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Old 04-14-2007, 08:16 PM   #16
AlbertoPadierna
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Creature with 1000 mouths

Ok, I´m gonna give a try at this, here´s a fast sketch of what I´m thinking about doing for this contest


http://img403.imageshack.us/my.php?...00mouthsou5.jpg

Last edited by AlbertoPadierna : 04-14-2007 at 08:23 PM.
 
Old 04-14-2007, 08:51 PM   #17
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Quote:
Originally Posted by anwa
Fl3wk, i think we need to submit something similar to the first picture in the following link, its pretty gross so don't blame me if you throw up over your keyboard and monitor and anythig else thats in front of you.
http://mymultiplesclerosis.co.uk/st...lledinoire.html


That has actually inspired me on my current creation. I may add the teeth atleast.

Here is an update:

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Old 04-14-2007, 09:26 PM   #18
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Talking

Alright everyone,

Here is my update for tonight, and my workflow that got me to this stage.

I'm using Andrew Loomis' method of informal composition to generate a pose for my grotesque statue. Here are the initial thumbnails I designed using his method.



The red border denotes the composition that I took forward. (In truth, I took 5 of these forward in all, but don't want to bore anyone with all of my choices .)

From the composition I built this figurative comp >>>



*The generic figure is a place holder for my final design. I am not working on character design at this stage, only the composition for the final sculpture I want to create, (hopefully in ZBrush.)

In the comp, the branch represents the top of the tree of wisdom, with my grotesque pointing at the stars with wings about to take flight. (See my initial brief breakdown on page 1 to understand why that is, if you are so inclined.)

A Bit abstract to understand how I got my character composition? Well here is a .gif of how I "saw" a figure sculpture in a bunch of Loomis' lines. If you haven't guessed, I totally love Loomis, and his methods were magic!



Hope that explains how I have come to my figure pose. I did do more poses, and would like to really explore the potential of my informal compositions, but time is not on our side in these 2 week workshops, so I have decided to move on.

Cheers - I will try to leave comment on specific works tomorrow.
MIKE
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Old 04-14-2007, 10:16 PM   #19
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Where can one read more about these Loomis compositions? Interesting technique, I've never seen it before and a google search yielded nothing.
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Old 04-14-2007, 10:36 PM   #20
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Quote:
Originally Posted by Captain Spectra
Ok, I´m gonna give a try at this, here´s a fast sketch of what I´m thinking about doing for this contest


http://img403.imageshack.us/my.php?...00mouthsou5.jpg

nice sketch, i thought about something like this too, heads coming out of other heads
 
Old 04-15-2007, 01:08 AM   #21
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Captain Spectra that's a really nice sketch!


I decided to do a mythological creature, the Cockatrice

I did a quick sketch today:


Next I'll make a nicer drawing in a better pose probably..and that's a good idea default-rol, I think I'll reference those loomis compisition diagrams too!
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Old 04-15-2007, 01:42 AM   #22
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default-rol - OMG so much thinking goes into this! I feel stupid not doing that

....

I'm impressed by the planning and methodology everyone's employing in those workshops - keep it up!
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Old 04-15-2007, 06:46 AM   #23
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Quote:
Originally Posted by eldee
Where can one read more about these Loomis compositions? Interesting technique, I've never seen it before and a google search yielded nothing.

http://acid.noobgrinder.com/Loomis/
I don't know which book it is though. I've got all of them but I'm too lazy to read them. One day I'll find the strength, promise
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Old 04-15-2007, 06:58 AM   #24
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Yeah, I've got all of the Loomis books that I know about, and don't remember seeing anything about informal composition in any of them. Thought maybe there was a book I didn't have.
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Old 04-15-2007, 07:29 AM   #25
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Thumbs up

Good morning all,

@ Captain Spectra >>> Awesome start - I love the volumes on this grotesque. Care to elaborate on how you came by the idea? Even just a line or so, for those of us less skilled than yourself. Cheers.

@ Fl3wk >>> Owlman has the potential to become a really good grotesque. How do you plan on refining it? Where are you going to next with the design?

@ eldee >>> Look in Loomis' book "Creative illustration" on pages 36 - 39 under his first chapter - "Line." Igor Sandman has posted up links to his books as downloads if anyone is intrested in the technique I used.

