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OVERVIEW 29/06/24
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And here we are at the end of the elective. With my poster done, I can now describe my experience with the course overall to finish of my Tumblr blog neatly. …………………………………………………………………………………………………………… I was pleasantly surprised when this elective was recommend to me, before it started, and I am ever grateful that I took up the offer, since I had such an amazing time over the last four weeks. Both with the people in the class who I grew stronger connections with, and with the contents of the course feeling almost catered to my skills as an artist. There were of course times that I felt things grew a little tedious, what with going over practices and techniques I was already well aware of and implemented in my day to day drawing [such as values work, backstory set up or commissions work], but nevertheless it was insightful to hear it taught, since I was previously fully self-educated when it comes to digital art. Having the ability to go into college and do what I loved all day felt like a real treat, and it made me appreciate that Te Pukenga offers such experiences for the creative minds out there. The teaching of it was splendidly well done, with such obvious signs that it was being delivered by someone who both knew and enjoyed the field. I couldn't have asked for a better experience, and sincerely hope there is more like this over the next two years of this degree. –Signing off– Alannah-Mae Medeiros
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THE POSTER 27/06/24 [finished product]
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And here, after twenty three posts, is my final product for the Digital Character Illustration elective. I am extremely proud of Cass and his story, and over the moon with the result I got from work. Not only is it a spin on a personal tale, but the connection I have grown to him over this short period is nothing short of incredible. Below is the original poster and the revised side by side to show off both versions next to each other, as well as the text-less versions. The poster [in all it's glory]
Textless version
…………………………………………………………………………………………………………… I feel that everything came together incredibly well, from the colours to the environment, which was definitely the most challenging aspect of this entire project. I tried my hardest to stick my neck out of my comfort zone, and I'm overjoyed that I did, because it gave me plenty of insight into the ways even the littlest details can change the mood of an entire art piece. And though a part of me feels like with more time or creative freedom I could have done something of a higher quality, I know that I need to learn that my version of the best result is often an unachievable goal, since I hold myself to far too high a standard. Timelapse
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THE POSTER 27/06/24 [revised render v2, the flow]
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There was still one glaring issue with my poster, even after it's first revision. In my endeavors to fix the values, I had failed to find a suitable way to fix the flow of the piece. What I currently had still cut off abruptly, regardless of how I tried to shift perspective with cut off pieces of bush and mesa rubble. So, after thoughtful consideration, I decided to throw myself fully into the mess and change the landscape to the best of my abilities. Even if my reaction was to dislike the idea when it was first presented as an option to me. I know a stubborn artist never learns, and it's definitely a personal flaw I am actively wanting to overcome. And boy was I glad I tried something different. The flow visualized
As you can see below, the original was rather jarring when using a straight line. The updated version however, utilized 'S' shape curves, a common subtle curve used in all sorts of media to bring a viewers eyes across the piece in an appealing manner. I still felt it was a little stiff in some areas, but there was only so far I wanted to go, since I was still skeptical toward the idea; And since changing the path colouring and layout would mean moving multiple tiny elements around, I decided against it. I still wasn't one hundred percent aboard, even with this changed version, and I wouldn't say it was my favourite compared to the original. ……………………………………………………………………………………………………………
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THE POSTER 26/06/24 [revised render v1]
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For my revised render [v1], I focused on touching up too dark areas, and fixing the overall flow the piece had. I wanted the focus to be on Cass more so than Iron Heart, so I cut a triangle in the cliff face to act as a pointer to him and his position, silhouetting him more coherently The first revision, the cliff-face and values
After cutting away at the mesa, I added more shrubbery to give it a slight perception of depth. I also included crepuscular rays, to give the feeling of both warmth, and time of day. I furthermore decided to edit the text and comic-book cover additions. It was relayed to me that the original felt to cramped and looked unnatural. Which is funny, because originally I was unsure at first if I should have the text [the bottom strip and the title] covered or not at all. It seemed like the extent to which I covered it was to much, and I couldn't help but agree. I then went and lightened both the price 'sticker' and the barcode 'sticker' would, with some additional shadow, so it felt like they had been added on after the initial print of the comic.
