CREATE-A-FONT

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 FONT BUREAU

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.... 

In a World Where Triangles Can be Okay!

Been working on this one for a while...  It is not based off of a concept of my own, so I'm afraid I cannot post the reference image without permission.  He is still a work in progress as I am building him to be 'game-ready'.  I made the decision to take my time on this one, as I wasn't sure rushing through such an intensive process as learning how to model characters for games was the right choice for me.  I' rather get it right, so that I will know for the next time...

 

So, here he is so far.
Most of my trouble has been understanding how normal maps work.  And I have been doing extensive research on the subject of gaming topology and normal maps all around. 

I am also in the middle of another sculpt, which I am hoping to be done with over the next couple days....  In 2014, I'd aim for doing one sculpt a week if possible-- not necessarily for gaming but for any type of 3D work.  I am also planning on getting around to the modeling list that the Industry Warrior gave me in order to put together a nice 2014 reel (texture work included) and hopefully land me a fitting job somewhere.....





 

"McMatrix" -- Sketch Challenge (And first piece of 2014)

"HAVE IT YOUR WAY!!!"

 

 

in
"McMATRIX"
by Lisa Marie Erickson

 

First drawing completed in 2014.  Catching up my weekly sketch challenge while looking around for work and bouncing between on two Zbrush sculpts (which are just about done thankfully)... 

 

This sketch was very difficult, but a ton of fun!  I would've loved to spend more time on it.  I would be super-cheesy-poofing if I topped of this post off by saying -- 

 

'I'm Lovin' It!' .....  With a side of pickles.  ;-) 

Ok.  Back to business. 

 

"Cranky Crispy Kringle"

'TIS THE SEASON... IT'S THAT TIME OF THE YEAR AGAIN.

 

HERE'S HOPING FOR A LUCKIER NEW YEAR!

"Cranky Crispy Kringle", by Lisa Marie Erickson

 

No time to color this one.  Busy, busy, busy for the Holidays!

Safe and happy holidays, everyone, and a healthy and happy 2014!

 

"The Mighty Muffin Bandits"

 

"The Might Muffin Bandits", by Lisa Marie Erickson

 

I'm still considering it a work in progress as it was a very small canvas (my sketchbook) and there's a lot going on-- so it needs a lot of tender love and care in photoshop... 

This particular drawing is based off of an experience of mine a very long, long time ago....
Still trying to figure out what I will draw next but I've been feeling inspired and motivated, which is great.... 

Happy Holidays, everyone.  Please check back soon!

"The Joker Made Her Do It" and "Buffy, the Vampire Slayer"

Here is another Work In Progress.  I've started to do a weekly "sketch" or illustration-- in tandem with an artist friend of mine.  I follow topics or suggestions of his, if I can't think of anything on my own....  So here was last week's.

The second time around, I would rather have made her coquettish and innocent looking., especially as the marionette idea took off on me.  I'd also like to steer from the line drawing, but wanted to keep it "ink"-like this time around... 

The Joker really doesn't resemble my idea of the Joker, yet.  It screams "me" and my style...  But here it is in it's progress and everything but Harley is still rough and incomplete to the present date... 

"The Joker Made Her Do It"  by Lisa Marie Erickson

It's based off of the ongoing question as to whether or not the Joker really loves Harley.  I'd really like to finish this one day because I like the idea so much... but it's only one sketch a week, which, for me, sometimes turns into a full blown illustration.... ;-)

And it was just supposed to be a quick sketch of Harley.

I went slightly anatomy crazy-- just to see if I could manage it.  And I'm okay with it for the most part.  Although extreme, it seems like the muscles groups are working together.

The following week was Buffy, the Vampire Slayer.  Again, a rough draft, or a 'dirty' clean-up.  I didn't have too much time on my hands.  I'd say this was about two hours of investment maybe...

Still looking to get rid of the ink, and work with just color at some point.  Below in just a basic flat wash of colors...

