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Video Animal Anatomy & Creature Design with Terryl Whitlatch

TheTV.info
01:15:35   |   14K+ views   |   07/22/2018 at 20:13

Transcription

  • they cool but so far you don't think
  • there's no no there's no life there and
  • then the spectacular one with this ring
  • as rings and rings of ice Wow putting
  • routine eat and but still no life yet
  • with it you can detect a great big huge
  • gas giant with this angry red spot going
  • around it and then there's this
  • interesting kind of rocky planet travel
  • some more now there's this beautiful
  • loose whirling marble and that catches
  • your attention this one looks like it
  • has some potential well all your
  • scientific instruments indicate that
  • there's something going on here that
  • there's something alive down here this
  • is really exciting so you land your
  • spacecraft and you end up in this large
  • continental Peninsula really big and
  • it's the jungly underbrush and you creep
  • out of your spaceship and you see these
  • creatures and they're strutting around
  • and they're calling and making wrong and
  • you look at these creatures through the
  • eyes of or this is not your home planet
  • how could you possibly possibly design
  • any more thing more beautiful than
  • what's already here these are two very
  • real animals
  • their names are Jade and Snow Jade and
  • Snow the peacock two male peacocks they
  • lived at the Oakland Zoo they might
  • still be living there at Oakland Zoo but
  • that's who they are
  • and so when you look at where we live
  • around us you start to looking
  • appreciate animals of the hole all new
  • eyes this piece could be used both as
  • fine art it could be an illustration
  • about birds
  • can be used for concept development to
  • hand to the protection team who are
  • going to model real peacocks because in
  • this day and age there are a whole bunch
  • of potential if you're able to model and
  • create real animals rather than having
  • trained animals they have minds of their
  • owns and perhaps will not do what the
  • director wants them to do or for animal
  • safety for example if you're able to
  • create at least in part digital horses
  • they haven't quite got that down right
  • yet but can you imagine so the more that
  • you understand animal anatomy and real
  • creatures the more you're going to be
  • able to do naturally imaginary ones so
  • what happens if you're given this
  • assignment and the director wants you to
  • invent a biological Griffon not a
  • chimera not a magical Griffon but one
  • they could actually have on our planet
  • what would happen well I'll go through
  • kind maybe the process so if I'm on the
  • phone and I'm dueling here thinking of
  • what would a real Griffon look like and
  • I'm thinking of what the Persians
  • thought the ancient Persians thought
  • were real Griffins they discovered back
  • thousands and thousands of years ago
  • fossilized skulls of Protoceratops
  • dinosaurs anybody have an idea people
  • know what Protoceratops are they're
  • related to Triceratops and horned horned
  • dinosaurs well they thought those were
  • the skulls of Griffin's and invented
  • their lion-like bodies to go with them
  • but I'm going to mix the DNA a bit to
  • see if I can get something that could be
  • real so because I like drawing big cats
  • and small cats and cats in general I was
  • dueling these Griffin's doing cat-like
  • things and I like to draw and paint cats
  • and here is perhaps one of the most
  • feliner felines an African spotted
  • leopard and so that's some other leopard
  • and her
  • or her little cub here and it's always
  • interesting to look at the proportions
  • between an infant and what they grow
  • into I always find that a wonderful
  • exercise just increase your design
  • because there's the the contrast between
  • the baby and the mother so but I'm just
  • loving the lines of this very very
  • elegant wonderful creature this this
  • leopard hears reconstruction of a
  • Protoceratops at least to the latest
  • data and there is evidence that they may
  • have had quill like feathers at least on
  • their spines from bubble back so here is
  • a mother Protoceratops
  • here's her cub see I can need some
  • extension here we go so you mix the DNA
  • and perhaps you get a creature that
  • looks like this where you have a feline
  • Eska body it's not exactly the same as a
  • leopards but you kind of get that idea
  • of cross and you have a Protoceratops
  • ish like head but it's not exactly the
  • same as the dinosaur and many at least
  • the if we're going to cross species a
  • little bit more of the raptor type
  • dinosaurs or thought who have had wings
  • on their forearms so why not put them on
  • this particular Griffin and I just went
  • and blew the crest out a lot more so
  • that could do some behaviors and a bit a
  • little bit of eye candy but here is this
  • row of quill like feathers it doesn't
  • stop there if you're designing for a
  • movie especially when it has a lot of
  • details say like a Star Wars type movie
  • it's always very helpful to give your
  • production team as much information as
  • possible because they're going to have
  • to go ahead and sculpt a model that can
  • be animated well in order to animate
  • something you need Anatomy this can't
  • get away from it so here is what is
  • called the slave skeleton or the slave
  • rig inside this would be the vector drib
  • where they have the attachments to move
  • the creature but we don't but we want
  • that extra layer blue built a
  • believability so you have the slave
  • skeleton that encapsulates the slave rig
  • and then we have the models for the
  • muscles and then finally we have the the
  • surface animal with all the texture
  • mapping and such and then of course new
  • software has to be invented just to move
  • these feathers about here is the female
  • the species because in my little world
  • I'm the boss and the females have are
  • black with sapphire feathers and the
  • males are gold and with magenta or
  • amethyst feathers
  • there's the cub and here's a concept
  • illustration a concept narrative
  • illustration basically what it means is
  • an illustration that tells the story as
  • concept artists visual development
  • artists whatever you want to call it
  • really the broad term is we're
  • illustrators we tell stories the most
  • important thing and this is you know
  • whether you're doing the sculpting or
  • you're doing it in two-dimensional we're
  • telling stories we are illustrating a
  • point to get across and we have a grand
  • heritage from the cave paintings to
  • Rembrandt the Sistine Chapel to the
  • Impressionists tuner in Rockwell to dr.
