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

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01:08:22   |   334K+ views   |   today at 05:06

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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Description

Real-time creature design demo.

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Concept Art Tutorial Digital Painting Tutorial Painting Tutorial Digital Painting Drawing Tutorial FZD School of Design FZD Feng Zhu Concept Art Digital Sketching Photoshop Tutorial Photoshop Painting Drawing Sketching Painting Concept Design Tutorial Concept Illustration Entertainment Design Game Art Movie Concept Art Video Game Concepts Concept Artist Game Design Digital Drawing Photoshop Drawing Wacom Tutorial Wacom Wacom Sketch

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