Of Two Cents' Worth and Penny for Your Thoughts ;)
Just so, I had recently ranted to a friend on DA (as well as a small post in one of the discussion topics here in Artician), about the Critique feature that Oh-so-puts-me-off, because I, for why, CANNOT understand the logic behind this - that in order to give a constructive criticism feedback to someone, you have to PAY for it.
And I thought we're an art community where we Share our artworks and Get feedback on it, in order to improve and become better artists next time. Probably, IMHO, DA's pretty much forgotten its main aim/purpose to EXIST as a diverse art community that caters to all.
But anyway.
I find that giving critiques' fun - NOT in the sadistic or downtrodden manner, but it helps to build each other confidences - you as the artist to be able to take crits from others and improve your skills/work, and me as the critic to improve my design sense and judgement, as well as to communicate my opinions to others. It's a good process, I should say.
And (haha) being the nature I am, I only relish in doing so.
So...just a note. That if you happen to find me going around delivering two cents' worth of advice or a penny for your thoughts (especially when you DO see those words), that would be yours truly ;) It's part of me trying to establish myself as one who CAN give worthy feedback - and I am only more than happy to even give more, if my feedback was considered and the best was when it was taken, and used. I actually felt glad and happy that after so many years as a learning student/artist, what I've learnt and experience, I dispense as advice to others, which people could use :)
This...phenomenon, sort of occur due to having spent a few years on DA, where not only I see endless HUGE flood of "spam" a.k.a. all those "Oh I love it!" "Great work!" "Awesome!" "Epic!!!" "Nice" etc. the blardy list goes on - on the artist's artwork's page, the page gets ridiculously long with the SAME repeated message. Build-up of Net clutter, I should say. Not that I'm against commenting or anything, but at the very least, make it a worthy comment, y'know?
Make a comment that lets the artists know how you personally feel about his/her artwork.
If you like the artwork, tell them what bits have interested you, why you are drawn to it, what does it remind you (it's a grey zone, sometimes it's okay and sometimes it pisses me off, it depends), etc.
If you find the artwork needs a bit more work, by all means, state it.
BUT If you find the artwork sucks, it does NOT permit you to go around bashing people. You're given the choice to either not comment, or give a constructive feedback - but DON'T EVER SAY "Your artwork sucks" and leave it at that. It'll leave the impression to others that either you hate the artist, you have no design sense, or you're just plain spiteful.
Which explains why I RARELY give out comments. All this time, both on DA and Artician. If I like someone's work, I just fav it, so that if ever the need arises for me to look for references (for my work) or I wanna share YOUR work with someone, I say "Hey I got him/her somewhere in my fav section, go look him/her up" and that's that. I do not go around spamming great artists with "LOL NICE!" - I think they would already know. Just that they want to share their great stuff with the world, and be happy. (this, 'course, does NOT include certain pesky ones who WANTS all that spam - attention whores, I call them. Sorry, but it's true.)
But when I DO give comments, I make sure they're worthwhile.
And if a person requests a critique/serious feedback, I make sure they're even worth more - honest feelings, no biased judgements (there's some where just because they like the artist, they make a not-so-serious review just so not to hurt the other party's feeling - little did they know that by doing so, you're not helping the artist at all), fairness, etc. So if sometimes my words sounded a bit hard, I do it for your own good, and because I like you as an artist, and would like you to see how far you can go.
To illustrate my point further, I have a good case study, that has just recently occured.
On DA, I was watching this person called [kidkidkidkid] (apparently, dude from Singapore if his profile's correct), who does wicked renditions of ladies, angels and devils. (Mmmm, definitely my cup of tea). The artist wanted the community to crit his work that he's doing for an ongoing competition called "Dominance Wars IV".
*Detour: Even though I hadn't officially enrol in an Illustration course (soon!), I understand the mechanics, philosophies and principles behind designing a good character - in other words, I had my own self-learnt knowledge on character designing - from how to draw dragons (yeap, THAT was self-learn, by looking at temple dragons last time and the occassional dragon images when I do stumble on them) to drawing creatures with wings, and yeap, people, but at that time, my people are ugly, disjointed humanoid creatures, since I don't know anatomy at that time. :P So upon seeing this person on DA wanting someone to crit on his character design, I'm MORE than READY to help.
The first concept for his character, was this: DW IV Concept
The moment I open the page, I get, as mentioned above, the flood of Spam-comments. And I saw the [Critique Requested] label. Thought to help him out here, but upon clicking the [Write a Critique] button, I get directed to another page with DA asking me to PAY to use the blardy feature =.=
And yeap, that puts me off. So I went back to the first page, looked at the long spam, and wondered whether it'll even work if I get to write a critique on the comments' page. But I gave it a go anyway, and hope the artist can read the stuff I'd written admist that flood of spam.