  • Seuss and anyone else who is effectively
  • even able to tell a great story we're
  • illustrators that's our job and
  • illustration is the parent of a motion
  • picture so anyway here is the these
  • animals in their native environments
  • doing native animal behaviors such as
  • what you would observe in lions of fine
  • over a carcass
  • and these animals are designed to live
  • in this rather rocky place like snow
  • leopards and they don't really truly fly
  • because I don't have the pectoral
  • muscles necessary for that however they
  • leave they leap glide so when you're
  • designing the creature look at nature
  • the co-efficient nature is look how real
  • animals move so that if you're doing for
  • example it's in a science-fiction
  • environment as opposed it may be a
  • magical or fantasy environment people
  • can believe in your world and believe in
  • these creatures so let the real animals
  • inform your make-believe animals here is
  • another study of this Griffin this tease
  • or kind of focusing in on the anatomy of
  • the armpit and you know I've got these
  • idea was from watching Cougars young
  • Cougars jumping mama no it's plain but I
  • thought so cool we just look at these
  • Cougars jumping
  • and here is some more of the animals
  • that live in that world I was and I
  • loved as David was saying he loves
  • prehistoric mammals and I adore
  • prehistoric mammals and that was what I
  • had intended to do for most of my career
  • I still do a lot of paleo reconstruction
  • work but when I was my passion was
  • always for real and prehistoric and
  • especially with the mammals because I
  • don't know because I like them I guess I
  • don't have an explanation why but anyway
  • these are these particular creatures are
  • in sprite inspired by obviously you know
  • pterodactyls and bats but also elephant
  • shrews and Noom bats from Australia and
  • a prehistoric mammal called the Leppa
  • Thetis which kind of bounds about like a
  • little kangaroo at least I thought it
  • did here and there's the baby because I
  • like baby animals and these are just
  • kind of crosses between cyanide aunt
  • mammal-like reptiles and thorny Devils
  • and yes this is a mood painting this is
  • where you are focusing on getting a mood
  • and emotion an impression across it's
  • it's done a lot of Pixar does a lot of
  • this sort of thing getting the feeling
  • they play around with color to help
  • convey the emotion Disney's Bambi the
  • development of that a lot of mood
  • paintings so this is also kind of an
  • important thing and this is an acrylic
  • painting on a gesso board because I
  • wanted to get a particular texture of
  • the other gesso that I couldn't
  • replicate it couldn't replicate this
  • digitally but this this is basically a
  • California gray fox and reflecting the
  • colors off the grapes and I've in real
  • life you're definitely you know reflect
  • to this degree but I'm awed meant in
  • reality to get this kind of tentative
  • tender shy
  • moment in time here is an illustration
  • from my book the Catherine Odyssey this
  • is where I'm working tried to digitally
  • a combination of traditional and digital
  • media
  • I drew the illustration on tracing paper
  • I then made a copy of it on a
  • good-quality office copier like a cannon
  • or a Xerox that type of copier not a
  • printer a copier and the and just to
  • strengthen my graphic lines then I
  • scanned it into Photoshop painted it in
  • Photoshop the text goes here and
  • basically it's a story of about a little
  • lemur and a little ringtail lemur named
  • katuk and he's been banished from his
  • island home and he has never ever ever
  • seen the ocean and for him going across
  • ocean if you're an animal that's furry
  • about the size of the cat this is like
  • going into outer space from his
  • perspective he's not happy not happy at
  • all but he's on the back of this
  • leatherback turtle and of course the
  • world it's not the earth it's it's a
  • planet that's like the earth and all
  • species who've ever lived on our planet
  • both pre historic and contemporary
  • species live on this planet called
  • Katara and they're all Catering's
  • basically like we're all earthlings
  • so this is during the day going across
  • the ocean and all these predatory
  • animals are like we're really curious
  • about this small furry animal like
  • here's some ugly Zuko down to ancient
  • whales here's a contemporary dolphins
  • like white-sided dolphins here's Thea
  • sores elephant seals prehistoric satish
  • ins opus or ocean sunfish
  • I love Marlon and sailfish there's so so
  • wonderful on our walls because narwhals
  • are wonderful - well it doesn't get any
  • easier for him at nighttime
  • which you'll see why they're just now
  • you have a whole bunch of nighttime
  • predatorial carnivores it just as
  • curious especially like leopard seals
  • who are very very dangerous animals
  • they're like oh go away
  • but in here but it was so fun just be
  • able to put all these real animals in
  • scenes together and I asked myself how I
  • possibly improve on them it's like God
  • took all the creature good creature
  • designs already you know so alright he's
  • now on the main continental world big
  • continents and this is a scene farther
  • along in this story where katuk and his
  • friend who the quagga the quicker are
  • joining up with his Caravan and it's a
  • caravan of monkeys called the Fatah and
  • they're based on patas monkeys and they
  • ride upon these great big huge
  • glyptodont
  • which are a relative of modern-day
  • armadillos real group dogs were huge not
  • this huge so real group dancer about the
  • size of a VW Bug but these are you know
  • it's my world so I made them huge and
  • they these monkeys also they ride on
  • desert antelope called gemsbok and
  • scimitar horned Oryx and attacks and
  • here's a couple of Arabian oryx so it's
  • one of these kind of grand epic type
  • illustrations and it's wayna Vista style
  • wraparound film aspect ratio too so that
  • was fun to make this book into movie
  • aspect ratio well here's a switch we saw
  • in the previous slide that you're going
  • on a kind of a really neat journey and
  • everything looks rosy even the colors
  • were rosy well this is earlier on in the
  • story where katukov's for Spanish
  • introduced in this basket underneath
  • this big MOA and they're driving driving
  • them away
  • the color is totally different and going
  • down down down almost like am I going
  • into the valley of the shadow am I going
  • into Dante's Inferno and here's all the
  • other lemur species saying yeah yeah
  • yeah he he tipped the balance let's he
  • needs to leave and it's fun playing
  • around out here because I'm playing
  • around he's different kind of hi hi I'm
  • playing with injuries lemurs the mo is
  • here having like a little story pecking
  • at each other I'm here here we have some
  • shiitakes bouncing on the drum and I'm
  • having fun being like you know like been
  • her or the 10 commandments and it's fun
  • to be epic when you can and here is
  • towards the end to work a toque here he
  • is and I do have many pictures of him
  • much larger but where he is given a
  • vision of an animal paradise where
  • everybody there's no fear no pain no
  • eating each other and it's almost in
  • another dimension because the landscape
  • goes on forever and ever and ever and
  • ever there's no end to this world
  • there's enough for everybody and and
  • such I put some interesting illustration
  • devices called car to she's almost tell
  • a little story in the end I kind of
  • here's the bike the bike symbolic
  • peaceful kingdoms cartouche is a good
  • device in traditional illustration but
  • it's fun to put it into a more concept
  • style setting so here's qui gonn he's
  • happy there BAE's happy but his times
