Then I would warp and distort that three quarter view until it was a full front view. I would find that creature’s center line, the very center of the design, select it, and select half of the creature and drag it onto a new document in Photoshop.
One I would use in particular was that after I designed the creature and did a full painting, the pose of that creature would usually be three quarters. In video games I used to do them all the time and there are a few tricks. I’ve rarely done an orthographic view for a film that tends to be unnecessary. JSM: Fortunately, nowadays I don’t really do that many orthographic views. MC: Can you provide any tips on creating orthographic (turnaround) design sheets? What are the specifics (views and details) a CG modeler usually needs in order to turn the 2D design into a 3D design? It’s very common in video games for different characters to share animation rigs, and you have to design it accordingly so that the creature’s limbs don’t collide with the geometry and can actually share the same animation cycle. Sometimes in a game, you actually have to design creatures around the same animation rigs. They might not have a lot of polys to resolve your design so you might have to design very simply if it’s a low level bad guy. (Note: Images below are from the film "Sucker Punch") For video games, you might have to design around a specific poly count. If it’s a visual effects character, that goes out the window.
You have to keep in mind weight distribution, the weight of materials that are going to be used to create the suit. If you’re working on a film and you’re designing a creature suit, you have to make sure that a performer can walk in this thing successfully. The level of detail is very different in games and film. In games you can pretty much just work traditionally in Photoshop without having to add any photo elements until the very end, if at all. In film, you will end up using more 3D, more photo elements to convincingly execute the designs. You don’t often have time to go and explore. Also in film, the time in which you have to work is much shorter. In film you’re doing both at the same time and it’s a bit more hectic. You determine what the basic shape is of the creature and then start to flesh out the details. In video games you literally design from the silhouette out. As I mentioned before, oftentimes in the first pass of a creature design, I have to take it as far as I possibly can so that the design looks like a still from the potential film. For film, the level of finish in the initial design phase is incredibly high. There are quite a few differences, but the basics are the same. JSM: I’ve done a lot of work for both the film and game industries. What in your opinion is the difference in creating concepts for one or the other? Which do you prefer to design for, video games or films and for what reason? MC: I see you have worked on both games and films. Jerad has worked on a number of projects including Sucker Punch, Clash of the Titans, Infamous 2 and many many more. In addition to concept work he also teaches a course at the Concept Design Academy and The Gnomon School of Visual FX. Marantz Jerad is an accomplished Creature and Character design artist working for the film and video game industries. To those who have missed it, the first portion of this interview can be seen here: Part One - an interview with Jerad S.
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