 My best digital character piece to date is SIDNEY.  I spent an evening on that one...  That's would be one type of the final look I'd aim for if I had more time.  But the whole point of this sketch challenge is to get inspired and to get faster.

Anyways....  I have a bunch of stuff I'm working on.  Some 2D / Some 3D.
And I have another traditional illustration to post up here along with "Mighty Muffin Bandits". 

So, check back soon.

ART THERAPY: Keynote 1: Using the Mess To De-Stress.

I have to be honest here... For the past several months I've been in a creative lock-out.  There have been many, many premature moments of excitement over this time where I've found myself visualizing what amazing things I wanted to create.  There were things I had to get back to completing, things that I completed that I needed to fix, things that I had learned and needed to practice...  It was unending, and it still is unending, building an ever growing list in my head all while ping-ponging around another list of neglected responsibilities.

So I started going deeper in the rabbit hole.  I would fixate on all that I wanted to accomplish and the pressure started to grow on me.  I'd finally get a moment to sit down in my studio and I had absolutely no clue where to start...

My list kept growing.  And I found myself distracted.
I began to wonder if it was normal to feel the way I was feeling, because I had never felt so off-kilter and uninspired in my life.  My work started feeling unimportant and useless.

I still feel slightly deterred even today.  And I'm not even sure why... 

So I figured I'd make this particular blog an entry on what is personally helping me on my way back to a familiar path-- a path that I hope will take me back to the start of when I first began to wander along the explorations of a young artist, eager to escape into a world defined beyond what was before me in day to day reality.  It was just fun.  No rules.  And no worries.

School, before college, was a breeze.  Actually, drawing in my notebook, or my sketchbook next to my schoolbook, truly helped me focus and concentrate on what was being taught.  It centered me.  I took good notes while I drew, though, and I made sure I did good on the tests, so I wouldn't get in trouble for drawing in class to begin with.  If  was doing good, they never said anything.  What I was learning in class, I used to my advantage, as well, because it gave me a catalyst for ideas and inspiration that still beats wildly in my imagination today. 

Fast forward to now, though, I'm still not even sure where I fell off exactly... 

But I can say, I've heard that those who continue on to go to an art college fall into a trap.  If you go to college for art, expectations rise upon your levels of learning and you find yourself surrounded in a new environment where you are, well, not so special or talented, anymore.  A flat and jerkish, but honest, feeling.  The latter is a reality I never had trouble accepting, as I was always one to prefer mentoring others and finding traits or values to admire in people and peers as one should.  That was the way I got through it at least...

The expectations, however, continuously haunt me.  The expectations are what keep me hanging on to learn all I can, wanting to stay fresh.  It's good for keeping the brain agile, too.  I think the best thing for the sensitive artist is to try not to expect every piece of work to outshine your best piece.  By sensitive, I mean-- first and foremost-- subjective to your own criticisms of your own work.   Beyond your own opinion, criticism is open range battlefield to whoever you show it to, and you should dodge and retreat, surrender and ally, or charge that line of fire accordingly....  All in a peaceful and constructive way of course.  ;-)   It really depends on the type of person you are.  And this is where handling criticism and 'tougher skin' mentality come to fruition.

This could take years of developing and finessing.  And it truly is a skill.
And art, in all shapes and forms, truly is subjective to its viewer's taste.

I've also found that as I get older, I keep asking myself more serious questions.  For example, "What's it all about, Alphie?"  I know I love it.  So what's wrong?  Why shouldn't it be just as important to me to keep at it as strong of a priority as it has always been for me in the past?

And then I start to get pissed at myself.

And I circle back around to finding inspiration and back to all those premature moments of excitement visualizing stuff again.  It's a vicious terrible cycle, an artist's block.

So my list?  I have it.  A fully loaded list of work to do.

Whatever images, titles, excepts of dreams, moments of reflection--  The first thing I did was write everything down.  Whatever it was that triggered a creative spark or momentum, I jotted down before it had slipped away.  Yes, a great list has been built, but at least I know I'm not out of resources when I sit down to make something.