  • not he can't it's not time for him to
  • stay here he has to go back to his world
  • his and save his people well
  • we are in California so we are pretty
  • close by and at least we're closer here
  • than we would be if we lived in
  • Massachusetts so um a long time ago in a
  • studio pretty close by just you know
  • about two hours by plane well you
  • probably saw at least some of these
  • movies right maybe a couple of times
  • maybe once or twice okay that happened
  • and it's still happening every year now
  • Disney promises every year your year
  • we'll see well here's how one of the
  • characters happened and this was before
  • I was even tapped to work on the movie I
  • was working at Industrial Light and
  • Magic and I had just finished
  • storyboarding the first Super Bowl
  • clydesdale Super Bowl commercial you
  • remember that one the horses are all
  • playing football and such and so I had
  • boarded out although all that that whole
  • commercial and that was a real marathon
  • because these had to be very beautiful
  • storyboards because it client you know
  • it's anheuser-busch and
  • so it's like LM want to say look at our
  • beautiful storyboards and so these I
  • only had two days to do you like these
  • detail horses and all these poses and so
  • I was like this way like I it's done I'm
  • still alive I'm still alive and I was
  • waiting for my art director at the time
  • Mark Morris to give me my next
  • assignment which I think was lip sync
  • doing lip synching design for Dragon
  • heart so I was just drawing like rolling
  • off steam and this is how I was feeling
  • I was actually feeling like this leo and
  • so but you know I kept a little sketch
  • it was just my little sketch and then
  • when Doug Chiang and I were moved up to
  • Skywalker Ranch they did that for
  • security purposes I just brought this
  • little drawing with me and put it in my
  • bulletin board up there
  • and every Friday George Lucas would come
  • up well every Friday at the very minimum
  • he'd often pop up in and out so we
  • always had to be ready
  • he saw saw this little drawing he really
  • know I I was so amazed he really liked
  • the fretfulness and the uncertainty of
  • this little this little creature and he
  • wanted to keep those elements of this
  • creature he wanted to design that for
  • you the next generation of Star Wars
  • hope people young children could see
  • these movies he wanted there to be a
  • character that was safe for them because
  • Star Wars if you take out the comic
  • relief can be very grim you know people
  • die they get blown up ya get eaten bad
  • things happen you can be pretty grim and
  • so the character when I worked on all
  • the characters but this particular
  • character had to be a place of safety
  • for the next generation of children and
  • he looks like many things in his
  • development he was a year and a half in
  • his development even design you know
  • dogs for him this is like a Blart I
  • think more fun doing the dog who did
  • this one but so he looks like many many
  • creatures and we were destroying a mile
  • a minute we had to draw so fast there
  • that there wasn't any time to do any
  • real fancy digital stuff because we just
  • had to draw slap on a bitchin colors
  • slots that we'd had no time and we
  • didn't have the technology back then
  • Photoshop back in the late 90s was like
  • Sia's like one point and a half so it
  • would have been more more longer to set
  • the layers up I mean then it is
  • obviously now so we just had to just
  • draw da da da da da da da more speed
  • drawing these are not these are not
  • perfect drawings I see and we're all our
  • worst critics but I see things that I
  • wouldn't but there wasn't time be your
  • own credit you had to get out
  • didn't say okay George is very nice
  • person he treated us so kindly and that
  • is what the final development I'm
  • getting a year and a half there he'd
  • look like so many different animals but
  • basically this is the one that was the
  • final the final version and then Ian
  • McCaig designed the clothes and the
  • costumes for him and that's that's why
  • I'm glad I brought it to this point and
  • trying to work on some some other ones
  • but one thing that but we all need to
  • relate things to reality and with
  • jar-jar he need he was one of the very
  • first completely realized digital
  • characters I had to stand on his own and
  • so I wanted it was very important that I
  • was able to inject a type of alienness
  • into him it was not he doesn't walk like
  • a human being he was not meant to ever
  • be a human being in a suit nor was he
  • going to be modeled like or animated
  • like a person in a suit so I had to
  • think about how was he going to be
  • animated and to make sure that his
  • Anatomy would allow that sort of
  • animation to occur well do you notice
  • how very short his thighs are and how
  • much longer his shins are well there's a
  • reason for that when you see him walk
  • does he remind you of a particular type
  • of animal when he walks anybody can't
  • have a guess I'll have to demonstrate
  • when you are also a concept illustrator
  • and I've also animated as well so I kind
  • of did some animation for them as to
  • some traditional animation to show how
  • he would walk and how these some of the
  • other animals walked that was so neat
  • because they brought a whole great big
  • huge Glen Keane style animation table I
  • wanted to keep it but they would let me
  • so but anyway so you need to think about
  • that and so he walks like this
  • South Georgia walks what kind of animal
  • walks like this you can see see them
  • every day see them every day birds birds
  • that's how birds walk and they have
  • thighs that are very compact and even
  • though they are ankle is is up like that
  • I come and say for that like just giving
  • him extra-long shins it was really a
  • bear and then Dean how he kneeled but
  • you had to figure that out too because
  • of the long shins but that's what gives
  • him the less human aspect so animals
  • teach you they inform you they allow you
  • to do incredibly alien type things just
  • like David was saying you need sometimes
  • doing a creature that you don't want to
  • say well it's the idea wasn't influenced
  • by this or I wouldn't say that yet he he
  • is correct and that all kinds of animals
  • go into that pot to create what he came
  • up with these are the or that the
  • original orthographic drawings that I
  • did that when to Industrial Light and
  • Magic so that they could model the
  • creature they can model him and for
  • every single creature for Star Wars I
  • had to do the skeletons because this is
  • what the riggers would use as their
  • guides and then they would model also
  • the slave rigs to go on top I also did
  • all the muscular systems and if I but if
  • I included all of that this would be
  • like a two-day talk so I'm destroying
  • some of these here's the anti Jar Jar
  • he's evil - Sebulba and he was a lot of
  • fun to do anybody have an idea of what
  • animal he's based on his head anyway
  • camel yeah dromedary again this
  • dromedary lived at the Oakland Zoo but
  • it's so funny because Sebulba is like if
  • you stood on this table he's this tall
  • he has a really bad inferiority complex
  • and takes it down
  • buddy there's his orthographic s' and it
  • was really fun for him just to be just
  • to drive home the point I gave him the
  • color of an Easter Egg so that's why
  • he's you can take contributes to his
  • very very bad mood he drives with his
  • hands and he walks I mean he he drives
  • with his feet and he walks with his
  • hands so he has a very spidery like
  • locomotion here's some more skeletons of
  • some of the other pod racer pilots
  • they're all very funny George Lucas
  • asked me to just design a whole dr.