This, is what I wrote:
[I don't own subscription to post critique, so bear with my two-cent's worth here:
> Jaws on the wings is a pretty cool concept, but in-game-wise, it wouldn't be practical to serve its purpose (kinda difficult to imagine how it'll bite people to attack...)
> Wings definitely need more details - regardless of details on the body, tail, etc. The eyes on the wings looked like they're painted on, not real/scary. Usually such demon features, they serve the purpose to intimidate victims. Give the wings some thickness/folds/texture to show its strength.
> Legwork and limb details are fine.
> Her back, esp. the bonework, looks odd. I would suggest joining the bone at top of the head and the butt bone together. The disappearing feature in the middle, made it look like a human skin is just sewn upon the demonic entity to try to hide some ugliness. Let her demonic features grow out of the human skin, not try to impede/hide it.]
The artist DID read it - because he replied. And I actually felt happy that my critique's helped him out ^_____^
In fact, I was plesantly amused - OTHER DA people who'd read my comment, actually used it. I found some guy down below talked about the same points I'd just made, and referred me as the "the person up above who said it" XD; (though, dude got my meaning wrong, but I shall put that aside from now).
He then post up the next day the updated version: DW IV Concept II
This time the work's sorta...became a bit more complicated. It's as though after reading from among the flood of spam, he got a mixed reaction and gotten confused. The details were overdone, losing its delicacy already. That's what I told him. Right on.
[It's me again. And another two cent's worth.
> I find that the overall detailing for the limbs (arms, thighs, feet) is now a bit overdone. Maybe it's just me, but symmetry to details (i.e. what's on the left must be found on the right) is one rule that most other people usually follow, design-wise.
But in your case, I would say the first important feature that struck me as a unique Demon Princess, was its assymetry of the details - as in the previous design where you have the gold detailings just on her right shoulder and left leg. That assymetry, is more than enough, it's perfect already. I would recommend you to keep that.
> Wing details are remarkably better, great job. But as I'd commented in the last round, adding textures/folds will make the wings look more real (aside from adding gradient to it overall).
I say this again because it is important. It may project a different impression to people - like now, I see it as a bat-wing with a cloth on it (no shadows, no textures). By adding, for example, a web-like texture like found on dragonflies' wings, the wing is now a unique bat-wing with a a translucent membrane, allowing to see a glimpse of the network of veins within. That's how big a difference it can make.
Other than that, I have nothing else critical to say. In fact, I would like to say congratulations for the great improvement you've made. You're almost there.]
The next day, he churned out another version. DW IV Concept III
The dude REALLY took my advice, seriously.
He'd added the textures as I told him to, and brought back the assymetrical details that I told him to keep.
Overall, as the rest of the people have found, it was the best version.
Even I have to admit that.
Because upon opening up to look at it, it took me 15 minutes to consider anything critical to write about. THAT's how far he's improved. He's used my points, he's also considered other people's points (not as critical as mine though), and look where it'd gotten him.
So, this time, I wrote what I can only write.
[Penny for your thoughts this time ;)
After looking through, I would only like to add one small detail, which you can work it in your final version - highlights. The highlights on her face and thigh are fine, but her wings now looked a bit too heavy, due to the shades.
>I would suggest adding just a bit of highlight to the claws of her wings (the one that extends at the membrane), to show the sharpness of the claws, and travel a bit upwards to accentuate the profile of her bone-work. You may add to the other detailings (show the sharpness/sleekness of her demonic features), but not too much!
I see you've added the textures to the wings - now they really looked fearsome. I was amused when you said you got a creepy feeling with those eyes staring at you - THAT was the intended effect it was supposed to give to her enemies. To feel it even when you're working on it, means the effect is successful. *thumbs up*
Regardless of whether this is reminiscient of Wen-M's work, I personally find this as a highly original concept for a character, with your own style. I'm actually glad you took some of my advice, and for that, I thank you :)
Once again, congratulations. It's a great process.]
Haha...if anyone else on DA's realized that I've been dispensing valuable comments with a witty starter of either a two cent's worth or a penny for your thoughts, I'll give the person a cookie. :DDDDD
And as it is, I RARELY write such long comments on DA. This is my first, and I'm truly honoured to know that my comments are worthwhile for people :D
And that was what has happened until now. I'm actually...satisfied with the outcome, and that whatever I had told him, did worked. Hell, I'm impressed. And glad. And happy that I've helped a fellow character designer out - EVEN if character-designing ain't my major or current career.
