I know its appears that I am all over the place-- yet over and over again -- it always comes back to that same 'like it' or 'hate it' crucial piece of advice I get, and feel remorseless about giving back in return. Do the type of art you love, I hear...
So I recreated my dog, Waffle, as he is, like a child is to their mother, a large source of inspiration at this point in my life since I've stopped traveling for a living. Plus he's got a ton of character and I have a whirlwind of great ideas for some story developments!
But even if the sculpt is for nothing further than a sculpt, his first birthday is coming up on November 21st-- so I wanted to make a small tribute to him. So far his model has gotten some great feedback, which always helps!
I'm also hoping to get the piece prepared to become a strong portfolio entry. If I can complete a polished Photoshop concept of him sitting, with all the tutorials I've been watching on the subject over the past month, I'd eventually like to circle back around to make a standing version of him too, which can be animated.
But for now, just it's concept to character piece. I'm in polypainting stages. I will also attempt to digitally paint the sketches I did of him in Photoshop, and put everything together in a package, like I want to do with my other characters!
I'm hoping to get this done over the next week. I'm giving myself a ton of leeway, of course, but the look development of the fur and texturing makes it a bit of a longer trek, as its make or break decision choices. Right now, I'm searching for reference to put together a call out sheet as to what I'd like to aim both stylistically and mood-wise.
Look Development Call Out Sheet I've come up with that's helping me feel a bit more comfortable stepping into the texturing process:
Also, to theme around his birthday or not?
(Well, updating to today-- today is his birthday and I'm still moving things along with this character)
So for his birthday? Retopo! To get comfortable with Maya's modeling toolkit and to eventually set him up for animation at some point.... But mostly to get the detailing and alpha work to flow right. Toolkit was great to work with by the way! Highly recommend.
Now onto UV's, texturing, and all that 3D stuff.
After this, I'm back to working on finishing up my Clementine model. I've taken a leap away from retopology in order to gather up the learning resources to attempt the process myself. I definitely know what tools I want to use and think I know how to attempt the procedure. Like surgery right? Hopefully I will get the topology right! In any event, I am very excited to take on the challenge and can't wait to get back to working on that model as well-- Especially now with a firm grasp on retopo'ing.
As always, thanks for reading and check back soon to see the completed piece!
Here's a mash up on my pup in clay, too! I miss working in clay a lot sometimes, and try to put in a little time here and there. Thank god for non-drying clay!
The other week, I decided to take advantage of the fact that I'm within reasonable driving distances to some of the most prestigious catalysts of learning and inspiration that a person in the industry person could desire. Then again, it's Hollywood, I figure. I'd be crazy not to tap into the meccas of leading worldwide mastery of the arts.
So outside of the floweriness that began this blog this small solo adventure of mine, the "Making of Malificient" truly capped my top five list of 'things I've done since being out in the Los Angeles area' and, as usual, Gnomon, The School of Visual Effects, matched the high caliber levels of hosting venues with amazing line ups of film professionals, mentors, and respectable artists.
While my anxiety of meeting such high profile people was slightly higher than usual due to my admiration of their brilliant successes of unique 'art direction' that has been executed consistently through out their careers, I failed to take pictures and couldn't sum up the courage to shout out a question to the company of director Robert Stromberg and Production Designer Dylan Cole.
Despite my oddity, the panel was quite incredible-- both humbling and sustenance for starved creativity. I had the chance to discover yet another handful of flawless artists that had somehow piledriven through their creation of expansive portfolios with a stack of powerhouse credentials.
Outside of the two artists up on the panel, Stromberg and Cole, who were not shy on debuting their own impressive centerfolds in respect to their work on Maleficent, my favorite new discovery shouted out and regularly appearing in the slideshow was the artwork of a man named Howard Swindell. He's credited as a character designer for Malificent, and rightly so. There were onslaughts of masterful renderings of creatures. With a notable prepreproduction and concepting time allotted, a span of roughly three months, I was shocked at the number of beautifully constructed pieces.
The pitches it took to sell the concept to Disney? I believe they had said about fifteen pieces. They boiled their concepts down to a series of what I speculate as their best "Mood Frames", a self-proclaimed term that states images that had the highest emotional pitches in the visual storytelling. How many artists in their art department for preproduction? I believe they said about twenty-five, a relatively large number but still a small pool of talent considering how much talent is trying stay afloat out there. Malificent, as a whole, gives me overwhelming aspirations, as it seems that there's still potential on planet earth for CG driven sets that stay attached to great storyelling, whether it be a twist on traditional fables and plots -- contemporary themes or not. It passed my bar for a movie that is both beautiful to look at, and gentle, as well as gripping enough to keep the attention of audiences of various ages. That's a complete package for a hard earned dollar and an hour an half of capturing graphics, and believable performances.
On the acting? I feel the characters-- even in the over the top giddiness of the fairies-- were lovable. It is said this type of clownish humor, is crucial is keeping our younger audiences giggling, and reminded me other trios in CG history, my first thought compares to the minions in "Despicable Me", love them or leave them!