Here's what else I've done to try to conquer this crazy void.  It's been liking gearing up and training for warfare on all levels.

Next, would be how I would tackle actually plopping down for a couple hours, or one quick hour, to make some magic happen...  It's been rather difficult.  I can make up a list of excuses, and I could start with summer fever, I could end with depression.  Do I know for sure?  No.

What has helped gear me up?  Organizing and cleaning up my computer and accompanying hard drives.  Call it a cleanse.  I'd buy a huge drive and back everything up, create folders that worked as a easy system of navigation to make working more pleasant.  It's such a gratifying feeling.

Especially when you can clear up 300 gigs on your stationary, defrag, disk clean up, unnecessary program removal, and top it off with a scan, and then a restart.   Beautiful bliss to a diskspace packrat like me.   You centered your clean up around a specific purpose-- It's a refresh.  And refreshes are everywhere.  They say, "Habit relieves the memory."  So if organizing gives you one less thing to struggle through to get stuff done, do it.

The main folders I made are a RESOURCES folder, a BUSINESS folder, and an ARTWORK ARCHIVE.  Really, whatever works best when it comes to organizing the folders and files inside of those...  But, I found this main layout works best for me and I access each folder regularly.

I've had that setup for awhile, but things get busy when work gets busy and quickly your original system gets out of hand-- especially when bouncing from computer to computer and from one place to another.  Thus, the clean-out is essential healing when you feel flustered to nestle into your own electronic nest.

When ready, pick your top two (maybe three) programs and create a hotkey list-- with ONLY the hotkeys you find yourself using most frequently.  If you don't know them, google away.   Save them all on sheet and stick it on the pinboard within close eyeshot.

Additionally, if you have a tablet, customize it to each program individually...  and save the shortcuts to your desktop.

Further, inside of these three programs, customize your layout.  Make it your own.  Find the tools you use most, put them all together, and save the layout.  I'm up to this point myself....  I've been wanting to do this for awhile now.  I'm actually excited to get these programs under creative control...

I think when I finally wrap with this, I will make yet another folder on a thumb drive to take with me on offsite jobs, where I can pick and choose what setups will be useful to execute the requirements of the job in a timely manner.  If it saves a half hour when slower than your intended deadline, you...are..winning.

Another thing I've been doing is going through piles of old notes throughout the years and organizing them into folders by subject matter, as well as extracting the most essential tips from lectures I've attended over the years and creating combinations of 'cheat sheets' and/or building them into my own layout.  Some workflow tactics are truly treasurable.

I'm just trying to help.  And I will where I can..
And, on the same token, making you aware that I came across this and didn't feel so bad anymore knowing that I AM NOT ALONE.

Bookmark good links.  And keep them organized, too!  ;-)

I've also made a to do list.  I'm sure I've written about this in other posts.  But it always helps me feel like I'm getting somewhere when I cross something off a list.  Even if it's small things, art and non-art related, like pay a bill, exercise, email so-and-so, write to blog, finish drawing....   If you have time on your hands, it will truly help give you a purpose, a schedule to follow, and some feel good endorphines.  If you don't get it done?  Keep rolling it over to the next day and the next day-- until you finally do it.

And you will.  Like I will.
But try to make a deadline if you can, and stick to it.

Like the link I posted stated somewhere, try to stay around those that are just as crazy passionate as you are about your dreams and passions.  Join as many clubs as possible, hang with the industrialists to find commonality and understanding.  Avoid people that make you hesitate about skills, ambitions, career choices, also, your allotted time your need to just create on a personal level...  Try never feel funny about it, either.  Social conditioning sucks.

Find the time and conditions for working that work best for you.  And take a small sketchbook or sticky pad with you everywhere you go...  I've seen some of the most spirited work on the smallest and most unlikely canvases.  Business is business, but I know when it comes to my own personal work-- I work best in a soundless night or when there is no visual distractions on an empty, but not starved, stomach with a nearby hot beverage of some sort when I'm relaxed and have a couple spare hours.  I've read that writers alike also have to study their habits to find their writing niches.... in order to produce their most optimal amounts of pages.