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THE POSTER 25/06/24 [rendering]
…………………………………………………………………………………………………………… The rendering of the poster took a little longer than I expected, simply because I wanted to add the extra details often found on comic covers to the front [such as the barcode, price tag etc]. I also wanted the 'issue' to look worn and old, like it had been through the hands of several owners and was starting collect dust on a shelf somewhere, so I had to go through the process of making 'tear marks' and general scruff on a separate PNG canvas. In the end I was very pleased with the look I achieved, and after adding my signature soft light layer I felt it really pulled the whole thing together, making it a unique artwork. The original render
There are several easter eggs or call too's included in the picture. Such as the display panel using the previously rendered picture of Cass I had drawn, and the 'publisher' being my last name. The possible uncertainty of who Rattlesnake is meant to be on the cover was also a conscious choice on my half. This would be the issue that, as I stated before, Iron Heart 'passes the torch' to Cass, and they'd gain their outlaw title, one that originally belonged to Iron Heart himself. To nudge things in the right direction for the viewer, however, I did add a snake around Cass' feet, because only a man called 'Rattlesnake' could theoretically tame and control actual snakes. …………………………………………………………………………………………………………… …………………………………………………………………………………………………………… Details Since the canvas itself ended up being so large [1059x1743 px], it gave me plenty of wriggle room for details. Cass close up
One of those intense details on such a large portrait ended up being Cass himself. It meant a lot to me, since I'm a sucker for adding fine lines where they may not necessarily be needed, and I think Cass, being the main character and all, should be allowed to be as detailed as the BBEG while displayed on the cover. I got to incorporate the panic and tension I had envisioned before with my solo render of Cass. With his unsteady gait and wide eyes, I feel it wonderfully portrays the unease and sense of danger Iron Heart brings. …………………………………………………………………………………………………………… Feedback The feedback I received on this first version of my poster was interesting, with ideas to implement certain aspects even I myself hadn't considered. The criticism the piece received fell under the following: - The mesa background [in Cass' area] felt too obstructive. Acting like a giant wall that abruptly cut everything off, and wasn't good for a viewers eye flow. - And that the dark values were to much, and I needed a lighter tone somewhere. I immediately saw what I had to do to improve in those areas, like a light switch had been flicked on in my mind. And I was honestly quite glad these issues had been pointed out to me, since I feel that my tweaking definitely improved what I already had. ……………………………………………………………………………………………………………
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THE POSTER 25/06/24 [flat colours]
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Going into colours seemed easy at first. Since I already had Cass' colours down, I thought it would be as simple as matching some extra additions to his palette and having it done with. This was certainly not the case. I'd say that finding the flat colours for this piece took me longer than any other aspect [aside from the polish over at the end]. I couldn't seem to find the right look, and none of it was sitting right with me, especially Iron Hearts cloak- which takes up majority of the cover. I ended up going back and forth between a purple [3E2F3F], and a grey [503833] for the cloak specifically, and I actually initially kept with the grey up until I started rendering. When I realised that the blue sky in Cass' little pocket area would blend together in a more consistent and appealing manner than an muddy grey. Here are the flat colours for the poster. Please note that I had to go back and take this screenshot later in my process, so the layout will look different. The flat colours
I wanted there to be a notable contrast between Cass and Iron Heart, so I veered the base tones of the mesa backdrop into extreme territory. Other changes included the lengthening of Iron Hearts hair, removing Cass' gloves to balance out the darks and lights in the area, and replacing the title from the brim of the cattleman to a snake emblem. I knew I wanted the title to be more brazen against the cover, and it was just too small where I had previously put it.
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THE POSTER 24/06/24 [final sketch, lineart, values]
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With the help of family [thanks mum], and peers, I found the overall most captivating poster design was design two. …………………………………………………………………………………………………………… This is were I encountered my first proper roadblock. Because poster two takes direct inspiration, to the point of plagiarism, with a comic book called Constantine. At the time I had done it to simply fill out the roster of how many sketches had to be done, but since it was the prevailer, now I had to do something to show I wasn't just riffing off of another artists hardwork.