Also, the coined termed 'slapstick' (accordingly, I'd considered it more of a slapstick effect-- since majority of the jokes were within mishaps preceding their careless actions and behaviors between one another versus their interchange of dialogue) to further effect the delivery of the straight man or a break away from the seriousness of the drama residing within the plot. Same for the wrath that ensued before our anti-hero, Maleficent, had touchingly reformed to a respected heroine. Not so much slapstick, but elements of slapstick humor fed into her not-so-subtle transformation.
They were all loving characters, in controversy to the king, who fell very sharply into a great villian-- remaining disenchanted with repercussions of his daughter, but, ceased to accept the fate of her shortened life and out of fear for the continuance of own selfish legacy, who unknowingly banned her from her bloodline as a princess. All characters remained peculiar in their exaggerated depiction as characters heavily contrasted the deterioration of what becomes the true "Malifiecent" villain-- The King-- a consistent theme through all Disney tales and many, most all fables. The bad guy's really that bad compared to all the fluff around them...
What I loved? The true twist? Maleficent wasn't actually the bad one in the end...
But, enough about my interpretation of character development and plot, although I love the analysis of both..
During the presentation, I should've taken better notes, but I was submersed in the beautiful artwork filtering out onto the wall. Also, I had no help with pictures this time sans my friend Joel Meyerowitz, and I do regret not taking on the task myself. Also, I'm not sure if I'm allowed to post pictures of artists work on here without direct permission. So this will probably be a boring link-only blog.
But a blog called: "Gnomon's: 'Making of Malificient': Under the Hood In the Hangar."
The names of artists just kept no flying and I could only guess the spellings if the names were not evident on their artwork being displayed and through my research.
So, leading the team was senior visual effects supervisor, Carey Villegas, with a handful of twenty art department team members, some of which were or were not rolling credits in the past. Stromberg gives a nodding lead as he climbed confidently into his role from Production Designer in "Oz The Great and Powerful" to director of "Maleficent"! I remember first seeing his name in 3D World magazine as the Production Designer on Oz and when I had first seen his name during the screening, I imagined a similar beauty of a fantastical and colorful world that he would lead in creating...
The art department, in order to keep this post short and sweet, I chose a small handful out of all those mentioned. Here's all I could sift through out of my notes and the most summarize in my research, and all definitely deserving of an honorable mention!
Was a name the kept coming up repeatedly. In tracking down his site, there's an obvious reason why. Not only are all his commissioned and personal works exceptionally flattering-- he is no stranger to Stromberg, or working with some of the core of the Malificent team, as he was part of both "Oz, the Great and Powerful" and "Alice in Wonderland", in which Stromberg was a production designer.
It's also interesting, how when I first saw Michael's artwork it was reminiscent of another one of my ever-favorite artists, Bobby Chui! And it just so happens they are friends, both having worked on Alice in Wonderland together as character designers! I thought the link below would be a great reference to learning more about both Bobby and Michael (also keep my blog a little less wordy and more dynamic!)
And now I find myself wondering if they had ever collaborated or learned any techniques from one another. They must have. The creature blending is very fluidly Bobbish ;-) This is why it's so crucial to gain inspiration and knowledge in order to grow, instead of contempt and jealously. It is a cruel, cruel world in a world of talent, and in this world all around, where everyone struggles to be someone or at very least to survive. As artists, we need to absorb each other's talents to fuel each other and hopefully get good enough to survive off of our own skillsets or in a moonlit only world-- get credited for them.
Also, when I was looking through Michael Kutsche's personal work I suddenly recollected where I had first seen his work-- because I clearly remember laying eyes upon it, way back when I first starting subscribing to ImagineFX. His 2009 collection, has got a very crisp and concise style and an exaggerated caricature-like approach... I see the launching pad within it. His work has loosened up in line and palette over the years, but still firmly grasps the same cartoonish exaggerations in alignment with his more serious anatomical and fantastical masteries in more recent years. I would imagine he keeps his deigns loose because he's so busy, that he has too keep it quick! But for being quick, they are polished and clean as if they took weeks! I am now open-eyed for more of his work. He was credited in "Maleficent" as a character designer and concept artist.
Another powerhouse artist whose name kept surfacing?
Now his work seemed to be a nice opposition with MK's concept, because Swindell's seems to border more on anatomical realness in the realms of dark horror of futurism and fantasy. And, dually, he has been commissioned for a ton of work in that type of genre-- with credits for 'Silent Hill' and its sequel, as well as 'Priest', and slough of others. My favorite pieces among his work, strangely, I have never seen or heard of before, called "Red Light". Also, environment work has always been something I wanted to dabble in.. I guess when one merges from character work to environment work or vice versa suddenly one transforms into a concept artist!
I couldn't find any videos at all on him, unfortunately, and kick myself for not taking pictures of the work I had seen, but I admire that he also was a sculptor early in his career, as well! He's got quite the resume! To comment further, except it looks like he will be credited as an concept artist on "Pan", which is currently in filming.
