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Last Airbender |
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Grey's Anatomy Promo VFX |
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Interview with Bobby Chiu |
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License to dream |
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Focus : Gears Of War 3 |
News Headlines | |
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Dragon Age 2 |
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Bioshock Infinite |
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Time travellers Comic |
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Envirometer |
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Thelma and Louise Remake |
Other Features | |
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Interview With Nick Harris |
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Making Art for Ipad |
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Making VFX for Ben Hur Remake |
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Interview : Mike winkelmann |
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Baby Data |
Two things were on my mind from the start. The first was how to show the tension and conflict that existed between the dragon and the evil rider. The second was to give the characters an eastern look, which would differentiate the two from similar designs.
I started my rough sketches with these two concepts in mind. I begin all my sketches with markers and pencils; markers for blocking the large shapes and creating a good silhouette and pencils for adding the details. At the same time, I add a thumbnail that shows a composition beside almost every good concept I have
I like this stage of the creation process the most. At this stage, I’m able to explore the potential behind the different ideas I have. There are no boundaries or limitations to this process, simply lay down everything that comes to mind on paper and wait for happy accidents (figs. 1-2).
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The happy accident that I took advantage of was the development of the snakes as an evil essence of the dragon rider. (Figure 1 shows the development of the rider (on the right) in contrast to the rider with the snakes (on the left) .
After my initial sketches, the development phase begins. As you can see, the main focus is the rider. While the creation of the dragon is important to the overall design, I want the viewer to see the rider as primary with all else, including the dragon, as secondary.
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I came up with some good concepts and I always enjoy testing something new, which is why you see some new designs. For example, the whip was a good idea because it pushes the essence of brutality and slavery. But is it enough? No, not against a dragon. That’s where the snakes come in. The snakes were included as a means to support the idea of conflict between the rider and the dragon. Perhaps instead of snakes, these are really baby dragons that the evil rider stole from the dragon to assure that she will serve him. By carrying the baby dragons in his backpack, the evil rider assures servitude from the dragon. Failure on her part means death for the baby dragons.
The concept for this design is based on a Persian myth. In the story, an evil king, called Zahhak or Dazidahak, ruled ancient Persia. The king was kissed by a devil on his shoulders and from where the devil kissed him, two snakes grew out. In order to feed the snakes, the king would sacrifice two young people each day .
The results are two composition thumbnails. The first depicts the evil rider as the center focus. The second composition includes a second rider in the background. Through these compositions, the viewer is drawn from the primary rider to the whip line and out to the second rider and background, which allows the story to be told . This design method draws the viewer’s eye out from the central focus (the specific) to the overall dragonscape (or landscape-the general).
After I determined the best composition, I began by roughly using big brushes to block the main shape really fast. I eventually decreased the brush size and slowly started to give detail to the design. I included textured costume brushes at this stage to strengthen the details (figs. 7 & 8).
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