There were even more of these, and some other things, and I had something to say about them but now I have problems with my webhost so I'll come back some day when I've sorted that out!
Friday, August 24, 2012
More Digital Scribbles
There were even more of these, and some other things, and I had something to say about them but now I have problems with my webhost so I'll come back some day when I've sorted that out!
Thursday, June 28, 2012
Fever in the details
Trying to use every digital painting technique I've ever come up with in one poster design, while also having a fever has resulted in some... results.
Monday, June 25, 2012
Mark mangling
Fine tuning custom photoshop brushes. (The only things not digital from scratch here are the scanned paper texture layers). A way to spend a day with a sore throat and a fever...
Wednesday, June 6, 2012
Wednesday, May 23, 2012
Friday, May 18, 2012
Making Abney & Teal
Here are just a few photos from the making of Abney & Teal. Once the episode production line started churning I generally forgot to take many photos so it's just a tiny snapshot of year one of four years work by the whole Ragdoll team.
My desk at Ragdoll studios in Stratford upon Avon. I must have been working late on Abney's hut.
Set construction from my painted parts was a model of simplicity.
An early experiment with a rod-puppet Abney. That's Tahra Zafar on the right, who made all the real-world puppets for the show. (www.tahrazafar.com)
Teal in construction, before her dress was made less "tasteful."
Original Poc-Poc. Eventually they were re-built in the computer using the textures from these puppets. (The style of their animation was developed from some earlier footage of me moving little home-made clay versions with magnets in them. This gave them the motion-blurred shuddery feel they sometimes have.)
Photographing Teal and Abney from a gazillion angles.
Another model of simplicity. The amazing Davide Arnone (www.davidearnone.co.uk) and I spent three weeks (seriously, three weeks) adjusting Abney's ears because they didn't come out right in the photos. I think there were something like four positions per single ear for every one of thirty-six angles of the head.
Another incarnation of my desk at Ragdoll.
Tim van Eyken in his socks.
(At Pinewood studios experimenting with Bop sounds).
My desk at Ragdoll studios in Stratford upon Avon. I must have been working late on Abney's hut.
Set construction from my painted parts was a model of simplicity.
An early experiment with a rod-puppet Abney. That's Tahra Zafar on the right, who made all the real-world puppets for the show. (www.tahrazafar.com)
Teal in construction, before her dress was made less "tasteful."
Original Poc-Poc. Eventually they were re-built in the computer using the textures from these puppets. (The style of their animation was developed from some earlier footage of me moving little home-made clay versions with magnets in them. This gave them the motion-blurred shuddery feel they sometimes have.)
Photographing Teal and Abney from a gazillion angles.
Another model of simplicity. The amazing Davide Arnone (www.davidearnone.co.uk) and I spent three weeks (seriously, three weeks) adjusting Abney's ears because they didn't come out right in the photos. I think there were something like four positions per single ear for every one of thirty-six angles of the head.
Another incarnation of my desk at Ragdoll.
Tim van Eyken in his socks.
(At Pinewood studios experimenting with Bop sounds).
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