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Video Design Cinema – EP 62 - Real-Time Creature Design

TheTV.info
01:08:22   |   today at 04:24

Transcription

  • hey everybody and welcome to another
  • episode of design cinema this is episode
  • 62 real time creature designs so let's
  • just write that down right here creature
  • design alright so before I jump in here
  • let's set up some background information
  • on what we are about to do so does a in
  • terms of creature design that's a pretty
  • wide range of things to cover so I'm
  • gonna focus on a specific type of design
  • and that type is the little bit of
  • whimsical a little bit over the top kind
  • of 50s maybe a little bit funny kind of
  • creature design I think the best way to
  • look at it are from the films such as
  • men in black and wore say the Star Wars
  • Cantina right a little bit light-hearted
  • wouldn't ago they're kind of
  • entertaining they're not really meant to
  • be a creature design say from a
  • Discovery Channel that's supposed to
  • dictate a a creature from another world
  • or something like that which has to be
  • kind of biologically maybe more make
  • sense or so right so what making these a
  • half carat may have creature a little
  • bit of a character so some of these guys
  • might be able to act on screen so again
  • I think made in black the first few
  • films I think you know the third one I
  • haven't seen a third ones have no idea
  • but the first two at least they're quite
  • a bit of whimsical characters in there
  • that you know has a lot speaking lines
  • all right so let's jump in here so let's
  • see what our what am i doing alright so
  • this is real time nothing is being fast
  • forward and let's just start sketching
  • I'm gonna put my notes over here just
  • for now alright so all right what are we
  • doing let's just uh just scribble some
  • stuff
  • alright so real time so design yay right
  • jump in and just start sketching
  • so let's shrink this guy down a little
  • bit using a just a simple little
  • calligraphy brush adjust my mic a little
  • bit so I could also take breaks to drink
  • so use Johnny when I start it's all
  • balls with big forms so what I'm doing
  • here I kinda just scribble some stuff
  • and as a result we kind of have a design
  • out of it so let me see let's grab some
  • perspectives some centerline some of
  • this stuff I guess I'll talk about as a
  • design
  • you know creature could take on so many
  • different characteristics in terms of
  • these shapes its forms but at the end of
  • the day we are designing for mass
  • audience especially for you know just in
  • case this is safe for film like men in
  • black you're talking about millions of
  • people who'll be watching this and you
  • want designs to be somewhat relatable to
  • to everybody so you know if you look at
  • the creatures on this planet alone there
  • are so many variations of you know a guy
  • insects and you have the sea mammals and
  • birds and all these and each one of them
  • have there's so many so many different
  • variations among each each category word
  • species or origins of characters or
  • creatures but if you look at film design
  • in general war more entertainment stuff
  • especially if the creature takes on
  • talking roles these creatures tend to be
  • human
  • in the way they appears because that's
  • how we relate to things like a talk
  • where at least they have a face or
  • something like that so that is a little
  • bit of a restriction sometimes when
  • you're dealing with certain type of
  • projects in which your creatures have to
  • take on this persona so I'm gonna try to
  • avoid that slightly here let me delete
  • the stuff on top because now if I rotate
  • it becomes hard okay I'll try to avoid a
  • little bit but still try to put that
  • whimsical touch into the design I can
  • all right so drawing real time is a
  • little tricky to talk this stuff here is
  • a little bit harder than your kind of
  • speed painting stuff like the last
  • episode with the flashback stuff because
  • painting you can kind of mess around a
  • little bit I guess that's the best way
  • to put it and get some interesting
  • shapes when it comes to this because it
  • was so close and zoomed in we have to
  • actually spend some time thinking about
  • the designs itself so the closer you are
  • to an object the harder it tends to be
  • because you are focused on a very
  • specific detail something you can't just
  • fudge around and somehow get a solution
  • out of it so I'm actually trying to
  • think like for example his foot
  • placements the perspective on that the
  • joint design so this guy's kind of weird
  • but it walks around he's got six limbs I
  • think some make six limbs because it's a
  • little bit unbalanced at this point it's
  • got this little nasty little inside
  • belly thing
  • I'm not even sure what kind of category
  • you put him in his reptilian / insect or
  • something it's got these little snail
  • eyes maybe put up up here let's put some
  • perspectives across little snow eyes all
  • right it's all very loose because at
  • this point the most important thing for
  • me is to get a design and the forms out
  • and not really how nice line work is not
  • yet we'll fix all that later little
  • finger little finger all right so let's
  • see he's got this back leg that kind of
  • goes around this way and comes back down
  • now I don't want to block the deep back
  • foot there so I could move his position
  • slightly to allow that to show so this
  • would be a little support arm a little
  • ankle thing this arm here the middle one
  • now needs to come out a little bit in
  • order for him to have balance lips come
  • on close them just lassoing move it out
  • bout to about here for that to support
  • his body so the weight could be a
  • manageable the center of gravity won't
  • be so offering that makes his hand over
  • here somewhere there this is another
  • limb the side of that guy will be brow
  • here go up other side
  • okay so let's figure out his ground
  • plane here so one ground plane to ground
  • plane three take your Center we should
  • really get a perspective out of that
  • should get a perspective out of that
  • just checking to make sure this guy is
  • sitting in 3d space right creatures and
  • vehicles and environments doesn't really
  • matter what they are there are all 3d
  • objects and they sit in a 3d space so
  • when you're doing these design is going
  • to make sure that these things are also
  • sitting 3d space so just in case you
  • have to put a character we're putting
  • into a scene you already solve the
  • difficult problems all right so now let
  • me go there that's kind of cool all
  • right those guys it's kindly ish it's
  • got a funky characteristic oh by the way
  • his face is that way so we're looking
  • for a hem from behind so and it just
  • happened from the scribble that I just
  • made up when I first started this show
  • so sorry find my talking is a little bit
  • off right now because again this is
  • little bit more challenging to do in
  • real time because I cannot really talk
  • in and think about design solutions that
  • go here because a lot of stuff you hear
  • like what I'm drawing right now these
  • are all solutions right now if his eye
  • stock and what do I do the top of his
  • head while I give them a crazy hair like
  • that or give them some antennas it goes
  • back these are these are all things that
  • takes a little bit of thought so right
  • now I'm trying to split my brain twice
  • to talk to you guys as well as think
  • about what to do about those things so
  • yeah again the closer you are to
  • something the more specific it is for
  • example you join an iPad join an iPad
  • we're designing one you know designing
  • one that has to have a spec of iPad in
  • my opinion it's much much harder to do
  • this be painting
  • even though speed painting looks cooler
  • in a shorter amount of time it's
  • actually much and more complex in a way
  • but it's actually much much easier to do
  • than these kind of things all right so
  • this guy's it's kind of cool so I'm
  • gonna put them to the side here must got
  • a new layer don't on so I'll scribble
  • something else just scribble stuff in
  • all right just kind of get a nice