Hopefully I'm allowed to do this (for I also believe he is responsible for the beautiful renderings on the three fairy god mothers, as well), and it's beautiful enough to make the attempt. I credit the artist 100% -- although now I wish we could see the other fairies. All of the works I've seen by Howard in Maleficent were crisp, hyper detailed and equal delicacy, with earthy palettes and daring accents. I find his work on this film, very different and much, much lighter than his usual delegated genre--- and I applaud his beautiful effort in the collaboration!
The first thing I noticed when entering Alex's site was his environment work, clearly the stronger element in his gallery. With popular concepting credits, such as "Game Of Thrones" and "Hitchhiker's Guide to the Galaxy", he is no stranger in the industry. I really admire his rough ambiguousness of details (as its difficult technique for some) and the smartness of using of saturation and situational climate to convey distance and depth. In respect to the detail? I could envision the slashing, swiping, and dabbling in the medium versus a set pressure and squeezing of strokes. As far as his palette? It's minimal, but he seems to take risks in the center of his canvas, either with stronger color use or negative space. I noticed it most in his traditional paintings and it seemed to carry throughout his portfolio! Intentional or not, it kept me very focused, despite its carefree looseness.
Again, I'm not sure about whether or not it is okay to post the work of the artist-- but I am giving full credit to him, Alex Fort. So, an external link, my favorite gallery of examples of this is here in his concept work for the ever popular "Game Of Thrones"!
Alex Fort is an artist for any budding concept artist to take note of, as it is clear that his style includes the fundamentals elements of art and his workflow is gestural but accurate.
Here's a mention I thought was interesting. Doing the research is sometimes the craziest part. His IMDB is exploding with exposure in the industry, mostly in the area of storyboarding. Even his website shows the quantity of work he's done. So, why go uncredited? I wouldn't have known him or his artwork existed, if I didn't hear his name surface in the presentation...
There's always been this uneasiness in the industry with artists and their work that ceases to get its deserved acknowledgment. Even if it is just a film credit, for its feels crummy enough when we hardly get compensated. It's odd too consider, things may be the other way around. Perhaps to some artists, it doesn't matter, though-- because it has an under the radar attachment to the film but internally all one needs to know is that they 'did' it deep down inside. I know I wouldn't mind a non-mention even if I put in the workload, because it's almost like you a part of a secret society and there's great pleasure in that.... Call me mysterious.
This part of his portfolio was my favorite. And it's a great reference for any artists out there that are looking to put together a breakdown sheet for storyboarding jobs. It reminds me heavily of some of the compositions and techniques I saw in "Shot by Shot" by Steven D. Katz. He's got a good eye, and directors he's worked with see it-- as his boards are very close to the angel and layout of the final composition. I like the variety, too. Some that seem to be minutes worth of simplicity. The simpler the easier to see issues. And some more refined, allowing a more constructive analysis of color, focal points, etc. All in all, his variance of style surely markets him!
As far as going uncredited, I've heard multiple reasons for why this happens. In history, it was because the length of the film reel cost additional money to reproduce. But in the present time? The length of the film itself costs money. The time costs money (Always, always, always, folks). Those extra few minutes could trim time out of another movie. The longer the credits are in today's time, means the less turn around.
Additionally, I have heard that freelancers do not get first priority and certain companies over others get precedence on the hierarchy of the credit list. So, in actuality, entire companies can be left out. I equate it to the casting of the non-speaking extras in a way. I wonder how other's feel about it though, including the actors. Sometimes full time artists will be gracious and step aside for a freelancer to get a credit spot, as they know they would be listed in the next feature. It's a nice thought or an urban legend.
Mark Bristol, although he was not credited by the book for "Malificent", has a mighty list of filmography and I can see why his name was dropped at the presentation!
During the presentation Robert Stromberg mentioned some small but notable afterthoughts worth mentoring. In an overwhelming amount of trimming out that fat in areas of time management, in that 'chair' in which the director rarely gets to actually sit in, he said to pick categories and refine them, according to priority, placement, or workability within the film. I may have read that in a book somewhere myself-- but either way-- it makes sense-- anything with too extensive of a time frame will become cost effective which will deplete the budget faster than potentially desired. Easier said than done, but reordering or shortening the checklist should be tackled in preproduction, and hopefully before the project hits its core production time. A good book, possibly the same book he may have mentioned but I can't recall for sure, worth a read over that he may have mentioned, "The Seven Habits of Highly Successful People".
In a presskit that I read over, but cannot seem to access now, there was a quote: "The process begins with deliberating over sketches to decide on the style or design of the character and what the filmmakers want that character to convey. The next step is to see the character in motion and fully realized and dimensional by putting the artistic rendering into a computer program especially designed to turn it into a 3D model." Deciding which characters stay, need to be modified, or which should be cut from the project all together can be a process that will save a lot of time in the end depending on how central the characters may be or the acting they have to preform. Always ask-- does it pull the story forward. If not, it should go.