I don't have work on this one, but I definitely wanted to get this subject out there, as I know that many artists struggle sometimes to keep the faith and keep the drive going for a number of different reasons, especially as we get older or when we are young and trying to find our path.

I've always taken my work pretty seriously, so feeling this way has been like a twisted cramp I been having trouble running off.  That's the closest way I can describe it.

But I'm getting back there again-- To my element, I guess.  And, all of this above, is how.
I hope that it helps someone else out there.....

Have a great night or a good day where ever you may be.
And, as always, thanks for reading.

GOING ABOVE AND BEYOND

.......In everything that I do, whether it be one of another million web designs out here in this infinite cyber abyss or whether it's from the stirrings of my creative cauldron seasoned with all these unrelenting aspects of my imagining soul.  There's passion and dedication even in just day to day life with me. 

I believe I did go above and beyond.....

A local website, my most current home-based gig, presents the cleanest possible approach I could muster up.  Mostly I wanted to achieve a look that was easy on the eyes-- which to any uneasy designer can be both a blessing and a curse.

ABOVE AND BEYOND GARAGE DOORS

So, I will add why I like to do web designs every now and again:

-It brings on a need for quick and fast design choices.

-It forces objective thinking in order to remain easy to navigate as well as stay somewhat unique.

-Sometimes the copying and pasting is so redundant it's almost therapeutic

My honest journey with web design?   It was to design my own website for my artwork.  AND, honestly, it was also because I was afraid I wouldn't be able to find any work doing 3D.  I decided to shoot for a back up trade that I could manage while I was on the road traveling.  I took a basic continuing education class, which I would now swear by.  It coated the surface of the fundamentals useful for cross-platform designing...... and from there I ventured on my own journey.

The one thing my teacher stressed was the power of CSS.  And she will be forever right.  There are virtually no limitations to browsers or browser versions with it.  I love using CSS.

I try to limit the amount of flash that I use, when it comes to web design... as, unfortunately, it's not compatible with Macs and "I-stuff" unless you dive even deeper into the world of coding-- which, I try to avoid.  The artist in me starts screaming when I get to lost in all the variations of language and learning out there.  You can really get lost in translation.

CSS is my language of choice.  Like HTML, it's the bare bones of coding.  I do use other codes, but only with caution and as needed, and coding that only requires that most minimal amount of researching, adjusting, and troubleshooting required.  On my journey to learn web design, I've spend hundreds of hours researching and view sources, etc.  It's a pain, but it's critical.

I do love flash, however, and it's potential.  It truly bears some beautiful web designs, but much of that is also to the handling of the designer, too, of course.  I wouldn't mind trying a flash website out one day in the future and really going over the top with 3D animated splashes.

One flash book that I thought was pretty great and to the point?

    "How To Wow With Flash"

by Colin Smith

One web design site I use to  give me inspiration? 

http://templates.entheosweb.com/Web-design.asp

I never used the site to purchase a template-- just see what was out there and then challenge myself to see how close I could come to replicating some of the layouts. I recommend this site very much actually.  I found great inspiration in there.

So, now that this website is all said and done.....  I'm back to teach myself the latest version of Maya and Zbrush.  And I'm going to build a new reel and new website (or just a basic upload this time) strictly for my modeling. This was based off of the counsel of a 3D industry warrior, and it sounds like a good challenge to get up to date with the latest versions of everything.

I'm also piling up a tons of ideas for future posts, so please come back real soon!

"Tribute to the Museum of Tibetan Art In Staten Island"

The Jacques Marchais Museum of Tibetan Art

Been wanting to keep fresh with my life drawing!   Attempting a portrait is always a good exercise.  I worked on a picture I took with my camera.  And then I carry my pocketsized sketchbook and camera around and draw when feeling inspired or just killing time in between a busy schedule.  What I really need to do is get a tablet... But nothing conquers the relaxation of picking up a pencil or pen for me--  there's a born instinct that's comes from drawing with these...