  • contour and and then put some nice
  • perspective and drop it and then let's
  • turn this into a creature see what we
  • get all right all right a little bit of
  • a mind side type of stuff so as you draw
  • you tend to see things and if you see it
  • then we convert it and it has a way to
  • work specially for these kind of zero
  • spec designs where things were just kind
  • of doing for fun
  • there is aspect kind of mending black
  • creatures or something or Star Wars
  • Cantina I always like those those are
  • things I act but thing is when I watched
  • as a kid those creatures are pretty
  • creepy but now if you watch as a
  • daughter they're kind of fun because
  • they have guys like four-eyes and crazy
  • skin textures let's see
  • let's get this guy you can see his uh
  • his his eyes are right there he's got
  • his Conn nose so I was looking down away
  • what I do is body though let's give it a
  • thin neck it's got a little bit of a
  • Adam's apple right there
  • this neck is kind of not so cool I'm
  • gonna give him a special pin in the neck
  • let's give him a let's get my bend right
  • here it's gonna make a little bit of a
  • character terms of his personality and
  • his animation pose right let's give him
  • a belly hips go inside there I just
  • scribble around he's going to have are
  • on the shin come down a little bit is
  • little big right now on the page whoa I
  • mess with its proportions as I scale
  • them which isn't a big deal but let's
  • legs kneecap so like I mentioned earlier
  • what we're designing even though there's
  • so many different variations of
  • creatures to do like you know a snail or
  • a giraffe versus a octopus you know
  • that's just on this planet but it's very
  • hard to give these characters are
  • talking roll I mean you could give a
  • give an octopus a talking roll I guess
  • but it's a little trickier for
  • mainstream carpet designs in which these
  • guys have to hold a screen space I don't
  • have dialogue with say v-tach
  • what do you main actor and sup like that
  • so they tend to take on a humanoid form
  • and if you look at entertainment in
  • general for in terms of alien designs in
  • in major entertainment context
  • entertainment context they all have a
  • bipedal - most of them are bipedal and
  • they have facial features like humans
  • right they have eyes nose and stuff like
  • that in which we talk about a real
  • creature such as a sea slug or or a
  • octopus they have those features but is
  • definitely not human but those creatures
  • again makes it pretty hard to act this
  • guys do a blow this guy's coming out
  • kind of generic so let's let's throw in
  • maybe a big arm or something just to
  • throw off that generic thing he's got
  • these big kind of froggy webbed
  • and just do that it's kind of neat he's
  • not so dynamic yes let's make a little
  • dynamic to make sure his center to his
  • self little back legs that's a big arm
  • so I have to develop a pretty strong
  • shoulder to support that the clavicle
  • goes in let's get a little rib cage in
  • there all right rib cage there that's
  • the center of the rib go in going this
  • way that's the belly go here that's the
  • hips pelvis to leg to femur to knee
  • all right so carry that down so it's a
  • little bit more did this guy's
  • definitely more humanoid than the way
  • more humanoid in the first creature that
  • we did it's cool give client some
  • diversification so just in case they're
  • freaked out by the first creature he did
  • like what the heck are you doing with
  • our first design that is not what we
  • want we want a actor character so then
  • you have a backup you have this guy you
  • know well how about this guy let's see
  • in store the other side of the his arm
  • and he's kind of resting the other arm
  • in the whoops that's a Photoshop bug or
  • not Photoshop that's a Wacom bug which
  • they still haven't fixed after so long
  • which is a kind of a whenever he loses
  • focus or some other program is doing
  • something it tends to lose sensitivity
  • so maybe that's a pretty difficult
  • problem to solve I don't know it's been
  • around for a long time they get very
  • used to it in production you just
  • quickly undo it when that happens
  • all right so there's there's still all
  • look very loose because it doesn't
  • matter right now after the main form and
  • the main design so he's check to see if
  • it's lopsided right by flipping him back
  • and forth
  • all right now let me check the time okay
  • 12 minutes okay not bad you can see
  • these are actually lasts lower in terms
  • of what you're getting for the time then
  • if you watch last week on the flashback
  • episode thing I think in 12 minutes were
  • more like already to get the paint in
  • this line you know that's how quick
  • paintings are when it compares when
  • you're compared to line drawn line
  • drawing in generous is lot slower
  • because you can't hide you see in in
  • digital painting you can hide a lot of
  • details as you paint like you can just
  • do some dots and dr. Breck represent a
  • field of plants or mushrooms or some
  • like that just like doing little dots
  • when it comes to line drawing however
  • you know you can't do that you have to
  • actually sort of joy right there are
  • places in which you can indicate but
  • they're not as easy to do then then the
  • painting so therefore these things take
  • longer
  • you have to recheck your perspective
  • it's just less areas for you to hide I
  • guess so those who are professionals who
  • do this and watching this video what I'm
  • talking about there in digital painting
  • there's so many ways to indicate to get
  • something to read extremely quick like
  • even a face you could just do perhaps
  • the drop shadow from the eye socket and
  • drop shadow from the nose and you can
  • indicate guy who is very angry in a
  • crowd or something like that but in line
  • draw you sort of have to you have a
  • little bit more line work to do to to
  • express that so
  • more strokes per page I guess is the way
  • to do it right so this guy's sort of
  • there all right are this is our safe he
  • looked kind of like et's grandfather ism
  • I kind of like it's got this similar
  • form oh hello he works for me yes let me
  • see it's pretty low res right now this
  • is only a things like a 3,000 let us
  • check it just to show you guys all right
  • it's only 30 700 pixels across 300 dpi
  • so it's not a very big image so at this
  • level I'm zooming in is actually already
  • pixelating the resolution is low it's
  • give them some little tentacle things
  • just some fun stuff for the animators to
  • make and to simulate
  • all right cool so let's just drop this
  • guy over here whoops flip one more here
  • let's move this guy a little bit other
  • way let me shrink him down a little bit
  • it's kind of big okay and we have room
  • to do to do one more let's see for two
  • minutes I guess I'll just keep recording
  • here versus stopping all right let's do
  • last one that's let's make one that's a
  • little weird see guess the first one is
  • really pretty weird but let's let's go
  • for something even more bizarre it's sea
  • doo doo doo doo doo scribble scribble
  • scribble scribble find the perspective
  • find the center point and draw them
  • there all right what am i doing I don't
  • know whoops there's a bug again let's
  • make this one just a little bit more
  • less human nation make it more like a
  • creature creature if you guys are into
  • creatures are especially the ones are
  • kind of more scientifically based take a
  • look at the this designer named John
  • Wayne Barlowe he's got some really cool
  • stuff I grew up with a lot of his
  • designs when I was young because he did
  • he made a book forgot exactly his call
  • but it's kind of like a probe that goes
  • out to different planets and captures
  • aliens you know like take a photo of it
  • or something like that in which is just
  • you so this one book has so many
  • different alien creatures in it was
  • super entertaining as a young kid
  • because you just like to read the bio
  • for each one quite cool and a lot of his
  • creature designs are based off science
  • so they sort of have a scientific
  • analogy behind them so I think it has
  • for example planet and never develop
  • eyeballs
