Doodle 328 - Spaceman Model Sheet

I thought I would do something on the computer since it’s been a while.  I figured this little guy I’m going to foolishly attempt to animate needed some polish to his design, so I think it figured out his final look.

Como ya comenté, hace poco empecé a formarme en la animación 3D; y después de un tiempo sin noticias os quiero traer resultados. Para el primer módulo del máster hay que realizar una pequeña animación de unos 15 segundos. Éste que tenéis al lado es el protagonista, Rodrigo Rodríguez. Llevo unas semanas trabajando en el modelado, y últimamente no he tenido tiempo de trabajar en él quitando el tiempo en clase, pero este fin de semana va a ser casi definitivo. Sin más dilación aquí tenéis el Model Sheet de Rodrigo. Se trata de una página en la que aparece el personaje en una pose para ser modelado desde distintos ángulos, así como expresiones, detalles o cualquier consideración a tener en cuenta a la hora de modelarlo.

Posiblemente mañana cuelgue imágenes de cómo lo llevo, le faltan unos pocos detalles.

Here’s the titular character from the upcoming episode of RAD RAZ entitled “Uncle Horace.” This is historic, folks. It’s the first time I’ve ever introduced a family member of RAZ into the universe. Plus he kinda looks like Larry David to me.

-Jack

Hey guys, I told you I was back! Here’s the first bit of new material for you to check out, and it comes in the way of mouth shapes for some brand new characters. I created these specifically for my portfolio, as I noticed it’s something that was previously missing. I will be creating some similar, black & white line drawings of model sheets/turnarounds/poses and what-have-you to further prove that yes, I am ready to come on board at a major studio and work on a 2D television animation production.

See the new stuff in my portfolio at jackcusumano.com

-Jack

Recentemente tenho tido muito trabalho, portanto, tenho muitas coisas novas para postar, e pouco tempo, vou colocar aos poucos. Aqui vão alguns estudos de personagens, quando o trabalho estiver terminado postarei mais detalhes.

Soldados

O objetivo é fazer soldados de vários tipos, com portes fisicos diferentes, especialidades, armas, etc. Para quem conhece, notará uma certa cemelhança com Team Fortress, sim, é intencional, mas não é o objetivo, eu só estou procurando um estilo diferente, e gostei do estilo, fica bem fácil identificar a diferença de um pro outro. mas é só um estudo, talves seja usado, talvez não (depende dos direitos autorais, estudos e outras decisoes que irao influenciar o design).

Ah, estes personagens são a evolucao de um conceito já postado anteriormente, da pra ver uma evolução boa! falta colorir.

Esse começo de ano tinha tudo para ser especial para minha carreira profissa. De certa forma até que foi

Eu tive a oportunidade de ser avaliado (além de muito bem recebido) pelo pessoal do MUNDO CANIBAL.

Isto mesmo. Eu estive a alguns meses (e um a um intensivão de animação) de  integrar esta insana trupe. O Rogério Vilela é sem dúvida, um dos caras mais atenciosos e pacientes com artistas grandes e desajeitados porém insistentes como eu. Sério. Passei uns dias lá rascunhando um monte de papéis pra me aproximar do que ele e a trupe queriam e fui sempre atendido com muita paciência e dedicação.

Mas a vida é uma caixinha de supresa,  como diria o locutor do da história de Joseph Klimber, e no meu caso foi mais uma supresa desagradabilíssima. Minha mãe, convalescente de um cancêr no torax, entrava na reta final de suas complicações e bem…acho que somente os mais frios e calculistas conseguem converter tamanha adversidade em produtividade…mas eu tentei e não consegui…além de minhas limitações em flash e animação.

Bom, mesmo assim, queria mostrar os diamantes brutos que foram estraidos da minha grotesca limitação em se tratando de animação.

Muito Graças ao suporte e a paciência de alguns integrantes da colonia asiática que habita o desk da Fabrica de Quadrinhos (que é a casa do MUNDO CANIBAL) que ficaram incubidos, coitados, de me orientar nessa jornada: Anderson (que meu deu um puta suporte) e Carlos (que me deu uma puta força) esse post é por conta de sua ajuda ao “Farinha” aqui.