The one noticeable cut I noticed seemed to be between Aurora leaving the throws of thorns barricading her in the forest and her sudden appearance before the court inside the castle. The jump seemed a bit steep, and was an edit that altered the consistency for me; As I wondered the world on the outside, once the thorns gave way and how she got into the castle unnoticed.... But as far as how essential that may have been to catalyst the storyline? Not much significance at all. Just a gapping moment that detached me from what may have been happening on the journey in mind of one of the leads-- but then again-- it was not Aurora's story. Other than that? I thought it was cleverly edited in suspenseful sequence, as the journey through the iron maze for Maleficent, the true lead, was ever present.
Robert also mentioned his influences growing up were Don Juan and Seahawk, both centered on a specific anti-hero or hero-- subjective to how the reader or viewer perceives the story. One of which has numerous adaptions or spinoffs throughout history, and the other which has great potential for adaption. Fully translatable inspirations to Stromberg's first directorial piece in the making of "Maleficent".
Dylan Cole, of course, had a number of pieces up, all of which were amazing and I am excited to see where he takes off with his career from comic book art to matte painting and concepting. I was just reading that he had his first exhibition at Gnomon, as well...
So far, I must say, that the events and panels that I have gotten the pleasure to experience at Gnomon are top notch. Each time I leave feeling more inspired to dig deeper into my career as an artist that I already am.
A couple of weeks ago in August was another great venue hosted by Pixologic, called the "Zbrush Summit", which was a weekend chockfull of demos and exhibitions by leading Zbrushers and their accompanying studios from around the world, as well as a dose of what the next upgrade of Zbrush will have bundled in its offer.. I could write a whole other article on that, as well!
I won't, though, because I'm exhausted from putting together this blog. But I will quote my reaction via Facebook-- "Amen! Release the beta! Such a great presentation package all around by Pixologic today over at Gnomon. From the panelists to the icing on the cake of the perks in next software release-- Zbrush is still at it yet again with another great update on the way! Can't wait to test out some native modeling procedures in the interface."
With absolution, the features will be entirely more native to veteran 3Ders that had never experienced sculpting sans modeling before Zbrush came to fruition. Also, they are pumping a GoZ-like portal into Luxion's Keyshot to rocketlaunch the rendering and realtime options for users.
I'm not quite sure if there is an ETA of the beta release yet, but Pixologic always seems to keep the anticipation up on us eager, technology-hungry artists with continuing speculation of full details and features. Very exciting, though! ;-)
Gnomon always has one thing or another going on under the hood in that Hangar, and in particular, the presentation of "Making of Maleficent" was a great frontrunner for the Zbrush Summit. Not only with the company of Stromberg or Cole up there and their ease with speaking and keeping the fun and interesting, but also from the line-up of incredible artwork, the bouts of preproduction work that needed to be involved, and the inside knowledge of exactly what it took from that team to make such a flawlessly crafted film!
Well, it's been quite a while and I've been meaning to put a post out for bit now.... In fact, it's been bothering me that I hadn't, but things have been busy on my end and I've been on an honest struggle to find a topic to keep the subject matter appealing and interesting to my usual readers.
The busy excuse, for those of you who don't know me personally --- I recently moved out to California on a desperate whim to keep my career alive and flourishing in a healthy manner, and I was fortunate enough land work on a feature film called "A Horse Story" with a tight knit company called XVIII Entertainment. The film, set to be released in January 2015, is a family centric plot, about a young girl and her horse and their journey's, together and separate, through the developments and discoveries of their adolescences.
I am credited as an animator, responsible for several characters and numerous shots, to handle facial animation for voiceovers on horses with various accents. The 3D animation will be tracked and composited with live footage, which I have been hired to help with as well!
To be quick, it's my first feature and I'm very nervous about it! But I did my best with the time allotted. Here is MY first IMDB!
And here is the Film's!
As soon I am a given a greenlight to release some of my animation work, I will post it. It was definitely very challenging trying to handle the beats with different drawls, plosives, etc. I had a lot of fun with it, and I am hoping to have the chance to try my hand at more animation soon!
As far as the other stuff? Well, minor bad news.
Ok, ok, you know, life really blows sometimes and it's not all sunshine and rainbows as much we're expected to pretend it's supposed to be that way for some stupid reason. But I'll come as close as I can to avoid melting by highlighting that good, or 'fun' stuff, first.
So, this is what I call a "Carry On"-- blame it on the airlines days. I first started him as a free style sketch at the much-missed NYC Drink and Draw. My first or second time attending, I think. I couldn't figure out what the heck to do with him after I drew his head and initial 'pose'....
I let it sit until I thought of the story I wanted to attach. (Originally he was really darn happy to have VERY big 22oz in his reach). I didn't find that sufficient enough of a story, so I held onto the drawing until I thought about it some more.
Honestly, it's funny timing. I couldn't decide if I wanted him to be a basketball player or a soccer guy. I imagined him long, lanky, and ambitious-- good for both. Someone who doesn't quite fit the card, but is good at what he does. I'm excited to finish him at some point soon... I always try to balance my traditional and digital work fairly, but digital sometimes takes longer than I'd like. :-(
Something for me to work on. But, if it takes me a long time? So be it. All I can do is try to produce fast and good work. Or, wherever I fit. That darn eternal triangle we artists all love and loathe...
