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HP Envy 4520

Recently I purchased an inexpensive black and white printer to facilitate the process of character development. Using graphite transfer has been a mainstay for many years but I wanted to speed up the steps involved and save my hands for the actual drawing part. 


I go through reams of the Georgia-Pacific 110lb white card stock, filling a 2 inch three ring binder almost every month with sketches. I find the surface pleasing to draw on because it has a bit of tooth but is smooth enough to hold detail.

About a week ago a couple of little girls faces popped out onto my paper. Curious as to who they were, I pushed them around a bit and got the feeling they were European street kids from the earlier part of the 20th century. "Rag Girls" as well as the word "Gypsy" kept popping into my head. 



I scanned the first sketches and taking them into Photoshop, I set up a document with repeated faces. Before printing I placed a layer filled with white over the top and slid the opacity down to about 80 percent, just barely enough to the faces coming through. The image above is darker than I would print, but for the purpose of showing up here, I made it a bit darker, you get the idea. 

Some too old
By having the pale image on the page, I could shift the facial features slightly while retaining the overall shape. It is extremely easy at small sizes to add just a bit of a crisp edge to a nose which instantly makes the character appear older. Having the profile image faintly printed I could erase easily without removing the entire structure. I specifically chose profile for this part of the exploration because I was trying to nail down certain ages, between 8 and 12. To me the nose and forehead in profile help establish the age.


I generally create a super quick character template for each face and body type, and again using the scanner and printer I can create many variations on a theme without losing the basic shapes.




There were three distinct girls that came out to play over those few days and I wanted to know who they were, and of course to eventually draw them happier. The first two original girls seemed sad or concerned which can be seen in the lineups below. I don't know what the influence was, they just came out of my pencil that day.

Pardon the transparent dress on the girl below. After I had quickly sketched her and decided to spend more time on her, I erased out her dress and sketched in the basic body shape to see if the proportions were correct underneath. Sure enough her upper arm was too short so her elbow did not fall at the waist, which I corrected in the next group.

The Far Left on Top and Bottom are 
the 2 Original Girls


















Second Batch



While I was working on them I saw an Instagram image stating it was Holocaust Memorial day, and suddenly I knew who they were. They were the lost children of World War II. In a conversation on Instagram I commented on a quote I saw in a holocaust article, they were "the children the Nazis hated. . . Jewish, Romani, and African".



As always, I cut all of my sketches apart to view them independently and sort into like kind. Sometimes a new direction will show itself and by having them sorted I can decide if I want to follow it. I literally have piles and piles of little sketches that are generally half print and half fresh graphite experiments. 

Yeah, I don't think so, but fun
And of course there are always those crazy pages like the ones above where I go out on a limb with my playing but those go in the scrap pile if unusable or into a stack for use in perhaps another story. I had planned to sketch teenage older sisters but was probably watching a contemporary BBC drama which influenced the age and time period. So I just had a bit of fun with them.


When I have devoted 12 to 14 hours a day for days of hyper focus (can't seem to stop myself until I have finished the process), I am able to sit down and sketch the character out quickly without any prints because I have memorized their facial characteristics and proportions. In fact I see their faces when I close my eyes. . . they become real to me.

And the bonus is I have tons of sketches for my mother to choose from. The one below, or very similar to it, followed her home on Mother's Day! It is the best of both worlds, traditional and digital, and allows me to have created tangible pieces of process art instead of only tracing paper scraps or purely digital images.



Cheap printer, card stock, and mechanical pencils for the win! 





Everyone has their favorite items for roughing out an idea or sketching on the go. I like to organize my tools into two sketching pouches. One is mostly for line and the other is for value. 
I used powdered graphite for value here. All images © Jen Betton 2015  
Contents of my "line" drawing pouch.
Erasers: I have 3 (you can never have too many!)
Kneaded eraser: I love how this eraser is gentle on paper and you can control how much or little of the pencil it picks up. 
Regular eraser-pen: easier for me to keep clean than a rectangular white eraser. 
Tombow Mono-Zero eraser pen: my new love! It can so perfectly pick out the tiniest white lines, or erase exactly the spot you wanted without disturbing other parts of the drawing. 

Pencil sharpener: At home I have a nice glass-inkwell style pencil sharpener, but on the go I love this tiny flip-top sharpener from Muji. 

6” Ruler: Can be handy for some quick perspective lines.