@ Roja >>> Love that cockatrice! Are you planning on detailing it and then painting it up? Good stuff so far.

@ Igor Sandman >>> Thanks for putting up this link. I've copied it to the relevant links section at the top of the thread.

@ Intervain >>> You don't have to do it, It's just the way I work. I need a reason for something to be, a narrative if you were. I can't "just make something up" without knowing why. My personal feeling is that designs are usually stronger when they have purpose sat firmly behind them, prodding them into being...

Thanks everyone - this workshop has got off to a really strong start. Keep it up, and we can all look forward to being thrilled and scared in equal measure.

Cheers all

MIKE
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Old 04-15-2007, 08:45 AM   #26
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defualt-rol: Thanks. This one is just a thumbnail, next I am thinking of doing a sketch and gradually build up the details that will make this creaures character, in side/front/back view. I will then wash it with colour on a few copies and see what colour scheme works. The composition will be planned out for the three-quarters view, and then the colours will be shared out and the lighting will be decided. As for the refining process, I am very new to this stage, I am thinking of the building-up process where I build up semi-transparent colours.

I do not have that book on my computer. Is it possible you could explain that process briefly? Looks interesting, I hope it works for you.

Update with backview:

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Old 04-15-2007, 10:02 AM   #27
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Smile

Here you go Fl3wk, a quick explination >>>




STEP 1 >>> Get a ratio for your composition and stick to it. This is really important as you can't just work in different size frames and expect your results to fit together, time and time again.

STEP 2 >>> Draw your first line. Horizontal or vertical makes no difference. But just remember that your first line is actually your 5th. What that means is that your "first line" sits in relation to your frame of 4 lines that you have established. This makes it your 5th line really.

STEP 3 >>> Draw your dynamic diagonal line from 1 extreme corner of the compositional frame to the other. This could have been put in either direction and is your choice entirely. (STEP 3a.)

STEP 4 >>> Draw a horizontal or vertical line through the intersection of your two lines within the frame. you have now subdivided the frame in an informal way. (formal would mean you put your initial horizontal or vertical line in either the halfway point, at the quarter mark, or third of a way through your frame.)

STEP 5 >>> Sub divide your resulting boxes with another diagonal - this could have gone in numerous places, but it has to go from corner to corner within a box in the frame.

STEP 6 >>> Sub divide at an intersecting point again, with either a horizontal or vertical line. This makes more boxes again.

STEP 7 >>> Repeat the drawing of a diagonal within the new boxes.

STEP 8 >>> Keep going in this fashion, breaking up the space with diagonals to the corner of boxes, then laying in a horizontal or vertical at an intersecting point, until you have come to a satisfactory break up of space.

This is Loomis' informal sub division technique as I understand it. I hope you find it a useful addition to your composition armoury. He loved it, and relied upon it to come up with ideas that were interesting and fresh. Download the books that Igor Sandman has posted up in that link if you want to know more about this great illustrators working methods! It's all there in his books!!

Cheers
MIKE
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Old 04-15-2007, 10:19 AM   #28
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default-rol: Thanks very much! I have tools or enviroments but never for characters. I will check the books out and see about mastering the technique that you have shown.

Here is a minor update. I just added a quick skeletal structure to the first plate. This tells me if this creature is good enough and well balanced to be an organic being. I will be adding skeletons to the last two too:

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Old 04-15-2007, 12:14 PM   #29
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Cleaned the front plate up slightly.

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Old 04-15-2007, 01:37 PM   #30
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Thumbs up

Quote:
Originally Posted by Fl3wk
default-rol: Thanks very much! I have tools or enviroments but never for characters. I will check the books out and see about mastering the technique that you have shown.


Glad my Loomis tutorial was of use to you. Loomis used this technique for both environments and character, (as well as a combination of the two - which is a major bonus of this illustration technique.)

I'm roughly paraphrasing what he said, but in "Creative Illustration" he basically says that if you've got an idea but not worked out how to communicate it then this method can suggest arrangements that you probably wouldn't have thought of. And if you don't have an idea then this method can possibly get you started. He also discusses lots of other important things to consider, beyond the 2D graphic break up of space, in that book. It's one of the most important books in my collection, and I don't say that lightly - my book collection is HUGE!! LOL.

Cheers
MIKE
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