  • what would the creature be like you know
  • so I think he has solutions such as
  • they'll use sonar so the sonar cone the
  • front of they're all over my have a
  • sonar kind of device in front their eyes
  • or if not no eyes in front their head
  • right it's kind of cool it's kind of
  • like a different way to go about
  • creature design by changing the world
  • around it versus what I'm doing right
  • now it's just complete form design
  • there's no I'm not putting any signs
  • behind these things at all
  • so because again the spec calls for that
  • right we're dealing with kind of men in
  • black type of situation here or Star
  • Wars Cantina
  • we almost make up the science fact after
  • we design it you know versus before so
  • we're very different if you're designing
  • for say something like like avatar or
  • something like that kind of movie in
  • which there's quite a bit of science
  • involved when you're designing for giant
  • planet like Pandora and you have like
  • maybe certain kind of nitrogen in taking
  • the air and oxygen ratios and stuff like
  • that they can start planning like okay
  • what a creature look like if that's the
  • atmosphere of this planet so where's
  • this one just you look just our spec
  • just make it look kind of cool that's
  • about it which is more fun I think for
  • the designer not depending what you're
  • doing I guess on the less just for day
  • this be more fun we do a lot of stress
  • the other kind of stuff could be pretty
  • challenging all right so this guy's
  • becoming like an ant deer that's what we
  • call it the ant deer because it's got
  • the anatomy sort of the anatomy of an
  • ant but it's got the posture of a deer
  • so let's call him the ant ear and then
  • let's up here making the caterpillar so
  • it's like crazy lost identity creature
  • alright let's give him some ice stalks
  • to which we do these eyes or there's the
  • perspective for that
  • more little more make some noise as you
  • guys last episode you see me doing it so
  • gotta keep myself entertained I'm doing
  • this otherwise I keep to involving
  • talking to you guys and forget what I'm
  • doing so make some noise kind of get
  • your brain into the zone
  • all right there that's just ice talk
  • point point give them a little brain
  • back here little nose just guys
  • definitely have a snow head going here
  • maybe there's no stalks here for like
  • feeding himself when he's like gorging
  • on whatever he he eats on his home
  • planet I'm gonna put a little bit of
  • bone this guy is kind of insect I'll
  • like insectoid like bomb licking must
  • some mammalian features to just make
  • them little bit more stronger than he
  • seems let's make so this part here like
  • this in power here should be all like
  • bug bug like kind of semi-transparent
  • and you know how boys have these where's
  • the center line here is this and I
  • didn't have some time they have these
  • little spikes antennas sticking on the
  • back of their abdomen let's put
  • something like that too one more okay so
  • it's bus like way in the air got low
  • strange posture he's low little support
  • hands this guy is going to have a little
  • harder time acting on screen but you
  • never know we could always put a face
  • the animals get better face into him and
  • then we could go from there all right
  • let's increase his size so let's
  • maximize let me idea let me hide the the
  • lair so I move these guys take a look
  • the maximize to change the scale again
  • maximize your size for the second one
  • maximize his size so that way there's
  • more just more paper basically to draw
  • at it's digital digital paper is free so
  • this is something that we didn't have to
  • log you of doing back in the days
  • actually we could have the way we did it
  • was we photocopy it onto a bigger paper
  • so let's see so that these guys are not
  • fitting I kind of designed everybody to
  • sort of fit nicely together on the page
  • they eat into each other's negative
  • space so dream presentations it will
  • look pretty nice all right so that's
  • good so this guy's looking this way
  • let's go looking that way this guy's
  • looking back this way I think that's a
  • good comp let's try this real quick so I
  • eat up everybody's space
  • this is not part not the best because
  • the both of these guys are kind of
  • insect-like so I think I'm gonna keep
  • them separate it like this let's just
  • undo those so this guy still looks
  • better going this way in my opinion
  • let's try this middle guy going this way
  • instead and this guy going this way
  • instead what does that give us
  • okay now why am i doing all this this is
  • all for a presentation for composition
  • so it's not that big of a deal because
  • you always break these guys into
  • individual drawings at the end of the
  • day so I'm just doing this for my own
  • compositional sake to see like this is
  • look cool or not alright this is the
  • winning comp for now so I'm going to
  • save this guy all right so there's our
  • rough comp and the mids pause the video
  • and starting part two in a second here
  • alright so now I am back and I'm going
  • to start detailing these guys so yeah
  • let's just jump in I'm gonna save so
  • these guys are on different layers right
  • now so I will save these guys on - I'll
  • save their layers just in case I screw
  • it up so you can see let's for example
  • let's start with the first one we did so
  • make a copy of that save the original
  • because I'm going to work directly off
  • of this rough sketch I'm not going to do
  • an overlay at all I'm going to draw
  • right on top of it and so here's a
  • detail layer this where it gets a little
  • bit more fun because I'm gonna hide the
  • other guys as well so it doesn't confuse
  • me so I could just keep this guy here
  • all right so I have too many stuff on
  • the page this where it gets fun because
  • your major forms are done you don't have
  • to worry about like okay what am i
  • designing at this point you sort of have
  • it and all you're doing right now is
  • just detail work which is really really
  • fun if your visual library is pretty
  • strong you could kind of make this stuff
  • up pretty quickly I'm still working
  • relatively little rest depends on how
  • high I want to push this guy wore what
  • the end result of this might be if my
  • end result is a digital painting which I
  • probably would do I don't know depend
  • how much time I got yes if I could paint
  • this guy up as a final I might not
  • necessarily have to make this part
  • super super detailed because a painting
  • will add in the the last level detail
  • but having like good line art is pretty
  • important because even if the paintings
  • say I really suck at painting today I
  • just have a joint that hopefully would
  • suck as bad so it's always good to have
  • a safety net in this business because we
  • are production based you are you cannot
  • at least freelance okay I'm not speaking
  • for guys in house in terms of freelance
  • is very bad for your career to do not
  • show anything we're not deliver when the
  • due date is showing up so anti lower bad
  • work for example so we're always kind of
  • looking out for ways to create backups
  • as we work if that makes sense at all
  • alright so we have a line drawn out
  • that's your backup even though our final
  • is supposed to be a on a painting but
  • the backup is there a nice line drawing
  • because you never know I have a bad day
  • or you know maybe I just really bad at
  • painting whatever the client things are
  • really bad who knows whatever it is
  • hopefully do a nice line drawing that
  • make up for it I worried that's the only
  • thing you show in that case if your
  • stuff came out pretty horrible so here's
  • the crazy I star creature miscellaneous
  • identic identity crisis creature
  • no idea what to call these guys but fun
  • you know designing for the men in black
  • type of creatures are really really
  • entertaining because it's it's kind of
  • wacky a little bit easier to do my
  • opinion then yeah so if like National
  • Geographic commissioned you to to work
  • on a piece for or do a design for a
  • series on television or something about
  • the creatures of outer space planets or
  • something and the planet full of gas and
