Month: December 2024

Introduction to Values!

Following the iterative process and coming to a conclusion on my final design, it is time for me to run through the colour iteration process, leading to my final proof of concept being ready for me to start production in E2.

Firstly, I started with an improvised value sheet, based on what I assumed would be the correct values for the characters to have. Originally I intended to use these values to figure out my colour palettes, but alas there was an issue with this; incorrect values lead to incorrect colours when you apply the colour layer to the value layer, and this was a problem I faced, meaning I had to change my approach.

From this, I had a point of reference at the beginning of this process, ready for when I chose my final colours, in order to help me understand and expand my knowledge of colour and value theory. To start, I worked on the Monstera’s colours, and used an array of different methodologies to find different palettes.

Introduction to Colour!

As you can see, there are seven different variations, including the original base palette that was experimented with. The original palette was made based off of photos and key references from my moodboards, resulting in a more accurate palette when compared to the sources. The six different variations were consistant amongst all the different characters colour variations.

These are; Var1: 1 layer Hue Adjust – A variation where the original colour palette is merged into one layer and hue values are changed in each colour channel (Red, Green, Blue).

Var2: Individual Layer Pastelization – A variation where each individual colour layer is taken and Hue Adjusted, but to a point where the colours appear more pastel and bright, making use of small doses of saturation and large brightness adjustments to achieve this result. This is mainly done as the most extravagent and dynamic variation to see where the original palette can be pushed in order to understand the maximum scale of variety a colour possesses.

Var3: Primary Colours Complimentary – A variation where the colours primarily used on the body, outfit and weaponry are changed to the complimentary counterpart.

Var4: Analogous + Monochromatic Hue Adjust – A variation where the hue is adjusted based on the Analogous and Monochromatic colours assigned to the character to look brighter and appear more vibrant.

Var5: Analogous Body + Monochromatic Weapon, Shield & Lineart – A variation where the primary colours of the body and outfit are of an Analogous relation to the original palette, followed by the features/characteristics being defined by the colours of the Monochromatic relation to the original palette.

Var6: Lineart Colours Complimentary – A variation where only the lineart is changed to the complimentary counterpart, in order to see and understand if it possesses strong chemistry with the original colours.

With all these iterations, it allows for much more experimentation than if I were to just adjust hues only (as I have done in previous work), and gives me more opportunity to find a palette that I really enjoy and wish to persue. From the monstera, we move onto the colour testing stage for the Aeonium.

Var3, 5 and 6 were all arranged and performed by hand. Attempting to recreate the Analogous colour for the Aeonium on a hue-slider specifically was a challenge, but it did end up to be one of my favourite colour variations, however a bit too saturated. Following this was the Aglaonema.

I really enjoyed Var1 for this concept, considering the nature of it being a supportive character with the white and red colour scheme seeming to work out perfectly. However, I did note that this was the character of the Aglaonema PINK Star, and therefore had to ensure that the colour of the plant was pink. Sadly it means I couldn’t utilize this colour variation despite my upmost temptations to do so.

Final Colour Palettes – Proof of Concept

To conclude my E1 work, I had to make my decisions on the colour palettes and confirm them, with a following value sheet to adhere to. It was also at this time that I gave the characters names. The Monstera is named Ebony, the Aeonium Ganymede, and finally the Aglaonema Ivory. Admittedly the only justification I have for these names is their similarities to plant-features/ natural presence. However this is just inferred, I personally enjoyed the names and believed they fit with the assigned characters.

It can be argued that there are some similarities with the proposed values and finalised values, but ultimately the differences are more prevalent. In regards to the colour palettes, I enjoyed Ganymede’s original palette the most, and also believed it to fit in most appropriately with the cultures and research that I had done throughout this process.

