Think I'm finished with the first piece, second is a wip.  Also anyone have any tips/advise for doing character turn around sheets for modelers?



  1. Niiiice, the first one is a much more convincing space, with less organic landscape it became much more grim, which is interesting.

    On the second one, just keep stacking up the foreground closer and closer and closer so you can really stretch out the sense of scale. Bring branches in from the top of the frame, sweep the landscape forward and have a silhouetted figure in the super foreground, something. Youv'e got some goooooorgeous atmosphere happening so far in this one, just keep pushing it.

    As far as doing character turn arounds goes--I was listening to the Paper Wings podcast the other day, one of their episodes on portfolio tips, and they were saying how orthographics of characters aren't that useful because a good character modeler is just going to adjust the design for 3D and make it work better anyways, and so a static "T" pose doesn't tell them any important things, like what the character's posture is, or how they move.

    That said, not every modeler you work with is going to be that good so I guess I'd say, as long as you're doing "T" poses, don't make them concepts, make them designs, draw half of the guy and mirror it, be analytical and descriptive, show how things are put together since it's not a concept. Make sure that YOU consider the character's movement in design--too many character designs have impossible shoulder pads and armor that isn't actually attached in any visible way.
    I think it's most important to suggest those things if you can so that you're not leaving it entirely up to them to on-the-fly figure out how something actually works, and they can focus on how to go about building it, since that's really their biggest struggle.
    When modelling, the problem isn't achieving the end result so much as it is figuring out how to do it most efficiently/procedurally rather than manually pushing polys around.

    Hopefully that makes sense! I'll let you know if my opinions change as I begin doing more character sculpting/modelling at work. The main thing that a coworker of mine keeps saying is, once the concept is approved, go in and figure it out in a drawing, because if you don't know EXACTLY what you're doing before you start with polygons, you're going to be wasting massive amounts of time discovering problems as you go.

  2. yo!, im a little late here, but I think thats for the most part true about the character sheets, and any modeler worth his salts is wont need things to be laid out that way, most of the time they are very competent character designers themselves. BUT, thats usually the top tier guys, and you might not be working with people like that for a while, or its someone who only really a whiz at following directions, not really making design choices for themselves as that can be really stressful for some people.

    on another note, the little figure you have in the bottom left of your top piece might be a good jumping point, (hes got a really interesting silhouette) and it is good to show you can do them, regardless of wether your modeller will need them or not...