  • it's in the Haiku actually be like maybe
  • low gravity or something and then they
  • want you to kind of using some
  • scientific breakdown to design some
  • creatures that's a little trickier you
  • have to kind of do a little bit of math
  • it will not math a little bit more
  • critical thinking so you don't you don't
  • just draw random for the sake of random
  • versus this case is it's almost like
  • just random but still hard to talk as a
  • result all right let me figure out that
  • what the heck's going on here before I
  • confuse myself he's got one eye coming
  • off in the front he's got one coming out
  • from the side being supported by this
  • little muscle group here and he's got
  • one back here that goes that way and
  • that's two perspective check that guy we
  • cannot see it that guy we checked
  • already okay good so it's got how many
  • eyes is that six six pairs of eyes or
  • three pairs eyes and three pairs of legs
  • this is main arm so let's make this one
  • very very muscular
  • let's define some muscle groups as we go
  • here so it's going to have a crease here
  • due to the compression of his body so
  • big crease around here to allow that to
  • you know we held out the extra skin here
  • just in case it's got largest up that
  • way we'll have enough skin here for him
  • to do that move and also when the
  • animators are rigging these guys they
  • allow that is especially talking about
  • games or something they'll pre-built
  • some polygons mesh there for stretching
  • all right see so that's a big crease
  • indicate that alright let's work on this
  • big giant arm so let's see so that's
  • this is rotational joint so this is the
  • axis if I drop the axes is that's a
  • rotational point so therefore we'll come
  • out and do that big line there and it's
  • got this kind of a shark thin spike at
  • the end of it the reason why rotates
  • because the brush I'm using is as you
  • can see if I'm if I make this brush
  • bigger you can see this kind of it looks
  • like that alright so it makes very thick
  • lines going this way very thin line
  • going this way so if I want a thick line
  • I just go this way by throwing a thick
  • line going this way I have to rotate the
  • page as you can see or rotate him see
  • like that alright so I could get a thick
  • line going that way if that makes sense
  • so that's why I keep rotating the image
  • for actually foot to get the line
  • quality go back to this lawyer because
  • light weight is important when you're
  • sketching assuming you're dealing you're
  • going to turn in just the sketch in this
  • case we're kind of assuming that as well
  • so if you're dealing with just a sketch
  • then you want your line weight to be
  • really nice and fluid professional so
  • when someone looks at it they assume a
  • student I mean on a nun student did the
  • work due to your line weight experience
  • this guy's eyes are a little small what
  • if I should make a little bigger he
  • looks okay though let's make this part a
  • little bit more
  • uniform alright let's calm down let's
  • continue work on my arms so it's got a
  • big muscle there let's do a big muscle
  • group here so I'll stretch your muscles
  • this will be a pump right here for that
  • muscle to come in you'll have probably
  • some kind of rib cage thing something
  • for lungs let's run this line over so
  • this is a shark fin here which could
  • create a nice little silhouette for him
  • I think it's these hairs need to make
  • these hairs a little bit longer word
  • tentacles whatever these are let's make
  • it just a little bit longer experiment
  • with it or he might not have it at all
  • let's only race it for now because
  • they're kind of competing with his
  • eyestalks so take them out for now
  • right we can always refine that's the
  • beauty of digital is that as you do this
  • every thing that's you know you consider
  • this drawing tighter you can always draw
  • another pass on top of it by dressing up
  • your image and gets tighter and tighter
  • and tighter so we can always go back and
  • fix things it's not that big of a deal
  • get everything correct at this point
  • right now the important thing is to move
  • the production forward so you don't get
  • stuck and just stay there standing your
  • image not producing anything so if
  • something gets me stuck like do I really
  • keep the spice or not and what deal with
  • that when the time comes maybe when I
  • get the rest of this drawing out it'll
  • look all right again then we don't need
  • to worry it you just put no leave it
  • without the spiky stalks let's make sure
  • these two matches up in terms of our
  • line flows it's got a little bit of a
  • negative to a positive so go to a
  • negative it'll positive so we know that
  • these are the same thing but it's at a
  • slight angle so I need to build that in
  • a little bit because it's going away
  • from I all right top view it's like that
  • right so top you it here's the creature
  • so it's kind of coming out at us at a
  • certain angle so it's not going to be
  • parallel right it's called like the fins
  • of our f-18 which I'm gonna do a little
  • bit of calculation to make sure I got
  • that correct using some perspective
  • calculations
  • all right thing all right
  • all right you raised a perspective check
  • the cool thing is all those perspective
  • checks and little marks you do on the
  • page those things all tend to help your
  • draw and look Pro so these foundation
  • building blocks I gotta play this
  • elbowing here his elbow will be here
  • which I think on this guy will be over
  • here
  • backside okay his backhoe continued in
  • give them some indication of backbone or
  • spinal cord let's put some spinal cord
  • here as well so he's indicated okay
  • continue that let's figure out his hands
  • or his um whatever this finger thing is
  • let's see let's make a posture here I
  • think when you one that goes back that
  • hits the floor get my pad result
  • it's got another one that comes to the
  • side all right you can see I'll lose our
  • duties right because I'm trying to
  • figure out the designs I go and I call
  • ways again clean up once I know the
  • design right because I know the form is
  • taking place I know what's sort of
  • happening there but it hasn't me figured
  • out it's in terms of how to actually
  • build that right you don't want to
  • confuse the next guy building this guy
  • for you the 3d artist or you're going to
  • take into the ZBrush you have some idea
  • of how this is constructed because
  • nowadays a lot of creature designers are
  • working directly in ZBrush right some
  • might have a sketch before they get
  • started for client approval so you want
  • to try to solve some of the problems
  • beforehand that's not necessary all the
  • case all the time because happy
  • accidents is a very important part of
  • design so sometimes you have to figure
  • it out it may be just figuring out the
  • next phase during the 3d production side
  • if assuming you're doing it yourself you
  • don't want to I don't think you want to
  • be putting a lot of design work with
  • difficult problem solving to a 3d artist
  • whose job is to model your work so if
  • you put that on their to-do list you're
  • just adding more to their hours and I
  • think that could be appreciated but by
  • certain kind of modelers write something
  • I like it some might not so I'm what I'm
  • referring to is if you're going to model
  • this yourself in ZBrush then you want to
  • have some of the problems solved all
  • right so here is a four elbow you can
  • see so this goes that way don't be like
  • a little don't be like a wrist or
  • something like that that will be the
  • elbow I'll be the wrist this will be
  • fingers going to way down
  • and so his fingers has been elongated
  • cut like a horse or something right
  • horse's leg is actually like a giant
  • finger okay let's see
  • symmetrical eyes that sucker alright
  • let's see let's what kind of belly let's
  • work on the other side so I see his
  • spine goes under and form this belly oh
  • let's do these back legs alright so
  • these legs here are low tricky so they
  • start watching this star I think they
  • start down here let's give it let's just
  • start it right here right behind these
  • two so it's a minor muscle its job is to