Pencils: 
Mechanical pencils: sooooo not supposed to use these, I know. But they’re handy for blocking in concepts or for when I want a crisp line. 
4 or 6B sketching pencil: for darker values or varied line weight. 
Colored pencil: Sometimes I like using a blue pencil for underdrawings, then I draw a cleaner version in regular graphite over the top. 
Contents of my "value" drawing pouch.
Woodless graphite pencils: in a variety of softnesses – I have a 9B for really rich darks.  

Powdered graphite: I LOVE this stuff for soft, atmospheric value. It is super-easy to lift lighter areas out of it. 

Cotton balls and q-tips: for applying the powdered graphite. 

Shammy cloth: works as a type of soft eraser

Water-Soluble Graphite: It’s a bit like working with black watercolor paint, but with a grainier texture and you can erase it a bit.

Paintbrush: for the water-soluble graphite. 

These were done with the water-soluble graphite, working from online reference.
And of course, my Handbook sketch pad. It has a nice tooth for value, and is thick enough for liquid media. 

Those are the tools I regularly use – what are yours? I glean new tools from friends all the time (Lisa Anchin showed me the pencil sharpener, and Brooke Boynton Hughes first introduced me to liquid graphite). 

...........................................................................................................
Jen Betton writes and illustrates for children. You can find her work at www.jenbetton.com@jenbetton on Twitterwww.facebook.com/jenbettonillustration on Facebook

Are you having trouble finding the words for your next story? Do you have a character without a setting? Are you swimming in a sea of ideas without being able to spout out a single one? Open your sketchbook! All of the things that you are struggling with can be worked out between the pages of this wonderful little book that most of us carry everywhere.

"I don't feel like drawing.", you say... Well then look back through the pages that you have already filled. You will be surprised by the elements that are waiting for you to rediscover them.





Just recently I found my new favorite character tucked away in an old corner of a sketchbook that I finished years ago. I carefully collected and dusted off this character and look at how she shines!

  


 She came fully equipped with a story too, handing it to me as I placed her on a brand new white sheet of paper.

Last year in August I attended my very first annual SCBWI conference in L.A. One of the essentials was a tiny little sketchbook and it turned out to be one of the most important items that I packed! When I got home that little book was filled with notes, doodles, and the makings of at least 3 stories.



 I got to thinking that if I hadn't had my sketchbook where would these thoughts have gone?! Would they have ended up in the margins of a notebook? On a napkin? Would they be lost entirely? I shudder to think of it!

A sketchbook is like a source of inspiration. It is a place where we can brainstorm or work through ideas that aren’t quite fitting into a story. It is a place to study the make-up of picture books. It is a stream of consciousness where we can record thoughts, notes, and quotes that we love. I follow other artists to see their sketchbook drawings. I love them because it gives insight to their process and thoughts at the time that those doodles/sketches/notes were created. Here are some great ones:





Try drawing once a week, once a day – any little bit helps and you never know when the muse will strike! Try sketching in different places as well. The coffee shop is a great place to practice sketching people! You could also try the park, the public pool, the mall, an amusement park (this is great for food and setting too!), or the library.

I wish you the best of luck in all of your creations and leave you with a challenge: A 30 day sketch challenge! Are you up for it?




I would love to hear back from you. Did you try the 30 day sketch challenge? Did you find your new story? Tell me what your sketchbook means to you!



 ~Jeslyn Kate

Jeslyn Kate writes/illustrates for children and teaches art.
You can find her work at 
these different locations:
Website:www.jeslynkate.com
Twitter: @jeslynkate
Facebook: https://www.facebook.com/jeslynkateart
Blog: http://jeslynsart.blogspot.com/

One of my favorite speakers last summer at the 2014 SCBWI LA Conference
was the amazingly talented, inspiring and funny lady: Judy Byron Schachner.

(Author and Illustrator of the popular SkippyJonJones Books)

The name of her talk was: Thinking in Pictures: My Storytelling Process. 
She shared with us how she finds the story by creating a character bible for her books:  


 
 
The example character bible she presented was from her new book
Dewey Bob, Dial Books for Young Readers (Available September 8, 2015)

The basic concept is to discover your story and characters by collecting:
  • reference photos
  • sketches
  • unusual ideas
  • sayings
in a:
  • random
  • non-linear
  • no rhyme or reason
sort of way.

This process appealed to me because I am a non-linear thinker. Through experimentation and by collaging different illustrations, ideas and design elements together, the characters and story evolve visually.  