But the camera's pretty great to work from, too, because you can zoom in if you need to to focus in on details!

I went to this place about a month ago.  It was founded by a female art collector.  Her name was Jacques Marchais.  She was also an expert on Tibetan culture.  I think she may have also had a museum in New York City as well, but I'm not sure if it was open presently.  I believe the museum in Staten Island was reminiscent of most of her entire collection from Manhattan that she accumlated over the years...  Pretty impressive collection for one woman!

It was a cute little place, peaceful and serene, at what is said to be the highest point in Staten Island -- on Lighthouse Ave. 

I go back and forth behind keeping my 'portraits' more line drawing than over complicated with shading.  I guess it's the illustrator nature in me.... I like to keep it kind of crisp.

When I look at it now, up against its natural shot, I still see so many obvious problems that I couldn't see before when going back and forth from the camera to my sketchbook.

But I'm getting better overall at the challenge, I think.  I'm always up for a challenge. 
  

I like to do life drawing when I can't find inspiration to create my own or when I need a break from trying to figure out where to go with my own piece....

"We Didn't See You" and "Super Mustache Musher"

 

"We Didn't See You", by Lisa Marie Erickson

 

Based off of a pseudo experience here is my latest traditional drawing.  I have been approached about coloring it-- another piece I'd love to do fix up digitally one day.  But I'm in the middle of too many other things.  I have another figured out what my next drawing will be however and I'm pretty excited to get that underway! 

 

On my down time, I am currently expanding upon the excerpt from a few posts earlier, which is based off of a game layout I created many years ago.  I plan on doing illustrations to go along with these and I am currently on my first...  It will be a long running project, but I plan on speckling some drawings, traditional and digital sculpts along the way!

 

 

"Super Mustache Musher", by Lisa Marie Erickson

 

This drawing is based off of my curiosity of the origins of the fake mustache.  I had heard it was the start of prostate cancer recognition in October, in the same way as breast cancer and the color pink.... but as the months continued along I saw more and more of them.  So, I created this super hero to join the forces of the remainder of civilization out there that has no idea why or where the ominous fake mustaches came from...  wahahahaha...

 

Anyways, hope you like them.  Feedback is always welcome!

SIGGRAPH 2013 RE-CAP-- Part 1: LAIKA 'S TRICKERY

When I first saw Coraline a couple years back I remember thinking a bucketful of thoughts.  Before Coraline, I was shallow to think that when making something in 3D, it meant it had too look 3D and even more narrow to think that sometimes when 3D is made it tends to look too "3D-ish", too generic, without the saving graces of overhauled design or substance to make it unique.

 

And then there's the trickery of making 3D look like something set apart from what it really is...  A trend that seems to be a predominant front-liner in the future of entertainment.  Technologies are being created and concocted with the successors of our past times, and a hybrid avenue that resembles the antique visual lusters of yesterday opens with the ease of new inventions, perfected techniques, and creativities of today.

 

Laika had a few movies to master their niche.  As I know of, but am not evident, "Coraline" was their test run, and now Laika has a following of eager fans expectant of there current work "Box Trolls" due for release in 2014.  Here is the Trailer, if you haven't seen it:  "Box Trolls"

 

The presentation, my favorite from sigGRAPH this year, was called, "The Seamless Fusion of Stop-Motion and Visual Effects Technologies in LAIKA's Feature Films".  Running the spotlight was Georgina Hayns, supervisor of puppet fabrications, and Brian McLean, director of Rapid Prototyping.

The presentation kicked off with perfect ingredient to draw in its audience... leading us straight into the fascinating origins of what helped get Laika to where they are today.  Georgina credited her past mentors--  The mentors of many other stop motion fanatics, I'm sure. 

So I did more in depth research...

Honestly, I expected her to go right to Ray Harryhausen.  But she didn't.  She took us back even before times of the recently deceased legend, to the cusp of the early 1900's, when the first pangs of puppet animation experiments began under the tests of Laditaw Starewicz, who had completed a few successfully documented films some which dead insects were cast in the starring roles. 