  • hold this creature it's back support its
  • collect acting the evil eye of a tail
  • say on a very large predator maybe like
  • a lion or a tiger right their tail acts
  • as a counterweight so they jump do these
  • kind of things you have given a little
  • bit of support by using weight and
  • gravity in this case it's working
  • similarly except it's actually touching
  • the ground so it is a hand but or a limb
  • but I don't need to be it to be a major
  • muscle group since it's holding up not
  • too much weight most of the ways to
  • distribute it on these four areas so
  • these guys are acting eyes just load
  • side support but that's the joint that
  • comes out that will be the elbow this
  • will be the wrist and the rest will be a
  • finger I'm going to put a little pad
  • right here
  • this pads in the air and that's for
  • preparation of if this guy was to lean
  • back you can see this guy's it's kind
  • like a high go shoe I try here it's like
  • this so that's the design so this guy
  • ever leans back we have a catch like so
  • so this guy could come back and catch
  • the catch the ground so that's what
  • that's for
  • let me get rid of that lasso that
  • alright so that's the lower heel to
  • catch any kind of fall you see airplanes
  • out there like you know some of the big
  • airliners or like Russian transports
  • they have like little wheels on their
  • back of the fuselage is for just in case
  • the plane lands with the tail too low
  • you won't hit the fuselage and damage it
  • I have these little wheels on the bottom
  • so this will be what that that does all
  • right so mostly I'm just creatures not
  • using that finger okay and these things
  • will make notes to me for if this is a
  • design for submission for 3d modeling I
  • will make notes for the creature
  • designer to let them know that that's
  • what's for so he'll pre rigged it with a
  • bone to allow that animation all right
  • let's see so this let me not almost
  • messed up here this leg is on the inside
  • so there it is that goes the other side
  • right make sure I just draw that a
  • little bit lighter in terms of line
  • weight so that's going this way out and
  • the low heels
  • tow all right since there are two of
  • these there's you know again one does
  • too
  • I don't have to draw the second one so
  • nicely because you're 3d modeler got the
  • information from the first one
  • so whenever you drawing something that's
  • repeatable or mirrored you can save a
  • little bit time by drawing just one of
  • it the perspective on this got slightly
  • wrong that you should go out see you
  • should go out that way and come back in
  • because the knee joint is going out and
  • then in so top view if this is a
  • creatures leg it goes out and then in
  • like that so out in the in and like that
  • his top arm right this top view here is
  • going to boom like that grabbing boom
  • boom like that and his fun arm is doing
  • that all right so that's this top view
  • so these legs are like are like almost
  • like a frog leg so the knee joint here
  • which will be here all right these two
  • are the same joints here that is to go
  • out of the body in perspective and back
  • in which will be that line here and then
  • back down which will be this part here
  • okay so what to account for that in
  • perspective so there's the other side go
  • in you joint and then that comes back in
  • okay cool
  • oops that joints a little too low
  • all right cool that's better and stuff
  • is important especially going to paint
  • these guys up then there's going to be
  • some values on this and we need to know
  • where that value will be okay here's the
  • lady's high-heeled shoes that he's got
  • on all right so what do we have left
  • here let's let's clean up this guy here
  • we are 15 minutes into this sketch I'm
  • going to do is I'm the draw this guy and
  • probably apply the same formula for the
  • other guys as well I'll see how much I
  • could do maybe I draw one more and then
  • I'll draw it didn't rest of it without
  • recording so we don't spend too much
  • time in real time otherwise this video
  • be like two three hours long but
  • hopefully this helps you guys to see
  • that there's no there's no magic really
  • you know whatever that we're do you like
  • to use it's just it just work you just
  • sit down and just draw that's it have
  • fun of it of course this kind of stuff
  • is extremely fun for me to draw because
  • I don't get to do this much on on the
  • job I'm currently on so it's fun to take
  • a break from your usual freelance and do
  • some of this stuff most of the work I
  • take on it's just personal choice are
  • sci-fi and military based so because
  • that's the kind of projects I personally
  • like to do so I tend to draw those for
  • my day job and creature designs I don't
  • do too much of it's fun but it's not my
  • specialty
  • it's not what my favorite categories
  • would be but as a designer you tend to
  • enjoy everything everything is cool
  • everything is fun
  • all right give me some so it's like by a
  • zag in the air
  • I want this bend to be a little bit more
  • aggressive right now it's kind of flat
  • this lines flat I want his Anatomy to be
  • like like that so we take on a curve
  • which let's just remind ourselves we
  • want to curve like that so more fun
  • little bit more fluid so let's build
  • that in so that means we have to have
  • this section here go in and come out
  • little tricky because we're back dude
  • so it's harder to see that transitional
  • point see so we don't want that tangent
  • here either with this arm so there's a
  • big muscle group that comes in and then
  • the belly comes back out let's see that
  • reads all right that's better okay
  • that means this line here has to
  • conclude down below
  • now the tangent right here to avoid so
  • let's bring it down the tangent to avoid
  • that and bring that all the way around
  • all the way around cool so that's this
  • belly let's clean up these lines a
  • little bit to make sure we know which
  • one our sketch lines which is our
  • actually form lines so big fold again
  • from here due to skin compression all
  • right and those folds we'll be folding
  • this way and big round belly
  • give some second or third level
  • appendages out there just doing kind of
  • fun these are very Gaius creatures you
  • know kind of bug like disgusting kind of
  • stuff not cute okay delete this line or
  • lasso that sucker out you can see the
  • sketches taken about 20 minutes to do
  • along the 20 minutes the initial
  • drawings took but these will be faster
  • if I wasn't talking so because out
  • decisions I'm doing I'll just have done
  • it already as I sketch it but right now
  • I'm not trying to fix it real time or
  • just thinking it out for you guys you
  • can see the kind of process it goes
  • through in real time if I wasn't talking
  • this would probably take guessing about
  • ten minutes to two ink relatively quick
  • alright but coming out just in 20
  • minutes I think the previous one is 20
  • minutes so right now 40 minutes in
  • alright so I should have time to do one
  • more these guys in this kind of work
  • alright so let me draw the other side
  • the arms let's clean up the other side
  • get rid of ground lines our calculation
  • lines are now gone but I'm gonna keep
  • the ground lines in because I need to
  • make sure I see the distance is still in
  • the center so that's the center that's a
  • center right find the center of this
  • creature Center center Center so now we
  • can calculate the other side of legs
  • there's one leg so how the one the joint
  • for this guy's over here I used to go in
  • okay finger
  • finger the stuff is still not super
  • defined yet but I could do that later
  • other side so that's the middle so his
  • hand is right around here finger go up
  • finger out so combining a lot of
  • perspective along with Anatomy to make
  • this creature because everything sits in
  • 3d space okay and once you know that you
  • know that's that's the fundamental stuff
  • I always refer to wants you to
  • understand how everything sits in 3d
  • space you can actually pretty much draw
  • whatever you want because all the same
  • thing it's just a 3d object so are you
  • changing are the forms that make up that