Moving along... The bad news?
I was trying install Bluetooth speakers and wound up having to resinstall my entire Operating System. Long story as short as a lady like me makes things? Well, I accidently deleted my Mari files. My one objective critique to the Foundry? A 'save' isn't as simple as a save should be... As fond of the software as I am. It's beautiful (Swahili for beautiful, actually), BUT--- where is everything saving too? Perhaps it is too nested into our system?
Luckily, I archived some trouble I was having along the way of my assignments, packaged them up for some feedback, and uploaded them to my FTP server (which took a good hour). Holy moly, but thank B'jesus....
Now all I am left with? Less than I started with, but something.
So I made the educated decision-- or hypothesis maybe-- who knows anymore -- to head back to zbrush. I figured it was a blessing in disguise to apply all that I've learned and apply it onto my own work so I can put together an updated reel.
So, here I am.... pissed, but not. And working in Zbrush again on Clementine. A model I had originally designed, first, on paper, then, with clay. Here she is at her current "Zbrush" state:
Her original Orthographic Views:
And her sculpture:
I started her as the centerfold to a comic, which started only as a one page traditional Micron mess when I was a teenager... but I have been working on rendering it into a digital piece in photoshop! On the backburner with a bunch of other personal ventures...
Now, while there is no doubt the digital rendition is definitely stiff and fake looking, I am putting my focus on designing her in a neutral pose before giving her the pizzazz that comes from her look and posture. I think that has been the biggest challenge for me thus far. Because I keep on wondering: "Does it 'look' like her???"
Beyond that, in the midst of it all, I've also considered getting back into writing. When I can't seem to get my images across fast enough to feel comfortable, writing always helps soothe the itch. I'm hoping to get back to the "one page a day" guideline, as I always have. I've learned that one page a day would be 365 pages in a year, which is an industry standard length for a novel. It's harder than it seems, though, when you equate day to day life.... Here's hoping in between it all.
Also, another exciting bit of news.... my friend and confidant out here on the west coast was just awarded a tax incentive for their film. I'm not sure how much I can say about it at this point, but, as I get a more detailed synopsis, I will be sure to shout it out here. I am hoping to help out in some way, shape, or form, because from what I recall when I got the pitch, it sounds pretty unique! And I'd love to dedicate a blog to it. I don't know where I'd fit, but if I fit-- great! Something to look forward to, but beyond that-- a big congratulations is being sent out their way! Tax incentives are the starting point of fairness in the film, television, and the vfx industry in the United States, specifically in California, where the industry its fighting (hopefully fiercely-- Go USA) to keep itself from losing its American-bred workforce from trickling away into more competitive contracts outside of the country, and also from losing its traditional stronghold within the state of California.
It's a uncomfortable subject. And one that gets enough attention already.
So, I avoid blogging about the subject. Firstly, because there is no simple solution due to the state of our economy and, second, because I feel that its within the struggle of the middle class trying keeping our heads above the rising of political tide. This blog is not one pro- or anti- politics, much like myself.... That written, I will carry on back to me and my work. And the work that so many others fight every day to get to recognition, life, and reactions from others that willingly anticipate viewing it. Art being art. In that, there should be both respect and appreciation-- even it is criticism.
Congrats to those artists out there that fight to keep it going as neglected or extorted as it may feel some times...
To close off this blog, I wanted to give a dose of my own screenplay, that I wrote about five or so years ago while in school. This one is about 60 pages at the moment and is about half way through. It debuts a reoccurring character of mine and it is meant to read as a contemporary thriller/mystery.
I hope you like it ;-)
UNRELEASED TITLE
INT. SEWER CONVEYANCE SYSTEM, CELL
Footsteps. Lexi’s eyes open. Spins stands outside of the cell. He tosses a bag of McDonalds over to her. She looks up at him, surprised.
SPIN
Bacon double cheeseburger. Fries.
The person infront of me ordered it.
Spin rolls a bottle of water to her. He walks away.
INT. SEWER CONVEYANCE SYSTEM, CELL
The cell opens. Damian enters and closes it behind him. He advances.
LEXI
Stay away from me.
DAMIAN
You’re not even going to know what you’re
missing when I’m done with you.
So just make it easy for yourself.
Damian clamps his hand over her mouth and nose. He begins to suffocate her, than lets go. She gasps for air. He forces some of the drug into her mouth and holds her mouth shut.
She grabs hold of the bag and tears it. The drug spills across the floor.
DAMIAN
Shit. Shit! You little--
He pulls her to her feet and smacks her.
DAMIAN
You don’t want to play nice? You’re going
to be begging me to play nice.
LEXI
Fuck you.
Lexi tries to wrestle him away. She stumbles, and leans against the wall, dizzy. Damian settles back.
DAMIAN
How you feeling?
He pushes her down to the floor, climbs on top of her, and constrains her.
DAMIAN
Did you say fuck me? No. Fuck you.
He unzips his pants.
DAMIAN I can’t wait until I get you tailing me.
