Maya - Character Modelling, Head

Here's the head. Took about 10 hours in total :/

Maya - Mustang, Filling In

 

It's getting there, I will try and finnish the whole thing this weekend if possible. 

Narrative - Destination Mars Concept

Character Design - Lesson 6

Firstly in todays lesson we had to make silhouettes around a specific idea. I had to make mine around ninjas as seen from the image above and below. 

The next part of the lesson was based around the creases in clothing and also hair styles. I had to make the hair for a cowboy and also the clothes, paying particular attention to the clothes and how they fall on the wearer.

Character Design - Villain Silhouettes

I've made up some silhouettes. I will make a lot more.  

Narrative - 2D Animatic

It's not finished yet, there are a couple of scenes to put on the end.

Character Design - Villain poses

Maya - Mustang Roof

Maya - Mustang Back

It seems that part of the tutorial for the back of the car is missing, so I worked it out myself :)

Maya - Male Character, T-Shirt, Arm & Hand

Even with all the practice I've had it's still taken me about 9 hours to get this far.

 

Here's the first video of the male character, his T-shirt. Because of the tutorials I did over the summer it made this really easy :) 

Again, I found the arm pretty easy due to the amount of modelling I did over the summer :) 

Hands

Boots

Postmodernism - Moulin Rouge

Fig 1.

Moulin Rouge (2001) Director: Baz Luhrmann.

In the late 1890's Christian (Ewan McGregor) is a writer leaves his home in London for seedy Montmartre, Paris to find his inspiration and discover a bohemian lifestyle and love. While there, due to a mistaken identity Christian finds himself falling in love with the courtesan Satine (Nicole Kidman). Although the love is mutual, their love affair is doomed from the start as Satine's future as an actress depends on her marrying The Duke (Richard Roxburgh).

Fig 2.

As a narrative 'Moulin Rouge' offers nothing new. It's the same story that's been recycled since Shakespears 'Romeo and Juliet', young couple fall in love and can't be together. Although this is the case the love story is still absorbing and makes you genuinly feel for the characters. What really sets 'Moulin Rouge' apart from the average love story is its postmodern twist, "post-modern mix of myth, musical, comedy, romance and unfettered pastiche" (Time Out, 2001) Throught the film the audience is delivered a montage of pop melodies from Nirvana to Madonna that have no tie to the time period of the film. In addition to music (which adds a huge comedy element) the editing it like something out of a cartoon and only makes for more comedy enjoyment. "Add flashy editing, lush production design and spectacular dance routines and the result is something akin to an extended music video" (BBC, 2001) Without these postmodern twists 'Moulin Rouge ' would have been a flat, dull, done to death story, but as it is, it's fun, it's ecstatic, and one of the most absorbing films I've seen.

Fig 3.

Trailer

Bibliography

Moulin Rouge, BBC, 2001, [Online] avaliable at http://www.bbc.co.uk/films/2001/06/22/moulin_rouge_2001_review.shtml   [Accessed 19 October 2011]

Moulin Rouge, Timeout, 2001, [Online] avaliable at http://www.timeout.com/film/reviews/73566/moulin_rouge.html [Accessed 19 October 2011]

Image Bibliography

Fig 1 . Moulin Rouge, DVD cover, 2001, [photography] http://cinephile.files.wordpress.com/2009/01/moulin-rouge.jpg?w=301&h=450

Fig 2 . Moulin Rouge, Movie Still, 2001, [photography] http://feedthebutton.com/wp-content/uploads/2011/02/moulin.jpg

Fig 3 . Moulin Rouge, Movie Still, 2001, [photography] http://images.picturesdepot.com/photo/m/moulin_rouge_movie-207798.jpg

Character Design - Villain & Hero Builds.

Here's the second go at the villain, I've tried to make him more scrawny than before although I'm not sure how much it will notice once he has his clothes on. 

Really trying to get the comparison of their builds. The Sultan (villain) is around 7 feet tall and the Musketeer (hero) is about 6 Feet tall.

Narrative - Storyboarding 'Destination Mars'

Character Design - Lesson 5

In todays lesson we first of all draw out stickmen to show a range of expressions and actions.

Here I've used my villain character to make some facial expressions. From left to right, normal, angry, surprised and sad.

The same with Donald Duck and Mickey Mouse. For Mickey I wanted to show some expressions that wouldn't be normal to his character. For example anger and sadness.