However, I was able to apply my variations to Ebony and Ivory a bit more, as whilst the originals were nice, there was still something missing about the colours. In regards to Ebony, the plant colour does convey the ancient message due to its low contrast and relatively impartial brightness, alongside much darker elements in the weapon and shield. Ivory made use of the pastelized palette, considering its nature of it being a supportive character, more pastel and brighter colours can help to convey that sense of safety and reassurance, whilst also not being incredibly saturated and overwhelming.

Overall, this concludes the work that I have done for E1 of Final Major Project, and now we push into E2, starting with the character sheets and mannequins that I will require for the sculpting process to begin. However, for now, its the holidays and to prepare myself to work as hard as possible in the new year, I need to take a break. Many time constrains have left me with a lot of crunch and stress, and I need to work that off before taking more in, so for now; Merry Christmas, and a happy new year!

First Drafts!

To start the thumbnailing process, I need to start with the basic sketches, whilst also applying my understandings from my research paper. As a result, I have these first 3 sheets, whilst also indicating the shape language with a red-outline.

From these, you can understand how I’ve tried to incorporate and focus on shape when considering proportion and scale. An example specifically being the Aeonium thumbnails, with the characters having a predominently rectangle shape, but making use of a large majority of the space in order to emphasise its scale.

Alongside this, it was incredibly important to understand the silhouettes that correlated depending on the role of the character, with the monstera silhouettes being the most defined and clear with features being clear demonstrating a feeling of uneasiness, on top of the Aeonium’s being more blocky and full; which adds to the intimidating nature of a tank.

However, this same premise doesn’t exactly apply to the Aglaonema, considering it uses a variety of shapes to understand which one is the easiest to feel safe around, of which the square or circle fills this expectation. On the other side though, it can be argued that the rectangle shaped figure looks quite approachable, whilst the triangular shape was trying to appeal more towards the warrior ideation rather than the supportive figure concept. Following these concepts, came my selected first thumbnail to further iterate into different ideas.

Iterative Process!

As mentioned above, I needed to take these concepts and create more concepts from their features. I primarily achieved this by taking the original thumbnail, and trying to iterate features and design aspects from the other original thumbnails into the design. This way I would still be making use of my research for my concepts whilst also pushing and adapting new unique designs for each character class.

For the iterations, I wanted to focus on specific elements I felt that weren’t as strong in the original design, and focus on that to change shapes and hone in on a silhouette that was satisfying to look at, whilst also being easy to understand and fitting in the plants assigned class. As well as the previously mentioned aspect of combining features from the original thumbnails.

In particular. my lecturer provided me with strong feedback which helped me when it came to iterating and designing the Aeonium designs, as he noted that both iteration 1 and 3 had issues. It1 struggled with looking too close to the original, whilst also being too condensed, it needed space to demonstrate how intimidating it truly was. It3 was argued to not look intimidating enough, and more approachable than the other 2 designs, which is the opposite of which I wanted to achieve.

After my lecturers feedback, it resulted in the iterations looking like this:

Notably you can see that It3 has a pot combined with the plant, similiar to thumbnail 2 from the original concepts, and the arms for it3 are more prevalent and spaced out, whilst still remaining at a point of similar reach and scale.

He also made some pointers regarding my monstera concept, informing me that use of the macuahuitl would work way better than a basic greatsword. This is something that can be noted in my designs for It1, and as my notes suggest, I wanted to take the weapon and replace It2’s existing weapon with it, as well as add more depth and solidify the shield I had designed.

Following this feedback and changes that I had made, it was time for me to compile the final concepts so that I could move onto colour testing and value arrangements.

Final Designs!

For now this is the end of my iterative process for thumbnail designs! In my next blog I will be discussing colour testing and deciding the final colours that fit the design, based on my research and understanding of character roles – ergo my Proof of Concept for the project guidelines. Whilst originally my plan was to have the 3 characters ready with front and side views, the time constraints have hit quite hard, as is apparent from the date of this blog. To combat this I have to scale down, but ensure those sheets will be completed when it comes to final production in E2.

See you next week for the Proof of Concept and finalised colour maps!