She then moved onto Willis O'Brien, who most notable achievements involved the creation of the first 'ball and socket armature' instead of wood, which allowed more flexibility while animating, and whose most notable film "King Kong", rings out across the globe in an obvious recognition.  I believe he was the first to apply the use of latex and foam latex, instead of the clay, as well...

Fast forward to today, the use of all of these materials are still in heavy effect, but now they use mechnical gears with the turn of allen keys... and there's a higher usage of silicone replacing foam latex, as silicone currently allows the most elasticity and the least amount of 'fixing' between shots.

 

...A little of how far silicone can go....

...Yup, good stuff...

 

Then there was George Pal-- where Laika picked up a beneficial but tedious technique called "replacement animation".  He was the first animator to create hand carved replacement pieces.  A trick that's name speaks for itself.  Laika primarily applies this technique for lip movements and eyebrows, but I'm sure it finds its way into other components of their characters as well... 

They implored the help of the 3D printer to expedite the process to building those pieces.  And came up with a final of 40,000 printed faces, each hand painted, totaling a combination of 1.5 million expressions:

 

 -- each that were compiled into expressions kits that were organized into stock room waiting to be assembled according to some kind of shot list and then shot. 

 

What I'd personally really love to see?  The SHOTLIST that organizes all these faces!  I'm fascinated at what kind of organizing, scheduling, and structure that Laika must follow.

But back to Geroge Pal?  He was responsible for taking parts and replacing them on hinges, instead of remolding them into place on based on estimations.  It required tons or organization, I'm sure, and took a good fifty years to gain recognition... its effect has a more fluid feel in the end.  It also helped as it allowed camera perspectives to be changed without hassle.  He received a couple academy award nominations for some of his puppets, dubbed "Puppetoons", which I will have to watch at some point and report back...

Actually, I should plan on watching the work on all of these artists listed here.  :-)

In any event, it's strange, because the more research I do, the less credit I see he, out of most animators that I'm studying, have received...  Replacement animation seemed to be a wild concept in its handling, but well worth its labor for the look achieved in the end result...

Next, Georgina went to the rounds of Claymation... what seems to be the opposite of replacement parts and luxuries of working with silicone.  It did, however, have a pleasing effect it had on its maker, as authenticity was established in the fingerprints left behind--  Something called "Texture Stamping", a very important technique that computer artists tend to forget or, get inhibited by, when building their own models.  Some artists specifically add in their own custom texture stamps to brand the look of their work....

The coined "Claymation" sculptor surfaced around my era of growing up, and one in particular was a favorite of mine during the Christmas holidays.  One that I miss a lot even up to today for its originality.  For some reason, I never see in aired on television any more.... 

"The California Raisins" was created by an artist named Will Vinton.  The history of Will Vinton has close roots to Laika, as his studio was founded in Oregon as well.  Cited in Wikipedia, Laika had actually become a Vinton Studios successor  as business became mixed with money and investments.  I'll cap this paragraph, by writing that money unfortunately has more power than anything else to control the markets of this world -- creativity, ethic, reputation, experience, and strings of any types of networking, even management, they really don't mean anything...  My own humble opinion.

I do admire Laika's work.  A lot.  I'm actually really anticipating the release of "Box Trolls"-- as Laika's execution always seems flawless, its story's in conjunction with its unique look, as trademarked as Disney/Pixar are to their look. 

I have yet to see more of Vinton's work, outside of "The California Raisins", although reading up on him-- he (also) has an entire artillery of innovated stop motion projects, including many projects based around ball-and-socket rigs.  But, in the end, I believe he had trouble getting his feature length work funded after the economic downturn of September 11th, as it caused afflictions in business relationships with Warner Brothers as discrepancies arose on where Tim Burton's "The Corpse Bride" was to be filmed.  Don't quote me, but I had read that Burton may have also had a difficult adjustment merging into the idea of computer generation with in his work...  In his biography, "Burton On Burton" he admittedly was almost opposed to using it in his work at one point but considered the idea of acclimating into its potential in the future.  That conflict may have been around the same time period... and perhaps, "The Corpse Bride", a movie with such an abundance of hand animated stop motion, that spared the extreme manufacturing capabilities of computers, couldn't be afforded with the deficits rippling through America.