You can be the whore I know you are.
LEXI
Fuck you!
She tries to fight him off. Her shirt is heard tearing. Damian overpowers her.
Lexi sees Spin’s closing in behind Damian. He bludgeons Damian hilt-first with his machete, and drags Damian off of Lexi.
Lexi scrambles into the corner. She realizes the cell door is opened.
Spin pummels Damian. Damian flips a small tucked away switch blade. He swipes at Spin, who counters it with another strike to the face.
DAMIAN
Do it. Do it.
As Spin goes for another shot Damian rolls away and stumbles to his feet, knife out.
He lunges at him. Misses.
DAMIAN
Come on, fucker.
Lexi unnoticed exits the cell and retreats down the hall.
Spin knocks Damian’s blade away, grabs him by the wrist, and cracks Damian’s straightened elbow. The knife falls to the floor. Spin knees Damian in the stomach, and tosses him easily against the wall.
He turns to check on Lexi and sees that she is gone. He runs off after her.
INT. A SEWER INTERSECTION
Four hallways meet a tiny chamber. Lexi, lost, trudges through water. She trips. Lexi has trouble getting back onto her feet.
A flashlight searches in her direction up ahead of her. She takes a turn down the tunnel nearest to her. A flashlight faint ahead of her. She turns around to the hallway across from her. A flashlight.
She runs back the way she came, and climbs into a tiny culvert.
INT. VICINITY OF THE SEWER CONVEYANCE SYSTEM FOOTSTEPS THROUGH WATER. Lexi hides in the culvert as a PERSON passes with a flashlight. She has her hand covered over her mouth. The drugs are in full effect.
PERSON 2 (O.C.)
Where is she?
PERSON 1
I don’t know. She can be
anywhere. Who the hell knows?
PERSON 2
She couldn’t have went down the
other way. She would have hit the
Main Drain. She’s here somewhere.
The voices get farther and farther away.
PERSON 1
What should we do?
PERSON 2
We’ll split up.
INT. VICINITY OF THE SEWER CONVEYANCE SYSTEM
Spin searches by himself. There are flashlights dancing all over the place.
INT. VICINITY OF THE SEWER CONVEYANCE SYSTEM
Lexi quietly treads through water. She holds her hand over her mouth and nose, carefully watching her footing. She keeps low and close to the wall.
A flashlight swings by. She hides from its view. Moments after the flashlight disappears, she bolts.
Her foot hits an object in the water. She falls on top of it. A bloated aged corpse stares at her. She looks up and sees the pile of bodies. A hand covers over her mouth.
SPIN
Shh. Shh. They’ll hear you.
He muffles her scream and pulls her back. Spin hides with her in a small crevice in the wall.
Splashing water. Five cult members enter. Lights swings around the chamber. Spin pulls her down into a crouch. He waits, stiff, as the cult members search the room. As they get closer, he slips from her and stands.
Flashlights in his direction:
SPIN
This chamber’s covered already.
Check the east 7 corridor.
That manholes’ lose.
PERSON 2
I thought I heard a scream.
SPIN
It was the rats. I stepped on one.
(Pause)
What are you waiting for? Go.
They leave.
Spin kneels down beside Lexi.
SPIN
Don’t be scared.
LEXI
What do you want from me?
She backs away from him.
SPIN
Nothing.
LEXI
Stay away from me.
SPIN
Shh... They’re going to come
back if you don’t shut up.
LEXI
How do I get out? Help
me get out of here.
SPIN
I can’t.
LEXI
Please! Please, help me. Just let me go.
Spin looks around, thinking.
SPIN
They’re all over the place right
now. There’s no way. You should wait.
LEXI
Please, please. I’ll do anything.
SPIN
(Pause)
There used to a few open manholes.
I don’t know if they were sealed closed.
LEXI
They’ll find me if I wait. They’ll find me.
SPIN
They’ll find you if you try to
leave now. They’re on alert.
Spin begins to walk off.
SPIN (CONT’D)
Stay here. Hide here. Just wait.
He exits the chamber.
Lexi waits, than darts off.
INT. SMALL DARK TUNNEL – LATER
Spin walks. He reaches a manhole. At reach, above him, is a manhole. He struggles to shimmy the cover off. Dirt falls is his face. Blinding light peeks through. He stares up at the light.
PERSON 1
What are you doing?
Startled, Spin turns toward him. A flashlight in his face.
SPIN
Take that light out of my face. (Pause) Did you find her?
PERSON 1
No.
SPIN
These holes were supposed to be sealed.
(Pause)
Go to corridor 9. I found a bracelet there.
PERSON 2
(Suspicious)
We checked there.
SPIN
Well, fucking check again!
What are you waiting for?
INT. ANOTHER TUNNEL - SAME
Lexi blindly feels her way down the tunnel. Voices heard in the distance fade into a eerie hollow silence. She splashes through the water. She looks above her for a manhole.
Splashing heard infront of her. She stops still, and plasters herself against the wall as the splashing gets close.
Silence.
The glint of metal.
DAMIAN
There you are.
