Photoshop applied to initial sketches

To place my character in a context, I used images from the end credits of A Series of Unfortunate Events as a backdrop for my animated character. I have tried to tie my style of drawing and use of colour in with the background art designed by Jamie Caliri, Todd Hemker and Benjamin Goldman. The full animated sequence is my favourite aspect to Brad Siberling's film adaptation of the books and can be viewed at: www.watchthetitles.com/articles/oo19-Lemony_Snicket_s_A_Series_of_Unfotunate_Events.

The Lord Of The Rings Gollum, how we made movie magic by Andy Serkis

Weta workshop's creation of Gollum proved a landmark in CG character generation. The development process is described in this book by the actor who not only voiced but provided a reference for movement and expressions, the director, cast and crew:
"We went through pencil drawings, maquettes, design after design. Even after shooting had finished we were still redesigning him, because the films evolved as they were being made.
(once Andy had been cast) - I tried to keep the proportions similar but incorporate a lot more of Andy's facial features. And it is a lot more effective, because now we have merged all those elements together, hopefully when people watch it they are wondering if it is a puppet, CG, or if it's a freaky actor in make-up."
- Christian Rivers, Designer, Weta Digital

KNB, founded 1988

makeup for Lemony Snicket's A Series Of Unfortunate Events: http://www.knbefxgroup.com/knb_alt2.html

Another tip for designing characters from Aaron Sims:
"I quickly discovered that Photoshop is a fast way of creating design options. I could sculpt a Marquette in clay, photograph it, and then come up with a number of different paint schemes for the director to look at."
He also recommends software called ZBrush:
"I'm used to complex modeling techniques that produce 3D meshes, but ZBrush is almost like taking a step backwards because it's so "untechnical". Anyone coming from the traditional sculpting world will find this software really easy to learn."

Going back to designing movie creatures and characters

One case study in this book has particularly caught my attention as there are crucial differences between this example and how I have decided to carry out my character development. Spectral motion, formed by Mike Elizalde started up through a career change from the navy into makeup for the Dave Miller studio. Mike explains how the film An American Werewolf in London (1981) and the book, Techniques of three dimensional makeup by Lee Baygan were his initial inspiration. Where as I had believed that film production teams are usually split into different, specialist groups, Mike had to cover many aspects of modelmaking, including sculpting, molding, casting and painting. Here is what he has to say on the character design process;
"If you're designing or sculpting characters, everyone has some input and you're essentially piecing together someone else's ideas."

When he moved more into the film industry, another crucial influence to his characters was the actor who would be playing them. As I will not have cyberscans of people to work from, I feel my character will be best suited for an animated film. I could reference an existing animated feature's style used at the end of A Series Of Unfortunate Events film for continuality.

Another interesting storey is that of Patrick Tatopoulos, starting as an illustrator in Greece before sending clay models to American film companys. Working at MEG, Makeup effects Group he progressed from making molds to designing characters for Star Trek, The next generation TV series. He describes how he works as follows:
"When I'm asked to design a character, all I need to do is read the script. Then I sit and draw. To be a good designer I think you need a wealth of knowldege about artisic and cultural styles, about biology, anatomy and different types of animals. You are constantly observing these things. Then, when you draw, you don't need to think about these things, they will inform your work almost instinctivly."

odd research

If you already own the artwork and character design, then I would suggest that you take advantage of the progress in computerized animation software and produce your own short preview of your proposed show. You can post it up on the internet with your contact information and try to reach potential buyers (all the major studios, agencies, and networks scour the internet daily looking for new talent).
http://en.allexperts.com/q/TV-Industry-2497/pre-Production-company-businessplan.htm

Film production occurs in five stages:^[1]

• Development—The script is written and drafted into a workable blueprint for a film.
• Pre-production—Preparations are made for the shoot, in which cast and crew are hired, locations are selected, and sets are built.
• Production—The raw elements for the finished film are recorded.
• Post-Production—The film is edited; production sound (dialogue) is concurrently (but separately) edited, music tracks (and songs) are composed, performed and recorded; sound effects are designed and recorded; and any other computer-graphic 'visual' effects are digitally added, all sound elements are mixed into "stems" then the stems are mixed then married to picture and the film is fully completed ("locked").
• Sales and distribution—The film is screened for potential buyers (distributors), is picked up by a distributor and reaches its cinema and/or home media audience.

Development

In this stage, the project's producer finds a story, which may come from a book, play, another film, a true story, original idea, etc. After identifying a theme or underlying message, the producer works with writers to prepare a synopsis. Next they produce a step outline, which breaks the story down into one-paragraph scenes that concentrate on dramatic structure. Next, they prepare a treatment, a 25 to 30 page description of the story, its mood, and characters. This usually has little dialog and stage direction, but often contains drawings that help visualize key points.

The production designer creates the visual conception of the film, working with the art director^[5].

• The art director manages the art department, which makes production sets
• The costume designer creates the clothing for the characters in the film working closely with the actors, as well as other departments.
• The make up and hair designer works closely with the costume designer in addition to create a certain look for a character.
• The storyboard artist creates visual images to help the director and production designer communicate their ideas to the production team.

-Wikipedia

Learning Agreement

I have started looking into the character of Esme Squalor, a villianess created by Lemony Snickett for his children's books, A Series Of Unfortunate Events. The first three books of the series have been made into a film featuring Jim Carrey as the book's lead villain Count Olaf, guardian to the Baudalaire Orphans and intent on stealing their deceased parent's fortune. Esme featurers in seven of the series of books that follow those used in the existing film, so I would be developing her character as intended for a potential sequal film adaption.

I now have to consider this decision when writing my learning agreement. Working from notes taken during the lecture yesterday I have filled out a planning table and proposal form that outlines how I will meet the learning criteria for each Level's requirements. The final Learning Agreement will be presented next week.

Going back to the Visual Language and Character Development brief, 08 first year brief

Due to the similarities between what I am now working on and this brief, I have been advised to look back over it, pick out the key learning outcomes and expand upon this to form my own brief.

This brief "explores the conceptual development of character through creative and critical analysis, interpretation and 3D realisation." There was also a digital outcome but I am purely focusing on the first three requirements.

From the syllabus I can draw this point from when deciding what character to produce:
Critical analysis of character, stereotyping, archetypes from literature, art and popular culture.

My outcomes should follow this template:
Use a variety of media, methods and strategies in developing ideas through creative research and interpretation,
select appropriate materials and processes to interpret and realise solutions in all media. (Here I should refere to how the character concept would be presented to a film production team.)

This unit required observed drawing, sketchbooks, research, digital images to show how your character has been developed. The final 3D realisation made up for the other 50% of the grade.

Finally, this brief requires self-evaluation and reflection - something that I will continue to record in this blog.

Reading recommendations given here include:
A nasty piece of work - Spitting Image, Booth-Clibborn Editions,
Star Wars- the essential guide to characters, Potter, Cherry, 1990,
Cinefex and FX journals,
The Puppet factory CD,
www.henson.comjimhensoncompany
www.Kultureshock.co.uk