a crippled old man that desires power, wants nothing more than to take control of the world around him by removing all light and spreading his warped nightmarish darkness into the world.






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Fig. 3 Dr. Chiba and her alter-ego Paprika.


The dreams in Paprika seem completely random to the audience.  Without any further examination they resemble a random collection of toys, household furniture and objects dancing around in a parade-like fashion.  However, when Lunning believes that "Dreams are a playground of primal needs, emotions, fears, and desires." (Lunning, 2009: 327) these seemingly random objects can be interpreted as having much deeper meanings.  One scene that is significant is when the central character, Dr. Chiba, confronts the villain of the film.  Lunning continues that"Of these, [desires] what the Freudians call “oral needs” are basic... in the crucial scene of the film, she/they cheerfully devours the now immense bad guy, Chairman— all of him— in one hugely hungry moment of pure incorporative appetite." (Lunning, 2009: 327)  Dr.Chiba, now combined with her alter-ego Paprika, take 3 huge gulps of the Chairman and swallow him and all of his dark energy up completely.  After every large gulp they age a decade or so, starting as a small adolescent child that develops into a grown woman with the final swallow of the chairman.  Though the defeat of the chairman and the complete destruction of his nightmarish rein is the main focus, the swallowing of him is also significant.  Sigmund Freud believed that there are several stages in a child's development, Nick Rennison explained that "Each stage is characterised by the particular ways in which the child gains sexual pleasure. The first stage is the ‘oral stage’ in which the emphasis is, as the name makes clear, on the mouth." (Rennison, 2001:35) This 'oral stage' is characterised in adults by a need to enjoy things orally, such as smoking or eating. In this scene Dr. Chiba develops physically through her eating of the chairman. She begins as a baby with the desire to consume through her mouth, and through the consumption she develops physically into a satisfied woman.

Paprika was thoroughly enjoyable and as Lunning puts it: "Kon’s film is a delightful fantasy/allegory about consensus reality versus freedom and creativity. In the end art and freedom win, and the film feels like springtime." (Lunning, 2009: 328) It was a glorious visual treat that revels in the colour, movement and chaos it portrays. It is a shame that Satoshi Kon will not be able to direct anymore films but with one more on the way it will hopefully be as energetic as the rest.


List of Illustrations

Figure 1. Paprika (2006) Paprika poster. At: http://www.impawards.com/2006/posters/paprika_xlg.jpg (Accessed on: 22.02.12)

Figure 2. Paprika (2006) Warped dream hallway. At: http://img406.imageshack.us/img406/1511/paprika2006dvdripxvidac.jpg (Accessed on: 22.02.12)
Figure 3. Paprika (2006) Dr. Chiba and her alter-ego Paprika.. At: http://animemovieguide.com/wp-content/uploads/2011/03/paprika.jpg (Accessed on: 22.02.12)

Bibliography

Lunning, Frenchy (2009) Mechademia 4. USA: University of Minnesota Press.

MacWilliams, Mark W. (2008) Japanese Visual Culture : Explorations in the World of Manga and Anime. USA: M.E. Sharpe, Inc.

Rennison, Nick (2001) Sigmund Freud. GBR: Pocket Essentials.

Sunday 19 February 2012

Attempts at Cross Hatching...

After Jon's comment and a bit of pointing in the right direction I think it worked out okay. Some do work better than others but I think they'll all come in handy to add as extra details later. Here's what I got up to:

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This'll be good to just add some texture here and there.

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Rather than just doodling random shapes I thought I'd use a bit of reference so I looked at kelp, coral, octopuses and two of Edmund Dulac's Little Sea Maid illustrations. Looking forward to putting these into my next concept pieces! :D

Another Ink Concept...

This one is definitely more cathedral-y:
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 A warped version to make it a bit more cave-like:

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Getting exciting now! :D

Saturday 18 February 2012

Now It's Getting Interesting!

Granted it's not very cathedral-y but it's starting to get exciting:
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