So really...MY calling, is still character designing XD;
Because over the past few days, it's DAWNED on me that:
> When it comes to analysing and/or taking the initiative to design stuff, I can immediately on the spot, know WHAT to do with a character, or when faced with a character (like the dude's above). I don't have to look at any books/reference to even KNOW how to judge or think of details to apply to the character - I just do it, naturally.
> But when it comes to interior/architecture, my brain has to shift gears a bit, maybe turn a few angles, pull a few cranks/clutches/sticks and set my mind to TRY to understand what the building/interior/materials/shape/form/structures' trying to tell me. Yeap as it is I find me taking more time to think up, or analyse, anything to do with spatial forms. Heck, I often have to sift through my ID books, look up stuff online, JUST to get inspiration.
...which kinda explains that time, during the The-Star-OtakuZone competition. Within 15 minutes, I've visualised the character, and in 1 hours' time, I'm done sketching - COMPLETE with weaponry detail. The ideas just flow. Some I used, some I don't, but they're all pretty new concepts e.g. clothes, headgear, footgear all are one unit/joined as one because all corals grow off from one another. While doing ALL that, I DIDN'T even LOOK at any references. HONEST. Because I don't have to - I don't see the need to.
But when it comes to designing say, an interior, I need to sit down, grab books, pore through, note down/sketch interesting details, etc. For my current bridge, heck, I had to LOOK at tons of bridge books (6, at the last count!), just to understand the mechanics to designing one. And also looked at my old ID books JUST to get inspiration to designing the seats, the circulation, the lighting feature, etc.
Having realized that, NOW I know where my strength, my TRUE strength lies.
And...haha, Mr.Ben. I think he knew too. That's why he TOLD me, nay, as he'd say, FORCED me to go buy tracing paper and SKETCH on it with a black drawing pen. Because I think he understands me and my skills, and that whatever great stuff I can churn, I churn by DRAWING.
Because other than me, and Erika - I've never SEEN the rest of the class SKETCH anything. NO mech-pencil/pen drawings, no nothing. Everything done in the computer, everything drawn up and coloured in the computer. NO down-to-earth, normal, pencil/pen drawings on normal 2D paper. NONE.
But Ben being Ben, he knows and understands his students' strength as well.
Some who's good at model-making, he told them to make marquettes.
Some who's a deep thinker (like me!), he told them to study so-and-so's essays and philosophies. (that, he'd done with Jason, who took Heidegger's Hut's principles to build his project)
Some who can do wonders with software, he told them to use it in unconventional methods - like how he'd told one of them to record the video of a speaker blasting salt (as done by Fawn for her sound project).
Some who's not good at computer drawing nor model-making, he gave them the 'patient' way out -some, he told to go chart people's movements in a busy space, some he told to observe the lines of a topography of, say, a human fist. (Vickie and Jessica respectively).
So...knowing that, now I know where my true strength lies.
And I really, REALLY, appreciate my gift.
And therefore, I DEFINITELY fighting for my dream.
Whether or not I get to be a REAL character designer in the future, remains to be seen.
Hell, if I EVER get to work as a character designer for either a video-game company (haha, Squenix!Capcom!PLATINUMGAMES!!) or lagi best, go as freelance character designer that can work on anything requiring characters from games to books to covers (SAAAANDMAAAAN) to trading cards to promos/mascots, etc, My Life, Would Be Complete.
But a good start, is to always, ALWAYS, keep this drawing passion alive. ^_________^
...but 'course, doesn't mean I'll abandon my current major. ID has its great side too.
Now that I'm in the UK, I've seen and FINALLY understood how all these crazy Modernist people worked. And how some of my classmates can come up with those funky/weird shapes fit to be done by Daniel Libeskind himself.
I DEFINITELY cannot find those in Malaysia - I would say the ID environment in Malaysia's too safe, too conservative, too slow, not vibrant enough. Back then we used to stick to what the surroundings' given, and it always had to depend on our Malaysian contractors on whether they can BUILD the damn thing itself.
Here? Ideas COUNT, first and foremots. Buildability, comes later. After all, nothing is impossible, to these Brits.
When in the past they say they can't build organic shapes (Malaysia still does), here, Zaha Hadid and her brilliant company says we can - and does it ALL OVER THE WORLD. Those morphin' shapes of her pavillions, her bridge pavillions, museums, galleries, HECK, even her FURNITURE - our Malaysian carpenter would say cannot do, but these people prove they're buildable, because they BUILT it. For REAL.