I don't know the full story, of course.  It's just a speculation.

Back to the Vinton Studios issue, funding is a typical problem for most artists over the world, fledglings included, trying to start a business or recreate their ideas and dreams.   No new news to any of us reading this.  Vinton's era, though, was one where I have mixed emotions, as computers were probably dominating Claymation at that point.  Thankfully Vinton went on to reestablish his name and his business, and the age of computers and 'hybrid' animation opened up many, many doors for artistic opportunities.  Vinton regrew his company to a company called Freewill Entertainment.  Burton flourished.  Laika boomed.  The consumer is happy.  So, all is well!

Many recognized animators came from the Vinton studios, outside of Mr. Vinton himself, of course, including clay-painter Joan Gratz and Craig Bartlett, who was responsible for establishing a more '3D' look. 

Another Claymation favorite from childhood?  Well, Gumby, of course!

If you'd like to read more on Will and his work, I placed a link to Will Vinton's Biography Here.  Of all the artists I researched to draft this post, I found his journey most interesting, as it landed in a technological turning point for the arts and the visual effects industry.

On the reverse end, stop motion advancements began with refurbishing of the armature.  Now bear in mind, I am a complete amateur with an armature ;-)

.... and that I am still in research while writing this....  

I believe it all started with the adaptation to the construction of a ball and socket fixture, and how it had become modified over the years to consist of hinges, grips, gears, and whatever else works to get physics involved and a good 'pulley effect' under way...

 

 

...And Finally the blessed allen key put to good use, controlling the animatable registrations, which adjusts the degree of movement that a character can have...

 

The main software that is used by Laika and other companies to guide these components into a functional skeletal system is a program called Inventor made by Autodesk.  Inventor provides the resources to a bring a concepted design into a physical structure that can be printed out with a solid material in on all 3D axises, X-Y, and Z  -- this defines what is called a 3D prototype. 

It is suggested on the Autodesk website that Inventor is crafted specifically for mechanical design.  Working in 3D, I say there must underlyings  advantages of using this program versus a program like Maya or 3Ds Max.  What?  I cannot say for sure..  It seems to be .dwg compatible, which is the standard file format meant for printing stuff like so in multitudes of different materials and chemical compounds, I think....  Some examples of mechanical prints used by Laika of Feet, Chests, etc:

I am TRULY trying to keep this post as closely related to its title as possible!  So, I will look into it Inventor further and possibly comment on this program deeper in future post.  If you'd like to read up on Invetor's specifications yourself, Here's The Link.

Gerogina noted some of the fallbacks of using different materials, a continuous battle for any manufacturer or artist out there working with the new printing fad.  Which material is the BEST or most reliable material?  For the purpose of animation, she says, that there are still many fallbacks.  One, which involves surface quality, and another which involves the desire for a durable metal with some spring.

I would imagine that Metal is great for internal structures, but the differences in the using plastic versus powder based materials for replacement parts on the outside surfaces of the model, results in drastically differing outcomes, meaning various types of treatments are needed to get the look developed into a production-ready piece.  As well, plastic pieces need to be hand-painted which present an overhaul of workload required:

A clear difference is in the sharpness of the features, and a reason why plastic may be hard to work with as far as organic adjustments, but obviously useful in its cheap reproduction and it lightweight strength.  I could see it being a useful underlying structure to compliment its metal counterparts, as it is flexible...  A reason why it this image demonstrates the use of plastic in a foot:

Here's where Zbrush comes in, or what Georgina describes as the point where preliminaries where the "CG Artist becomes the engineer".  First, the model needs to be scanned by a 3D scanner from whatever starting resource they have, most likely a sculpture, I guess, then it is fixed and retopologized using Topogun, rigged, and then subdivided with all extra detail needed for a finer print exaggerated in Zbrush-- in order to achieve the same crispness in a powder based print that is achieved when a printing with plastic:

The engineering part surfaces when considering the rig of the puppet versus its replacement pieces needed for its stop-motion animation!