…………………………………………………………………………………………………………… Changes: So, to battle my inner guilt, I decided to speed run through changes I could make to give myself an original design, that still held the same eye-catching qualities as the original. There were the obvious things at first glance that I knew I didn't like. The text [size, font and position], the lack of classic comic book attributes, and focus in the wrong area. I also knew I wanted the inner scene to be set at a dutch camera angle, to show the unease and warped mindset surrounding Cass, who the main focus should be on. I ended up taking the sketch into my drawing program and quickly scrawling over the places I saw fit, giving me a result that I felt was far improved. Improved sketches
…………………………………………………………………………………………………………… Lineart Feeling more confident now in my choices, I went ahead with sketching the piece out. Now when comparing the original inspiration to my own, I could breath a sigh of relief, they looked far different. Portrayed you can see Iron Heart, the outlaw who performed a heel-face turn and went from the hunter to the hunted alongside Cass. I intended for this 'issue' to be focused on their first interaction however, when Iron Heart was the BBEG [big bag evil guy], hence why he looks far more menacing; And young Cass is keeping an eye out behind him, with a petrified look. Lineart for poster
I decided to display the title in a hand-made font, on the rim of the cattleman. I knew that may cause initial confusion on who this 'Rattlesnake' character was, and I fully intended that to be the case. Since the cattleman originally belonged to Iron Heart before being given over to Cass, it's meant to act like the passing of the torch.
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I found that, with a darker outside leading to a lighter interior, it draws eye to the main character and their environment, so Iron Heart isn't the main focus but more of an afterthought. As well as the lighter interior colours subtly hinting at Iron Hearts literal change of heart, with the glowing white sun showing his hidden compassion for Cass, since it's positioned right in his chest. And with the way Iron Heart is depicted, towering, dark and foreboding over the tiny form of Cass, and gives a sense of ominosity.
I also blocked out where I wanted the comic book barcodes where going to go, just so I had a decent idea for future reference.
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THE POSTER 24/06/24 [sketches and background]
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Moving on from the build up tasks for the poster, today I finally started my final product. I had finished off the initial sketches a few days ago when I finished Cass' full design, so saw fit to go ahead with the main assessment task. …………………………………………………………………………………………………………… Sketches: I started with three designs that I received feedback on. They were basic, pencil drawings using the traditional medium, since I knew I needed them to be quick and easy, to get out of the way. Moving on from the build up tasks for the poster, today I finally started my final product. I had finished off the initial sketches a few days ago when I finished Cass' full design, so saw fit to go ahead with the main assessment task. The poster sketches [in order of creation]
As you can see, I wanted my poster to emulate the front of a comic-book, specifically one from around the late 90's to the early 2000's. I drew reference from all over the shop, though would like to point out the comics Tex, an Italian spin on a Western cowboy from the 1940's, and Constantine, a DC comic series released in 1988. Initial Inspiration, Tex and Constantine
There is very heavy influence from both areas, and though I usually strive for originality, to keep stress to a minimum and to not overly expend myself like I often tend too, I let myself take reference from pre-existing material.
…………………………………………………………………………………………………………… …………………………………………………………………………………………………………… Backgrounds: While in the sketching phase, I also took my time to gather materials I might need for the background drawing.
As much as I hate to say it, when it comes to backgrounds I'm not very experienced. My expertise lies with the actual character rather than it's environment. The extent of my history with work in backgrounds can be summed up in the design I did last year for the Digital Media and Design Certificate course. My abilities in background design [2023]
I found that if I had suitable references, my workload would be cut in half. So I did the same with this background work. …………………………………………………………………………………………………………… I followed the artist Erin Hanson, who's vibrant palettes and eye-catching style called to me. Her personal style sits outside of where I want my poster to be [with hers being impressionism and mine being something more catered to my own skills], however, I was more interested in her values work than the actual final result, so this didn't matter to me.
Erin Hansons work
I will be calling briefly back to these pieces for my values once I have sketched out my final poster design. So the mention of Hanson in this blog may seem fickle to most, but I felt it was only right to give credit where credit is due, especially if I want to be able to call my final product my own. ……………………………………………………………………………………………………………
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FINAL ASSESSMENT TASK P4. 19/06/24 [character designing]
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Moving on from character building, the next part to focus on is the foundations. This includes silhouette [shape language, unique/recognizable proportions], outline, values, and colour. It's essentially the same process we worked with when doing our simple values task a few weeks ago, but now focused around our poster character. …………………………………………………………………………………………………………… Silhouettes I chose to hold back no stops when starting with my silhouettes. And I knew, that I knew, three things right off the bat when going into it. - Cass must be holding their silver pistol [their fathers, and their only weapon]. - They must be wearing their cattleman [a gift conveying trust from Iron Heart]. - And their trousers must be covered in chaps [a traditional cowboy garb that kept mud/other unwanted materials off of ones trousers while working/riding]. Aside from personal accessories, I knew I also wanted the pose to be confident, fierce, and hold a 'don't mess with me' vibe, using sharp and round angles to give a mix of both young [and therefore gentle/innocent], and dangerous. I came up with twelve sketch ideas, and got my family members to rank from their most favourite to least favourite, with an added comment as to why. The silhouettes.