  • 3d object but they all sit in 3d space a
  • human being a car you know the entire
  • planet it's all sitting in it just a 3d
  • 3-dimensional area so if you know the
  • calculate using and perspective allows
  • you basically calculate anything
  • perspective in in 3d space its
  • perspective is not a box you know which
  • a lot of kind of students learn that's
  • the furthest I take it is like a box
  • sitting in a two point perspective or
  • something they you know you kind of got
  • to remember that that box represents
  • everything that exists in
  • three-dimensional space and once you
  • know to complex you know how to come
  • plot that in the complex way you could
  • plot everything from a plot and to a
  • person's face to a house to a Volkswagen
  • Beetle you know it doesn't matter there
  • are they're all to be they're all same
  • thing and that's the kind of diversity a
  • lot of professionals have that they
  • could work from one subject matter to
  • another there isn't a thing like oh you
  • know I only do props or I only do
  • vehicles or only do characters they tend
  • to be able to do like oh yeah whatever
  • you know long is design required I could
  • take it on there's no there's no
  • separation between say a creature or
  • character and there's not even
  • separation between themes like you could
  • go sci-fi and go fantasy right after
  • another so it depends what we tend to do
  • is you take on stuff that interest us
  • it's not really like we cannot do it
  • it's more of like okay I really don't
  • feel like working on a New York in the
  • 1970s game right now so I don't want to
  • take it on but another time maybe I do
  • feel like working on that then you take
  • on that project
  • but it's not the can I draw that that's
  • stopping you from taking the projects
  • because that's the science stuff we send
  • a lot of students that come in young
  • without kind of formal education they
  • generally drop by memory which I touched
  • talk talked about before and by drawn by
  • memory change the subject matter office
  • under stuck right they may be men they
  • memorize how to draw say a certain
  • characters face or something or a
  • certain kind of landscape and they tell
  • them hey don't do that anymore now draw
  • me a Western with a cowboy and then they
  • forget everything because it's muscle
  • memory and muscle memory doesn't help
  • you when the subject changes which is
  • for 3d then it doesn't matter at all
  • alright let's see draw that in add some
  • muscle lines look at that that's cool
  • whoa that's cool I don't use this
  • feature at all this is a new to
  • photoshop where you can hold the zoom
  • key and the wake up and it does this
  • cool little how'd I do that whoops it
  • does is kind of dynamic zoom
  • it's like warping neato huh but I'm
  • still old school I still do the you know
  • the 33 to 55 or 50% to 66 zoom levels
  • which is just pressing the zoom key once
  • but sometimes by accident I get whoa
  • look at that now I'm putting stuff in
  • there that's not supposed to be in there
  • because I don't use it so the hotkey
  • only you only comes out when I do about
  • asked it let's do this joint here
  • hopefully this is entertaining you guys
  • it's not as fun in my opinion as digital
  • painting for for the audience to watch
  • but hey this plenty of other episodes if
  • you aborted this one to watch and we got
  • plenty coming up in the future as well
  • all right got to cover all the bases
  • right for different people out there
  • okay go at it I think this guy's good
  • for now so what I'm going to do is I'm
  • going to put them over here I'm going to
  • pause the video for a second and come
  • back and do the other guys alright
  • alright I am back so before I get to the
  • next one I'm going to okay fix this
  • little finger a little bit it's this
  • part still a little confusing as I when
  • I was just waiting for the video to save
  • I noticed this part here is still a
  • little bit rough so let me clean that up
  • not necessarily super super clean which
  • is a tiny bit and also want to show you
  • what's the previous right this is what
  • we have this is what we started with so
  • you can see within 20 minutes the the
  • difference in terms of line work that
  • you put in so but nothing really hasn't
  • changed in terms of designs it's the
  • same creature of you zoom out okay so
  • just line quality has increased that's
  • all okay so let's let's just do another
  • one real quick now I don't know if I
  • have enough time to detail everybody out
  • so I get started with this guy I'll make
  • a copy of him as well I can start it the
  • same process and then if I don't finish
  • it I mean with the time's running low
  • long what I'll do is I just finished the
  • rest in my own time and show you guys
  • the result of it right so because the
  • process is the same as the previous one
  • but let's get some of this guy now
  • this is kind of cool the low feature
  • here so this guy's the one that's a
  • little bit more human ish it's got
  • almost the same Anatomy as a human being
  • in terms of the parts of his body vs.
  • ticket this guy already has like six
  • limbs and all that kind of stuff which
  • is already quite different
  • this guy here might still have the
  • shoulders might still have the the
  • clavicle bone or the kind of stuff this
  • share similar features as us
  • right so his perspective is going like
  • that that nerve get the back of the
  • skull cranium connected to the spinal
  • cord give them this kind of tentacle
  • hair
  • see his mouths probably over here this
  • guy's a little bit low dressed mean this
  • image is pretty low res I can't you're
  • getting the draw the superfine detail
  • because this is already this is already
  • one hundred fifty percent zoom at this
  • point so we're beyond the one-to-one
  • zoom so you can see the pixels are now
  • appearing so I don't have enough pixels
  • basically to draw the details in here
  • which I could do later when I rest this
  • up I don't want to rest up at this point
  • because the higher res it the slower
  • your file gets right so keep it nice and
  • quick and also if you res it up my brush
  • has to the increase in size
  • I liked wrong with this size brush right
  • now because it's really fluid if I
  • increase it this brush should become
  • like a thin little pixel right because
  • the file I mean the size resolution has
  • got hired by the brush is still the same
  • size so therefore your brush that's
  • making this and if I bring criticized
  • you look like that right so I want to
  • retain this kind of fluid brush for a
  • little bit longer
  • let's see that goes back let's make his
  • ear drums so I just have years but he
  • has these kind of reptilian type of
  • sound echoing drums thing with the low
  • transparent skin to pick up sound
  • vibrations okay that comes down let's
  • look for some nice fluid lines to build
  • that into I like this line that's formed
  • here sometimes I can pull that into the
  • rest of his body
  • I like some of the chunk of vacation
  • this guy starting to have like it's got
  • these sharp nine degree lines appearing
  • on his body cut looks nice so I'm this
  • your that used as a as a form language
  • for example his ribcage maybe you could
  • take on that that look
  • okay
  • not a not a very human rib cage but
  • replication nevertheless so this will be
  • soft tissue here comes down this all
  • soft no bone this is the rib which I
  • indicate a little bit of bones
  • underneath then you have a clavicle
  • going this way to join with a shoulder
  • ball muscle pull it this way and also
  • pull that way to swing the the arm here
  • so I'm not following in 100% human
  • anatomy here but using similar concepts
  • to to animate him or to give them
  • physical ability to move those muscle
  • groups and it helps the rigorous as well
  • I'm just going to rig your guy for
  • animation alright so get that in there
  • the make us arm really long we
  • technically speaking this arm is pretty
  • long that's a lot of weight for the
  • shoulder to bear so but the thing is
  • again we're not going from a pure
  • science kind of thing here I think we're
  • just going for pure visuals but I don't
  • think this joint here could actually