Test molds and adjoining parts are then created, tested, and adjusted to see which materials work best for the role and to test out different techniques to work with the mechanics:

 

It seemed that as technology merged from clay and foam latex, even more incentive was placed on trying to craft the best materials possible and so Laika invested some trial and error to incorporating silicone in the process as well with a variety of mixing, dyes, and watering down techniques:

I'm sure Laika wouldn't give away all of the mystery as to what goes on behind the scenes.  But their tips of course are were well appreciated by their captivated audience.  Well, me.  :-)

I wish I could have learned even more about the processes that go into making a stop motion production at Laika, like the brand of supplies that they use in-house and the science behind how they craft a working fixture underneath their puppets.  It's fascinating how much depth goes into it, and even more fascinating, how they seem to have perfected their techniques.

 

The outside workings on the characters, like their skin treatments and clothing, also enthralled me.   She discussed their fabrication as a separated entity from their generation within computer software.  The only string of connection to the computer was in painting textures and style layout.

For instance, the clothing was designed and then built as templates in Photoshop and then printed, I believe.  I'm not sure if I was clear on the exact process, as it wasn't a highlight of the presentation, but she had mentioned that the fabrics were then either cut by hand, or due to their finite size, extracted or etched out by a laser.  An example of just how small the scale was at points:

And skin textures, although they were hand-painted in photoshop, the colors in their prototype appeared inaccurate and had to be calibrated accordingly to match their initial design and the capabilities to the 3D printer.  Some (blurry) examples of their hand painted texture maps:

 

And then she loan the floor to Brian McLean, who further incepted his support in breakthrough of 3D printing as a strengthening force in both facial animation and stop-motion, demonstrating the process of his Rapid Prototyping department-- taking the traditional and computer art teamwork, to create the first hybrid puppets.  I haven't printed myself, but am learning more about the process more and more.  It almost seems crucial as in establishing myself a professional artist.  I do not underestimate the importance of keeping up with the latest trends and learning all I can about industry... 

 

Outside of the prints of exotic custom materials and micron sizes, such as the glass seen here...

The industry printer of choice seems to be the Zcorp printers, as they as used by Pixar's as well....  Being that the Zcorps are powder based, they are extra steps needed to prepare the prototypes.  See Pixar's demo using the zCorp printer HERE.

The process in a nutshell after sending the finalized model to the machine involves, the vacuuming out of the printer and then the careful removal of all excess powder from the prototypes.  The benefit of Zcorp, or powder based printers, is that the powder is reusable-- which makes it economical for mass production.  The downside is that is takes a lot of tender loving care afterwards:

To harness results like this:

 

Summing up this incredibly long post (in which one was definitely due), we were given the opportunity to take these photographs during the production as well as snap a few pictures of the starring roles afterwards in some close up shots:

 

I'd just like to thank wanted to send out a large thank to my new friend, Joel Meyerowitz for taking the time out of his day to send this awesome set of pictures my way in order for me to put together this blog.  Always great to meet such a supportive network of artists at the sigGRAPGH's. 

Another thank you also to Georgina Hayns, Brian McLean, and Laika for setting up such an inspiring under-the-hood demonstration of their studio and all of their innovations...  Keep up the great work! 

 

And to whoever out there reads this blog, THANK YOU AS WELL!

I close this post with the hope to get in another recap of sigGRAPH Anaheim 2013, but lately have been caught up in my own personal and professional ventures.  It was another year loaded with great experiences, lots of learning, and onslaughts of tremendous talent.  As always, I was glad to attend.

Within the next few days I should have a few additional pieces of my own uploaded.

I hope that you will drop by again soon!