Character Design - Villain Ideas

Starting to get some ideas down for the villain. He will be getting a much more wirey build but will be taller than the hero.

Character Design - Musketeer Props.

Here are some props for the Musketeer, I've got hat in there but it will be unlikely he will wear it due to being in a windy desert. He will most likely have his hat strapped to his back of somthing.

Character Design - Hero Ideas

I have spent dome time sketching out figures just to get me back into sketching again.

Here's some more ideas thinking about build for the hero.

Then continuing on with face and clothes ideas.

Some ideas for facial hair. It seemed quite typical of a musketeer to have facial hair, so I've put a few ideas down, whichever idea is chosen it will need to look 'hero-like'.

Lastly some colour ideas.

Maya - Mustang Back

Just getting the back started, I think the hardest part is getting the body contours right so hopefully it'll start getting easier soon :)

FOA Justin

Hiya any chance you could have a look at my story.

http://jutsblog.blogspot.com/2011/10/character-design-story-update-3.html

Thanks :)

Character Design - Prop Influence Maps.

Here's what a Musketeer weapon looks like.

I've put these images of a camel up for my sidekick possiblity.

Narrative - Spine Tingler! The William Castle Story

 

Fig 1.

Spine Tingler! The William Castle Story (2007) Directer: Jeffery Schwarz

Castle was a director and producer of low budget B-movies, but he felt that just watching the film wasn't enough. Castle was best known for conjuring up various gimmicks to put in his films to attract an audience and to create a greater amount of shock. "Castle's homegrown genius lay in knowing that the movies weren't enough" (Variety, 2007)  The gimmicks started with his film 'Macabre' (1958) where he offered $1000 life insurance to anyone who died of fright in the theatre and nurses were standing by just in case, as well as to add more tension. Castle's gimmick got him an audience and from then on he would dream a new gimmick for every new film. ".....the movies he made aren't always as well remembered as the way he sold them to the public" (The New York Times, 2007) Film after film Castle pulled in his audience, but this was not due to the films narrative, it was more the gimmick that accompanied it.

 

Fig 2.

Although Castle never made it as an A-movie director, his involvement as producer of 'Rosemary's Baby' (1968) earned him a great amount of credibility amounst his peers. Castle stood aside as director on 'Rosemary's Baby'  for Roman Polanski even though he had a huge desire to direct the movie. Overall 'Spine Tingler! The William Castle Story' (although fast passed) is a fun look at a director that was full of life but never quite made the A-movie he would like to have. He did though do everything in his power to have fun and entertain.

 

Fig 3.

Trailer





Bibliography

Spine Tingler! The Willaim Castle Story, Variety, 2007, [Online] avaliable at http://www.variety.com/review/VE1117935479?refcatid=31 [Accessed 11 October 2011]

Spine Tingler! The Willaim Castle Story, The New York Times, 2007, [Online] avaliable at http://movies.nytimes.com/movie/422962/Spine-Tingler-The-William-Castle-Story/overview?ex=1202533200&en=02a1f18a02d640f8&ei=5070&emc=eta1 [Accessed 11 October 2011]

Image Bibliography

Fig 1 . Spine Tingler! The Willaim Castle Story, DVD cover, 2007, [photography] http://media.screened.com/uploads/0/12/16021-spine-tingler-the-william-castle-story_large.jpg

Fig 2 . Spine Tingler! The Willaim Castle Story, Movie Still, 2007, [photography] http://www.joblo.com/images_arrownews/williamcastle.jpg

Fig 3 . Spine Tingler! The Willaim Castle Story, Movie Still, 2007, [photography] http://www.filmcritic.com/features/assets_c/2010/04/tingler-thumb-560xauto-28937.jpg

Character Design - Hero Stances

Character Designs

I don't mind to admit that I've had a slight mental blockage with the character design project. I'm not sure if it's just because I haven't been drawing over the summer and my hand still feels a little uncomfortable with a pencil in it, but here's some of the characters I made on the access course for my final project, 'Seven Deadly Assassins'. I did create all seven characters, one for each sin and here's my favorite two. It's just to remind myself that I can do this. :)

Character Design - Lesson 4

The first task in todays lesson was to take three inanimate objects from a specific location and turn them into a villain, hero and sidekick. The location that I was given was the library. For the villian character I took an old evil book jealous that it was no longer being used as people prefer to research on computers. The Mac is the hero, which is defined by its square and strong shape and its side kick is its pet mouse.

