Showing posts with label catg: Other Peoples' Art. Show all posts
Showing posts with label catg: Other Peoples' Art. Show all posts

5.07.2010

Video Game Concept Art

[Freeform Blog Post for Drawing I]
(Edit: None of the artwork in this batch of posts - all for Drawing I - is original! Saying that now while I contemplate archiving them somewhere.)

Mass Effect is a series of video games. Being a sci-fi setting, the Mass Effect universe also features some variety of alien races (see a theme here?). Putting both of its sequels aside, there's various concept art for the original Mass Effect floating about the internet, and Creative Uncut has managed to collect a good selection of the stuff.

In lore introduced by the commercial release of the original Mass Effect, the salarians (uncapitalized in keeping with setting lore) are one of three Council races, which represent the most important races of the galaxy. While also the only Council race the player character cannot recruit a teammate from, a secondary antagonist on one planet provides a character to remember the fast-metabolism'd perpetually-in-a-rush science-savvy vaguely-lizard-like species by. A salarian teammate is added to the second Mass Effect game, but this blog post will focus on the species' appearance's development prior to the first game.


Salarian facial features, in development, quickly went from squat to elongated, giving a less froglike appearance. Key traits such as eyes, eyebags, and the pursed lipless mouth were retained throughout, although the tattoos and early headlobe adornments went. On the final revision, the only changes aside from a more refined drawing are the lack of tattoos and much wider eyes, the latter of which help to offset the species' frowning-by-default mouth whilst invoking the classic Greys.

As for technical merit, the shading on the finalized salarian facial concept looks lovely, I feel. A definite light source located somewhere to the right illuminates the head's smooth top and eyelids, not reaching the valley of the center vertical where a human's nose would jut out. Nostrils are tucked to the sides of the surface which functions as a nose-of-sorts anyways, directly below the eyebags. While heavily detailed with black line, the eyebags aren't loaded with any additional shading and thus remain a contrast to the blank black eyes, preventing those dark features from dominating the face. Overall, the drawing is smooth, balanced, of cool grey tones, and an appealing alien portrait.


The first of the above pair corresponds to the second salarian face sketch; although colored, it comes from an apparently early stage in the development of the game. It comes from a page which also includes a couple other, more exotic species, which I don't happen to recall seeing recognizable descendents of while playing the game.

The second of the full-body concepts bears no marks of drawing, and indeed appears to be a 3D render created later in the game development process. The leg design has been changed, and the skin tone made more grey than blue. The style of clothing has also changed- perhaps indicating a change in not just the species' appearance, but their general demeanor.

I dislike how the salarian head is rendered in comparison to the shaded facial concept earlier, due to some key changes. The render's eyes don't just forwards as much; together with the much darker eyebags, they produce a very sunken effect. Without as much highlight on the eyelids, as much shading on the nose-region, and with eyebags which blend with the dark eyes, the face loses its balanced brightness/darkness and instead relies on contrast.

The top-of-head markings, sort-of-restored from earlier concepts, force some nice shading up there but emphasize the white flatness below. The render's half-open mouth emphasizes a feature which remains muted in the concept drawing. Perhaps increased contrast increases recognizability at long range, where muted features blend together, but I feel the effect comes off poorly in this render.


Perhaps it's just that render; I feel the salarian comes off fine in this screenshot, although with a different aesthetic to it than the concept portrait. More angular eyes, more texture, and a different balance of light/dark. The grittier details sell it, I suspect. And the eyes, which have depth created by eyebrows and the reflections of two separate light sources, whereas the concept render suffers from flat and empty eyes. And the lighting's work elsewhere, giving the nose-area what depth it actually has, defining what became flat and textureless in the render.

Hm.
Ultimately, I do like the salarians as a species, both for their appearance and description. They don't quite win out over the turians- which are based on *dinosaurs*, -to me, but certainly beat boring humans and the very feminine yet... um... fully compatible asari.

[To avoid ending on that note, I'm surprised I found a worthwhile comparison in this post.]