  • Seuss II an arc four of creatures for
  • the podracers pilots and this one here
  • is a nod George Lucas's best friends as
  • you know with Steven Spielberg and as
  • kind of a nod to his friend he had me
  • kind of do a little bit of a redesign of
  • the alien that came out of the Close
  • Encounters mothership that series bill
  • bird designed so that was fun and if you
  • see here I've skewed the anatomy so it's
  • not perfect on each side I've given it
  • some asymmetry because in real life we
  • are asymmetrical we're not quite perfect
  • if you have something that's totally
  • equally perfect on either side you get
  • an unreality you get that uncanny valley
  • are you familiar with that term the
  • uncanny valley
  • it means it's so real but it's not so
  • you need to add some unbelievable you
  • need to add some imperfection there he
  • is again
  • he's just silly both in McCaig and I
  • worked on this creature and it was Ian's
  • idea to put these little Dingle Bob's I
  • just really had fun with these knees I
  • loved these little silly this is like
  • the opposite of jar jar's legs the
  • insides are sometimes funny of the
  • outsides okay this is how the two-headed
  • announcer started out and I really like
  • this
  • when I was inspired by Siamese cat twins
  • you know Siamese twins and kittens it's
  • kind of really creepy they don't and
  • they're kind of attached like that real
  • diabolical that George thought was too
  • scary for little kids so so anyway um I
  • took a more conventional conventional
  • approach to a two-headed monster or
  • alien but he was still fun
  • she was designed for the prequels but
  • she ended up in the Clone Wars we just
  • designed just uber designed so many
  • creatures and she's like a combination
  • of dinosaur and parrotfish and primate
  • and who knows what else here is one of
  • the pod racers this is a more recent
  • illustration from this film this is team
  • taupe a gillies and here is a model
  • sheet of team toe Peggy Lee's assistant
  • mrs. Peggy Lee's and they here his team
  • toe and some of the couple of the other
  • pod racers that carries clegg holdfast
  • and they go here simple bike he likes
  • sugar the pure stuff and they're
  • celebrating the fact that they've
  • survived yet another race intact and
  • having tea and cookies Star Wars style
  • here's noonas and stuff but it's just so
  • fun to to be inspired by real animals
  • like he was inspired by sea horses this
  • one was inspired by gerenuk antelopes
  • and other types of antelopes called like
  • diet tags team toe was inspired by Anik
  • acts you can see little bit macaque in
  • his face camel little dinosaur obviously
  • human anatomy I've been here and I don't
  • know these are some of the sketches of
  • the fishes that were done they were
  • swimming towards the Gungan city and
  • they're all inspired by real fish like I
  • was inspired by big groupers here and
  • and triggerfish angel fishes tuna type
  • fishes black swallows box fish
  • Star Wars is all about taking what we
  • know on earth and tweaking it a bit to
  • quote George Lucas and here's OPC killer
  • and every single creature in Star Wars
  • universe has a backstory in Natural
  • History and there's a colossus that eats
  • the OPC killer but always remember to
  • chew your food or your food might come
  • out of you because it's still alive and
  • here's the one that eats everything
  • this is the sound of aqua monster I
  • think this is like the favorite when I
  • design for Star Wars it's huge um does
  • anybody know what animal inspired this
  • the main main animal inspired this can
  • take a guess
  • yeah a panther a tiger specifically
  • tiger that was the idea somebody at the
  • top of the food chain that sneaky that
  • doesn't have to worry about much that's
  • lazy yeah Tiger seagoing Tiger one of
  • the first things I needed to do was to
  • design a Las street scenes on Tatooine
  • and to combine the classic characters
  • like these hammerheads with new
  • characters so I did a lot of street
  • scenes that was kind of just exploring
  • and seeing making sure that anything new
  • that I designed or what was going to be
  • designed would mesh well with the
  • established characters and here's
  • another one here this is before the film
  • was even cast this is my stand-in
  • drawing of Anakin and his mother and
  • she's talking to one of her neighbors we
  • eventually you see the head of this
  • appearing in the cantina scene of Star
  • Wars a special edition so it's the pack
  • of this and we're looking into
  • be one of the alleys and life is not
  • really good there you know in on
  • tatooine and here we go back to the pack
  • of v they these animals these creatures
  • they walk on stilts and they wear long
  • coats and then that's when they want to
  • interact with human people and they wrap
  • their tails around their waists anybody
  • who has a toy knows this to be true here
  • is a recent fairly recently illustration
  • I guess it's now it's about five years
  • old of cat wallop a cthis kind of
  • showing how he's constructed now he
  • prefers to walk what he doesn't have his
  • coat in his stilts on here's this
  • Anatomy and let me show you what animal
  • Anatomy informed me inspired me like I
  • say I do a lot of paleo reconstruction
  • paleo work here's an Edmonton Soros a
  • Canadian dinosaur it's a type of duck
  • billed dinosaur and I double-checked it
  • with the Paleo Department at the
  • University of California UC Berkeley to
  • make sure that I was his pose and
  • everything else was feasible here is his
  • Anatomy you can see that there's a
  • direct application to get walls anatomy
  • and his species are creature Wranglers
  • for the Star Wars universe so if you
  • want to purchase an EOP you want to
  • purchase a rancor monster which is
  • probably not the best idea but if you
  • want to purchase one you need to go to
  • these guys and they will find one for
  • you this is is Ray this is for a book
  • jacket that was that was for a spin-off
  • of Star Wars stories del rey publishing
  • shortly after the film's came out this
  • is israel tolling in princess this is
  • acrylic on jess owed illustration board
  • obviously i was inspired by various
  • reptiles
  • like roughed lizards and things I did a
  • lot of myself and Ian Ian the keg we did
  • a lot of what became you know be known
  • collectively as Jabba cuties for Jabba's
  • den of sin and infamy and so here's a
  • couple of mine I think I was listening
  • to the b-52s that day there that beehive
  • hairdo yes it was a Love Shack I guess
  • let's see
  • here's another Jabba QT a little more
  • simian little fan dancer and there is
  • Jabba about 30 years in the past in the
  • prequels he was younger obviously and
  • not quite as decrepit as he became so
  • here's a pretty fairly healthy job I
  • saying let the race again
  • here is what's inside him no he's not a
  • slug he is actually we're kind of
  • salamander he's got a big thick backbone
  • and this was necessary for in order for
  • him to be animated
  • here's his father he has a cameo
  • appearance in the Phantom Menace if you
  • watch closely so I had to make Emily
  • give him a little more dignity little
  • more wrinkles and so that's Frank I did