That's why, coming here has exposed my eyes and my mind to better, even more exciting ID designs.
What Crazy Ideas We Have Seen Being Cooked in The UK Here
It isn't strange to find something metallic PROTRUDING through a glass wall. It's buildable, it works, and it's a pretty new concept.
>Tons of people's done this, a notable one would be Daniel Libeskind.
It isn't strange to find something emerging from the wooden floor, turning into a table, then into the ceiling, before coming down as a long bench, and merging back into the floor - all as one continuous wooden ribbon through the space.
>That's done by my Russian mate already,
It isn't strange to find glasses/shiny stuff being blown up and left to dangle in a given space, as though the object's JUST exploded, and the moment of its explosion being frozen, and left at that state in that space.
>THAT'S, done by yours truly, having been inspired JUST by the idea of [breaking light in space], during last term's lighting project.
It isn't strange for materials to change their "properties" based on the form they're constructed.
Concrete's solid and heavy right? But you can make it look as though it's soft by SCULPTING it into a curved form - it loses its "heavy" look already.
How do you make something, say, a ROOF, looked as though it's floating above the building? You don't add light. You don't want to use any forms of pillars or structures to support it.
What do you use?
You use glass - and set it in deeper so that when you look up, you don't see the glass wall, but you see the roof "floating" on its own. Brilliant, simply brilliant.
HOW do you MAKE an entire building GLOW with light from the inside!!!
You let the Light in from ABOVE, and as light travels downwards, you make appropriate openings so that as it travels it is able to PRODUCE a Form as well - a human figure out of light, if you will.
> As done by the dynamite duo Katya and Alexandra last year
And so, in my case:
HOW DO YOU EVEN CONSTRUCT A BLOODY BRIDGE WITHOUT THE NEED TO HAVE ADDITIONAL PIERS BENEATH TO HOLD UP THE BRIDGE, AND WITHOUT THE NEED TO USE COLUMNS OR ADDITIONAL STRUCTURES TO HOLD UP THE CANOPY ABOVE? JUST TO MAKE THE BRIDGE LOOK AS THOUGH IT'S
materialize out of thin air and appear when it needed to appear, disappear when it needs to. To be there, and not to be there. Just like the nature of the Trickster God.
Simple. Engineering. And a good use of materials.
My current bridge, it spans over the water body WITHOUT ANY CENTRAL supports - with anchoring blocks on each end just to offset any forces acting on the centre of the bridge.
>As a certain Mr.Santiago Calatrava's proposed for his special bridge in Italy.
The canopy? ETFE with a steel framework, preferably hexagonal grids as forces are equally distributed.
>The Eden Project in Cornwall, UK, is a REAL example.
Back in Malaysia? You'll have the contractors making tons of noise at the absurdity of it, or otherwise DBKL/some other goverment-building-authority telling you it's NOT possible to build it.
So when I see the LACK of memorable, GREAT, NEW buildings in Malaysia, NOW I finally understand why.
> Jean Nouvel (guy who did the pretty cool Expo.02 building in Morat) proposed a GREAT building out of "water, light and shadows" for, of all companies, TNB. But DUE to "buildability issues", it was never carried out. You ought to see it - at this official website: Jean Nouvel's Official Site
Gotta admit, but it sure beats our current "pucuk-rebung-inspired" TNB building.
That's why when I've been exposed to all these crazy things, I dunno what I can possible BUILD when I go back to Malaysia.
Kinda hard to see how the local's gonna accept the something protruding through their window or something - probably the aunties' are gonna throw an uproar.
Now that I see it, there's 2 types of GOOD ID design.
One's the high-end stuff you'd see at Pavillion - expensive materials, nice layout, good ambiance. That's what I learnt to do in TOA too.
On the other hand, there's THE high-end stuff - highly sophisticated forms and structures, unconventional materials, or common materials used in a different way, unexplainable layout but with an ingenious circulation already planned, unforgettable experience through space.
Now THAT's, what I'm leaning here right now. ^________^
So in a way, escaping from Malaysia to see the REAL interior design/architecture, is really worth it.
The ONLY crazy sod in the entire Tan family to do it, it's worth it.
The ONLY crazy sod to UNDERSTAND all this crazy architecture stuff among the rest in both TOA and here in UH - it's worth it.
Therefore, I ain't abandoning this pasture for the other greener side. I would like to stay in both, occasionally moving from one area to another, and coming back and going forth again.
When there's a call for an interior design work, I'll do with the best that I can, with what I've learnt, known, and experienced.
When there's a call for an illustrative work, I'll do it with all my heart.