The overall consensus given was that sketches one, two, and five where the best. With my own personal favourite being two. One felt confident and lackadaisical in their actions, like a kid in over their head and unaware of the consequences of their actions. Two felt like the more casual side to Cass, perhaps before the allegations to his name, neutrally greeting someone as they passed, all while upholding that cowboy posture. And five feels desperate, almost harking back to the moment Cass accidentally killed that business man out of fear for their own safety. You can almost picture their hands shaking around the pistol grip as they back slowly away from their assailant.
I ended up going with the second silhouette, since I preferred a more relaxed look for Cass' default position. …………………………………………………………………………………………………………… …………………………………………………………………………………………………………… Values For the values, it was my usual process, of chalking up the outline and minor detail, adding a base colour and then using the value tones overtop. I used the same 5-95 colour scale that I've used for all my art during this course. The values
I knew I wanted the focus to be the face, so I darkened the top half more than the lower half, and after a small debate between me and my mother, I settled on the third choice [on the second picture].
…………………………………………………………………………………………………………… …………………………………………………………………………………………………………… Colours Now, technically, Cass already had a colour palette, from a previous design. I was quite fond of it, but I wanted to test with a few other options, while looking into both colour theory and emotion messaging. Colours have emotions most often associated with them. Take the movie 'Inside Out' for prime example, where the literal emotions are tied with one specific colour [yellow=joy, blue=sadness, red=anger etc]. It can even go as far as what temperature the colour rests at, whether it's warm or cold, can often make a huge difference. I wanted the same subliminal messaging to come across in what Cass was wearing, and his environment. The colour variants
For the revamp of the colours, I went far dustier and muted than my original design, which feels more realistic for the time period and what dyes would have been available for clothing. I spoke to a few classmates, and they agreed that the cowprint chaps stuck out the best, and though the white top and vest on revamp 1 contrasted the best, the second revamp harked back to the original in a better way [with the blue top, brighter dustbreaker], while still holding contrast, just in an alternate area. The final flats/shading guide reference
With the base flats picked, I decided to go one extra step further with my work. It's a technique I implement usually by eye, but I'll lay it out here so my thought process is more evident. When it comes to shading, I always make sure that the lighting itself makes sense directionaly. Making it so everything is lit up in a way that makes sense and isn't random and hodgepodge [something that can often result in eyestrain and inherent disliking of an art piece]. To make sure that my angles are all right, I overlay and white and black layer, and scrub away the black with a soft eraser tool. This gives me a good reference guide of where to place my shadows when it comes to rendering. The final product [click for full image]
I was pretty happy with the final product. Busy and warm! You may notice that I added some extra texturing and stippling in certain places. I did this because I wanted Cass to have the vibe that he'd come out of an old 90's comicbook. Their toned with the usual soft light layer I always use, as well as a duplicate layer that's toned with a more sepia colour [HEX 41201C], to represent the Western aspects. I feel the way the leather looks aged on both the chaps, the vest and the hat is decent at bringing out the 'on the run' outlaw side too. ……………………………………………………………………………………………………………
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FINAL ASSESSMENT TASK P3. 18/06/24 [character building]
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We had the opportunity to create three extra character and world building things for our chosen characters. A mood-board, a questionnaire, and a word-cloud. This would help with visualizing when it came to our eventual final product. …………………………………………………………………………………………………………… …………………………………………………………………………………………………………… MOOD-BOARD: I wanted my mood-board for Cass to have dusky, beige tones, with splashes of dulled colour here and there. Often when people think of cowboys and Texas, they think of orangey white, rocky terrain, and dead yellowing grass fields, and I wanted to keep the vibe when I was creating the mood-board. I purposefully also chose several vintage photos to bring in the fact that their life was lived in our distant past. I also wanted to include their horse, Hero, their outfit and their weapon style. The mood-board.
I felt I drew everything together well, and the added touch of torn newspaper and a vintage-scratchy filter really pulled everything together. The young cowgirl in middle was actually the real-life reference I took from when first creating Cass, and I knew I should include them as the main-center piece in tribute to how much they contributed to my characters creation. …………………………………………………………………………………………………………… …………………………………………………………………………………………………………… QUESTIONNAIRE: We were given a template of questions about our character to fill out, and I found it was a good exercise in fleshing out Cass in more directions. There were technically only seventeen questions [despite it saying it had twenty questions], but I felt my answers were sufficient enough to not need the three extra ones, which were self-driven. The questionnaire.
