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By Takashi Iijima

Event genuine human physiology and routine with motion ANATOMY for players, Animators and electronic Artists, the critical consultant to the expression of human physique mechanisms in special effects as illustrated for creators, designers, and animators. personality animation is explored through every one physique half and circulate exhibited via fabulous photo info with transparent reasons. full of over 650 color machine photograph visuals and greater than 280 worthy themes and commentaries on all people half, bone, and muscular stream, this finished physique animation photo guide is a must-to-have for all designers!

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Extra resources for Action Anatomy For Gamers, Animators and Digital Artists

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A lot of these little details are often painted on their own layers for quick adjustments and editing options (Fig10). Foliage and Fine-tuning Once again, on a duplicated layer, I’m making another adjustment that will be lowered in opacity and portions erased. Under the Image > Adjustments > Auto Contrast option I’ve given the saturation and values one last tweak to bring out all the colour and highlights. The characters have been fine-tuned a little to make their bodies a bit more easy to read, without detailing them too much.

PAINT! I started by just throwing down some colours and contrast onto the empty canvas. 01). I had a vague idea for the composition; I knew I want a human character standing pretty much in the centre of the lower half of the image, looking up at some nasty carnivorous plants. 02). Because I didn’t like the colours at this stage, I tried a more reddish palette using the Hue/Saturation settings. com page 48 Chapter 5 Speed Painting Man-Eating Plants! shapes a bit more, pushing the left plant back a bit and adding a dark silhouette representing the character (on yet another layer).

The huge head of the main plant was taking up too much space and focus, and the way the stalk was shaped made it feel like it was bending, trying to fit inside the painting. I wasn’t happy with this, so I used the Lasso tool around the plant, and scaled it down. 04). I added some lighter hues to the ground, suggesting reflections, which made the swamp water look more realistic. On top of the background I created a new layer for some distant plants and trees. I painted some light behind the trees, and added a few design elements to the foreground plants and the character.

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Action Anatomy For Gamers, Animators and Digital Artists by Takashi Iijima


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