Seguem as artes e cases para os quais foram pedidos.

RONALDO (não, não é aquele infame quadro que enche o saco!)

E sim um teste pra um quadro que a fabrica faria para programas de esporte da tv aberta, de charges animadas.

Pena que este ronado estava, digamos, “mundo canibal demais”.

Primeiros rascunhos.

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Aquele que mais agradou e abaixo as artes finais…

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Na hora do lanche.

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Diz ai, o Ronnie voltou ou não comendo a bola?

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início do model sheet do….RONALDO (tá, agora foi referência ao cara do Pânico).

CAST HOJE EM DIA

Num outro teste, o Vilela me pediu para criar a versão cartoon do pessoal do hoje em dia que, naquela época, ainda contava com o Brito Jr. Antes ele ir pra fazenda.

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Primeiros rascunhos: Brito e Edu Guedes;

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Cris Flores, primeira tentativa.

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Outra tentativa que não colou, da Hickman.

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Última versão, fora a Hyckman que ficou diferente da arte final.

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Brito ainda pequeninho.

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Depois cresci ele. A descrição da imagem explica por quê.

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Estudo de cabeças

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Don’Ana.

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Estudo da face e em trajes mais coportados.

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Cabeças da loira.

Bem…nesse momento do trabalho, foi que eu me comecei a me despedir da minha mãe.

…

Depois de voltar do “limbo da perda”, a vida seguiu seu curso: a vaga no MUNDO foi preenchida, minhas contas apertaram (e ainda estão), freelas rolaram (graças à Deus) e infelizmente eu não tive pique nem tempo pra retomar este trampo, mesmo que por esporte, já que não estava mais sendo testado.

Ainda assim, agradeço a Deus pela valiosa convivência em um estúdio profissional onde pessoas super legais fazem um trampo hiperbacana.

Quem sabe um dia?

Por hora, fica pro meu portifólio.

Ah! Você deve estar se perguntando: “por que sonho de virar “farinha”? É que foi assim que os caras lá me batizaram…farinha. Por conta de um trocadilho que costumo falar…outro dia explico….

]]> http://jackcusumano.wordpress.com/2009/08/21/doom-turnaround/ Fri, 21 Aug 2009 23:01:05 +0000 jackiecous http://jackcusumano.wordpress.com/2009/08/21/doom-turnaround/

Here’s a turnaround I just did for that Doom character I came up with for my Design-A-Day project. She’s pretty cute, so I thought she deserved a little more attention. Kind of an homage to the artwork in Grim Fandango (and the lucha/matador themed stage in Psychonauts, as well) with my own personal style mixed in.

-Jack Cusumano

Before I start a new project, I read through the manuscript a few times.  My first step is to doodle some aimless drawings—to warm up, I guess—then I begin the serious business of drawing thumbnail sketches in the form of a storyboard.  As I’m doing that, I stop every so often to work on model sheets of the characters.  The first ones are just like this sketch of Barnacle Bleackear, from Henry and the Buccaneer Bunnies and Henry & the Crazed Chicken Pirates.

To really get into a character, though, you need to draw the heck out of it.  Here is a model sheet of the duck from The Perfect Nest.  Drawing the character in a bunch of poses helps me to understand how it looks from different angles.  After drawing the same character many times, it’s a whole lot easier to incorporate into a page sketch.

Here are the goose and hen from The Perfect Nest.

And here’s Jack the cat from the same book.  I design each character before I begin the tight page sketches.  It’s crucial that these characters look consistent throughout the book.  My audience is 5-8 years old, and many of them are just learning to read.  They need to be able to identify a character every time it appears.  You can see that these sheets help me work out and understand each character’s proportions—and also allow me to develop the expressions, gestures and poses that establish its personality.

So, after not having time to work last week, I accomplished a good deal this week.  I textured the model to resemble a ceramic toilet, (without much luck) and slapped the “R-Mutt” emblem on it.

I added a small tail, and re-rigged the model.  Then came the fun part, weight painting.  This took me way longer than I expected.  It actually is not finished.  I think I have the two front legs finished, but that took me a good hour and a half.  No telling how long it will take to do the whole model.