Lexi goes to run. Damian grabs her by the hair and stabs her in the side. He strangles her down to the floor and forces her under the water. She reaches for anything around her. Finding a large jagged rock, she smashes it into his face.
He lets go of her neck.
In a rage, Lexi batters Damian with the rock until his face is caved in and a bloody mess. She falls back against the wall, and drops the rock.
INT. CHAMBER OF DEAD BODIES
Spin approaches the place where he left Lexi. He sees that she’s not there. He hears a scream and runs off in its direction.
INT. ANOTHER TUNNEL
Spin reaches Lexi. He sees Damian lying dead in the water.
SPIN
(To Lexi)
Nice job. I bet that felt good.
Beat.
Lexi begins crying.
Spin, looking down the hall:
SPIN
Come on. We have to go.
LEXI
I can’t.
SPIN
There’s a manhole close by you
can get out of. It’ll take you out
by the Central District.
Flashlights from off down the hall.
SPIN
Get up. They’re coming.
He helps her up. She falls over. He holds her up.
SPIN
What’s the matter with you?
There is blood on Spin’s hands. He sees the wound.
He picks her up, and quickly hurries down the hall.
My latest work in progress. Long way to go, but I am definitely excited about learning to get more comfortable with the creature designing process and techniques. I was quite daunted by it beforehand. So far the process is becoming very clear. Please drop back and see the finished work!
This is my current work in progress for "Realistic Character Texture Painting in Mari" with Justin Holt on CGSociety. The model was provided by Ben Eoff!
Base Painting (Phase 1)
Ton of Work to do over the next week... Wish me luck!
In the font memory of Helvetica's Mike Parker and remembrance of his life and impact on the world of typograpy... I've decided to cast another post out into the void in his dedication. This one I will highlight Mike Parker's significance, as I know it, and highlight an idea in respect to fonts that was brewing in me for a while now anyways...
The timing of this point feels right, for if it wasn't for Helvetica and font development, Mike Parker wouldn't be an infamous as the name 'Peter Parker'.
Its a far off analogy, but it will start to make sense if you think deeply enough about it--
(It was sort of a cheesy joke too)
A brief of Mike Parker. He didn't create Helvetica, to my knowledge. Strangely enough, this simple yet beautiful type, in original form, was actually credited to a collaboration of two Swedish individuals under a different title. As printing machines, or linotypes machines, were developed, however, Mike Parker stepped in to help develop the font, as design director of The Mergenthaler Linotype Company.
Sidestepping the main subject, I started wondering the difference between a linotype machine and a typewriter and was amazed at the ornateness of mechanism in the linotype machine, especially for its birthplace in our history. It's first appearance was at the New York Tribune and 1886-- magical for its time and the fist advancement from manual moving individual letters to print material in over 400 years. They say the major difference between a linotype machine and a typewriter is that the typewriter allows the ability to easily correct mistakes and type was cast directly onto paper, whereas the linotype machine complete lines of text versus individual characters.
If you are as much of a geek as I am, a great link in regards to understanding the history of this invention and typesetting in general is an antique video reminiscent of its date-link appearance... what I will hyperlink as MOLTEN MONOLOGUES IN THE MAKING.
But back to Parker?
(RIP 1929 - February 23, 2014)(2014-02-23)
He oversaw the fonts developed for these powerful machines, and Helvetica and family became popular easy-on-the-eyes regulars in regards to printing. In 1981, he partnered up and opened a company to help merge these fonts gracefully into the digital era. The company was called 'Bitstream', and allowing the use of these procreated fonts for legal licensing within other companies, helped finance this is partnership into a successful enterprise. The fonts then became, for lack of a better word, opensourced into the typography world.
Another important name that fell in correlation with Mike Parker is Steve Jobs, with whom Parker helped progress the first word processing software compatible for Job's platform NeXT from a company he founded called Pages Software. Even after NeXT was discontinued, Apple gave lineage to Pages by retaining its name for its leading word processor software. Ironically (and according to ye' Google god, Wiki), when Pages Software shut down its operation, Mike Parker sold the patent to another company, Design Intelligence Inc., which was eventually bought out by Microsoft. Ah, my never ending fixation with ironies of corporate America...
Another important feat? "The Font Bureau, Inc"-- and a grand new discovery in my childlike inquisitiveness while researching Mike Parker's accomplishments. He was labeled mainly a historian, as well as a consultant and designer for this company.
The website is great, a brilliant transport for fonts freaks who want to keep ashore of the latest trend. I can't wait to give this site the lookover it deserves, and not only for Parker's tribute, but to curb my own curiosity.........
Which brings me to the second half of a long overdue post, as I'm interested in typography and the effects it has on its reader; You can view it or you can read it, but good typography you should be able to do both with ease.
Another thought: All artists -- all mankind in fact-- has their own individual font when they press a pen to paper and begin to write. We don't get a more basic or essential art form than that. So in a sense, yes, we are all artists, as we've been told all these years.
A font, or our writing, is a unique identity, and although we are taught to write print of the alphabet, and later, script, following a certain format..... we still develop our own font out of our imperfections. We can also take these imperfections to a whole other level.
