Frank's Creature. Project Description O 7 Adding to the Requirements of the Project O 7 Online Reference Imagery: 03 Color Pallet: 03

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2 RESEARCH o PAGES Project Description O 7 Adding to the Requirements of the Project O 7 Online Reference Imagery: 03 Color Pallet: 03 THUMBNAIL o PAGES SKETCHES Head Sketches Arm Full Body Torso Leg ROUGH o PAGES OB DRAWINGS Full Body Drawings of Various Angles. COMPUTER ROUGHS: o PAGES 16 Various Body Shapes ANALYSIS: o PAGES FINAL DESIGN: Concept Drawing Different From Popular Media Constructing The Basemesh High Resolution Mesh o PAGES 18 Final Design

3 PROJECT DESCRIPTION: The project was to model and texture a 3D character. The character was to be modeled in Maya and textured in Adobe Photoshop. Furthermore, it needed to accurately represent concept art found online and have geometry that represented good geometric flow. This flow allows for accurate deformation of the characters limbs while animated. We where given the option to create any model we would like. ADDING TO THE REQUIREMENTS OF THE PROJECT: I submitted two final projects to the instructor. The first represented the requirements of the course. In creating the second project I had the intention of pushing my limits, both as a Narrative Artist and in developing new software knowledge. For the purposes of this document I selected the second project. BOOK RESEARCH: The book Frankenstein by Mary Wollstonecraft Shelley, is one of my favorite books of all time. I feel the underlying narrative transcends time periods. At the time the book was written Frankenstein was intended to be a metaphor for the state of flux in machine creation and the impending emergence of the Industrial Revolution. Groups like the Luddites where in stark opposition to the industrial revolution. They would reference Mary Shelley's monster as an example of how the Industrial revolution would lead to impeding demise. Even today with all of the talk of cloning, cell regeneration and DNA and limb regrowth their is still support and controversy by government officials and everyday people. With this in mind I selected some of the harshest objects created during the industrial revolution and used them to adorn my models body. I began researching some of the passages that reflect the appearance of the monster from Mary Wollstonecraft Shelley's Frankenstein. The two that aided me the most where from Chapter 5 paragraph 2 and Chapter 15 paragraph 5. In chapter 2 Frankenstein's creature's appearance as well as Frankenstein's view of the monster is as follows: "His limbs were in proportion, and I had selected his features as beautiful. Beautiful! Great God! His yellow skin scarcely covered the work of muscles and arteries beneath; his hair was of a lustrous black, and flowing; his teeth of a pearly whiteness; but these luxuriances only formed a more horrid contrast with his watery eyes, that seemed almost of the same colour as the dun-white sockets in which they were set, his shrivelled complexion and straight black lips."

4 BOOK RESEARCH CONTINUED: The image to the right illustrates some of the key physical attributes taken from the book: Skin scarcely covering muscles and arteries Yellow skin Lustrous black hair Teeth of a pearly whiteness Watery eyes Shrivelled complexion Straight black lips In Chapter 15 paragraph 5 Mary Shelley writes the inner monologue of Frankenstein's creature. I used this description to aid me in the visualization of the character's posture, mannerisms and facial expression. "I was dependent on none and related to none. The path of my departure was free, and there was none to lament my annihilation. My person was hideous and my stature gigantic. What did this mean? Who was I? What was I? Whence did I come? What was my destination? These questions continually recurred." From the passage: I was dependent on none and related to none. I modeled the creature with a very open stance and posture. The creature does not need to share his space with other people. This is due to his view of being alone and not needing to share his space with any other living soul. My person was hideous and my stature gigantic. In respect to the size and width of the monster and his limbs I wanted to better illustrate the magnitude or gigantic nature of the character. The path of my departure was free, and there was none to lament my annihilation. AND Whence did I come? What was my destination?these questions continually recurred. All of the adornments that hang and are infused in his body illustrate a never ending state of living in the present. His chains bind him to the present. He carried no luggage, sack or travel items. His shackles are heavy and his clothes are torn.