Heres a small teaser animation…

(click for full size)

360 Degrees of Lomy. Or rather, 270. The paper was only so big. Isn’t she cute?!

Ok, mais um personagem de Ragnarok, ainda no FantasyRO, tenho um Paladino chamado Siegfried. Mas não foi meu personagem que eu desenhei. Há um concurso para criar um mascote do servidor, e um amigo meu resolveu fazer a verção nórdica do Siegfried, e pediu pra eu dar a minha visão do personagem.

Levando como fonte de inspiração, o Siegfried de Soul Calibur 1, Soul Calibur 4, Cavaleiros do Zodíaco, e duas pinturas, esta e esta, e também a lenda de Siegfried, eu criei este modelo:

Model Sheet

Sempre levando em consideração, que este personagem pode virar um sprite do jogo.

O elmo de cabeça de dragão simboliza o dragão que ele matou, e usou do sangue para se fazer imortal, as manoplas, grevas e ombreiras simbolizam as escamas do dragão, ou garras, e a ausência de armadura na coxa, parte superior do braço e no tórax é por que os guerreiros nórdicos praticamente não usavam armadura, apenas o essencial (como um ciclista, cabeça, cotovelos e joelhos). O toráx também representa o único ponto fraco de Siegfried depois de se tornar imortal, o coração.

A espada eu pensei em algo grande, mas em proporções humanas, uma Zweihänder comum, nada de Cloud, Nightmare ou Sanosuke, mas ainda assim grande, então fiz uma espada que pegasse na cintura do espadachim, com uma empunhadura bem longa, por dois motivos, pegada confortável e aumentar o contra peso, para compensar o peso da lâmina, o mesmo para o pequeno peso na ponta do cabo, e a guarda voltada para a parte de trás.

Realmente espero ganhar o concurso!

So here is my first go at a model sheet.  I think that it definately needs work, and I don’t have a top shot.  So I might take out the perspective one, and replace that with a top-down shot.  Still need to work on the proportions of each view.  I think that the side view is way to big for the other ones.

Saludos muchachada!

Seguro que lo dibujo mientras hablaba por telefono

Podrán entintarlo, podrán borrarlo con iracundos manotazos, incluso podrán ignorarlo diciendo que núnca estuvo allí, pero el dibujo a lápiz, ese equeleto viviente y burlesco, prevalece sobre cualquier técnica o razón, sobre la hoja de papel que lo vió nacer, cuna de genios y féretro de interminables bocetos.

En las péliculas animación, uno de los infinitos procesos que asientan las bases del metraje, es el diseño de personajes. Y este no se limita a definir las alturas de los protagonistas paseantes por el film, sino que, como en un casting, pululan al antojo del bailar de un lapiz afilado sobre el unico escenario de un papel en blanco, intentando demostrar que merecen sus minutos de gloria. Y allí, en esa cárcel de papel, estudian como ponerle caras, como sobreactuan, como se mueven, respiran, rien, lloran, y los someten a un análisis mas exhaustivo que ni a un paciente del Doctor House en busca de lupus.

Todas esas hojas de expresiones, movimientos, y estudios, se llaman Model Sheet, y son, en su conjunto, la base para que el resto de animadores comprenda y mimetice el estilo marcado para la película y el personaje en cuestión. Nada se deja al azar.

En el caso de Disney, esas hojas de modelo son un referente que ha traspasado las fronteras del estudio, para ser como una biblia para el buen dibujar, y lo mejor es que para poder disfrutar de ellas no será necesario hacer un sacrifio a los dioses de refresco de cola y patatas fritas (los dias de baños de sangre con cordero quedaron atrás), sólo con visitar la página de Animation Archive será suficiente.

Hasta otra, zagales!