Best of both worlds. Indeed, I should say it's a good gift. A blessing.
W00T. That has been a VERY long entry.
So...you've got any change to spare? ;D
And I thought we're an art community where we Share our artworks and Get feedback on it, in order to improve and become better artists next time. Probably, IMHO, DA's pretty much forgotten its main aim/purpose to EXIST as a diverse art community that caters to all.
But anyway.
I find that giving critiques' fun - NOT in the sadistic or downtrodden manner, but it helps to build each other confidences - you as the artist to be able to take crits from others and improve your skills/work, and me as the critic to improve my design sense and judgement, as well as to communicate my opinions to others. It's a good process, I should say.
And (haha) being the nature I am, I only relish in doing so.
So...just a note. That if you happen to find me going around delivering two cents' worth of advice or a penny for your thoughts (especially when you DO see those words), that would be yours truly ;) It's part of me trying to establish myself as one who CAN give worthy feedback - and I am only more than happy to even give more, if my feedback was considered and the best was when it was taken, and used. I actually felt glad and happy that after so many years as a learning student/artist, what I've learnt and experience, I dispense as advice to others, which people could use :)
This...phenomenon, sort of occur due to having spent a few years on DA, where not only I see endless HUGE flood of "spam" a.k.a. all those "Oh I love it!" "Great work!" "Awesome!" "Epic!!!" "Nice" etc. the blardy list goes on - on the artist's artwork's page, the page gets ridiculously long with the SAME repeated message. Build-up of Net clutter, I should say. Not that I'm against commenting or anything, but at the very least, make it a worthy comment, y'know?
Make a comment that lets the artists know how you personally feel about his/her artwork.
If you like the artwork, tell them what bits have interested you, why you are drawn to it, what does it remind you (it's a grey zone, sometimes it's okay and sometimes it pisses me off, it depends), etc.
If you find the artwork needs a bit more work, by all means, state it.
BUT If you find the artwork sucks, it does NOT permit you to go around bashing people. You're given the choice to either not comment, or give a constructive feedback - but DON'T EVER SAY "Your artwork sucks" and leave it at that. It'll leave the impression to others that either you hate the artist, you have no design sense, or you're just plain spiteful.
Which explains why I RARELY give out comments. All this time, both on DA and Artician. If I like someone's work, I just fav it, so that if ever the need arises for me to look for references (for my work) or I wanna share YOUR work with someone, I say "Hey I got him/her somewhere in my fav section, go look him/her up" and that's that. I do not go around spamming great artists with "LOL NICE!" - I think they would already know. Just that they want to share their great stuff with the world, and be happy. (this, 'course, does NOT include certain pesky ones who WANTS all that spam - attention whores, I call them. Sorry, but it's true.)
But when I DO give comments, I make sure they're worthwhile.
And if a person requests a critique/serious feedback, I make sure they're even worth more - honest feelings, no biased judgements (there's some where just because they like the artist, they make a not-so-serious review just so not to hurt the other party's feeling - little did they know that by doing so, you're not helping the artist at all), fairness, etc. So if sometimes my words sounded a bit hard, I do it for your own good, and because I like you as an artist, and would like you to see how far you can go.
To illustrate my point further, I have a good case study, that has just recently occured.
On DA, I was watching this person called [kidkidkidkid] (apparently, dude from Singapore if his profile's correct), who does wicked renditions of ladies, angels and devils. (Mmmm, definitely my cup of tea). The artist wanted the community to crit his work that he's doing for an ongoing competition called "Dominance Wars IV".
*Detour: Even though I hadn't officially enrol in an Illustration course (soon!), I understand the mechanics, philosophies and principles behind designing a good character - in other words, I had my own self-learnt knowledge on character designing - from how to draw dragons (yeap, THAT was self-learn, by looking at temple dragons last time and the occassional dragon images when I do stumble on them) to drawing creatures with wings, and yeap, people, but at that time, my people are ugly, disjointed humanoid creatures, since I don't know anatomy at that time. :P So upon seeing this person on DA wanting someone to crit on his character design, I'm MORE than READY to help.
The first concept for his character, was this: DW IV Concept
The moment I open the page, I get, as mentioned above, the flood of Spam-comments. And I saw the [Critique Requested] label. Thought to help him out here, but upon clicking the [Write a Critique] button, I get directed to another page with DA asking me to PAY to use the blardy feature =.=
And yeap, that puts me off. So I went back to the first page, looked at the long spam, and wondered whether it'll even work if I get to write a critique on the comments' page. But I gave it a go anyway, and hope the artist can read the stuff I'd written admist that flood of spam.