  • operate on that this heavy this will
  • probably have a lot more muscle mass you
  • know like something something like to
  • that degree for that to work
  • but that kind of kills my form I think I
  • could give them a bigger shoulder to try
  • it give a bigger let's try that don't
  • know that looks good
  • which is like a shoulder shoulder blade
  • to hold that socket a little bit more
  • tighter or giving more strength because
  • there's a ball and socket joint in here
  • with the bone coming out that way maybe
  • don't know it's kind of weird maybe
  • could work alright let's see it's go
  • down here soft belly
  • some muscles here go in back
  • ribs so the muscles are connected the
  • ribs
  • bicep and triceps or whatever alien form
  • of those muscles are elbow let's make
  • these a little bit more interesting
  • let's give these guys a little little
  • nubs just a third-level detail stuff
  • the fritz creature is hard to read I
  • think because he faces that way which is
  • not very common for coaches I so you're
  • looking at it going this way so but you
  • don't see a head it's a little weird
  • because your most common seeing
  • creatures in this in this perspective or
  • a quick character designs all right we
  • tend to see the front first
  • all right details in there
  • okay there's got a few more muscle lines
  • soft tissue here let's really carve out
  • his stomach here
  • okay Scott hip
  • waist-to-hip - femur making this part a
  • little bit more exaggerated just to
  • build that nice interesting form big
  • muscle group come down
  • to the thighs that will then connect
  • into the knee joint
  • this guy's got chicken leg joint which
  • is got the reverse leg thing which is
  • not in mammals so I asked the extra bone
  • right there which sometimes in certain
  • kind of the productions animators don't
  • like that because he acts up it adds a
  • bone that's not part of a bipedal system
  • so they have to add that in by
  • themselves and if the system is not made
  • to simulate that animation it could
  • cause problems like the guy walks with a
  • slightly funky wobble or something like
  • that right so we call this chicken
  • legging right because member we in a
  • real bone we have this and then that and
  • then feet but this goes down to femur
  • acts a miscellaneous bone and then go to
  • your legs right so this bone here is
  • extra so any pins backwards like kinda
  • looks like a chicken's we call the
  • chicken leg some clients do not want
  • that in their designs because they have
  • for example their sureness skeleton
  • system because our Celestin systems are
  • pretty memory intensive games I don't
  • know how it is now a clean match it
  • still takes a lot of memory because if
  • you're simulating what do all these
  • animation every single one the animation
  • has to be stored in memory for the game
  • to in order to call it so in games they
  • like to share the skeleton system so
  • they might have like one for four-legged
  • creatures like horses and dogs and stuff
  • like that even though they're different
  • creatures they share the same system and
  • then they have one for say humanoid
  • based creatures and they all share the
  • same skeleton so if the game is like
  • okay anything big and human the way we
  • share the skeleton then you add this
  • extra bone in there
  • it wouldn't work then you have a unique
  • system and then every single animation
  • has been restored about where we put
  • into memory which could be problems for
  • certain games they might not even have
  • that much memory for that so
  • so some create some clients so I should
  • be pretty specific and asked for is no
  • chicken leg bone system
  • to avoid that braking system right but
  • if they care if the game already has
  • that then that's fine okay put that in
  • see bone joint but looks cool you know
  • it's like it's it's used a lot in
  • InDesign I think I still use a lot today
  • it just kind of has a cool look to it so
  • it's pretty common that you get this
  • specially on like no devil creatures
  • like Diablo type creatures just like
  • that kind of joint system going on
  • watching my time and coming out in ten
  • minutes I'm going to do probably pretty
  • soon to shut this video and then take it
  • offline for a few minutes on my own and
  • get everybody drawn out so we don't
  • spend too much time in real time okay so
  • this arms going back because y'all
  • quickly let's just take out the one that
  • was in the cleaned just to see the
  • difference here right so that's only ten
  • minutes later we are already getting
  • this result so I could imagine if you
  • want to pretty like a really tight joint
  • you just spent another an hour or two on
  • the drawing they catch it end up with a
  • very very nice line drawing now you
  • don't have to paint at all
  • this guy's all naked or not wearing
  • clothes so I guess it's okay
  • we could put costume this guy could
  • almost use a costume he looks like it's
  • intelligent enough to to be actually a
  • intelligent being I could build things
  • so maybe we could put some costume lean
  • on him versus the guy next to him is
  • like a dumb creature it's just like you
  • know it doesn't let it release wear
  • clothes even though like in the men in
  • black movies they look like that but
  • they could take a pill spaceships so now
  • that's what a whimsical stuff comes in
  • is I thought how does this guy make a
  • UFO see
  • this guy's got these little thin fingers
  • as well
  • also has little pads this we could kill
  • the animators if you want by give them a
  • ton of fingers alright five is already
  • pretty hard to animate they could kill
  • them like even like seven fingers or
  • something depart delete them out to save
  • money
  • okay like in games the most the time
  • they don't do this many fingers do like
  • three it's like a mitten type of rigging
  • system you know which you have a human
  • hand and you have these fingers this one
  • and this one and this one will be a
  • cheese as three bones you know so you
  • could all three fingers your anime using
  • the same system to save memory so that
  • way because that gives you enough to to
  • like hold weapons for example you nobody
  • goes to have it out you can also have it
  • in and do this then point so I don't
  • know about nowadays I think nowadays is
  • not maybe skeleton animation is not that
  • big of a deal anymore for memory storage
  • so maybe some of the guys working
  • industry on YouTube could comment on
  • that not sure okay
  • twelve minutes in I think I need to cut
  • this pretty soon let's just do it a
  • little bit more go to a line drawing is
  • that there's not much memory in terms of
  • the storage of this file as well as the
  • video itself like if this is a painting
  • there's this video right now I talking
  • it's in or probably be already two gigs
  • but saving this file probably only be
  • about 500 max maybe less because it just
  • isn't how much data on the screen for
  • for the store most if it's all white
  • it's like 90% the page is still just
  • white so nothing really there my other
  • negative spacing here is white so file
  • size is very very small okay it's got
  • this kind of ripped alien loose skin
  • texture here this are the arm let's make
  • sure this is touching the ground so all
  • four of his limbs are touching the
  • ground let's make this nice and strong a
  • little joint in there
  • it's got four three toes in the front
  • one the back
  • give it a little muscle here
  • okay cool that works together sighs so
  • this joint comes over comes in
  • that in there we're at the back so again
  • this is a repeat repeat design here
  • because this leg and this leg are the
  • same leg so we want to worry about over
  • detail in it because the modeler will
  • only just build it I mean they when they
  • build - the ZBrush don't do the same
  • thing that will mean they'll build with
  • the symmetry on so you do the same thing
  • we're doing the same exacting a symmetry
  • on so one size define the other side
  • kind of just indicate it because they're
  • not in almost main all creatures on
  • earth pretty much everybody's
  • symmetrical so you do one side the other
  • side should be the same okay delete
  • ground lines I do want some of the back