Fa-Kun

Siempre Dibujando

Voici une mine d’or pour les animateurs 3D, les utilisateurs de Flash, les créateurs de jeux ou les amateurs de films d’animation. En effet, le livre de Preston Blair, “Cartoon, l’animation sans peine” vous apprendra à créer des personnages de dessins animés dotés d’un physique et d’une psychologie. Vous étudierez ainsi au fil des pages les différentes façons de leur donner vie. Vous les ferez parler, exprimer des émotions à travers des gestes et des jeux de physionomie. Mais ce n’est pas tout, vous saurez également : maîtriser la perspective, reproduire des séries de mouvements crédibles ainsi que tout ce qu’il faut savoir sur le fonctionnement et les aspects techniques de la camera d’animation (maniement, synchronisation, storyboards, conseils…). Pour résumer, cet ouvrage qui convient parfaitement aux débutants, vous offrira tous les moyens qu’il faut pour réaliser de bons dessins animés avec un petit budget…

Il faut savoir que le californien, Preston Blair (1918-1995), était un pionnier du “cartoon” ou du dessin animé traditionnel américain. Durant sa longue carrière, il a notamment travaillé pour les Studios Disney (Fantasia, 1940 – Pinocchio, 1940 – Bambi, 1942…), Tex Avery (le très célèbre cartoon Red hot riding hood et quelques épisodes de Droopy…), Hanna-Barbera Productions (The Flintstones)…

Les dessins animés ainsi que l’animation 2D, n’auront plus de secrets pour vous.
“Cartoon, l’animation sans peine” (Cartoon Animation - titre original) aux éditions Taschen, 216 pages en couleurs. Prix de vente : 15,99 €

Post written by Renato Vargas. Follow me on Twitter.

Over the past week I have been discussing how hobbyists like myself tend to omit certain steps, professional studios are obligated to take in the process of creating animated stories, because they feel that everything is in their heads. I certainly followed that logic, and it brought me nowhere, since I didn’t give my characters a chance to develop correctly, which ultimately lead to very inconsistent character animation. It was so bad, that it looked as if the character that started the motion slowly transformed into a completely different one (and not on purpose). You see, the animation process became stagnated, due to the fact that characters weren’t properly taken out of the crummy piece of paper they were conceived on, and put on a nice model sheet that could serve as a reference throughout the entire project, before the actual work started.

From my Rezadores de la Recolección original concept art.
(Click on the image to see the other side of the paper.)

After reading a lot about animation, it became clear to me that I had to adhere, more or less, to the workflow that studios have used since the first half of the twentieth century if I ever wanted to finish my little project, as I stated in a previous post. It’s a proven formula that just works. It was time to put my money where my mouth was. We’ll, I’ve been doing my homework, and it is turning out nicely. I thought I showed you a bit.

Inspiration hits you in the most unusual places. I was at a conference on climate change when the idea for the look of my characters flooded my mind. Luckily for me, they handed out little note taking blocks for the event and I was able to get a couple of poses drawn before the Q&A round. This past week, in an attempt to get this project going, I pulled the little piece of paper (which you can see by clicking, either on the picture above, or here), scanned it, and decided to make a nice model sheet out of it, to be consistent with what I previously discussed about character development. It is nowhere near finished, but it’s a start. Here’s are the steps:

1. Take the character’s measurements. It’s a good practice to think about your character’s size in multiples of its head. That way, no matter where you draw it on the screen you’ll always know if it’s dimensions are right, just by counting “how many heads tall” it is. This was a good time to correct my character’s original measurements, since I wanted him to be exactly five heads tall. No matter what program you use for your animations, make sure you do every step in its individual layer. That way you have more control over the entire process. Here I just drew a couple of horizontal lines marking the head’s superior and inferior edges, copied them and pasted them down the page as reference. A couple of red lines delimit what would be an imaginary sphere embedded inside his head, which is useful for drawing him rough.

Notice how I drew lines that represent its height in “heads”.

2. Rough it out, and draw a half or a full turnaround. This is the time to start figuring out how to quickly draw your character in various views. Make any adjustments to your original sketch here. Don’t forget to use a new layer for this. Block the rest. You don’t want to mistakenly ruin something. In the following image the original bitmap layer is turned off, but you might want to keep it on while you draw on top of it. At this point, keep it simple. You just want to learn to draw your character in various poses and get its dimensions right.

Look for simple shapes that will help you draw your character faster.

3. Clean it. In a new layer, take the pencil or pen tool (something that will give you same width lines, no matter the zoom) and cleanly outline your character. You can take your time with this step. Use your software’s tools to edit the points or nodes that make up the lines. You’ll end up with something like this:

Be very careful with this step.