I couldn't wait to get home to get started on one of my own manuscripts. I experimented with many different techniques and styles so that I could discover the characters and setting that fit with my story.
Below are some of the images from the pages from my character bible for I AM Goose!

Choose any size sketchbook. This is a  6"x 8" sketchbook. Next time I'll use a larger one.
I filled it up and ran out of room so ended up using paperclips and extra pockets to fit all the sketches.


I tested out lots of different styles and techniques for Goose.
I made notes on the medium used and jotted down what was working and what was not.


 More sketches and test palette for Rabbit, Pig, Dodo, Chicken, Squirrel and Pig.

  Color sketches with more of the characters. 


 I clipped out old photos of old buildings, sample palettes and played
with sketches and washes for the setting.

These are some of the pencil sketches for the characters. 


This has been a great learning process for me. My tendency is to finish off every detail in an illustration. But when I look back through this character bible, I realize that the loose sketchy images are my favorite. My next step will be to finish the storyboard, dummy book and final art to get it ready for submission.
Thank You  Judy Schachner for sharing your process at the 2014 SCBWI LA Conference
 
Dorothia Rohner enjoys illustrating and writing 
stories for children that combine nature and the magic of imagination.
Twitter: @dorothiar
Instagram: @dorothiar





















 



Procedural Centipede in Blender.

I am a little bit side-tracked, but I still want to think Pixar and procedural monster. I will focus on one character: Dean Hardscrabble.



UPDATE 2013.10.15:
Watch also this video:
http://youtu.be/kuAsOyzawNY

This lady here, according to Pixar Wikia, is based on creepy crawling insect, the Centipede:
"Dean Hardscrabble’s character was modeled after a type of centipede called Scolopendra Gigantea, also known as the Amazonian giant centipede."
http://pixar.wikia.com/Dean_Hardscrabble



MODELING CENTIPEDE PROCEDURALLY

I wonder which one is actually more "tricky" to create, maybe each one gives different challenges:
  • Procedural Insects
  • Procedural Monster
  • Procedural Human (Biped)
  • Procedural Anime Character
  • Procedural Human Heads
In this post, I may not have 100% solution, but I will take you through the process of thinking. We will look at example inside and outside Blender.

Creatures like Centipede or similar kind (like Millipede, Maggots) is a type of creature that is truly perfect for Procedural Modeling and Animation. Many other insects like ants, spiders, butterflies, dragonflies, Trilobite, etc, are all very interesting to study and model procedurally because they can be reduced to "primitives and parts".

GREAT EXAMPLE: Procedural Spiders by Esther Zuidgeest - Houdini
http://www.youtube.com/watch?v=2b11iiBjS9Y

3D printed Octopod Robot:
http://www.youtube.com/watch?v=HfiHOpv6HtI

Let's look at Pixar's Dean Hardscrabble again. She is modeled quite "realistically" based on Centipede especially her lower part of body/torso and legs. While her face and wings, are more like Dragon. It is a very interesting in term of design. I do not 100% agree with the wings, but flying crawling creature is pretty "scary" monster, I guess.

http://www.youtube.com/watch?v=ySapzrgfImc

This character may seems simple, but she is certainly not "simple" when we really look at every details. This is what makes a Pixar: a simple character but complex shadings.

I guess we can focus on the Dean's CENTIPEDE's SPINE and LEGS parts for now...

CENTIPEDE SPINE AND LEGS

If we are to model such creature with many repeating legs in Blender, how would we do it?

There are many techniques that I could think of. Not just Skin Modifier, but many others as well.

Below are some of the list of Blender features that might be useful to model a Centipede SPINE AND LEGS:
  • Skin Modifier
  • Grease Pencil
  • Curve Object
  • Curve Modifier
  • Array Modifier
  • Joint Sketching
  • Blender Particle Intancing
  • Python + NumPy and MathPlotLib stuffs
  • Dupliverts or Dupliframes or Dupliface
I actually found a lot of other interesting informations (that is not totally related to Centipede modeling) while observing this idea of modeling and creating a Centipede using Blender. 

SKIN MODIFIER: VERTICE RADIUS AND PYTHON  = SPINE PART
Yesterday, I have a bit of exploration of Skin Modifier but from Python context.

I am always curious with how we can access the "weight" of each point (vertex) of Skin Modifier via Python. You know, kind of like when we apply Skin Modifier to an edge, go to Edit Mode, and do Ctrl+A for some vertices to Scale the Radius size of each segment.