  • not name him George named him
  • and if Jabba had a father he obviously
  • had a mother correct so I guess we will
  • meet her she's also made a cameo
  • appearance if you watch closely you'll
  • see her - there she is
  • that's that's gardulla guards baby Jabba
  • and this is gardulla that had tests and
  • I think and she's wearing her like her
  • Frank Frazetta outside here just like
  • Princess Leia did so I think I'm Jabba
  • had some issues but we won't we will not
  • go there and this is what I got a gun
  • dark looks like so when Lucas whining to
  • his uncle and aunt at the beginning like
  • he I'm tired of working about the wall
  • with the water distributors and the and
  • everything else I want to go hunt
  • gundarks well you that's a really bad
  • idea look because they use the dark side
  • of the forest and they're carnivorous
  • and big novel and but I was inspired by
  • bonobo um chimpanzees and little cute
  • little squirrel monkeys for this very
  • aggressive creature here is a Sith hound
  • a toccata a very very dangerous animal
  • and I remember I was I was inspired by
  • Doberman Pinschers and go vile
  • crocodiles arthropods are always
  • interesting challenges especially if you
  • want them to emote and to act often will
  • cheat it a bit because an arthropod
  • facial structure is very rigid because
  • the muscles are all um enclosed within
  • the skeleton our muscles are outside of
  • our skeletons so it was like a crab or a
  • lobster or an insect and so often what
  • you'll see you see this in many many
  • productions we cheat it for example if
  • you look at the eye even though I gave
  • it a comp a compound lenses but look at
  • that look at the eye it's more a
  • mammalian or reptilian eye it has
  • eyelids it has wrinkles it can we can
  • have a twinkle in sigh if it wanted to
  • and if you see the jaws of course I gave
  • it mandibles the the horizontally
  • oriented mandibles that you do see in
  • arthropods but
  • also gave it more of a reptilian or
  • mammalian jaw so if they're interesting
  • with insects if you don't do that you
  • need to make sure that their acting is
  • very gestural and very pantomime II so
  • there are very interesting animals due
  • to creature design around here is a
  • rancor species called a Terran attack it
  • uses the dark side of the forest this is
  • for a project called the book of Sith
  • for Lucasfilm and it one of the rules in
  • Star Wars is that if you use the dark
  • side of the force that you get red eyes
  • and get point here or similar to that
  • this is not Star Wars this is switching
  • gears this is from brave so this is some
  • of the early concept development from
  • brave and totally different aesthetic
  • this is was wanting to take advantage of
  • linear Celtic design Pixar is really
  • into the extreme in the beautiful design
  • that they do in their characters and so
  • I was incorporated these swirls and such
  • into her fur and at this point they're
  • talking about let's make her wasp
  • waisted like a Victorian lady
  • well berries don't really have waist
  • like this they're much more pear-shaped
  • but it's a cartoon so it's okay here's
  • some more early design work here's
  • Eleanor and more ado got more
  • worst-looking he lost a lot of hair and
  • got more harpoons put in him here's some
  • expression sheets Eleanor is trying to
  • look pretty much like the movie
  • here's her proper proportions and here
  • are some of the other animals so when
  • you know Anatomy you are then have the
  • wings to set you free to be able to work
  • in a lot of different styles not just
  • one style so you can go from like
  • hyperrealism to you know Disney type or
  • extreme animation styles but the
  • principles of the anatomy still
  • hold everything together these were also
  • used for brave but they were done years
  • earlier for Brother Bear so they had a
  • double life
  • you know Disney owns Pixar since isn't
  • hey we already paid her once we don't
  • appear again for these and they didn't
  • but that's ok I adored working on
  • Brother Bear I was hired to do to help
  • go all the way from real bears to the
  • more stylized characters but the first
  • thing they had me do is do tons and tons
  • and tons I did about 50 different sheets
  • of just an identity studies the real
  • bear you see the muscle planes and then
  • the fur track planes here's some more
  • it's really important to know what the
  • bottom sides of the pads of animals look
  • like when they're being animated this is
  • on also what how the pads are in
  • relationship to the body like this is
  • the outside of the paw the body of the
  • bear would be here if we're talking
  • about this for paw and and also the body
  • of the bear would be here in
  • orientations of the hind paw and then
  • when the toes are spread what does it
  • look like what does weight distribution
  • look like all kinds of things are very
  • very important to Nanna mation I did a
  • lot of work on the Moose as well here's
  • rut and took some sequences and here is
  • where I'm stylizing down to the more
  • released version of the bears and how do
  • you make moose talk here's the vowel
  • model sheet so that they lips could be
  • animated now we're going to talk about
  • what happens when you give sheep guns
  • well we see all kinds of avatars in the
  • science-fiction world that are creature
  • inspired we've seen obviously primate
  • inspired creatures we've seen lizard
  • in people write lots of lizard people
  • and we've seen cat people like smishing
  • blue ones but we don't ever often see
  • avatars for ourselves that is species
  • that can stand in for ourselves and do
  • what we can do that are based on hoofed
  • mammal so I thought I'm going to take
  • that idea and make it my own and so here
  • is from a series called tales of
  • Amalthea
  • which is based around a online course in
  • creature design that I created and it's
  • all just about all ready to go to alpha
  • so much for that but anyway this is a
  • bipedal hoofed mammal with a little bit
  • of dinosaur II added in to him and these
  • are some doodles I was doing just kind
  • of figuring out how he moved about and
  • what he liked to do and he likes to work
  • out he's really into working out and
  • looking good and being powerful and
  • whacking things well I looked at real
  • animals here is the largest of the
  • antelope this is a giant Eiland these
  • are huge he is six feet tall right here
  • they're huge if you don't believe me go
  • to San Diego wild park they're there
  • they're gorgeous animals magnificent and
  • they're in course endangered terrible
  • these horns are amazing huge here is a
  • reconstruction of a Shiva therian one of
  • the species of Steve ethereum it's
  • prehistoric giraffe it was broader
  • rather than taller but immense animal
  • some scientists think that made it might
  • have even had a small trunk because it
  • has a very short nostril rostral bone
  • but they're not sure so I looked at that
  • I looked at bipedal dinosaurs like this
  • palek Pelican - but the interesting
  • thing about dinosaurs and birds is that
  • they're their backbones for the most
  • part held horizontal to the ground and I
  • wanted my character to be able to be
  • more upright and be able to do things