5.06.2010

COD Student Art Exhibition

[Freeform Blog Post for Drawing I]

Last week, a new exhibition opened in the College of Dupage's (COD) Student Art Gallery. Announced via posters in the McAnich Arts Center (MAC) and a short article in the school newspaper, Xenos features digitally illustrated artwork of various original alien species. All were created and illustrated by Alex Yaeger, a graphic design student at the college.


Left: Emissary by Alex Yaeger, 2009, digital illustration.
Right: Apocethary by Alex Yaeger, 2010, digital illustration.

Students and otherwise who frequent the MAC may have seen another work of Yaeger's, The Gardener, mounted by a second-floor hallway in a small lounge. Yaeger's portraits for Xenos, while distinct in their presentation, visibly share similarities with his earlier work.

Some of the Xenos exhibition's content can be seen online at Yaeger's deviantART page, along with other works of his. But while some commentary is attached to the artwork online, a couple additional portraits and all of the pagelong descriptions associated with each portrait appear to be exclusive to the physical exhibition.

Part of an exhibition, in addition to the content itself, is how that content is presented. The Student Art Gallery is left mostly bare for Xenos. The gallery floor merely houses a desk, at which a student sits to mind the gallery while it is open. An introduction page is on the wall next to the entrance, explaining some of the creative process Yeager used.

Pairs of portraits of aliens and descriptions of their homeworlds are mounted along the back wall to the left from the door. All of the species exist within the same, futuristic setting, and so occasional mention is made of their opinions of each other. Most of the species' features resemble human features to some degree, whilst taking inspiration from well-realized combinations of fantasy and sci-fi archetypes.

An additional poster-description pair is mounted on the far wall from the entrance door. I nearly managed to miss it when visiting the exhibition, despite its theoretically plainly visible location. In addition to being on a different wall from the other species, this piece features a poster of very different presentation from the other portraits, although the description's format remains the same. Perhaps fitting for a piece representing mutants? Perhaps a sort of conclusion to the exhibit.

Being personally interested in fictional aliens, I was eager to view Yeager's Xenos exhibition yesterday. Each species' description nicely supports the excellent artwork it accompanies, and there is not an overwhelming sum of content. If you happen to be at the College of DuPage, have some interest in portraits or sci-fi fantasy, and have half an hour to spare, perhaps you should consider stopping by the Student Art Gallery.

COD's Student Art Gallery is located on the first floor of the Student Resource Center, not to be confused with the Gahlberg Gallery in the MAC. The Xenos exhibition is on display through June 7th 2010.

The Student Art Gallery is only open at certain times each day, which I unfortunately do not have a list of, although one is posted near the room's door. Yaeger's work can be seen through the room's window-walls, but being unable to read the text associated with each poster defeats the point of physically visiting the exhibition.

4.30.2010

Contemporary Architectural Drawing

[Blog post for Drawing I]
[Late. Sorry.]

"Today, I'll be writing a post about an architect named Ralph Johnson. According to his Wikipedia page, some of his most notable projects include Boeing's worldwide headquarters and a terminal (which one is not specified) at O'Hare International Airport. He has also designed a building called Skybridge, 22 West Washington as seen regularly on the local news around here (sort of), and this green skyscraper which is entirely one residence.

"How I came across Ralph Johnson? By finding a page about the surprisingly amusingly named Ralph Johnson Bunche House. Not to be confused with the Ralph J. Bunche House, which was the boyhood home of a famous guy from before my time named Ralph Johnson Bunche. Bunche's original home is now listed in the National Register of Historic Places, as is his later home, the Ralph Bunche House -- as the building is referred to by governmental documents."

Top, the Ralph J. Bunche House. Bottom, the Ralph Johnson Bunche House.

And then I finally realized Ralph Johnson didn't design the Ralph Johnson House, as the 1949 building is called on that webpage I found, at all. Nope, that architect was Harwell Hamilton Harris, whose Wikipedia page features a better biography than Johnson's, but a disappointing failure to clearly provide actual examples of his work. Fortunately, ArchitectureWeek provides nicely on that front.

