More model sheet progress~

For the final model sheet I've decided to focus on Scavenger's shapeshifting ability. Since it has a limited range of poses, I thought it would be a lot more interesting this way, and it will provide good reference for me later when it comes to animating the transformation from bird to humanoid.

The outlines so far:

So far I think it looks okay, though the lines for the last couple of drawings will need to be tidied up later since I started getting a little tired (oops). But I do think that the drawings portray the transition quite well, and would serve as a nice reference for later animated morph tests.

Next up, colouring!

Development - 'The Scavenger'.

This is the first time I've drawn this character entirely digitally, and although I love the scrawly style of my traditional drawings I feel as though I've gotten too carried away, when in fact the smooth, stark tones lend this character a more sinister presence. The lack of detail in the body also makes it look more 'ghost-like' than before. 

As far as the background goes, playing with various textures and blending modes has yielded a nice result. I'd definitely like to make the model sheet for this character dark and grungy, though I'll be experimenting with some mixed traditional media in order to make it truly unique.

Character design- 'The Scavenger'.

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By putting together all the quick sketches of this character since its conception, I can see how its developed and improved over the months. The shape of the body has gone from simplistic and smooth to more skeletal with a more obvious 'robe', as we can see by the hood and the way it clings to the creature's bones. 

It has also developed proportionally; after a lot of uncertainty regarding just how tall 'the Scavenger' would be, I've come to realise that this character would suit having a body that's ever-changing and generally intangible- other than the head and claws, of course.

This has led me to consider further what would be the best technique for animating such a creature. I'm in the process of creating a cut-out style test in Adobe After Effects using my grungy pen and marker sketches, but in order to achieve the exact consistency I want, I'll definitely need to experiment with a wide range of medias and research further into existing designs.

Outcome of Character Design unit.

An update of how my character for the character design unit ended up looking. As late as I am in updating this, I'd like to reflect on how pleased I was with the outcome. The character ended up well fleshed-out both in style and substance; he's definitely a personality I feel I could write some interesting and funny short stories about in the future.

As far as translating the design to 3D was concerned, time constraints meant I was unable to fully build the character; however I was able to build the parts necessary to rig the entire body. Here you can see that I was able to give my character the reclining posture that I tended to draw him with by adding extra controllers in the spine. The only things I slipped up on were the head and foot controllers- fortunately this is something that could easily be fixed at a later date by changing the direction my character faces and re-organising the hierarchies. Overall I was pleased with how he translated to a 3D model, and was able to animate him with a basic walk cycle for the deadline.

Expressions.

I've drawn out some basic expressions for Rutherford along with a few different angles for his head/face, then done some simple colouring to try and work out how the lighting would work and whatnot.

A staple part of Rutherford's expressions has become the little line that shows the quirk of his upper lip. I think it gives him that snootier edge. I've tried working with how the ears can show expression too - flattened for sadness or anger, upright for excitement or laughter, a slight curl at the tips for vague interest. Drooping the nose/snout also works for portraying sadness or disappointment, while turning it up more dramatically can give either a pompous or mischievous look depending on the rest of the expression.

I'll be taking a look at how other animal characters' expressions are handled in cartoons for more potential ideas regarding my character. Using the shape of the face and ears itself seems a good way to give him more life and show his true thoughts, mostly since his eyes are very simplistically drawn and often neutral/bored-looking.

Character poses.

I've been playing around with how my character poses and moves - having such a long-limbed creature with such a short torso has been a little awkward to position at points, however I believe I've managed to capture his personality quite well with just a few pose ideas.

Here I went for some basic poses - walking and sitting. I've decided that to have him completely reclining during most of his daily activities is a must. It perfectly portrays his lax attitude, while the elegant way he holds his legs and his long strides give that air of haughtiness that characterises him. Either way, he doesn't seem particularly impressed despite the fact he has it all. When it comes to animating my 3D model, I feel that the length of these limbs will suit more elegantly jerky movements rather than being completely smooth (á la Tim Burton, perhaps?)

For these poses I've gone with a slightly different approach - looking at how beneath the poise and loftiness Rutherford is, at the end of the day, a silly spoiled brat. The demanding poses on the right hand side show the extremes of this - very rigid poses compared to his usual languid stance in a blatant display of selfishly commanding his unfortunate butler's attention. On the other hand the pose on the left depicts a childish glee in him sneaking some extra booze after bed-time while already intoxicated (even more childish is the fact he still needs a bed-time) - however in this respect we also see a glimpse of Rutherford acting how his species would in nature: sneaking and prowling. No matter how ridiculously pampered this character is I decided it was a must that he display some fundamental fox-like movements.

These pose sketches have really helped to set my character's personality firmly in mind in a much broader spectrum than simply a snooty aristocrat. I feel like his childish side, while annoying, makes him also somewhat endearing when we consider how dignified he strives to appear for the most part.

Secondary characters.

In order to get more of a general feel for the setting in which my character (Lord Rutherford) dwells, I've decided to sketch out some secondary characters he is likely to encounter on a regular basis.

This is Edgar - Lord Rutherford's butler. He has served the Rutherford family for three generations now, and is avidly loyal despite his impressive age and short-sightedness. This old hare is forever concerned about Rupert's behaviour - from his frivolous spending of his family's treasury to his combined laziness/childishness/lack of responsibility. And let's not forget how monumentally sheltered and thick the fancy fox is - he can hardly put his own clothes on without help from his faithful yet exasperated servant, never mind mingle among the commoners.

A nameless beggar - one of the worst of inhabitants of the town of Oakvale which lies at the foot of Rutherford Ridge. This sort of poverty is rife; and while Edgar will manage to pester Rutherford into showing some charity for the sake of the family image, the pompous young Lord will often handle these lowest-of-the-low peasants with an expression of disgust and insensitively cast his small change to the ground rather than in their tin. Desperate as these poor folk are, they have no option but to graciously accept what they can and make do with it... Until next time.

More character ideas may come depending on my time constraints (though the deadline approaches fast), since the world Rutherford inhabits and the people he interacts with fleshes him out as a character more on a whole, and pinpoints his specific character traits based on his prejudices etc.