I also realized, most of these questions were useful for the poster I would create, since I could incorporate specifics into the drawing that I wouldn't have thought of before. …………………………………………………………………………………………………………… …………………………………………………………………………………………………………… WORD-CLOUD: I was unfamiliar with word-clouds before this course. Though I had seen them before, I had never made one myself. We had to create a word-cloud that was focused around words that described out character. In all honesty I didn't find this exercise helpful for my style of workflow, but it was still a fun task to stretch my mind and see if I could find find four different ways to describe the word 'rambunctious' to fill out the space. I ended up with seventy-two unique words in my cloud, and styled it as a pinch-front style hat [a type of cowboys hat].
My wordcloud.
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FINAL ASSESSMENT TASK P2. 18/06/24 [backstory]
…………………………………………………………………………………………………………… This post will focus on Cass' backstory, and my ideas surrounding it. I took my time to build it, making sure that both his external and internal conflicts where present, as well as making sure to give him a substantial goal. Here is the story in full.
We also had to complete a squashed down version of the backstory in just 100 words. I found this was more difficult than I gave it credit for, since I found it was hard to convey the character in such a short word limit. The result was a bit blunter than I would have liked. Revised version of the story.
…………………………………………………………………………………………………………… The reason I chose this character was very specific. Not only were they very attached to who I am as a person, but I had in mind definite origins. As well as making sure all characters make sense in every aspect, I also like them to connect back to me and one of my problems or challenges I face in real life. Projecting these issues onto my own creations is a healthy way to detangle the problem at hand, or face it more confidently, and I often find I discover more about myself in the process. For Cass, it was the facing of gender and identity I wanted to portray. For most this is a very touchy subject, especially with the current government in place across the world. So being able to channel into Cass my own frustrations with the conditions of society, and turn them into plot points, felt very beneficial for my own mental health. Reflections as presented on my character spreadsheet.
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FINAL ASSESSMENT TASK P1 17/06/24 [character]
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The final assessment task for this elective is to create an A2 poster of a character we create, with a meaning full backstory; All built upon using the skills we've learnt over the last few weeks. Our characters will go through several stages of creation, from idea to sketch, with a few added bonuses along the way such as a moodboard and a wordcloud. …………………………………………………………………………………………………………… I had two character ideas to start out with, an OC I had had for a few years, or a new OC I had only recently created. I ended up going for the one I had recently made. My reasoning was that to complete this course effectively, I shouldn't choose a character with an already established backstory, and work my way up essentially from scratch just like everyone else. My chosen character is Cassidy 'Cass' Littlewood, a trans teenage outlaw, set in a world in the late 1800's, a custom version of the Wild West of America. ……………………………………………………………………………………………………………
When I make my characters, I like to make sure every detail is there for a reason, and nothing is added just for show. That includes name, clothing and backstory elements. I ended up typing this all out on my preferred app, Milanote. Here's the document in full.
I will go through each section in short detail in the following posts, if I see them as relevant to show, since some aspects I have added here would be redundant for my work.
…………………………………………………………………………………………………………… But first I wanted to touch on why I chose Cass in the first place. Over a short amount of time, I've found that I've grown very fond of this character, and I wish to share as to why. It really came down to two factors. - I hadn't created a cowboy OC before, despite my personal fascination in their history. - And what better way to express my own dysphoria through a genre that is usually male dominated. The 'Wild West' genre is famously built on misogyny and racism with a severe lack in proper female representation that isn't overtly sexual or demeaning. (as shown by a Massey research study: https://mro.massey.ac.nz/bitstreams/82eb248d-3325-49c4-be3f-df7cafd3d12f/download) If Cass were a real character, a biological woman who wants to be a man, they'd stick out like a sore thumb, since they can't transition properly in their era. He's a 'faux' man in a 'real' man's world, possessing feminine features that he cannot remove. It is an incredibly interesting concept, with many opportunities for storytelling (both environmental or not); As well as his situation being an extraordinarily common occurrence for non gender confirming people across the planet, who cannot transition. From personal experience, sometimes it can feel like your cosplaying your own gender when out in public, and people see you as an item to behold not because you're valid, but because you look desperate to fit in. Being able to show this through Cass meant a lot to me, since it felt like an accurate representation of how I feel internally. …………………………………………………………………………………………………………… I also chose Cass' name for a reason. I love being able to tie an OC's name back to their character, and I did just that for him. I performed a deep dive into research over ancestry.com, which cemented my name choice.