Ralph Johnson House, by Harwell Hamilton Harris, at Los Angeles, California, 1949 to 1951.
Top, lower plan. Bottom, upper plan.

Here, we have some design drawings which look like they were made on a computer. From 1949. Quite impressive, considering. I'm just sad the images aren't higher resolution.

Even with higher resolution, I wouldn't be able to figure out what that pipe is doing on both stories of the house, going through a lake or something. I can't tell what the circle to the left is about, either. But it's hard to go wrong with nice, simple walls and doors, plus tiny little furnishings which make it clear what many rooms are for despite any textual labels being thoroughly unreadable.

Note the bold lines which make some walls pop. Note the approach to drawing 'trees' from top-down in a clean yet detailed manner, as best you can at this size anyways. Note the lack of clear labeling for staircases and front and back doors, making the plan's functionality difficult to locate knowing not where it should be. Know that proper functionality does exist, seeing as Ralph Bunche lived in his new house for over thirty years.

Admire the drawings, and wonder how long they took to produce at the time and how long similar schematics would take to produce now.

4.09.2010

20th Century Contemporary Drawing

[Blog post for Drawing I]
[Previous post was harder than the first three. Current post was harder than the previous post. I hope next post won't be harder than the current post...]

It's really quite frustrating trying to track down... well... some random preferably-nice-looking drawing made sometime between the end of World War II and the year 2000 AD. Mainly because most artists are painters or sculptors, not using drawing to produce a finished product.

Web #1 by Vija Celmins,
1999, charcoal on paper.

Hey, this might work. The page I found this on is happy to gush about fragility and the universe and something something something. Um, okay, that's nice.

It is kinda an interestingly shaped spiderweb. I wonder why it is shaped so. The outer frame looks to be held by three to five objects, with plenty of lines radiating in towards the center. The cross-silks show up a short distance along the way there, but eventually give way when nearing the center for some reason, only to resurge in a tangle at the web's center.

Well, it looks like a tangle from here. The picture of the work's not very high resolution, even though the original is, by my calculations, 15.8494112 feet across diagonally. I'm pretty sure my calculations are wrong, since it's officially about 17 2/3 in by 21 in. Oh well. Guesstimating the thing to be about the size of a nice computer monitor, and also by consulting my 18 in by 24 in drawing pad, well, maybe it's not really big. I still can't tell from the pic if the tangle is more detailed than a simple blotch of white.

I do wonder how Celmins got those lines so fine, especially on the cross-silks or whatever they're called properly. They're not even pencil-line, but instead erased out of charcoal, presumably. How do you get a really fine line when using an eraser? Use the corner of a really hard one?


But the real reason I'm talking about a work by this artist in particular is another work of hers. It's an etching, and doesn't really have any business being in this post according to the assignment I'm working to, but it just fits in so perfectly with my previous post.

Constellation - Uccello by Vija Celmins,
1983, aquatint and etching on paper
The contrast of a perspective-heavy psuedo-3D drawing next to a very-much-flat batch of stars is not helped by the two portions of the piece being of different dimensions. But some people appreciate this sort of thing. I just appreciate stumbling across something while doing this assignment, which has to do with what I stumbled across and ended up using while doing the previous assignment.

3.19.2010

Italian Renaissance Drawer

[Blog post for Drawing I]

My previous blog posts have been about things I have some interest in- that I know something about in the first place. An artist who drew stuff during the Italian Renissance would not be someone I know about.

A look at Wikipedia, though, brings up... perspective! I'm sorta interested in that. So of the artists from that time period, who utilized perspective- are best known for that, rather, -who can I find an example from which hopefully illustrates that they did indeed draw, and thus qualify as the subject of this blog post?


Hm, Paolo Uccello's the easiest to fit. Regardless of whether the paolouccello.org (left) or Wikipedia (right, originally from some place called aiwaz.net) version is truer to the original, or something, they both illustrate perspective. Some form of it, anyways; they're wireframes, which is nice considering they're hand-drawn and all, but there's not a vanishing point in sight.