  • that you and I can do like create
  • make weapons do buildings whatever so I
  • did that so I took all those elements
  • together they're all inspiration all
  • inspired me you're not want anyone
  • animal just as you David earlier was so
  • eloquent so eloquently explaining when
  • he was thinking of his creature process
  • but they remind you of other animals
  • there's a connection so we got some
  • massiveness of the Elin horn but they're
  • not quite the same
  • I made his head a little more blunt and
  • Hammer like but I gave him a human
  • s-curve so that his default pose was
  • uprightness well but he's a very heavy
  • animal his heavy horns he had have a
  • counterbalance so big long tail well he
  • can whack things with his horns he can
  • whack things with the spear he'll whack
  • things with his tail and he's 12 feet
  • tall his forepaws are the same model if
  • you look at a plugin hoofed mammal a cow
  • or sheep they they don't have a thumb
  • they have these like this so I made it a
  • four fingered hand
  • here's his musculature
  • here's his x-ray here's when he's young
  • here's some more related species as this
  • one of my favorites called the head axe
  • I was inspired by the beautiful color
  • patterns of an antelope which is just
  • exquisite it's called a bongo absolutely
  • beautiful beautiful antelope I was also
  • inspired by some prehistoric angle it's
  • hoofed mammals like the the sink
  • simcha Seurat ethereum here here's a
  • model sheet for for the first one using
  • Inlet he's an Ellen Doren styro called
  • maja here are some related species here
  • is some other species of rabbit like
  • horn things cuz I I like rabbits and
  • rodents and things here's a highlight
  • what you call a Star Wars shot that
  • means you have a whole bunch of elements
  • in a composition but
  • they all kind of have to work together
  • like the swirling action and these guys
  • are are trying to chase this big giant
  • Pangolin type creature away and it's
  • kind of a kind of a kind of a kind of
  • finished ruff in other words it's not a
  • finished painting but it's a drawing
  • that gets the idea across and when
  • you're doing a concept illustration of
  • this scale you can have all kinds of
  • this sort of thing a director can look
  • at different parts of it I mean it's all
  • parts of a whole that work I hope but he
  • can also look what I like this little
  • section here I'm going to do a couple
  • storyboards in this direction or I'm
  • going to see what this guy is doing over
  • here you can break this whole scene into
  • several bunny trail scenes so it's like
  • a big bang for your buck type scene here
  • is some paleo reconstruction for the
  • University of California UC Berkeley
  • they are the scientists that made the
  • connection between Triceratops
  • there's a young Triceratops and Horo
  • Saurus it turns out that the Triceratops
  • matures into this into this 30-foot long
  • dinosaur called the Torosaurus but
  • happily for all of you who loved
  • Triceratops Triceratops was described in
  • the scientific literature earlier so now
  • we're calling the Taurus Taurus the
  • adult Triceratops so Triceratops did not
  • go away like a brontosaurus he's here or
  • Pluto he's here today this is how the
  • dinosaur is this is the actual remains
  • in the drawers impale EO stuff you're
  • piecing these things together it's very
  • rare to find a fully complete skeleton
  • from millions of years ago this is the
  • crest these are various bone fragments
  • here is the actual nose horn and the
  • incredible thing was about these these
  • aren't fossils incredibly enough these
  • are actually real bone you're holding
  • prehistoric life in your hands it's
  • amazing here's one of the the brow horns
  • jaw bone see the teeth this is a baby
  • Triceratops his head's about anybody's
  • all grub and becomes the Torosaurus form
  • or if it's like longer than my arm much
  • longer
  • maybe my law my arms might be the head
  • but the crest goes would go out beyond
  • the quonset wall there it was so huge
  • amazing good thing they were vegetarians
  • this is what and so this is the
  • conclusion that scientists have come up
  • to as to how dinosaurs really existed
  • and comported themselves the Avengers
  • movie was coming out you know as you
  • know a few years ago like 2012 and so I
  • asked myself this is just for fun and it
  • ended up going viral but that's the fun
  • of funny thing is is you know people
  • like dinosaurs people like superheroes
  • like you know it wasn't like a big
  • scientific no amazing genius
  • breakthroughs just like okay would
  • happen if they auditioned for the parts
  • and what would it do to the costumes and
  • that's what I did to Thor's costume and
  • and that's what yeah he needs help
  • getting out of his costume and he has
  • armor underneath his armor so he's yeah
  • so he's out to save hotdogs napple pie
  • and the American weighing in the next
  • big idea and Ford Motor Company and all
  • that good stuff here's Bruce Banner
  • he's mild-mannered Navy scientists
  • working on the naval base at Pensacola
  • and then he got zapped by gamma rays and
  • that happened and he still can't Chris
  • wretches chained even though he's more
  • muscley yes he is he's he has short arm
  • impaired so here's a whole bunch of
  • doodles for them the silly doodles like
  • getting tan and doing push-ups and
  • drinking Mead nice missus Thor actually
  • playing croquet you know surfing on
  • Rockets so I was listening to air on the
  • radio so there they are so now we know
  • about Vikings people like the Viking
  • series you me know that Vikings are real
  • tough guys like Thor well that they were
  • afraid of one thing that they were
  • terrified in they believed and so this
  • is what these doodles are leading up to
  • here's some more I'm going to hurry on
  • because I know we were in the out of
  • time this is I love horses my favorite
  • animal I could draw and talk about
  • horses forever so don't get me started
  • so here's an Andalusian horse these
  • horses are used a lot in like movies
  • like Lord of the Rings and unicorn
  • movies and all those wonderful beautiful
  • - movies these are scat ancient
  • Scandinavian breeds that the Vikings
  • would have been familiar with here's
  • nice Atlantic horse
  • here are some fewer horses I just loved
  • drawing horses here's some Anatomy
  • studies of the underside of a horse
  • here's a young horse and the inside
  • thigh of a horse here's a prehistoric
  • horse called a hip ideon I love this
  • beautiful skull look at this I just
  • loved it so getting more ideas
  • well whales while ocean-going Vikings
  • are in the ocean here is a Zygon here is
  • a beat whale which exists today
  • very odd cool that's how they're built
  • basic mammal Anatomy whales aren't that
  • complicated as far as their Anatomy go
  • horses have a lot more extreme anatomy
  • than whales do and this is what I came
  • up with this is the ocean-going
  • carnivorous horse that likes to eat
  • Vikings and it's called a half vest and
  • they believe this animal really existed
  • they were terrified of it and so I kind
  • of ran with that idea this is going to
  • be appearing in the book I'm currently
