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
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.