The only example of a drawing from the required time period showing a vanishing point, which I can find anyways, is this one (to right). While attributed to Brunelleschi by this page, it's attributed to Unknown by the one I linked to just before. So that's why I'm not doing this blog post about Filippo Brunelleschi.

 That reminds me, I ought to get back on topic.

Paolo Uccello was born Paolo di Dono; his father, according to Wikipedia, was named Dono di Paolo. Geez, what naming scheme did the Italians use at the time? Well, Paolo the artist's nickname came from his love of birds, with Uccello simply meaning 'bird' in Italian. While no paintings by him of birds seem to have survived, presumably thanks to his relative unpopularity in his time, he ended up better known for his use of perspective anyways.

Uccello obsessed plenty enough over perspective, after all, perhaps because he was also a mathematician. People didn't bother remembering much about what he did with math. But one site tells of his long studies in drawing foreshortened objects; he would stay up past his wife-enforced bedtime as he practiced the skills that would let him produce artwork such as 'Niccolò da Tolentino Leads the Florentine Troops'.

Said piece bustles with figures, one scene that could stand on its own nowadays in both the foreground and background. A midget-sized knight lies dead on his face near the very front, but issues of proportion aside, the perspective used on him was something never seen in painting before Uccello's time. I guess people didn't see the point in bothering with live models for things other than portraits back then?

All in all, Paolo Uccello is one of the lucky artists who somehow ended up immortalized by... what puts these things on the internet? Academia. Even if they rejected him for serious consideration while he was actually alive. His daughter Antonia Uccello (who ended up a nun) doesn't even get much out of her father's current renown, since despite being a 'paintress', none of her works actually survived till' the point someone would record them.

Time's a pesky thing, it is. Why, at this moment, the sun's rising outside my window and I'll need to get to class in an hour! Ah well.

Casual writing assignments are a nice change of pace when it comes to spending way too much time on the computer.

2.26.2010

Fav Movie(s)

[Blog post for Drawing I]
[...wait, how many more of these to go?]

Movies... I don't watch many movies. And of the few I can think of right offhand, and which I'm sure I enjoyed, I can't think of much interestingness to make a lengthy post about.

So even though I've put this off until literally hours before a morning class (that I'm not sure if I absoloutely need to have this ready in time for, but beter safe), here's an in-order list of the three movies I've been able to remember enjoying.
---
3. Wall-E
I saw a Wall-E... um... figurine, of sorts, in an office attached to College of Dupage's Academic Computing Center yesterday. That reminded me about the movie (poster left) pretty effectively. It's an interesting one- summary on Wikipedia, if you haven't seen it and don't mind spoilers.

The highlights for me: first, when the mini trash compactor Wall-E's love interest, the futuristic EVE, lands on the planet... and ends up shooting at him with an arm cannon. I do enjoy a strong female character, though she soon ends up in need of rescue.

Second, skipping ahead to the finale: EVE's rescued, but all the too-fat-to-walk humans have ended up wiggling helplessly on the floor of the recreation deck. Zoomed out, it's a bit disturbing- and great for driving in the secondary (maybe just second main?) moral of the movie, to not let humanity wind up like that. And it's a better moral than the standard friendship or confidence ones, I figure.

2. The Incredibles
The Incredibles (poster, summary) is another Pixar movie, a slightly older one. This time there's forcibly-retired superheroes instead of robots, present day instead of future. And the moral, um, I guess it's not so blatant as Wall-E's- there's a subplot about confidence, but the main story seems to involve avoiding lawsuits, not snubbing psychotic fans, and not building a killer robot that can figure out you've got its remote.

Well, what happens on the way is fun enough- and though there's action, a rapid-fire slideshow of deceased superheroes making their only appearance next to the evolution of the aforementioned killer robot, that really grabbed my interest. When I got the DVD, the second disc of which even included short bios for all those superheroes, I worked through the slideshow something like frame-by-frame, to make out all those names and 'TERMINATED's. (Or, uh, whatever synonym was used in all-caps.)

