Im­prove your creature art

Ex­plains how he’s able to paint dy­namic crea­tures us­ing tra­di­tional think­ing in his dig­i­tal art – and why you should do the same

ImagineFX - - Issue 116 Christmas 2014 -

Aaron Blaise ex­plains how to paint dy­namic crea­tures.

ur­ing my early days at Dis­ney, while work­ing on films such as The Lion King, Mu­lan and Brother Bear, we would go through hun­dreds of vari­a­tions of character de­signs. Be­cause th­ese films were hand drawn it wasn’t too dif­fi­cult to imag­ine how th­ese rough de­signs would look in the fin­ished film. How­ever, after the ad­vent of films such as Toy Story and other com­puter an­i­mated works, it be­came more dif­fi­cult for many artists

dwork­ing tra­di­tion­ally to present char­ac­ters as they might ap­pear in the fi­nal film. One of my great­est dis­cov­er­ies when I first started work­ing dig­i­tally was that I now had the abil­ity to cre­ate an im­age that looked like a frame of fin­ished film. I was able to con­vey tex­ture, mood and light­ning – all in one im­age. This has great value when try­ing to present ideas to film ex­ec­u­tives, art direc­tors and the rest of the crew. Be­ing able to quickly show my con­cepts that ap­peared closer to the fin­ished look of the film cut down the num­ber of de­vel­op­ment it­er­a­tions. This means there was less back and forth dur­ing the process, and there­fore we saved money on the film’s bud­get and in­creased our ap­proval rate.

In this work­shop I’ll take you through my process and show you how I ap­ply my back­ground with tra­di­tional art medi­ums to cre­at­ing dig­i­tal char­ac­ters that look like they’re ready to step from the screen.

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