The second part of the lesson was to make props for a character that were fitting and felt like they belonged. I got to make props for Hercules, a helmet, shield and sword.

Character Design - Story Update 2

The Hero

The hero is a Musteteer, his Father is a travelling merchant and travels the road to the Middle East buy fine goods to bring back to Europe, on his way back he is kipnapped by the evil Sutan and made a slave. Our hero Musketeer decides to leave Europe and travel to the Middle East to resue him. Due to the difference in climate and terrain he trades his horse for a camel and begins to adopt some qualities of the nomad, wrapped in robes over his musteteer garb. On his journey he battles the forces of the evil Sutan. When trouble arises his robes are dramatically flung from him to reveal his heroic nature.

Sidekick

The camel aquired by the Musketeer (unknown to the traders that traded the camel to the Musketeer) was once a good man who opposed the evil Sultan but was turned into a camel by the Sultan to humiliate him. Being a camel he has no power to act against the Sultan on his own accord. But after travelling with the Musketeer and realising that they have a common goal he reveals his true self to the Musketeer. He is a very bitter camel and frustrated due to his inadequacy to act in the way he had as a man, he is unable to be the warrior he was and can only kick and spit at his foe.

Villain

The evil Sultan reigning over the Middle East with a iron hand and as plans to rule the world. He only became Sultan because his Brother, a good man was murdered. It was he who unknown to everyone murdered his Brother.  He has heard that a warrior, the Musketeer has come to rescue the slaves and exact justice on the evil Sutan. Everyone in the land are fearful of confronting the Sultan out of fear of his black magic.


FAO Justin.

After the discussion we had this morning I've tried to piece something together from all the ideas we spoke about. I hope it's now on the right track.

Character - Shape Ideas

Went through a rough sketch ideas to try and get the characters to look like thier roles. I need to hone up the story idea but will speak to Justin tomorrow.

Postmoderism - Mulholland Drive

Fig 1.

Mulholland Drive (2001) Director - David Lynch

For anyone that knows Lynch (Twin Peaks, Erasorhead) there will be no surprise that Mulholland Drive doesn't make much sense. It all starts off by giving a false sense of understanding that soon ends up in confusion. Rita (Laura Harring) is the target of a hit gone wrong when the car she occupies is involved in an accident that kills her wouldbe killer and leaves her with no memory. She enters into the life of Betti Elms (Naomi Watts) and together they attempt to piece together who Rita really is. "That sounds like a movie. Sort of. But Lynch's subplots seem to be running in tandem with a different, non-existent story line."  (CNN, 2001) The film swerves from scene to scene that appear to have no connection at all, taking the narrative away from the traditional and into the unconventional.



Fig 2.

There is an impression that, at some point, the film will have some closure, a closure which never happens. All the setting up of the interwoven plots, that give an impression that there will be a climax you never would have never guessed, turn into deadends. "That is, until it suddenly and stupidly decides to switch characters' identities" (Time Out, 2001) You are then cemented with the idea, that somehow nothing will become clearer and you're left feeling frustrated and emply at all the loose ends.

Fig 3.

Trailer



Bibliography

Mulholland Drive, CNN, 2001, [Online] avaliable at http://edition.cnn.com/2001/SHOWBIZ/Movies/10/12/review.mulholland.drive/ [Accessed 10 October 2011]

Mulholland Drive, Time Out, 2001, [Online] avaliable at http://www.timeout.com/film/reviews/73603/mulholland_dr.html  [Accessed 10 October 2011]

Image Bibliography

Fig 1 . Mulholland Drive, DVD cover, 2001, [photography] http://ia.media-imdb.com/images/M/MV5BMTMwMTY0Nzk3M15BMl5BanBnXkFtZTcwMjQwMTMzMQ@@._V1._SY317_CR4,0,214,317_.jpg

Fig 2 . Mulholland Drive, Movie Still, 2001, [photography] http://www.moviemail-online.co.uk/images/large/mulholland1.jpg

Fig 3 . Mulholland Drive, Movie Still, 2001, [photography] http://missprescottpresents.files.wordpress.com/2011/05/naomi_mulholland-drive.jpg