Designing the Demons

Continuing on from my initial concept with Kasdeia and how she could summon demons I began drawing out ideas heavily influenced by Chris Ryniaks work. These would be the demons in their summoned form however, I wanted to look into the way they would appear before taming. Along with altering designs from concepts I had already viewed I worked on my own.  The first of these was the idea of a giant toad/ frog creature I was struggling to create a creature that looked fierce enough therefore referenced one I had already found and altered different aspects of this along with merging matte painting techniques.

The second of my designs was that of a leviathan, not those shown within the Final Fantasy series however, more of a biblical type. Again, I used ideas from Chris Ryniak’s work to influence me when designing out the summoned demons. The following step was to draw out the not tamed idea of the leviathan this was another concept where I took aspects from my references and blended it in with a final idea, I feel like this is a downside to the first two concept pieces as more of my own influence could have gone in to them.

The following concept was for a demon rodent or small creature, the idea I chose to go for was a hamster as its so controversial as to the idea of scary.  I found it difficult to find a reference picture for the proportions of this however, after some time I found a suitable image for me to base my drawing off. From this image I then added in slightly more threatening features such as sharper teeth and green slime finally finished by a extruding tongue. The fear aesthetics of this creature came from a mimic in the dark souls series.

The final and what I believe to be the most successful in the concepts was that of the sabre tooth demon god. I wanted this to be one of the main demons that Kasdeia used if not had summoned on a permanent basis. For the idea of godlike I gave it tendrils either side of its face that harnessed magical powers. Although similar to whiskers in there placement they where more like sensors. The inspiration for this idea came from the Coeurls within Final Fantasy XV and how they used the tendrils to charge and harness lightning powers. The main feature of the demon was the sabre tooth face and body. For this I searched for both 3d models and fossilised references. Overall I believe this was the more successful of the concepts and is the one I will be taking forward over others.

Link to time lapse video of sabre tooth god: https://www.youtube.com/watch?v=HGur_gMD-lg

 

Developing the Concepts.

from previous drawn concepts and thumbnail work I began converting and expanding ideas within Photoshop hoping to finalise on a style. For the first of these concept piece I used a fashion model to roughly get the human anatomy then refined this further. Making sure to work in separate layers throughout the work flow. I ensured that the outfit idea was on its own layer, the same went for the hair and other aesthetics such as tattoos/ branding.  KasdeiaRavadaVersion1 Not putting too much focus on the initial design ideas I used block colouring. As for the main focus of this concept a range of techniques where used. Again, I ensured the various parts; line work, block colours, light angles and shading had there own layers.  The drawing took roughly around 3 hours to complete not including any tweaking for the shading I used the size 17 chalk brush as I feel this has best airflow and blending. Unfortunately this brush didn’t work too well in terms of the armour or dress rather than using a brush that blends well I should have used a fine detail one able to capture the rustic feeling of Kasdeia’s clothing. To add in the fantasy elements and reinforce that she was a demon tamer I took inspiration from Chris Ryniaks morning scribbles series and altered the design briefly. In a later piece when working out the demons this would developed on further.  As a subtle detail to bring the finalised concept on her appearance together I used a smoke brush on low transparency and changed the colour to a soft cyan in order to reflect the mysterious notion of summoning demons.

Other conceptual pieces I carried out during this stage included refining the poses that I would later be sculpting Kasdeia around to make these poses more interesting I gave Kasdeia different weapons and demons ensuring to keep them relative to the poses she was in.

From the three poses the combat where she is using the whip had to be my favourite as it captured how fierce of a fighter the character is alongside reinforcing her backstory of being forced as an animal tamer.