  • working on called bestiary and natural
  • history of mythical creatures it's
  • supposed to be out in 2016 so I need to
  • work really hard here is it Anatomy here
  • okay now I'm going to be working for a
  • finished narrative illustration so these
  • are my doodles and I like this one a lot
  • because I experienced this from my look
  • my little mayor Goldie was in pain one
  • day and she was brewing up on her hind
  • legs and she was just crying crying out
  • loud and if you ever seen a horse in
  • pain and they really are oh it's oh my
  • goodness it's like a catastrophe
  • it's breaks your heart
  • it's they're such magnificent animals
  • but anyway she did get better she was
  • fine so this is well this is my view of
  • her she was like she wasn't a large
  • horse but on her hind legs he's like 12
  • feet tall and I remember her mouth open
  • in distance just in terrible distress so
  • that image was always in my mind and so
  • years and years later I incorporated it
  • into this fairly recent illustration of
  • a hat hessed panning up here
  • emerging from the tidal wave and she's
  • like ah you know you're going to die
  • this is what the Vikings are seeing be
  • good to your horses they never forget
  • here is a also an illustration for
  • bestiary what does a real chimera look
  • like well a real chimera in my that I've
  • at least tried to make is one that is
  • the female is the big one and the male
  • is smaller he rides on her back because
  • had
  • territories and it's hard to find mates
  • so like an anglerfish it's convenient if
  • that male hangs out with a female is
  • almost literally if not attached to her
  • very well comfortable in her back and
  • his spines interlocked with her spines
  • and so in silhouette you'd see like this
  • one animal it looks like people an
  • animal like a dragon like animal with
  • the head of a lion and the head of a
  • goat and the tail the snake and I had
  • fun trying to make it scientifically
  • feasible here's some call-out
  • illustrations and the Chimera is aren't
  • afraid of much but they are afraid of
  • hippogriffs because these are
  • carnivorous Ekman's related to that have
  • historical ID and can pounce so they had
  • that advantage I did a lot of research
  • for this book here is another
  • illustration this is the Chinese catfish
  • here is a creature from Romanian
  • folklore the Calla pass it was a type of
  • jackal wolf like ish animal that had
  • feather ish like quills and he was shown
  • on heraldry and I was putting were
  • natural spin on it what it might look
  • like it was actually real here is the
  • Celtic black dog chases you across the
  • Moors but it does have cute little
  • puppies but they grew up to be like that
  • here is a feline Gryphon as opposed to
  • more reptilian when I did it's a really
  • bizarre type of cougar in which the
  • canines and incisors fuse and form
  • almost like a beak like structure this
  • it leap glides rather than truly flies
  • it likes to eat hyraxes and
  • klipspringers and such but I tried to
  • have it do cougar cougar like behaviors
  • here's a cactus cat this is from tall
  • tales this is like a lumberjack folklore
  • of American and Canadian folklore it's
  • basically it was a cat that can blend in
  • with cactuses so it's it's it has fatty
  • pads and fat pouches and quill like fur
  • that helps it blend in with its
  • environment it likes to eat rattlesnakes
  • it's a kitten the mother's eating the
  • head here is their Arcadian Sphinx it's
  • sort of a cheetah relative and this
  • animal likes to eat us
  • but the thing is is that an Oedipus
  • Oedipus didn't also shouldn't have hung
  • around because she told him a riddle and
  • we know what happened to Oedipus but so
  • it's like a cheetah but with a higher
  • forehead so it's her face proportion is
  • more of human proportions and has
  • mesmerizing eyes and it has like a
  • mesmerizing voice and it kind of lowers
  • you up here so fascinated by its beauty
  • and it has these kind of hand like paws
  • so this would be like what might give
  • the idea of a a woman's face on a cat's
  • body and these winged like structures
  • are actually to help it run it's not
  • wings or quills to help it
  • Bank it and run quickly like this here
  • is also from lumberjack folklore this is
  • ax handle hound
  • it's very mischievous I was inspired by
  • the tasks on the heads of hornbills and
  • then my little dogs are with it and I
  • kind of had him pose for me I made it a
  • little more substantial than my whippet
  • is but to my little dog was very patient
  • Timmy said Timmy sit can you sit
  • he was greyhounds are great they they're
  • very patient and they they will they
  • just want to be loved
  • here is a Egyptians thinks that maybe
  • this animal inspired these statues here
  • I gave this big cat more human
  • proportions in its face and then I
  • course blew out the main and the flank
  • fur out and again I'm looking at it as a
  • natural history here are some more
  • call-outs for the Egyptian sinks and
  • here's the lioness this is here is the
  • no Mayan lion from Greek mythology this
  • is from American folklore is called the
  • hillside Gouger and the interesting
  • thing about this animal is that it lives
  • on hillsides as a name implies it gouges
  • out you know chunks of rock it eats
  • grass etc and but the male's can only go
  • around one direction the females can go
  • and go around another direction when
  • they want to move or go to another
  • mountainside they have to get together
  • and move like one animal like drunken
  • sailors and the reason that is is
  • because the legs on one side are a lot
  • shorter than the other side so you can
  • imagine one can only go the females are
  • orientated one way the nails are
  • oriented the other way and so they can
  • only go under one direction until they
  • come together like this so here's a
  • female showing how she is and the hair
  • they are together
  • people believe people will leave this
  • stuff it was incredible they did and
  • that is the end
  • thank you so much I don't know if
  • there's any time for questions or not
  • sure yes
  • it wasn't my it wasn't me the idea no
  • wasn't my idea um I had nothing to do
  • with the voice it's like I pictured him
  • more like talking hello my name is
  • Georgia banks and I sound just like
  • Jeremy Irons you know I thought that'd
  • be really cool he'd be just as funny but
  • again it's it's I I was just the hand
  • and then such so it's okay yes uh-huh
  • I mean this particular one or just the
  • other ones well you know it's sometimes
  • it's a case by case um situation when I
  • think about first is what is this animal
  • need to do what does it live that really
  • helps me if I picture where it lives its
  • Natural History and what kind of animals
  • do the same thing where it is in the
  • food chain them know the more I know
  • about it the more it helps me well like
  • for example things like warrant says
  • cactus cat and it's supposed to be
  • there's some information where it
  • supposed to be some kind of a links so
  • that makes it easy goal it's a kind of a
  • links because that's already been
  • established but a creature let's say
  • like this guy that one can it depict
  • because there's another person that