The most memorable bit, though? No capes! That is, a short but example-filled (with a fully-animated cut to each one) rant by the wonderfully eccentric Edna Mode as to why traditional full-length capes are very bad for their wearers' safety. While hilarious (perhaps morbidly so), it's also a good point... though I'm sure simply making the cape detachable would work fine. The things do sometimes look nice...



1. Ice Age
My favorite movie, however, is from Blue Sky Studios. Ice Age (poster, summary)- the first one, mind you, not so much the sequel (well, that one's nice too) or the one after that (haven't seen it; dinosaurs, really?).



Ah, dandelions- one of Sid the human-sized Megatherium's favorite snacks, unlike pine cones, as revealed when he tries to calm down two rhinos... having just stolen and eaten said dandelion, while tracking something brown he stepped in onto the remainder of their salad. The herbivores, unfortunately, are still willing to kill Sid the Sloth; at least they'll "just break [his] neck; [he] won't feel a thing."

He survives, by running away. Scrat the Saber-Toothed Squirrel, meanwhile, continues to run right into painful and normally deadly situations while searching for his acorn, in a continuing sideplot. Despite being squeezed by glaciers, trampled by migrating hordes, and zapped by lightning, the poor bushy-tailed thing survives as well... to never get his acorn. Sad, but in a slapstick-funny sort of way.

While Ice Age has a plot, returning a human baby to its family from which the heroic band of misfits' Saber-Toothed Tiger stole it, more important is how it ferries the characters from one scene to another. One sees them trying to coax one watermelon out of the stockpile a large group of Dodos have prepared for the coming disaster, so as to feed the baby they're currently taking care of.

A stockpile consisting of three melons. Two of which end up smashed, despite the Dodos' hilariously incompetent efforts to save them, and after they all get themselves knocked out, the last of which comes to rest in Sid's hands. In his victory dance, he smashes it.

While Manny the Mammoth yells at Sid, the baby chows down.
---
The strength of my memories- here interpreted to which were my favorites -of these movies is the reverse of when they were released, the oldest standing out most, although Ice Age did get those two sequels... I wonder how much that has to do with it, come to think of it. But hey, it's computer-animated, funny, and plays to my interests- animals, at the time. I guess that well enough seals it as my favorite movie.

...maybe I should have made this whole post about it, after all.

2.12.2010

Bionicle Artist + Piece

[Hopefully-not-overdue blog post for Drawing I]

BIONICLE is a series created by LEGO, mainly sold as sets containing buildable action figures. But when introduced back in 2001, it was also the first LEGO series to boast an original storyline, replete with a line of comic books. The series' lore has since expanded to encompass web-based games, serials, and podcasts, multiple video games, and even three direct-to-DVD movies. All this has been fostered by an active community which has created the large yet well-maintained BionicleSector01 Wiki.


My own interest in BIONICLE was, perhaps, triggered at the end of 2002, as the Bohrok Saga was tied up in issue #7 (or was it 8?) of the comics' initial series- I having received said comic with the LEGO Club magazine. I received my first set in Summer 2003, and things snowballed for a time after that.

The BIONICLE comics have moved through five main artists over the years, from Carlos D'Anda's detailed set-accuracy from the first comic in '01 (shown right), to Randy Elliott in mid-'03, who made heavier use of black in '04 as the series delved into its timeline's past. Come '06, Stuart Sayger drew far more stylized designs, complementing the Darker And Edgier* storyline as it shifted back to the present; Leigh Gallagher brought back the more set-accurate style in '08, perhaps using sleeker detailing than those prior.

*Look it up on the TVTropes Wiki, if you don't mind losing half your day in there.

In 2009, Pop Mhan took over, another freelancer who's worked with DC Comics- the publisher of the BIONICLE comics. Mhan's art style is reminiscent of Gallagher's... still set-accurate, helped over earlier artists by the sets' increased articulation over the originals of 2001. I can't really think how else to describe it.


I especially like the image of his to the right, of former god Mata Nui's newly human-sized body, scaling down from a giant robot but up from that mask he's wearing. See, his body is technically composed out of sand, explaining the dissolved foot; don't worry about how he gets golden-black armor and glowing blue eyes (not shown) from that.