5 ONLINE REFERENCE IMAGERY: When creating the shoes, chains, bolts, locks and other objects that the characters wears I pulled from reference photographs found on line. The reference photographs found where taken of objects from the years spanning 1760 to sometime between 1820 and I wanted them to appear authentic. I also wanted to stay true to Mary Shelly's original meaning behind the monster's dress. COLOR PALLET: Since Mary Shelley's Frankenstein was essentially considered the first horror/science fiction novel, I referenced popular horror movies and video games for my color palette. The combination of researching several film and horror games resulted in following primary and secondary color pallets. PRIMARY COLOR PALETTE DEADSPACE BY UBISOFT JASON BY PARAMOUNT PICTURES SECONDARY COLOR PALETTE

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17 I went through several iterations in respect to body shape and composition. I did this by trying to best get down the best shape before building accessories.

18 CONCEPT DRAWING:: I created the sketch to the right by first meditating on what I read from the book. This meditation technique involves the visualization of the color, mood and picture of what I read. For instance when visualizing Frankenstein's creations face. Frankenstein wanted to create an appealing person yet through his limitations in science created a disfigured person. I than researched various illustration techniques. I went on to take what I felt best fit the mood from both my initial sketches and rough drawings. The culmination of all of the aforementioned techniques resulted is the concept art shown below. This was not a r equirement for the project I wanted to push my drawing skills. DIFFERENT FROM POPULAR MEDIA: I also wanted my turnaround drawing to resemble more of the character that came to my mind when reading the book. I did not want my Frankenstein to be influenced by the most famous imaged from the 1931 film, Frankenstein. Starring Colin Clive as Dr. Frankenstein and Boris Karloff as the creature. I felt this image did not a ccurately resemble Mary Shelley's initial vision. Though it has been a main stay in popular media such as around Halloween decorations.....

19 CONSTRUCTING THE BASEMESH: The course did not involve Zbrush, Polypaint or Substance Painter. Furthermore, my personal experience with Zbrush only involved using it as a detail tool. In respect to Substance painter I had never used the program before. With the instructors permission I wanted to create a base mesh completely in Zbrush, the flat texture using Poly Paint and refine the textures in Substance Painter. Utilizing the techniques I learned in class and by receiving critiques from friends at game studios I completed my base mesh. HIGH RESOLUTION MESH: For the high resolution mesh I utilized what I read on line, anatomy reference from books and internet searches and critiques from other character artists. This was the most challenging model I had ever created. Utilizing my meditation technique I visualized how the different parts of his body would fit together. How the skin would be effected by the chains that held him captive. Also the size and strength of the chains in my mind must have been massive and heavily d amaged. Frankenstein's creature fought captivity and through this must have damaged the aged and worn chains.. =====================

20 CONSTRUCTING THE BASEMESH: The course did not involve Zbrush, Polypaint or Substance Painter. Furthermore, my personal experience with Zbrush only involved using it as a detail tool. In respect to Substance painter I had never used the program before. With the instructors permission I wanted to create a base mesh completely in Zbrush, the flat texture using Poly Paint and refine the textures in Substance Painter. Utilizing the techniques I learned in class and by receiving critiques from friends at game studios I completed my base mesh. HIGH RESOLUTION MESH: For the high resolution mesh I utilized what I read on line, anatomy reference from books and internet searches and critiques from other character artists. This was the most challenging model I had ever created. Utilizing my meditation technique I visualized how the different parts of his body would fit together. How the skin would be effected by the chains that held him captive. Also the size and strength of the chains in my mind must have been massive and heavily d amaged. Frankenstein's creature fought captivity and through this must have damaged the aged and worn chains..

21 TEXTURING IN SUBSTANCE PAINTER: This was the most difficult but rewarding part. Not only did I have to learn Substance Painter from scratch but also learn about painting utilizing a technique entitled Physically Based Shading(PBS). PBS painting techniques deal with the physics behind light and they way it covers surface properties such as color, roughness, glossiness and specularity. The image below shows the settings for capturing the various surface properties of different materials. ( For the creatures skin I created three different texture layers., diffuse, epidermal, sub-dermal. These layers combined gave the skin a real world appearance. The cloth on his body had a soft specularity that contrasted with the gloss of his chains. Overall this gave a uneven look that more resembled real life. FINAL DESIGN: The image below is the final render in Maya. I gave him the soft hair, yellowish skin and white teeth described from the book. I also wanted to give him a larger than life stature. His posture and subtle gaze is intended to give the viewer the impression that he is not a monster but a self aware person. His awareness lies in confusion and fear of the unknown world. The textures from his skin to clothes match real world maps.