Friday, May 29, 2009


This guy still needs some work, but I learned a really good theory working with it.

1) Lay down the drawing

2) On a separate layer, fill in the base color values, either by tracing them manually or with vectors

3) Use a gradient to express color change, with pixel lock on. It really, really helped me get a interesting palette this way, as well it allowed for light change.

Gradients rock the cocks?

I have been a-modelin' a character in Maya for Tad Studbody, hopefully one that I get to rig and animate. I loved bloating her proportions, proportion-unfriendly characters are more real to me, whether it's potato or onion shaped, I like character. Sexy bitch design courtesy of the KWadd.

FUCKY FUCK, I need somewhere to put my flash assignments so they actually work.

Flash...I REALLY wanted to kill the little guys, but coding it in broke a lot of other shit the last minute. I like the limited animation in the little alien guys...ridiculous. Click on the little guy when he ducks, and you'll meet the Olde Gregg.

Damn...a blast from the past...I wrote this...six years ago? There are some haughtily written lines in here, but nothing a little soul could carve out. Weird to look at. I wrote for SO long, so much more than I ever drew. Well, the now is the flip side, and I do miss it a little. The thing is, all communication is the same, it's the medium that changes on you.

The Phoenix of Water

“To begin with words will not satisfy, but it is my only chariot.”

The tempest made what would be Earth, what would be the ground, whirl up in the
winds that propelled bullets of ocean in all directions. Hiding from a storm is
no option--the Sea will creep to find you, the squall will crawl in seeking you.
The only shelter for your life lies within the extent of your skin, or the inlet
of death in your soul. In that it is unlike Earth.

Friction boiled water between my fingers, carved the flesh off of them, and the
salt hung in the water stung my burns. I caught the coarse rigging and I was
losing the same friction in my soles that began to skin my palms. My mouth was
opened high and broad, and I inhaled between drapes of water melting from the
heads of waves. Coldness was of me, and stayed in my bones to store heat where
the whole of my body could not feel it.

And then I saw it. An illuminated band of sunlight on the horizon, just beyond
the extent of the storm and at the edge of visible Earth. I could not wait for
it, but it would come. Would I wither in sunshine? Would the skies broil my
bowels if I made it through?

I lost my grip from the floor. The rigging sheared my palms and the mast
snatched onto torrential winds; the rigging whipped around and seared across my
temple, wrapping around the rest of my head, but did not stop my falling. I
rushed to the water-layered floor, my skull skipped across my wet deck, and
waterfalls fell over the sides of my ship. I was immersed, baptized for my own

“Throw your jewels, and all treasures, or the Fool will sink to the sea’s
bottom.” I equated this to a rich man burning money for warmth. But it wasn’t
warmth that I needed, but dominion over nature.

What becomes significant now when significance may soon not matter? My scalp
snapped open like a metal-clasp purse, and white fireworks burnt up into the
scope of my black eyelids. My blood washed with rain over ship grew fat
and greedy with seawater.

Fear gutted me and I stroked toward the sky but my vest pressed me downward
against buoyancy. I felt for the sides of my boat and pushed against them,
holding on, letting go.

Seventy feet under, the storm tore to a buttery sky, and webs of necklaces
glittered from fighting sunshine and divided my last bubbly exhalation.

What's weird about it as well is that after art, I feel like I wrote a lot better. There's more tactile explanations, I guess it makes sense. I'll post some more stuff when I find it...:OOO

There's Sound--roll out the headphones:

CG 275 Final...a lot learned, especially about modeling. I'm pretty sure I forgot to turbo smooth Baba, but it's all good. Great class. Chopping up this track was really fun too, and getting it to match up to certain points was REALLY fun.

Friday, May 8, 2009


Still working on this...Kirk re-gave me a new technique from way back in the day for this guy!

1) Use an overlay layer to create lights and darks for shadows. It does a great job of burning something in, and any color will work.

2) After laying down the shadows, you can use the smudge tool for moving around the color just like oil painting.

Also, using a custom brush with smudge is a great way to modify silohouettes, especially grass/fur/ect!

You don't have to use an overlay layer for that, it's actually great to use with just two colors to make forms. TRY IT!!!

First Maya assignment is a scene layout...Our teacher is super helpful and knowledgeable, and so far it's been really fucking fun. I've never modeled in Maya before, but they path we've learned is really cool. Thanks to the Sucka peep for a awesome concept art (art was originally from Sucker Punch's game Sly Cooper...pretty nice).

In other news...controlled breathing has illuminated me to both insomia and waking up when I want to. Makes sense, but it's something I discovered myself after applying a rule from Kirk about riding bicycles, and that you can ride them forever if you just breathe right. Forcing yourself to breathe faster when you're dozing off can keep you awake, and similarly, when waking you can prevent yourself from falling asleep by starting to breathe faster. It's dangerous, but true.