4. Color it. Our model sheet is starting to look good. Now it needs some color. You can copy and paste the contents of the clean lines layer onto a new one and color your character there. That way you’ll have both versions in case you need to revisit your lines (say, if you’re writing a post about them ). Document what colors you are using. If your software doesn’t have color palette management functionality, make sure you know the RGB values for all of your character’s colors. You might (and probably will) need them later. Just write them down.

This is a nice picture you can tape to your wall as reference for your project.

Our model sheets are on the right path now. A couple of expressions and some action poses would be in order, and seem like the next step. What do you think of my process; any suggestions? Tell us all about it in the comment section of this post. See you next time!

I was looking through some old posts at Stephen Worth’s ASIFA-Hollywood Animation Archive and came across some UPA model sheets. Like the magpie (thief) that I am I thought that some of these would be good for my own blog. Here is one of UPA’s most famous cartoon, Gerald McBoing Boing.

You can view the Gerald Mc Boing Boing cartoon here, in a previous post that I made.

Post written by Renato Vargas

When someone is doing an entire animation on her or his own, there’s a tendency to avoid taking some of the preparatory steps that studios often cannot ignore, such as creating character model sheets, among other things. “After all”, one thinks, “it’s all in my head”. Wrong!

Image courtesy of yashrg.

Character development is a crucial step that often gets neglected by hobbyists such as myself. We might see the character in our minds and think we’ve got it all covered. We probably drew our character on a napkin for the first time and it looked excellent. Our buddies thought it was “awesome”, and the girls all thought it was “so cute”. You’ve got a winner… until you start animating.

Your first frame requires your character to be in an entirely different position than the napkin’s. So you rough it out and voilà; instant Picasso. Your drawing skills are more or less solid, you think, but your drawing of Little Timmy doesn’t look like him. He looks awkward. “Hmm, it’s something about the nose”, you think. Okay, you erase him and start over. Another piece of abstract art flows out of your wrist. “Damn it”, you get angry, “I can’t tweak each drawing for 30 minutes. I’m never going to finish like this”. And you’re right.

As it turns out, character model sheets were invented for a reason and they can help you speed up the animation process if done right. Their purpose is to give your animated character a consistent look throughout your project, regarding not only its features, but also its dimensions and colors. A good model sheet should have images of your character in various positions, and looked at from different angles, so that you’re able to compare every drawing you do to it, and judge whether you are “on model” or not. But how do you make one?

1. Dimensions. You need to know how big its head is, in relation to its body. Are its arms long or short? How many heads tall is it? On a blank page (or frame, if you draw it directly onto the computer) draw horizontal lines spread apart by multiples of the head size and draw your character standing in a full 180 degree range of drawings, meaning you will draw it facing front; a quarter left; full left; three quarters left; and back, all next to each other, and then flip them to have their right counterparts(unless its sides are different, because then you would have to draw the others too).

2. Facial expressions. Under your full turnaround, draw as many facial expressions as you can.

3. Sitting poses. Fill the blank space with a couple of drawings of your character in a sitting position.

4. Action poses. On a new page (or frame) draw him in active poses, such as running, walking, or things your character would typically do. Does it play basketball? Does it eat frantically?

The purpose of this is to practice building your character. Drawing him or her should come naturally to you and model sheets are an excellent practice. Keep it simple. Your character’s main structure should be made with simple shapes such as circles and cylinders. Add details last.

Tomorrow is animation Tuesday for me. I won’t animate though. I’ll be going back to model sheets, because my character’s face cannot stretch anymore. It’s all over the place. Wobbly, wobbly, wobbly. He’s starting to look like plastic man. Learn from my mistake and just start with a nice model sheet for each of your main characters, before you do any of what I mentioned in point 1. of my previous post.

Do you experience the same consistency problems I do? Let everybody know in the comments.

Animação feita para originalmente  para vídeo (OVA). Escrita e dirigida por Yasuhiro Imagawa (G Gundam, Seven of Seven) e inspirada na série em mangá de mesmo nome, feita por Mitsuteru Yokoyama. Este anime tem um visual inspirada no estilo retrô-futurista à La Tezuka, com cenas de ação inspiradas no novo cinema de Hong Kong.

Abaixo estão os links de páginas dos models sheets desse anime inspirador.

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