I did Google Search everywhere, and the only clue is this blog post:

It mentions about Skin Vertice and Radius.


I also asked the same question at Blender Stack Exchange, and thanks to answer by Dealga aka Zelffi (Blender Scripting guy), this became very clear:

What more interesting is that there is not actually 1 Value for Radius Weight Value for each vertex, but a set of 2 Values:

import bpy

# Get selected mesh with Skin Modifier applied
skin = bpy.context.active_object.data.skin_vertices[0].data

# Iterate every point/vertex and get/set the Radius

for i, v in enumerate(skin):
    print ("vertex", i, v.radius[0], v.radius[1])

    # Change the Radius Value for all vertices
    v.radius[0] = v.radius[1] = 2.0

Give the code above a try to understand what I mean. The above code will do 2 main things:
1. Printing out the values of Vertex Radius (2 values)
2. Setting the radius of every vertex to certain value (if you like).

By default, apparently the Radius is set to (0.25, 0.25). Remember, there are 2 values for each vertex.

Now, do you know that we can constraint Blender Skin Modifier in one axis X or Y, apart from its ability to scale in both axis proportionally? All this time and I only found out about this feature today!

Flat Skin Modifier
This means, we can create a FLAT MESH, instead of Boxy or Sausage like MESH (when subdivided). A BIG revelation!

This means, we can model Australian Boomerangs with a minimum of 2 Edges + Skin Modifier:

Australian Boomerang
Modern plastic boomerang toy.

We can also create all sorts of wooden Paper Airplanes:


3D printing Paper Airplanes? Why not. Unfortunately, I don't have 3D printer at the moment.

Anyways, it is really quite interesting that we can actually create "flat mesh" based on Skin Modifier.

MANUAL: Go to Edit Mode (TAB), select vertice(s), do the usual CTRL+A then constraint in X or Y axis, using Shift+X or Shift+Y to adjust the Radius.

INFO: This is a bit Similar to Blender Curve Object
The Skin Modifier ability to have 2 x Radius is equivalent to Blender Curve Object, in its ability to set Feather Radius that will affect the Extrude property.

Curve Object also has special Tilt attribute for each point and this is not built in inside Skin Modifier. 

Procedural Drill using Curve Object ONLY by adjusting the Tilt.
import bpy

# Make Tilting Curve Spiral based on Curve

# you need to select NURBS object first
curve = bpy.context.active_object.data

# get points

points = curve.splines[0].points

for i, point in enumerate(points):
    # tilt X degree of every points of curve
    point.tilt = i * 2 # 2 degree tilt

However, I am guessing that we can always use Armature Skinning and Twisting. We probably can try that at some point in the future.

BACK TO CENTIPEDE PROCEDURAL MODELING...

I like the Skin Modifier solution, because it is very robust. Of course, Skin Modifier is only the base model, but it can be easily repeated and adjustable along the way before we commit to any parts of the Centipede.

One QUIRKY thing about Skin Modifier, in relation to the original Edge is that we don't always get Vertex Indices that is in order. Unless you create the Edge properly.

This is quite strange for me at first. I found this quirk when I try to create CONE Tentacle like object using Skin Modifier and Python. 

You can check Vertex Index in  two ways:
1. Using Python in Edit Mode

2. Using Blender App Debug mode
Activate debug mode:
bpy.app.debug = True

Go to Edit Mode and select Vertices with Indices option checked.


My tips when modeling Edges for Skin Modifier is like this:
1. Start with Cube or other mesh.
2. Go to Edit Mode, merge At Center. So you have a single Vertex now.
3. Instead of Extruding, use CTRL + Click, Click, Click method instead.

Why? The reason is the Vertex Index Order will be different. The one with CTRL+Click, Click, Click method will guarantee to have a nice sorted index from 0 (beginning) to end number.




Of course you can always sort the mesh using Sort Mesh Elements operator, but it is always better to do it right the first time. So remember to use CTRL+Click, Click, Click method when you are creating edges for Skin Modifier. I know, it is tempting to just extrude.

UPDATE 2013.07.10 Correction: Ctrl+Click,Click,Click and Extrude Vertex give no different.