In fact, I did.
Here is an old example of one type of handwriting I adapted as my own custom handwriting:
This one is probably almost 20 years old!
The example above is one of two notebooks I filled creating a hand-made game layout back in highschool-- inspired from the "Dungeons & Dragons" days. I'd love to do a whole blog on this under the radar accomplishment-- but I still try to keep this baby of mine as secretive as possible, incase anything opportunity should ever launch into a reality one day. I have so many dreams of expanding this layout into a series of matte 3D paint-overs or maybe even a game trailer one day, and pitching the whole package off. The layout is complete for the most part.... Just needs a comb over in a bunch areas and it needs to be documented more professionally, aka digitally...... but, hey, at least its authentic and two notebooks worth!
But back to the example itself? I picked this one firstly because its my oldest-- I think it's when I first started drafting an original sets of styles-- and, second, it has a mix of different fonts used together in its family.
I never bothered to name them, because back then, I never took it too seriously. I just wanted things to be neat, organized, and different... But over the years I started to wonder about theories of graphology and how it translates to a person's psychosis. Mine included...
But I still continued to adapt my writing style for some reason. Maybe I was bored in class or wanted to keep preoccupied? Who knows. At this point, I guess I added an italic, though! ;-)
I remember I used to keep my notebook slanted at an acute 45 degree angle for this:
Here is a hybrid of both styles from above. This excerpt was from my college days in performing arts-- when trying to a finesse the delivery of a monologue for Romeo and Juliet. It's sort of embarrassing to post this, but I will show as an example in relation to this entry.
As far as my acting methods-- this one was more a breakdown on how I wanted to deliver the lines versus her actual inner dialogue.... Aye.
Although my handwriting is still neat, I hardly ever need to write pen to
paper anymore, so I'm sure I'm rusty. But it was some engrained with
practice, I'm sure it would come back naturally. Another font I tend to use a lot is my caps:
It's been interesting as in the last couple weeks I've been working and interviewing with companies that center around the design end of the spectrum versus the technical end-- what I consider the enamoring "3D blackhole". Design is honestly one of the most difficult areas of artistic expertise out there. And, at least for me, it's takes time to finesse an approach to design on a professional level.
Although I know the basic fundamentals of graphic design while discovering my own style over the years, we all know not everyone has the same tastes. Two contrasting fonts to a stylesheet or concept, but definitely not more than three! No, no, no! ;-)
Ah, the rules are endless. But (in the end) it really is whatever looks good to whoever's looking at it.
Funny that I learned the difference between serif and sans serif on my job hunting adventure the other week. 'Sans' meaning none. I had no idea! I didn't realize that Serif were the 'teeth' of the font, either. I left that meeting feeling an eternity closer to the design world, and universes away from 3D. And being in office for some time discussing design ethics, I left wanting to both do some design work and to tap into some typography or graphic design classes.
My latest gig was also another crash course in all things fonts, working at an awesome upscale sign shop where I helped build 3D visualizations for a client and prepare a design in 3D for a possible CNC print. All in all, I will never look at a sign the same way again... I have been studying them and the fonts they flaunt ever since.... **SIGH**
One thing is for sure: You can most certainly take a good prediction on the type of font someone will lean toward after having a conversation with them-- so perhaps "graphologics" has some sense of validity. Perhaps that's where the whole design blossoms to begin with?
Maybe the inquisitions I have were held in the same fontness Michael Parker had with his passions for typography. They are unique displays of some sense of character and really can carry or hinder a design, at the same time as give some one a headache or allow easy, comfortable read. Otherwise, it's just interesting or direct-- plain or fancy -- bold or, well, you get the idea hopefully...
Let me know incessantly rant as usual.
One handwriting I never crafted much? Script. Perhaps, I never realized I did. I think if anything I squeezed the kerning together and kept the strokes longer and more horizontal. I have to sort through my piles of old notebooks. I'm sure I had some strange example to be found....
Really, I truly feel ALL artists should try to develop one of
their own to lay their territory, like when they sign a painting, but as
constant and non-stop form of individuality than never leaves you as
long as you write by hand. Almost as if its a signature of
authenticity.
And if it sticks with you through your life, it's rewarding:
An excerpt of notes from class in college back in 2000. I picked this subject out of my notes, because it was through the time the linotype machine was used. And anyone needing to learn about Modern American history, here you go:
Sometimes small achievements, are great achievements! You should see my Biology book. I had a ton of biology related drawings and diagrams in there, too. I'm hoping the it's around somewhere and that it wasn't thrown away.
Anyways, try it! Create-a-font and lock it down as your own!
Currently, I'm onto looking how to texture in Mari.... I've decided to take a class and I'm very excited to see if I have what it takes to become a texture artist. I would like it use this skill in conjunction with everything else. Hopefully, I will find a job where I fit the mold perfectly. Hopefully it will be a mold variety pack!
I always say "I may not be able to juggle, but I know stage combat!"
Onto new challenges and new adventures....
