Grand Space Opera 2D Entry: Richard Dumont

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Old 11 November 2004   #46
All these efforts to make one picture!!!
Good luck!
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Old 11 November 2004   #47
Concept Sketch: Character design



I think I may stop for the research of the general look at this. Maybe it could be better, but I'm quite please with the result in function of my objective and the schedule. I added those swords that I don't know precisely how they work... But I'll find out. (I hope)

I'll now start to detail her and then it'll be time to start the psycho-sorceror. Now that I'm set with a certain style, it should be easier to design.

I'm still open for suggestions, so don't restrain yourself if you think that there is something that may fit better!
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Old 11 November 2004   #48
Kraull,
The composition of the color study looks nice. I think your attention to the character stylization will pay off in the end. On the woman with the swords, I would bulk up a part or all of the sword, they seem very flimsy. The simplest change in its silhouette might make a big difference.
 
Old 11 November 2004   #49
Talking

good painting but need details

-see my challenge concepts and paintings-
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Old 11 November 2004   #50
Concept Sketch: Character design



This is the detailed version of the character. I try here to define the elements of the costume including what kind of material they are made of. I think I've lost a little bit of her feminity, but I'll try to find something to amphase it... Any suggestion? I've thought about playing with the hair or something like that, cause I don't want to retouch her outfit...
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Old 11 November 2004   #51
Hi,
I truly admire your search of perfection, but I 'm personnaly more curious about the whole composition. The subject of your machineflesh entry was hard to understand for me, even if it was my favorite work... It was like if you had put several great pieces of work in the same comp, but the link between each other was not clear to me.
Good luck.
 
Old 11 November 2004   #52
to Arctis:

I understand quite well your questions and perceptions about what I'm doing here. It's like I'm just turning around the main point, right? In a certain way it is. I'll explain my point of view about this approach the best I can.
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Old 11 November 2004   #53
oh man...how did i miss this thread. I loved your working style! But your images are a bit blurry. Sharpen them or don't resize them. Cause they are great. My eyes are on you! Good luck and keep them coming!
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Old 11 November 2004   #54
To Arctis:
I know what you mean when you say that the scene of my Machineflesh entry may be hard to understand. I've got the same conclusion when I show the picture to some near friends. They all say:'the picture looks allright, but, what is it?' Deception...O_o' Maybe it would have been easier to understand if it was fully animated, but it wasn't the case... So I failed on the communicative aspect. They say we must learn from our mistake... (I'll try to remember this)

So, concerning this present work, I'll try to make it easier to understand. The action would be simple. Like I said in a previous post, it will be about a confrontation between a special training commando in a city/factory/base hold by an ennemy 'X'. I don't like to put a story too tight at the beginning. I like to build it pieces by pieces during the conception process. I think its important too to let people interpret their own thoughts, their own stories. Hints about the origin of the characters may come from their costumes, their faces, their equipment, which will be mix with the background of knowledge of the viewer. (this is where I may have forgotten the viewer in my 'mf') So, that's why I'm taking my time in building a character. In doing so, I'm also, in a sense, writing about the story. I think I'm better at painting than at writing. O_o' I could have start directly with the compostion I've begun, but with the schedule I've planned for this work and knowing how it would take me to finish the fullscale, there was a 3 weeks that I could use for whatever may be usefull. So, I will probably begin the whole compostion in 2 or 3 weeks.

I hope it helps you understand a little bit more about how I see this project. If not, you've given me a good opportunity to practice my english!!
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Old 11 November 2004   #55
Great stuff here. I've noticed how a lot of folks also spend a lot of time doing concept sketches for characters and clothing and small specific parts of an image that might be included in the final image. Just curious but what weighting is applied by the judges on the design element of all these concept images? What I mean is...if I did a detailed image of what a soldier looked like with all his gear and clothing and so on. But then in the final image he was only 12 pixels high....would the judges be more impressed with the progression of the concept than if I had just sketched it in on the final image?

Anyway, just a thought, love the progression of this piece!
 
Old 11 November 2004   #56
To lowpolymatt:
That's quite an interesting question. For my part, I don't think it may directly influence the judging, but in a way, these concepts may help push farther and quicker certain parts of the principal idea. I think also that this process is faster than to draw directly on the final layout.

Example:
You have a character that is in action on a set. You know aproximately the position of his body in space but you don't have a very clear idea about his look. You have two options: design it directly in the main composition, or make some concepts sideline and then, use them as reference for the final image. Like you said, if it's going to end up to be a 12 pixels background character, it may not be usefull to pass a lot of time on it and so, you should directly work on it. But if it's an important part of the scene, I would definetely design it sideline. By doing this, you don't have to focus on the perspective, the movement, the physics and the lights of the scene. All your thoughts and efforts are pulled on finding the shapes and the elements that will compose the character. The less distraction you have, the more efficiency you get. Once it's done, it usually doesn't take very long to reproduce the final concept on the final composition. And at the end, if all goes ok (that's not always the case...O_o') you've saved hours, you have a better concept and you can reuse the character in a different scene, now that you possess it entirely.

That's what I think about it so far. Maybe I'm wrong, but it sounds logic for me at the moment.

Also, designing through concept is an activity very fun to do I think and that can help you improve your skills. It can also be used in a portefolio, like I plan to do with this work.
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Old 11 November 2004   #57
i personally like the character, she got some hidden emotions...and an eerie face good luck friend.
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Old 11 November 2004   #58
hey nice work i like your design for the girl and i agree that you might have lost some of the femininity. to help with this i think putting some bangs coming out of her hat in front and on the sides to her ears. and maybe even a more defined well butt for lack of a better word it might help i hope it does. good luck
 
Old 11 November 2004   #59
Concept Sketch: Elite guard design



I'm trying here to improve the look of the elite guards. To differenciate them from the main characters, they'll wear a costume less tribal made from synthetic materials rather than leather, fur and copper. I'll try to keep a look more rigid too.
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Old 11 November 2004   #60
Thanks a lot every one again for your support!

To Walrusman:

I've tried your suggestions for getting the girl to look more feminine, but it hasn't given what I expected... Adding hair at the front make the face too compress with the hat, even with just litlle bundle. There's not a lot of space to add it, and it get mess with the expression. Anyway, I'll try to fix it again, but I'll have to move on to the other characters if I want to get in time. I'll try later on the main composition...
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