Why I chose the name Cassidy 'Cass' Littlewood.
And although it may seem overboard, I did this because I did the same with all my other characters [over twenty six!]. Cass isn't only a school project. I plan to incorporate him into my connected universes with all my other OC's, which has been an ongoing project of mine over the last five years. So adding this part was a must-have in my mind, since I wanted to give him as much attention to detail as I had with all my other creations. ……………………………………………………………………………………………………………
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GESTURES TASK 12/06/24
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Moving away from the colouring of characters, this task focuses on the line of action when it comes to posing. Posing can be extremely powerful when it comes to art, being able to express emotion, personality, and movement in a static image. Dynamic posing can be a struggle to get around, since anatomy is often an artists biggest enemy. And I can say it personally took me a very long time to quit tracing pre-made character poses I found online, and begin practicing anatomy for real. I would now say my skill surrounding posing is far from mediocre, but certainly something that could be improved upon, since the learning curve for art never truly ends. …………………………………………………………………………………………………………… Our task focused around finding a dance video [or something similar] and choose twelve stills to then recreate the pose of. For my video I specifically picked a Lady Gaga song, since her music videos are often strange and unusual, with a lot of funky dance moves that could give me unique results compared to most modern pop. The song I chose, a classic. https://youtu.be/qrO4YZeyl0I?si=E_BC01Oi-NPj4dAW …………………………………………………………………………………………………………… I picked out my twelve poses, compiled them into a 2447x2020 pixel grid, and went about sketching down the basic body shapes of each.
We then got to choose one of our poses and build a character off of it. Luckily enough I had been looking for an excuse to redesign one of my original characters so I chose the 11th pose and did a quick render of A'Ontri.
A'Ontri is a Star Trek OC I created a year or two ago while watching the Voyager TV series. I built both her species, planet and story from the ground up, and went as far as creating a fully unique language to their people. I really enjoyed redrawing her, and for old times sake I did it while rewatching TNG. ……………………………………………………………………………………………………………
…………………………………………………………………………………………………………… I finished the linework relatively fast. One thing I did notice, was that I really enjoy drawing braided hair. I have three separate OC's who have that style hair [Athena, A'Ontri, and Rattlesnake], all three of which I have shown here. I promise I can draw other hairstyles, it's simply coincidence. (╥﹏╥) You may also notice, that I had to change the way the legs are structured for A'Ontri. This was not an error on my half! Infact it was completely on purpose. Her species [the Treveyllian] are digitigrade; Animals that are built to walk on their toes. This is an evolutionary result for A'Ontri's species, due to the conditions of their planets surface.
…………………………………………………………………………………………………………… Biology lesson aside, I worked out the values, and then added base colour.
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GROUP DESIGN TASK 2 11/06/24 [updated]
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The group design task involved creating a character in a commission style, with each render from each member of said group being in a different allocated style. Now the work was all finished, it was compiled into a landscape PDF and given back to its original creators. The group design task involved creating a character in a commission style, with each render from each member of said group being in a different allocated style. Now the work was all finished, it was compiled into a landscape PDF and given back to its original creators. Everyones compiled work.
…………………………………………………………………………………………………………… But this task wasn't finished however. The next step was to receive feedback from the 'commissioners' and make changes accordingly. Our team was told what to fix, and change, and we found it was mostly based around the colour palette, and keeping the body shapes more consistent between designs. I made my own changes, and then shortly after we recompiled our work into the same landscape format. The changed design, key updates include: - Sharper edges - Colour palette swap - Removal of details
…………………………………………………………………………………………………………… The group then pulled together and remake the landscape PDF, with a more cohesive design, while following the notes given to us. I personally like the look far better this time around.
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DESIGN TASK 09/06/24
…………………………………………………………………………………………………………… When it came to shading Banshee, I used basically the same process as The Prowler. Picking three or more shades to use over the base tone, and a highlight. I also used a 'soft light' layer to finish off the piece, though this time I paired it with a 'multiplier layer', so the darks wouldn't wash out. Banshee ended up having far more lighter colours than Prowler, which made adding that extra multiplier essential. Here's the finished look, alongside it's clothing variant, it's close up shot, it's silhouette and timelapse.