This, is what I wrote:
[I don't own subscription to post critique, so bear with my two-cent's worth here:
> Jaws on the wings is a pretty cool concept, but in-game-wise, it wouldn't be practical to serve its purpose (kinda difficult to imagine how it'll bite people to attack...)
> Wings definitely need more details - regardless of details on the body, tail, etc. The eyes on the wings looked like they're painted on, not real/scary. Usually such demon features, they serve the purpose to intimidate victims. Give the wings some thickness/folds/texture to show its strength.
> Legwork and limb details are fine.
> Her back, esp. the bonework, looks odd. I would suggest joining the bone at top of the head and the butt bone together. The disappearing feature in the middle, made it look like a human skin is just sewn upon the demonic entity to try to hide some ugliness. Let her demonic features grow out of the human skin, not try to impede/hide it.]
The artist DID read it - because he replied. And I actually felt happy that my critique's helped him out ^_____^
In fact, I was plesantly amused - OTHER DA people who'd read my comment, actually used it. I found some guy down below talked about the same points I'd just made, and referred me as the "the person up above who said it" XD; (though, dude got my meaning wrong, but I shall put that aside from now).
He then post up the next day the updated version: DW IV Concept II
This time the work's sorta...became a bit more complicated. It's as though after reading from among the flood of spam, he got a mixed reaction and gotten confused. The details were overdone, losing its delicacy already. That's what I told him. Right on.
[It's me again. And another two cent's worth.
> I find that the overall detailing for the limbs (arms, thighs, feet) is now a bit overdone. Maybe it's just me, but symmetry to details (i.e. what's on the left must be found on the right) is one rule that most other people usually follow, design-wise.
But in your case, I would say the first important feature that struck me as a unique Demon Princess, was its assymetry of the details - as in the previous design where you have the gold detailings just on her right shoulder and left leg. That assymetry, is more than enough, it's perfect already. I would recommend you to keep that.
> Wing details are remarkably better, great job. But as I'd commented in the last round, adding textures/folds will make the wings look more real (aside from adding gradient to it overall).
I say this again because it is important. It may project a different impression to people - like now, I see it as a bat-wing with a cloth on it (no shadows, no textures). By adding, for example, a web-like texture like found on dragonflies' wings, the wing is now a unique bat-wing with a a translucent membrane, allowing to see a glimpse of the network of veins within. That's how big a difference it can make.
Other than that, I have nothing else critical to say. In fact, I would like to say congratulations for the great improvement you've made. You're almost there.]
The next day, he churned out another version. DW IV Concept III
The dude REALLY took my advice, seriously.
He'd added the textures as I told him to, and brought back the assymetrical details that I told him to keep.
Overall, as the rest of the people have found, it was the best version.
Even I have to admit that.
Because upon opening up to look at it, it took me 15 minutes to consider anything critical to write about. THAT's how far he's improved. He's used my points, he's also considered other people's points (not as critical as mine though), and look where it'd gotten him.
So, this time, I wrote what I can only write.
[Penny for your thoughts this time ;)
After looking through, I would only like to add one small detail, which you can work it in your final version - highlights. The highlights on her face and thigh are fine, but her wings now looked a bit too heavy, due to the shades.
>I would suggest adding just a bit of highlight to the claws of her wings (the one that extends at the membrane), to show the sharpness of the claws, and travel a bit upwards to accentuate the profile of her bone-work. You may add to the other detailings (show the sharpness/sleekness of her demonic features), but not too much!
I see you've added the textures to the wings - now they really looked fearsome. I was amused when you said you got a creepy feeling with those eyes staring at you - THAT was the intended effect it was supposed to give to her enemies. To feel it even when you're working on it, means the effect is successful. *thumbs up*
Regardless of whether this is reminiscient of Wen-M's work, I personally find this as a highly original concept for a character, with your own style. I'm actually glad you took some of my advice, and for that, I thank you :)
Once again, congratulations. It's a great process.]
Haha...if anyone else on DA's realized that I've been dispensing valuable comments with a witty starter of either a two cent's worth or a penny for your thoughts, I'll give the person a cookie. :DDDDD
And as it is, I RARELY write such long comments on DA. This is my first, and I'm truly honoured to know that my comments are worthwhile for people :D
And that was what has happened until now. I'm actually...satisfied with the outcome, and that whatever I had told him, did worked. Hell, I'm impressed. And glad. And happy that I've helped a fellow character designer out - EVEN if character-designing ain't my major or current career.
