banana
Character Workshop Masterpost
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A crafty splicer and handy-girl. |
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Tea Warriors who have to make the best cup of tea or face a brutal deathmatch. |
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| If burgers mutated |
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| Soldier Silhouettes |
FABULOUS ASSASSINATION - Character Hair Experimenting
I just wanted to make a small update as to how I'm going about the hair of Marquise and Parfait. Usually I make the hair as a solid sculpted mesh but I had been meaning to learn a different approach to hair for a while and in my head it seems like it would suit them. It took a lot of experimenting to workout how fibremesh works inside of zbrush (and I now know you can convert them to splines to use in Maya or 3DS Max so that's even more helpful with rendering) but I thought I would show the progress a little..
Starting with funny caveman hair you adjust thickness / coverage / length etc
Next it is up to segmenting the hair into partitions and putting them in bunches. Strangely this workflow is partially similar to some elaborate styling in reality.. From here its all about styling the hair pieces accordingly. It's rather tricky to get the hair to do what you want and the exploration working off-reference would be a lot less painful!
Above was a previous experiment (of many) but I had found the length of the hair was too short and there was not enough of it in general. Needed more hair to style. All too familiar
The eyebrows are done much more simply as they stick to the mesh. All in all however I've learnt a ton and even if when I go to render it doesn't look good sculpting the hair manually won't take nearly as much time as this did. ( I should add this is all high poly)
Yoshizawa Kayoko
Some fanart of Yoshizawa Kayoko, one of my favourite more lighthearted singers recently. I based it from the styling of the video below (and had a lot of fun doing that for once):
FABULOUS ASSASSINATION - Early Sketches
Some of the early sketches of Marquise & Parfait, and further down the line Sow.
FABULOUS ASSASSINATION - Little Scenes
Felt like I needed to explore some environments with Parfait & Marquise (...and Sow) in light-hearted spirit. HOWEVER they need a greater sense of space and it's something I can keep in mind for the next paintings. These can tide the time as I get on with the 3D models for now.
FABULOUS ASSASSINATION - The King Character Sheet
never trust someone who wears strange slipper loafers
FABULOUS ASSASSINATION - Sow Character Sheet
Sow is the equivalent of a neutral friend caught in the crossfire of Parfait & Marquise's mischief.
FABULOUS ASSASSINATION - Parfait & Marquise Character Sheets
Character sheets of Parfait & Marquise; also including their own instrument and choice of glove-wear.
NARRATIVE - Fish Turnaround
Rendered using MILA Shader networks and every sort of map under the sun.
In the scene itself, there are two directional lights parented to the fish so as the fish moves the lights follow and then can be rotated accordingly with the shot needed. 4k Maps. Normal, Displacement, Height, AO is baked onto the texture.
In the scene itself, there are two directional lights parented to the fish so as the fish moves the lights follow and then can be rotated accordingly with the shot needed. 4k Maps. Normal, Displacement, Height, AO is baked onto the texture.
NARRATIVE - Fish Low Poly + High Poly & Normal Maps
Low poly model with normal maps baked ontop from a high poly version. Decided to go about remaking the fish from scratch due to efficiency with having two fish sharing the same model. By separating the fins from the model they can have a different material + different texture for each fish. (One looking more disheveled etc)
NARRATIVE - Fish Modelling
Began modelling the Fish. Workflow is high-poly to low-poly then rigging and such can be done.
Adapted Film Review // Breakfast at Tiffany's (1961)
The 1960's classic starring Audrey Hepburn as the airy, weightless and always classy Holly Golightly: Breakfast at Tiffany's, adapted from the book published in 1958 and written by Truman Capote sharing the same name; sojourns faithfully with setting & even at times choice script to present an overtly American romantic comedy in full Technicolour. Familiar appearances such as stuttering Mag W-w-wildwood, Arkansas. You know, hill country, the skittish Cat, slob, without a name, and Fred - Paul.
The ever famous opening scene of Brownstone; a bright yellow Taxi and Tiffany's (& Co) featuring Holly Golightly sets the tone for the laughable, yet sometimes droll interactions between her & Fred, however the firmly-grasping opening scene that fully encompasses the nature of a girl who can't help anyone, not even herself, and the mischief that ensues is suspect for missing in the book. Infact, as Tiffany's is shown on-screen; in print Paul -in first person - reminisces about the brownstone in the East Seventies where he had an apartment; the very same one he is seen living in as the musical score comprised of the same chord progression of Moon River plays enigmatically. - Mentioning of course that in the book version, Moon River, the harsh-tender wandering dreamboat style song was originally a melody that sung: "Don't wanna sleep, Don't wanna die, Just wanna go a-travelin' through the pastures of the sky". Comparatively the coy simplicity of Capote's "song" is nothing more than a quick tune; and the rhyming only concretes that; as opposed to the fully composed, award winning song by Henry Mancini that still remains one of those songs hummable at any given moment.
Treatment of Holly Golightly as a character transferred from book-to-film is subtle, most of her flighty nature continues on, and being able to put a face to the fondly aloof character is endearing, but as Audrey Hepburn portrays Miss. (Mrs.. depending where you're reading from) Golightly an essence of childish innocence & almost glass-like fragility becomes part of the mix; and yet simultaneously the classic ability for her to ignore the bad and continue on with miscellaneous events to tide the time such as house parties whilst she sprouts off particular French idioms continues onward. Arguably the far more stoic and reserved nature of Holly is missing in the 1961 classic, often at times moments where she does open up to Paul feel less like a breakthrough as the two warmup to eachother. The comical rubbing of her nose when anyone pry too deeply is excluded from the film however one might assume it too obvious to be seen on screen than when someone (Paul mostly, in the book) notices it as a quirky character feature.. In the scene where Holly falls asleep next to the newly named Fred but ends up having a nightmare about the real Fred, her brother, when Paul inquires as to why she is upset, she runs off exclaiming "I hate snoops.". In such an interaction where her contrasting personality shows itself so plain-to-see, her innocent aptitude to get close to people on the first interaction is demonstrated in the film wondrously, yet her bout of coldness & "that's as close as you get" attitude appears more effective in the book. Similarly, her interest with men of extreme wealth is far further subdued (though still present) as from a choice of direction Paul is always meant to be seen as the one Holly should go with in the end.
All in all, Breakfast at Tiffany's, whether watching or reading, is a witty romance that takes the girl next door and turns her into a character completely removed from others around her; uninfluenced by those she interacts with, a free spirit with an equally as free accompanying song. Holly Golightly's actions at times seem far-fetched yet completely comprehensible for the character. However, Paul's likability comes down to his part in the film; and depending on whether him getting the girl in the end results in a choice, then it is between the film or the book. Regardless of endings for each are slightly different, they both will always remain akin to a, at heart, American romance story with it's head in the clouds only to come down when it wants to make you feel something.
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