I’ve done two fine-liner sketches these past two days just while I’ve been at home. I want to do more updates on my game but I don’t have my USB tonight and thought I’d post some home drawings. I have a sketchbook from the Disney shop with pages I try not to waste- that means I spend time trying to fix drawings rather than rip them out or dismiss them (granted, I have a dreadful dinosaur drawing I began and plan to somehow cover).
Firstly I let my mind wander and drew a waitress taking off her apron when she spots a job opening in a designer fashion shop window.
I took two pictures (one with flash off) because of the different appearance off the crosshatch shading. Not all of it is crossed, but I tried some of it in that style. This began as just a sketch of a waitress, slight shading down her left side, but I wanted to show why she was about to ditch the apron. I tried to draw some background details around the shop window, like the street with the puddles and shadow of the girl, but it was only to tie it together. If I planned ahead I could have been more accurate with perspective and tidiness, but for a developed doodle I’m quite happy.
The next is a line drawing, with no cross shading at all, of a mermaid; sand in her hand, staring out at the sea. Usually I naturally begin to shade drawings – and sometimes go too heavy – so completing a drawing without that, which could even be coloured afterwards, was different for me. I like how clean it looks and I don’t tend to draw scenery at all, I’d rather use paint for that, so it was even more challenging to stick to a certain style when drawing the sea.
(p.s. the black in the corner is the curve of the page edge.)
I want to draw more of my own ideas like this in my book, because since GCSE art I’ve continued using paints, markers, and now even Photoshop, to do entire scenes. I do love to doodle and sketch whenever I can but I like to spend time on pencil and pen drawings too.
In VFX we have been deciding on ideas for our portfolio project. We need to use our own footage to add some visuals to a short clip.
My first ideas were superpowers such as flexibility or fire, but on Monday I settled on a portal power idea. That means I will have somebody realise they have powers and shoot a portal out of their hands and step into it.
To do this project properly and have our ideas fully fleshed out before we start, we needed to do a storyboard once we had a plan. Our videos aren’t meant to be too long and we can use a green screen, so with help from learning how to do our Matte Paintings and a website Gary showed me called ProductionCrate (which has effects on to download, including portals) I should be able to pull it off.
Here is the story board in pictures. When I plan further I will add written directions.
In our last programming lesson we started making our own individual games. Everyone had to come up with a theme for a birds-eye view game where their character had to reach a goal without being hit/shot at.
Luckily Kyle and I had some practice when we started our partner games with setting one of these games up. This time around I had to do it on my own.
In the lesson we started by writing 3 lesson objectives for ourselves. I decided to draw 2 elements of my game on Photoshop, and come up with a conclusive idea for the game.
I came up with my idea: to have a fox which comes into the house at night to steal something or reach a goal without being hunted down.
Then I drew my fox character on Photoshop. It was a simple design made to look like it had dimension by painting it in gradients.
Finally I painted a lot of the house (without walls, which would be added in as assets) and I’m still working on that, but overall I like the style I’ve went with, I just hope I can learn how to code it and bring the whole project together nicely.
A while ago I tried my best to write my own code for the chest in my room game to open. I tried all kinds of program blocks which kept sending errors my way. Eventually I had one which should have worked, but I thought something was missing from it as the chest still wouldn’t budge.
I had made the chest earlier in Maya, then animated the lid opening and exported it all as an FBX. The animation imported into Unity, but nothing I did could trigger it on mouse down. It would open automatically if I left it on that option, but it would have defeated the purpose of going inside to look for the key.
As I already struggle with programming, not being able to do such a simple seeming feature by myself was very frustrating. Fortunately, with Ant’s help, I got it working.
In my inspector I had these three things leading directly to the animation working. I had physics on my model so I could click on it, code embedded so I could give it a function, and the animation to link in with the code.
This is the code that eventually worked. It only played on click because it all got linked up in the animator. Ant added the ‘New State’ stage between the other two. That means it will not play until it is clicked. It turned out exactly how I wanted it to in the end.
Tony asked us last lesson to look at other people’s drawings of heads. We are beginning character design and are looking at how heads are shaped. We did one lesson a while ago on drawing faces, but now we’re looking at the whole head.
For research I gathered selections of head drawings to help me see the way people develop their sketches. I’ve labelled these images with the reasons I saved them for reference.
scale of the head in different angles
development of drawing the human face in different angles.
understanding the forms of the face in rigid shapes
how a sketch becomes a protrait
I also got pictures of celebrities faces as references. I tried to get a range of faces in different angles, to show some diversity and get a look at what is always similar with he head, and what can be changed.
We did a Google VR session the other week where we looked at muscles on different parts of the body with Tony. Afterwards we looked closely at the muscles on the head, images of this are called écorché; where it looks like the skin has been peeled back on a person’s head, exposing every muscle, vein, and bone. Seeing this shows us how the face moves, what muscles bulk up the face, and the way the face ends as it curves round to the side of the head.
We had our own turn of drawing écorché muscle art on a picture of a celebrity’s face. I chose to paint over half of Chris Evans’ face in Photoshop. This meant looking at other écorché images as a reference and applying what I saw to this image, matching up the muscles to his facial features. It’s not extremely detailed, but it does sow the muscles I intended it to.
I look forward to doing more of this project as I have always wanted to design characters.