So really...MY calling, is still character designing XD;
Because over the past few days, it's DAWNED on me that:
> When it comes to analysing and/or taking the initiative to design stuff, I can immediately on the spot, know WHAT to do with a character, or when faced with a character (like the dude's above). I don't have to look at any books/reference to even KNOW how to judge or think of details to apply to the character - I just do it, naturally.
> But when it comes to interior/architecture, my brain has to shift gears a bit, maybe turn a few angles, pull a few cranks/clutches/sticks and set my mind to TRY to understand what the building/interior/materials/shape/form/structures' trying to tell me. Yeap as it is I find me taking more time to think up, or analyse, anything to do with spatial forms. Heck, I often have to sift through my ID books, look up stuff online, JUST to get inspiration.
...which kinda explains that time, during the The-Star-OtakuZone competition. Within 15 minutes, I've visualised the character, and in 1 hours' time, I'm done sketching - COMPLETE with weaponry detail. The ideas just flow. Some I used, some I don't, but they're all pretty new concepts e.g. clothes, headgear, footgear all are one unit/joined as one because all corals grow off from one another. While doing ALL that, I DIDN'T even LOOK at any references. HONEST. Because I don't have to - I don't see the need to.
But when it comes to designing say, an interior, I need to sit down, grab books, pore through, note down/sketch interesting details, etc. For my current bridge, heck, I had to LOOK at tons of bridge books (6, at the last count!), just to understand the mechanics to designing one. And also looked at my old ID books JUST to get inspiration to designing the seats, the circulation, the lighting feature, etc.
Having realized that, NOW I know where my strength, my TRUE strength lies.
And...haha, Mr.Ben. I think he knew too. That's why he TOLD me, nay, as he'd say, FORCED me to go buy tracing paper and SKETCH on it with a black drawing pen. Because I think he understands me and my skills, and that whatever great stuff I can churn, I churn by DRAWING.
Because other than me, and Erika - I've never SEEN the rest of the class SKETCH anything. NO mech-pencil/pen drawings, no nothing. Everything done in the computer, everything drawn up and coloured in the computer. NO down-to-earth, normal, pencil/pen drawings on normal 2D paper. NONE.
But Ben being Ben, he knows and understands his students' strength as well.
Some who's good at model-making, he told them to make marquettes.
Some who's a deep thinker (like me!), he told them to study so-and-so's essays and philosophies. (that, he'd done with Jason, who took Heidegger's Hut's principles to build his project)
Some who can do wonders with software, he told them to use it in unconventional methods - like how he'd told one of them to record the video of a speaker blasting salt (as done by Fawn for her sound project).
Some who's not good at computer drawing nor model-making, he gave them the 'patient' way out -some, he told to go chart people's movements in a busy space, some he told to observe the lines of a topography of, say, a human fist. (Vickie and Jessica respectively).
So...knowing that, now I know where my true strength lies.
And I really, REALLY, appreciate my gift.
And therefore, I DEFINITELY fighting for my dream.
Whether or not I get to be a REAL character designer in the future, remains to be seen.
Hell, if I EVER get to work as a character designer for either a video-game company (haha, Squenix!Capcom!PLATINUMGAMES!!) or lagi best, go as freelance character designer that can work on anything requiring characters from games to books to covers (SAAAANDMAAAAN) to trading cards to promos/mascots, etc, My Life, Would Be Complete.
But a good start, is to always, ALWAYS, keep this drawing passion alive. ^_________^
...but 'course, doesn't mean I'll abandon my current major. ID has its great side too.
Now that I'm in the UK, I've seen and FINALLY understood how all these crazy Modernist people worked. And how some of my classmates can come up with those funky/weird shapes fit to be done by Daniel Libeskind himself.
I DEFINITELY cannot find those in Malaysia - I would say the ID environment in Malaysia's too safe, too conservative, too slow, not vibrant enough. Back then we used to stick to what the surroundings' given, and it always had to depend on our Malaysian contractors on whether they can BUILD the damn thing itself.
Here? Ideas COUNT, first and foremots. Buildability, comes later. After all, nothing is impossible, to these Brits.
When in the past they say they can't build organic shapes (Malaysia still does), here, Zaha Hadid and her brilliant company says we can - and does it ALL OVER THE WORLD. Those morphin' shapes of her pavillions, her bridge pavillions, museums, galleries, HECK, even her FURNITURE - our Malaysian carpenter would say cannot do, but these people prove they're buildable, because they BUILT it. For REAL.
That's why, coming here has exposed my eyes and my mind to better, even more exciting ID designs.