  • just for perspective checks that's the
  • center of the creature let's do another
  • checkpoint Center Point Center to Center
  • lines up that we can check this CG if
  • it's going to fall over or not see his
  • hand just little hands a little bit
  • closer to the leg than this one but it's
  • okay see that distance is about that
  • wide okay
  • pretty good hand position is relatively
  • there so this guy should be stable don't
  • think it's gonna fall okay because you
  • want to like have a creature that's like
  • like this or something which is fun
  • heavy or back heavy and it could design
  • creature that's fine heavy back reach
  • and back everybody said make sure you
  • balance it out using its own designs
  • like a tail or a big Horner top of his
  • head or something something to
  • counterweight that offset okay
  • like a tiger
  • you know prowling around or something
  • than that you know you have a spinal
  • cord like this and got leg like this
  • like this then the back like that then
  • you have a tail like access a
  • counterweight to that body so as I'm
  • talking about here right make make
  • everything feel nice and fluid okay
  • all right so I think this guy's good so
  • I'm gonna do is I'm gonna pause the
  • video now and do the last guy which is I
  • think this guy totally forgot about him
  • and draw him in the same manner and then
  • come back to you guys in a second all
  • right
  • let's pause stop alright I am back so
  • this is where we left off so the
  • rightmost image is not done so let me
  • just open up the the other images let's
  • see I think that's C alright so here it
  • is so I just put another on again about
  • 10 minutes about the work into doing the
  • line work these are not super super
  • tight precise line joints but I think
  • they're good enough to get you guys to
  • see where you can lead to and also open
  • up some examples of what other things
  • you can do once you have this step done
  • so let me just open up another one so I
  • took this kind of image here and let's
  • say I'm gonna spin another maybe 25
  • minutes or so just put in some values
  • this is actually really simple to do I
  • turn off the layers and show you what's
  • been done here so let's see all right so
  • here's a line drawing just converted the
  • the line art to bees not red but kind of
  • a brown color I'll zoom in a bit you see
  • and all it is is just a series of layers
  • so I got a gradient
  • there's a background drop shadow base
  • layer shadow highlight key lights
  • rebounce light highlights and patterns
  • and those kind of things so that's it I
  • mean this is a quick and dirty method
  • it's good enough to show some stuff to
  • your clients it's not necessarily done
  • but I will show you some images using
  • done using this technique so let me see
  • let me open these up here kind of a
  • variance of what you could do with this
  • kind of stuff right and as these images
  • are load to remind you guys that we are
  • updating our website so hopefully in
  • about a month or two months we'll have a
  • larger community of design cinema we're
  • going to have you know because I know we
  • get a lot questions and all these
  • comments that we could not
  • possibly get to do to just one controls
  • on YouTube so we're going to try to do
  • is bring that kind of stuff over to our
  • website instead you know fcd school calm
  • and try to address it over there as well
  • as a bunch of other content that's going
  • to be available for our designed cinema
  • viewers so anyways here are some images
  • that i've done using this technique so
  • here's a you know some zombie girl
  • creatures or something like that let's
  • see what else you have here some blind
  • sketchy which is very similar to what
  • we've done just to show you the
  • different kind of finishing levels you
  • can achieve by starting out the same way
  • right because the beginning is the most
  • difficult part so here's a some witch
  • doctor designs or something like that
  • here's some robots almost exactly the
  • same as what we did today as you can see
  • here these are even quicker actually
  • done extremely fast
  • here's we could do if you want to paint
  • it up right so I'm here some like
  • skeleton characters and stuff like that
  • with some test your stuff but the
  • starting point is very similar now in
  • the same way right same thing you can
  • paint it up with greyscale this method
  • here is a similar method as the zombie
  • girls over here using the same stuff
  • here isn't that these two are also
  • related these are some of the stuff I
  • did a while back these are all demos for
  • our students actually so I'm not showing
  • you guys any professional work in terms
  • of they're not for clients these are all
  • demos done in front of our students so
  • but just show you guys a range you know
  • once you have the the kind of method
  • down you could do whatever you want with
  • it right here so here's a painting of a
  • creature kind of smoking a pipe here
  • here's another painting of a creature
  • right and all these are really really
  • fast because a live demo so none of
  • these go over to ours so they're all
  • done underneath that time now here's one
  • in which we just did a drawing right so
  • you can see this is a character though
  • not a creature here's some other
  • creature design this one painted up with
  • some silhouette this one's also painted
  • so this stage when you see in this black
  • and white image here right what is kind
  • of a googler type of creatures or
  • something this is the very next stage of
  • what I could have done with if I can
  • find the back here this image here
  • because I already have the base you can
  • see if I turn all this off there it is
  • that's that's the base
  • right here right so using this you can
  • actually get to this one fairly quickly
  • I think this will take another maybe two
  • hours somewhere around that time two and
  • a half hours you could get from a line
  • drawing to completely painted out values
  • without any lines at all because these
  • ones if you zoom in there are no line
  • work at all anymore but they started
  • with line drawings it's very you know
  • exactly the same as as this technical
  • over here so let's see what else I have
  • in here here's another one bit of a
  • rendering the guy riding on a big camel
  • bird like whatever creature let's see I
  • think should have a few more that's that
  • one already okay I think that's all the
  • examples I kind of just pull the show
  • you guys of the type of things you could
  • do if you start out loose get your
  • design down do some quick line work get
  • your overall form develop in 3d because
  • once you have an object in 3d then you
  • can apply lighting right because all
  • this kind of stuff I'm showing you from
  • let's just go through it like things
  • like this or like this is all dependent
  • on your forms you have to know exactly
  • what your shapes are doing and then I
  • mean that just makes your work so much
  • easier when you're doing this kind of
  • process so anyways so hope you guys
  • continue to subscribe watch our channels
  • and just keep your eyes open for when we
  • launch our new website with all the cool
  • community content of course everything
  • will be free as well so does that be any
  • kind of you know we're not trying to
  • monetize designs anymore anything like
  • that so hopefully enjoyed this quick
  • episode this is a pretty light I think
  • next week I'll see if I could get to a
  • little bit heavier one maybe with
  • characters online next week party in two
  • weeks um now we'll do something post on
  • break so I should be having some time to
  • develop a little bit more design cinema
  • stuff so in the meantime if you guys
  • have questions continue to ask them in
  • YouTube because we do see it as you can
  • see by the memory on this computer is
  • completely dying out
  • can you do ask it because we will see it
  • and we'll try to address that once our
  • website is launched the more common or
  • easier reach section so until then I
  • hope you guys enjoyed this episode and I
  • will see you guys on the next one right
  • but

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Real-time creature design demo.

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