Er, anyways, the angle is looking upwards, giving a greater impression of size, and just a nice look to things. Solid black regions prevent an overload of detail, diverting your eye until you realize, 'Where's his torso?' Behind the whipped-up sand, a pleasant blue sky provides a nice change of color, and perhaps also an appropriate heroic note. The silver pointies at the base are from an unfortunately cropped-off beetle. But overall- a striking and heroic image, of a single character.

In fact, being able to create this type of illustration, showing the viewer a character otherwise described through words (even if this one has an action figure, too), is my practical goal in taking Drawing I.


Recent events in the BIONICLE storyline have given us two giant robots fighting, one of which hosted the entire setting prior to 2009. Fortunately, this makes for some very awesome pieces of artwork, as the folks over at the BionicleSector01 Wiki have decided lately, and I think can be seen here.

Unfortunately, the battle of these robots- well, at least the collecting-armor-pieces antics of their allies and enemies, -mark a climax to the BIONICLE line of sets. I've personally stopped purchasing the things, that not coincidentally coinciding with the release of Spore. But I do still follow the story, those web serials and podcasts (as transcribed by some nice Wiki folks), and those'll be continuing a year, more, longer.

The comics- available free with the Lego Club Magazine via subscription or in LEGO stores, as well as a sampling on BIONICLE's official site, -however, will go with the sets, making Pop Mhan the last main artist for the series. I figure he and the rest of the team are saying goodbye in great fashion.

1.28.2010

Favorite Artist + Song

[Blog assignment for Drawing I (!)]

My favorite artist- using the term in a looser sense than just visual artist, -would probably be Dream Theater, a Progressive Metal band with a penchant for long songs. Though founded well before I was born, they are still active to this day, touring, and even releasing an album as recently as last year.

You may not have heard of Dream Theater... perhaps you have if you're a musician, though. Y'see, their only true mainstream hit, 'Pull Me Under', was from their second album entitled 'Images and Words'- but Dream Theater is fairly widely known in the music community for the musical prowess of its members. Odd time signatures, shifting through those and with blazing speed to boot; hard to play, but they make it good to listen to.

Dream Theater's music ranges from the melodic to the heavy, as pointed out by their own 'Greatest Hit (...and 21 Other Pretty Cool Songs)' compilation album that I didn't know existed until doing research for this blog post. Melodic songs like 'Space-Dye Vest' feature keyboard melodies made to sound like piano, or in 'The Silent Man', acoustic guitar strumming. I like the former, myself... not so much the latter. Heavier songs are more prevalent on their more recent albums, especially the very metal 'Train of Thought'. (cover art)



My favorite song art piece- and not that I've given this much thought, -I'm saying is 'The Mirror' by Dream Theater. It's one of their heavier ones, though from an older album, 'Awake'. Same album as 'Space-Dye Vest' and 'The Silent Man', actually. Feels different from their recent heavy songs, though I have no idea how to describe how.

The song's lyrics are coherent and free of metal screams, sort of telling a story; they also have an alcoholism metaphor to them, or so I'm told by related Wikipedia articles, something I'll really just ignore. But tying into this, 'The Mirror' is repeatedly referenced by later songs in an album-spanning suite of related songs. Those songs' position in the suite is even marked in the album notes, not that there's ever any explicit mention of a suite existing!

As this post is making clear to me, I'm not very serious about my music. I don't even focus on a single artist, these days, instead listening to Pandora Internet Radio, sometimes looking up a song I hear on radio or at dance class on YouTube, or ripping to the computer a new CD of my dad's he's been playing in the car that I like. The last of those is how I ended up listening to Dream Theater in the first place, though I'm unsure if 'Awake' (cover art) was a new CD of Dad's then or if I ripped it to the computer.



In any case, good music artistry is bad artistry is great artistry, depending on who you ask. I happen to mostly like Dream Theater, especially 'The Mirror'. Who d'you like?