What Crazy Ideas We Have Seen Being Cooked in The UK Here
It isn't strange to find something metallic PROTRUDING through a glass wall. It's buildable, it works, and it's a pretty new concept.
>Tons of people's done this, a notable one would be Daniel Libeskind.
It isn't strange to find something emerging from the wooden floor, turning into a table, then into the ceiling, before coming down as a long bench, and merging back into the floor - all as one continuous wooden ribbon through the space.
>That's done by my Russian mate already,
It isn't strange to find glasses/shiny stuff being blown up and left to dangle in a given space, as though the object's JUST exploded, and the moment of its explosion being frozen, and left at that state in that space.
>THAT'S, done by yours truly, having been inspired JUST by the idea of [breaking light in space], during last term's lighting project.
It isn't strange for materials to change their "properties" based on the form they're constructed.
Concrete's solid and heavy right? But you can make it look as though it's soft by SCULPTING it into a curved form - it loses its "heavy" look already.
How do you make something, say, a ROOF, looked as though it's floating above the building? You don't add light. You don't want to use any forms of pillars or structures to support it.
What do you use?
You use glass - and set it in deeper so that when you look up, you don't see the glass wall, but you see the roof "floating" on its own. Brilliant, simply brilliant.
HOW do you MAKE an entire building GLOW with light from the inside!!!
You let the Light in from ABOVE, and as light travels downwards, you make appropriate openings so that as it travels it is able to PRODUCE a Form as well - a human figure out of light, if you will.
> As done by the dynamite duo Katya and Alexandra last year
And so, in my case:
HOW DO YOU EVEN CONSTRUCT A BLOODY BRIDGE WITHOUT THE NEED TO HAVE ADDITIONAL PIERS BENEATH TO HOLD UP THE BRIDGE, AND WITHOUT THE NEED TO USE COLUMNS OR ADDITIONAL STRUCTURES TO HOLD UP THE CANOPY ABOVE? JUST TO MAKE THE BRIDGE LOOK AS THOUGH IT'S
materialize out of thin air and appear when it needed to appear, disappear when it needs to. To be there, and not to be there. Just like the nature of the Trickster God.
Simple. Engineering. And a good use of materials.
My current bridge, it spans over the water body WITHOUT ANY CENTRAL supports - with anchoring blocks on each end just to offset any forces acting on the centre of the bridge.
>As a certain Mr.Santiago Calatrava's proposed for his special bridge in Italy.
The canopy? ETFE with a steel framework, preferably hexagonal grids as forces are equally distributed.
>The Eden Project in Cornwall, UK, is a REAL example.
Back in Malaysia? You'll have the contractors making tons of noise at the absurdity of it, or otherwise DBKL/some other goverment-building-authority telling you it's NOT possible to build it.
So when I see the LACK of memorable, GREAT, NEW buildings in Malaysia, NOW I finally understand why.
> Jean Nouvel (guy who did the pretty cool Expo.02 building in Morat) proposed a GREAT building out of "water, light and shadows" for, of all companies, TNB. But DUE to "buildability issues", it was never carried out. You ought to see it - at this official website: Jean Nouvel's Official Site
Gotta admit, but it sure beats our current "pucuk-rebung-inspired" TNB building.
That's why when I've been exposed to all these crazy things, I dunno what I can possible BUILD when I go back to Malaysia.
Kinda hard to see how the local's gonna accept the something protruding through their window or something - probably the aunties' are gonna throw an uproar.
Now that I see it, there's 2 types of GOOD ID design.
One's the high-end stuff you'd see at Pavillion - expensive materials, nice layout, good ambiance. That's what I learnt to do in TOA too.
On the other hand, there's THE high-end stuff - highly sophisticated forms and structures, unconventional materials, or common materials used in a different way, unexplainable layout but with an ingenious circulation already planned, unforgettable experience through space.
Now THAT's, what I'm leaning here right now. ^________^
So in a way, escaping from Malaysia to see the REAL interior design/architecture, is really worth it.
The ONLY crazy sod in the entire Tan family to do it, it's worth it.
The ONLY crazy sod to UNDERSTAND all this crazy architecture stuff among the rest in both TOA and here in UH - it's worth it.
Therefore, I ain't abandoning this pasture for the other greener side. I would like to stay in both, occasionally moving from one area to another, and coming back and going forth again.
When there's a call for an interior design work, I'll do with the best that I can, with what I've learnt, known, and experienced.
When there's a call for an illustrative work, I'll do it with all my heart.
Best of both worlds. Indeed, I should say it's a good gift. A blessing.
W00T. That has been a VERY long entry.
So...you've got any change to spare? ;D