Regarding the CTRL+Click,Click,Click method OR Extrude Vertex, both will actually give same result. Let say you start with a single vertex. When you extrude you get 2 vertices with index 0 and 1. If you continue to extrude right away, you will get Vertex Order Index List like below:
0,1 (original edge)
0,2,1
0,2,3,1
0,2,3,4,1
0,2,3,4,5,1
0,2,3,4,5,6,1

You got the idea. The sorting is not right.

In order so that you have a nice ordering, you start with a single vertex in edit mode, extrude it once so you have an edge to start with. Then go out of Edit Mode to Object Mode. Jump back to Edit mode, now you can extrude from vertex index 1, and the index list is now properly sorted:
0,1
0,1,2
0,1,2,3
0,1,2,3,4
0,1,2,3,4,5

The advantage of having an edge with sorted vertex index is the ability to re-arrange mesh as you like.

Number Pattern to rearrange edge into any kind of curve you like. 

Number Pattern to re-arrange pre-existing Edge.
Maybe one day, we can go deeper into low level Point Vertex and using Algorithm to arrange points using complex Math.

Having this information will ensure that later on when we use Python to modify the RADIUS of each Skin Vertice, everything will be as we expect it. Such as if we create a Tentacle kind of object, we want the radius to go from MIN to MAX value, and with vertex order correctly sorted, we can easily adjust the radius using Python.

Sorting matters can be complicated, if you want to read some, I think this blog post is related:

I think, in the future, when I have better grasp of Python, we can really Procedurally code the creation of Centipede.

BLENDER ARMATURE: Skeleton Sketching  = SPINE PART

In my research on creating Procedural Centipede, I also encounter this super interesting Blender feature that easily overlooked: Skeleton Sketching.



This feature is also quite interesting and potentially useful in relation to modeling or rigging: Tentacle, Snake, Tail, or Centipede.

Remember my old talk about Curve Resampling or finding a way to place objects evenly in a Curve Path? Well, I think this Skeleton Sketching might actually be useful to do that.

We will keep this Skeleton Sketching for future usage.

DUPLIFACE/DUPLIVERT/DUPLIFRAME: Spine or Leg Part
These features of Blender is always kind of interesting and handy for a lot of reasons. Even for Centipede. You definitely want to study this feature on your own:

Pablo Lizardo creating Array of Rooftop Tiles:
http://www.youtube.com/watch?v=yso0RC9hqoI&feature=youtu.be

BLENDER GREASE PENCIL: Drawing Curve = SPINE PART
Grease Pencil is also potentially nice to draw Centipede Backbone/Spine. Always keep Grease Pencil handy for all situation. When we convert Grease Pencil to Curve, it will have nicely sorted index too. 

MODIFIER: Array Modifier and Curve Modifier  = LEG PART

The final key here is to use Array Modifier, Curve Modifier, and a Curve in order to duplicate legs of centipede along the Spine path.




The result:


Ok, now, we have pretty must the foundation of how to model Centipede Procedurally using Blender.

DETAILING AND FURTHER REFINEMENT

We are not finished, this is in fact, just only covering the base.

You can continue to refine the model by Sculpting, but I think with the Skin Modifier for the body, for example, we can probably first create Segmented lines using Python script.

For example, something like below:

ADJUST RADIUS FOR EVERY N VERTICES

import bpy

# Get selected mesh with Skin Modifier applied
skin = bpy.context.active_object.data.skin_vertices[0].data

# Iterate every point/vertex and get/set the Radius

for i, v in enumerate(skin):
    print ("vertex", i, v.radius[0], v.radius[1])

    # Change the Radius Value for all vertices
    
    v.radius[0] = v.radius[1] = 0.5
    
    # Change the Radius Value for every N vertices
    if(i % 2):
        v.radius[0] = v.radius[1] = 1


With Displace Modifier and Noise Texture.

JOINING THE LEGS INTO EACH SEGMENTS OF SPINE

If we later want to JOIN every leg segment back into the body, we can also use Python scripting.

This makes me think: maybe the whole thing can be scripted too? I bet it can. Normally for "procedural" stuff, where everything is repeated and can be solved by step by step procedure, things can be scripted.

Let say we do it another way. we firset created an Array of Edges that makes a pair of legs, then we connect the center point of every pair of legs using Python, that might possibly works as well.


RIGGING AND ANIMATING CENTIPEDE

Continue on, if we are to rig the Centipede for animation, we probably want to use Drivers to control the movement of the legs.

GAKKEN MECHAMO CENTIPEDE ROBOT

MKRdezign

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