The marionette was designed to be figural in shape starting with drawing the form in the front and side planes. After creating a rigid structure, the form was further refined into more organic shapes. Blotches of blue and green on the torso with the hemp string create a moldy overgrown feeling. The dark colors on the torso and hips are in contrast with the arms and legs fleshy tone yet the symmetry of the figure balances the use of different materials with similar volume.
The process of creating a marionette is relevant to Digital Media and Animation in establishing skills with manipulation of different materials. The delicate act of connecting the parts of the body was a test of patience in finalizing the character. To improve the strength of the connection between the libs hemp was used and the black thread was left for the suspension of the limbs. Other additions to the marionette could be cloth around the torso and arms to create a more solid form or more nuance in depicting details.
The Iroquois creation story is the tale that I chose for the comic. The imagery is loosely based on the artwork in the Serra da Capivara Cave paintings “World Heritage Center”. Each panel represents elements in the story with the smaller panels closer together to show a faster action sequence and the larger panels farther apart illustrating the change in location. All of the panels are bordered as well confining the story within a rigid structure.
course site.uhcl.edu. Three versions of the Iroquois Creation Story, 2017
whc.unesco.org. UNESCO World Heritage Center: Serra da Capybara National Park, 2017
McCloud, S. (1994). Understanding comics: [the invisible art]. New York: HarperPerennial.
The comic being drawn is based on the Iroquois creation story. The five panels will depict a woman and her husband digging up the roots around the life tree in the sky. Then the wife falling through the whole in the ground created from the digging. The woman is then caught by sea animals. The frog troughs mud on the turtles back to create the earth upon which we live now.
A work in progress of character in Maya using object mirror.
T-pose for working maya character
The skeletal image is drawn with pencil on 11×14 Bienfang paper.
The focal point being the skeleton is centered along a diagonal leading from the bottom left to top right. The skeleton itself is outlined with a strong line to juxtapose the outer material and environment. The texture for the rocky background is more loose than the main figure and out of focus but uses layers of rough lines and blending to keep the environment somewhat soft. the clothing for the figure outlines the skeleton the negative space produced by the forms have their own intrigue that assists in balancing the art. The process of studying the human body and skeletal structure is important for artists and relevant in creating realistically structured figures in animated projects as well as still images.
First render of the cafe with lighting area lighting