References I used within these pieces include:

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Matte Painting

During the process on coming up with a character concept I was presented with the task of creating a matte painting to place my character in. Before working on my own from concept pieces I followed a tutorial based on Machu Picchu and how to expand a high angled wide shot. The software I used in order to carry this out was Photoshop CS6. This was the base image I was given.

machupicchu I didn’t want to strictly follow the tutorial so added in my own elements and found a lot of inspiration from Asgard within the Thor films. The first step among this process was to sketch out a rough idea of what I wanted to create using the given image as a basis on composition.  I chose to keep it simple to begin with extending the mountains within the distance and bring a cliff edge together in the foreground. I started painting in the sky with a soft brush using a basic gradient of dark blue at the top of the sky fading into a softer blue along the lower horizon line from here I began painting in clouds and blocking of colours using the Idropper tool to gain as close to the pre-exsiting spectrum as possible the Idropper tool was used heavily throughout the matte painting in order for me to make it as realistic as possible.  This process was carried out throughout the majority of the painting until the surrounding negative space was filled. Following on from this I chose to add in spire like features attached down with chains as well as a distant waterfall this required some rearrangement of the composition however, didn’t take much longer to fix. The next steps involved adding in the finer details for this I had to zoom in and make light brush strokes following the pathways other trees, cracks and grass where following although I believe this was carried out successfully more time could have gone into this at a later stage to again make the image more detailed.  after finishing off the finer details I then again decided to change to composition of the image more so the left side rather than having a sloping mountain edge I decided to make this into a sharp cliff edge with various drop offs. Overall I felt this worked out better however, more could be done to the image in order to gain a more professional result and is something I will be taking into consideration during my main matte painting along with any others I am tasked with during future projects.

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Life Drawing Further Practice.

Working more on the traditional side of things I began sketching out more studies on human anatomy. For this I drew a range of sources mainly focusing on various poses of the female body.

As these where very quick studies not much detail was put into them. I slightly added in cross hatching to show where the shaded lines would be however, I felt I needed to focus on proportions more within the pieces. When focusing on the proportions I simplified the life drawing down into the out lines. This helped me focus more on the proportionality such as the amount of heads the body would be. 

Unfortunately due to the scanner quality the images where distorted or didn’t show through as clearly. Due to this I then had to take the images from my phone camera and alter them digitally to view at a high enough quality.

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I feel that in continuing to practice the life drawing it helped me understand human anatomy when drawing out the concept pieces although more practice could be taken forward when 3d modelling.

Character Creation.

During the third trimester studying Game Art and Animation two of our main modules consist of creating a game character or creature in 3d. In order to have a successful outcome within this unit human anatomy must be explored through a series of ways the main one of these being life drawing. Having already done life drawing in the past I already had a small knowledge on the proportions needed to draw a human correctly. even with these skills though I still struggled in drawing humans in various poses. Therefore took this further within both class exercises but within my own time too.

I will be posting regular updates and progression videos on my life drawings skills as well as character design, concept and modelling. All of this along with my sources of inspiration and how I came up with the character/s.

Life Drawing Practice 1:

Environment Design; Group Project

TechDoc17_03_17 Document Reviewing the process and methods used within recent project on environment design.

Turn Around of the library building:

Single Shot Renders:

Final Cave Composition.

Before editing the layout of the composition one more cave piece was tested, unfortunately I could not record this piece however I have a series of progression pictures of each individual layer.

The first layer composed of a rough sketch line art where a basic idea was created. Further more  rough ideas of highlights and the direction the light entered the cave at.

compo2-light

Then next step was blocking out the colours using pen pressure and a chalk brush this way the colours blended together more easily. For this step a class mate helped me in the methods and how to develop a more professional finish.

compo2-block-shading

This is how the cave appeared after the image was blocked out along with the specular light and radial light being evident. In parts the light reflected i added in a slightly more saturated value creating a lower light space. The next step involved adding increasing more detail.

compo2-less-detail

This is where a higher opacity brush was used however this was later lowered to blend in with the under layer. The final step was to include in more foliage and detail within the image to finalise the composition.

compo2-no-lines

This is the final composition I believe the level of detail is successful as well as the various tonal values. I also believe that a little more story and 3d aspect is identifiable within the final image.