  • makes like you I'm trying to design for
  • somebody else's idea that can take a
  • little bit longer because I'm trying a
  • bunch of different things but again some
  • ideas like come really fast and some
  • ideas it's like I'm like the most
  • unimaginable today it's fine and you
  • just at that point I I think about all
  • kinds of animals and then I draw lots of
  • different shapes
  • and I go outside and then come back and
  • get myself a break and then often using
  • one after give myself a break that helps
  • I'm going to just go outside and move
  • your body around and yeah
  • yes oh yes
  • oh it's it that school isn't course is
  • full of animal Anatomy oh yeah so you're
  • going to probably go yes and you go oh
  • no because part of the lessons are you
  • going to have to draw Anatomy yeah but
  • but that's the only way to do it if you
  • want to be a ballet dancer you have to
  • take ballet class every day yeah so yes
  • um not really I don't have I mean I
  • might have a little tiny influence might
  • like have since a couple creatures
  • started like maybe the primary
  • influences and then there might be like
  • race notes of other little creatures so
  • I don't really get myself a limit but if
  • we look at nature nature is really
  • efficient designing nature is really
  • efficient so a more efficient your
  • creature is more efficient it's
  • silhouette is usually simpler is better
  • yes
  • oh yes yeah flowers are really good ones
  • I did see recently some that were kind
  • of inspired by orchids because orchids
  • are pretty yeah anything that has a
  • beautiful form sometimes certain seed
  • pods are really really cool yeah
  • whatever it has a beautiful shape
  • absolutely anybody else yes
  • Anatomy definitely it's a never-ending
  • study yeah yes oh very good question I
  • have two answers for you when if it's if
  • it's a like Oh an imaginary animal that
  • doesn't exist I usually come up with a
  • surface design first and it's informed
  • by the anatomy already know but I come
  • up with that first okay and then I
  • designed the skeleton to fit and then I
  • hang the muscles on it but in Paleo
  • illustration where you have a fossil it
  • exists you can't argue with it right
  • well then you start with the bones and
  • then you hang the muscles on it and then
  • you put the surface on it so that one is
  • one way and the other you invert the
  • process
  • uh-huh yes mm-hmm absolutely
  • yeah yeah and that's a very good that's
  • a very good point
  • I had advantage in that my background is
  • not really an art background most of my
  • background is I was a vertebrate zoology
  • major and and paleo major and I and I
  • did I did do dissection so what happens
  • the same is true is that a lot of times
  • what we see on the surface and I can
  • surface in animal Anatomy books those
  • muscles like trapezius muscles like
  • letici mr. soy muscles like erectus
  • indominus muscles are very thin sheet
  • like muscles so the muscles underneath
  • the muscle bundles underneath are the
  • ones that actually hold those up and it
  • is very difficult unless you look at
  • veterinarian text to find art books that
  • show those those muscles and that is
  • where at least traditionally in my
  • experience has been up to the student or
  • an artist to really pursue and really
  • find those sources look at the
  • veterinarian books look at the Paleo
  • books for those types of things and yeah
  • there should be more out there for as a
  • resource
  • yeah yes yeah yeah yeah yeah well for
  • tracks is is is one because that's a
  • real kind of a specialized area but you
  • but is important because fur falls a
  • certain way on living creatures and then
  • if you add in elemental things like wind
  • etc I mean that's that's important to
  • note
  • feather tracks the way feathers are
  • arranged on the bird's body and to
  • realize there's all certain all kinds of
  • feathers not just once we see there's
  • contour feathers down feathers that rate
  • so much volume money on a bird's body I
  • would say what seems to me a really hard
  • thing when I go into studios it's what I
  • call the uncanny valley where it's much
  • easier to design imaginary creatures in
  • a certain sense because they don't exist
  • in nature there's no comparison but
  • where studio struggle a lot is trying to
  • design real animals that we can believe
  • in I've seen lots a good number of
  • movies where we'll have like this you
  • know well pretty decent dragon or dragon
  • like monster and then you have armies of
  • people on horseback and the horses are
  • awful
  • and I it's like horses are all around us
  • you can go and you can if you will stand
  • there they're very patient animals you
  • you know they're they're very happy to
  • stand there for you and say okay draw me
  • and or I will or put a rider in the back
  • I will gallop for you and I don't
  • understand why that's saying care here
  • it is it's here it's it put into that
  • especially when the bulk of creatures
  • that you see in films of movies are real
  • animals I mean how many times a year
  • does a Letarte come out don't you know
  • it doesn't so I think the disconnect
  • between people let's say in the modeling
  • creatures in their their studio or the
  • cubicle and never coming out and going
  • and looking at animals and really paying
  • attention is it comes home to roost and
  • you have to take that break to just to
  • really look at creatures once you know
  • even if you're drawing the zoo and
  • obviously unless the animals sleeping
  • you're only going to be able to get at
  • best gestural things but your brain is
  • remembering its key in so when you go
  • back and you're animating you're
  • modeling
  • I remember how that my little sheep did
  • this I remember how the tiger did this I
  • remember that and so I would just I
  • think encourage people to in order to do
  • a good creature good animal you need to
  • really love that animal and look at it
  • as something that's just look at as
  • precious and then that hopefully will
  • trickle down into what you're trying to
  • achieve it's it's interesting question I
  • ponder a lot

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Description

Animal Anatomist and Creature Designer Terryl Whitlatch gives a special presentation at Gnomon's "Animal" event, filmed Sunday, May 3rd, 2015.

In this video Whitlatch demonstrates how her illustrations of real life animal anatomy influence her mythological creatures.

Gnomon and Art Explorers teamed up for an important cause; collecting donations in support of conservation efforts of California Wildlife Center.

A lot of the artwork produced by industry leading artists are inspired by animal anatomy. Learn more about many factors affecting California wildlife here at http://cawildlife.org/.

***

Gnomon hosts regular events at the campus in Hollywood and on Livestream. Find out what’s coming up and RSVP at: https://www.gnomon.edu/events

You can also follow Gnomon on Livestream: https://livestream.com/gnomon

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Keywords

Gnomon School Of Visual Effects College University Concept Art Visual Art Form animal anatomy creature design

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