…………………………………………………………………………………………………………… Part of the brief was to make sure out character had a unique silhouette. This is because, I assume, that to be a better artist, learning the tactics around character design can be very beneficial. ……………………………………………………………………………………………………………
…………………………………………………………………………………………………………… There is a general rule with character design, that a character should be recognizable by their shadow [or shape design] as well as their appearance, especially when considering main characters. Shape design is simply the building blocks of a character, with each shape being associated with a different core personality trait [squares are strong and stable, circles are soft and friendly, triangles are sharp and dangerous]. The implantation of these obvious shapes into a shadow can portray more of your character than a description could. especially when combined. Here you can see I have implemented a mix of circles and triangles. This is because Banshee [in writing] is a pushover naive girl, but can be dangerous if she's rubbed the wrong way. Eg. Shape design on Banshee
Dynamic posing comes into play here as well, since including negative space is almost essential to make a 'clear silhouette'. Negative space are the gaps in or around a character, that act as a way to make what they are doing clear, as well as engaging. Eg. Negative space on Banshee
I feel my implementations gave a good insight on character, and personality. With not only her suit making her dynamic but her shadow matching, I am very happy with the final product. …………………………………………………………………………………………………………… …………………………………………………………………………………………………………… For some fun, I made another timeline evolution. Since Banshee is so closely related to The Prowler, I felt it was right to include it. My friend was also wanting to see a timeline so I had it laying around anyway.
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DESIGN TASK 08/06/24
…………………………………………………………………………………………………………… I ended up choosing the third variant to work from, and sorted out my colour palette. I went through two versions of the palette before I was happy with it, one with a hotter pink and one with a more smokey salmon pink.
This suit, as you can see, has a far bigger range of colours than that of Prowler, but regardless I stuck to using the 10 value system I had set up. Part of this task was to create several variants of colour as well as just values, which worked fine for me since in this character revamp I knew I wanted to incorporate an alternate theme, and it would take several tries to figure out what sat right for me. ……………………………………………………………………………………………………………
I ended up with three choices once again. The only difference being that this time, I was even more unsure of which I wanted to go with. After asking each member of my family, and then the original commissioner, the consensus was that the second option was the best of the bunch, with a more even spread of darks, that led your eyes over the piece in a more pleasing manner.
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DESIGN TASK 08/06/24
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For the design task, we were told to draw and render a single character (or more), with a unique pose, and multiple versions of design, colour and value. Going off of my previous values work wit2h The Prowler, I decided to draw up the rest of their team. Prowler is a character I have had for a long time, and they work alongside two other mutant antiheroes. The two others are Athena Hawthorn [The Banshee], and Harold Osborne [The Hobgoblin]. …………………………………………………………………………………………………………… I was never solid on either of the other twos designs, since my focus remained around The Prowler, who was my personal favourite. Here are the characters, alongside Prowler. Harold Osborne, Athena Hawthorn, Eris Conan
The last time I touched these characters was when I last drew The Prowler, so roughly middle of last year. I'm interested to see how I can improve upon both of the designs, like I did Prowlers, with the values technique [and my own improved skills].
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I started with The Banshee. She was originally the brainchild of my Canadian friend, who commissioned me to draw her. I have long since gained full rights to the character, since she handed them over to me last year, so I was looking forward to fixing up both her proportions and her outfit, which I found distasteful. I began, as always with a sketch. Or three. I had a few ideas for both hair, and extra accessories, so did some extra line work. ……………………………………………………………………………………………………………
…………………………………………………………………………………………………………… I chose the third style, since it's unique hair was more appealing to me, and started with the value work. I filled out three different versions until I found one I liked, using the same system as I did for Prowler, with the same set of value tones to pick from [5-95], and starting with a 55 [8D8D8D] base. I also gave the background a darker shade, to make the whites of her suit stand out more starkly against them. ……………………………………………………………………………………………………………
…………………………………………………………………………………………………………… A small hiccup I encountered, that I had not expected, was just how long it took me to figure out these set of values. The Banshee has a very light colour palette, with lot's of whites that make her stand out from her peers. Incorporating in enough dark to balance her out was a very fine act, and there were a few times I had to step back and do something else to give myself a rest. The technique I tried was to added a blur in the places there would be a fabric gradient, and found that it pretty quickly made my job far easier, and helped me visual my final product better.
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