Adaptation: Recreating Lenny in Maya. WIP 3

Adaptation: Recreating Lenny in Maya. WIP 2

Refining model in Mudbox

Blocked out the ears in  Maya and sculpted them in Mudbox

Adding tufts of fur to the cheeks and ears

Adding the goatee

Hardening edges for further detail and definition to the eyes and eyebrows. Added eyes.

It turned out alot better than I expected. :D

Adaptation: Recreating Lenny in Maya. WIP 1

Reference Images

(The hat will be a separate object)

Adaptation: Vernon Accessories 2

Since it's generally agreed that a bag is a favourable way to go (Jackie, Tom Beg and I appear to agree so), I decided to give him just that; a bag for all of his books, quills and maybe a few navigational tools to aid him and Lenny along the journey to Eldorado.

For the colour scheme, I tried adding a little saturation overall in order to give him a warmer appearence. I also used plenty of 'royal' colours like warm red and gold to give him a sense of belonging in the upper-class.

Adaptation: Vernon McCobble Accessories

It was very much agreed that Vernon needed a little something 'extra' to him to make him less drab in appearence. He didn't look like the librarian type, nor as much of an intellectual as we would initially give him credit for upon first glance. He needed something extra to give him that intellectual "quirk" that he needed.



Adaptation: More Phil Poses

Adaptation: 'Phil' Proportion and Talon/Hand Motions

Interm Crit Presentation

Presentation by ThomasFarrington

Adaptation: Character Height Chart

Adaptation: Final Character Designs

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Lenny Knightingale

With Lenny's colour scheme, I decided to go with a familiar 'Hero' set of colours such as the combo of blue, warm red and yellow. These are primary colours and are very often associated with protagonists and the traditional 'good guy' archetype. The rich, earthy brown of the hat and coat accentuate a friendly appearance, too. The ginger in the fur we see as a fiery colour, often associated with energetic and outward individuals. I replaced the white belly fur and tail tip with a slightly darker tone as the contrast between the white and orange was too much. it also made him look too much like a fox.

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Vernon McCobble

Vernon's colour scheme I wanted to look a lot less flashy and brightly-coloured than Lenny's for the reason that he's a librarian, often spending his times isolated among rows upon rows of leather-backed books. I wanted his colour scheme to both reflect this and his formal and home-bird personality. For example, the black for his form and the brown fur for his old-timey traditions and friendly demeanor. The waistcoat and creased scarf are supposed to resemble the sight of a book from the side, the scarf's tan colour reminiscent of old paper and the darker tan waistcoat as the leather book hide. The seam down the center of the waist coat is also similar to the spine of the book.

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 Phil 'Shadow' O'Grimm

Phil's colour scheme is supposed to both reflect his species, his same and his occupation as a bandit. Unfortunately, there wasn't much I was able to do in terms of variation of the colour scheme of a vulture without viewers mistaking him as an eagle or a different bird of prey, so I went with identifiable 'vulture' colours. This turned out to work better than I expected as his pitch black feathers reflect him being more like a stalking, black 'shadow' as his name identifies. His scarf and part of his hat reflects his nature as a scavenger and a bandit, killing travelers for their riches and scavenging for other things of value or trophies. The stained, tattered blood red, of course, represents his bloody nature and his hat is lined with the teeth of various beast carcasses he found through his life.

Adaptation: Phil 'Shadow' O'Grimm Colour Scheme Ideas

I tweaked his proportions a little and made him a little bulkier I also hunched him over a bit, reminiscent of the 'hunch' of a real vulture.

Coming up with colour schemes for this character was a little trickier than the other two character, as there aren't may colour combinations that automatically make the viewer think 'Vulture' besides the traditional black coat of feathers, white mane and flesh-coloured, featherless head. I tried to add in some potential variety regardless.

Adaptation: Vernon McCobble Colour Schemes

Adaptation: Lenny Knightingale Design Alterations and Colour Scheme Ideas.

Using the style of the old west and, in particular, looking at various paintings depicting from the old west., I noticed that the colour palette is very much filled with a mixture of desaturated  and earthy tones with a hint of more saturated, warmer colours. I thought it would be wise to impliment that into my colour schemes as shown here.

I also have Lenny a bit of a redesign in terms of body structure since he previously looked too humanoid when he's supposed to looks more animal than anthro. I elongated and widened his torso a little, then I shortened his legs and got rid of the digitigrate leg structure in favor of a plantigrade one. I'd say it turned out pretty well.

Please comment and give feedback!



Adaptation: @Phil/Alan/Justin. Final Designs? (Colourless)

I just want to make sure whether or not these would be good designs to continue with before I move on to colour schemes. I'd like to start converting Lenny to 3D as soon as possible.

Feedback will be very much appreciated!

Lenny Knightingale

Vernon McCobble

Phil 'Shadow' O'Grimm

Adaptation: More Vernon McCobble Designs

Adaptation: Lenny Knightingale Designs

From what I got from Justin, my previous sketches of Lenny looks a little too conniving due to both his poses and the length of his muzzle. Often, when we see weasels with long muzzles, we think of these fellows:

Sleasy, villainous and up to no good. True, Lenny would have a hint of that in the "lovable jerk" type of personality, but I don't want him to turn into a character that you could ultimately dislike. Thus, I altered his design a tad.



Maya: Fireworks

Maya: Curve Flow

Adaptation: More Phil O'Grimm Designs

After my meeting with Justin today, it seemed apparent that a vulture was the best way to go in terms of which animal to choose. However, in my previous poses of him, he seemed much too like a hero. He looked much too young for his role as a villain combined with the personality he had and the story. 

Because he's a bandit, he needed to be more rugged and gruff, but in hints and mild visual cues; things like the dirtying up of clothing and the tattering of the hat. He also needed to appear older.

Maya: Island

Adaptation: More Vernon McCobble Designs

I remember Phil telling me (or was it Alan...? Er... no idea) that large, eye-covering spectacles weren't the way to go; they made the eyes look soul-less with no expression. However, I experimented again with the covering glasses, but this time applied the bushy eyebrows I've been so fond of lately with this character. I have to admit, it doesn't look too bad, especially on figure no. 4.

Critical Perspectives: Presentation

Critical Perspectives Presentation by

Adaption: Phil 'Shadow' O'Grimm Designs

Adaption: Lenny Knightingale Designs

Maya: Shockwave

Adaption: Vernon McCobble Designs

Adaption: Paying Homage to Heroes and Villains in Wild Western Film Part 3

Finally, looking at my sidekick character, "Vernon McCobble", the shrew, this one was a little more tricky to do as there aren't many bookworm-types in famous western films, at least to my immediate knowledge, so for this character, I thought I may be able to look beyond just the realm of film.

Kevin Kline as U.S. Marshal Artemus Gordon from the 1999 film "Wild Wild West"

Professor Harold McDougal from "Red Dead Redemption"

Taking into account the "Sophisticated" aura that I wanted to give the character, I looked at 'smarter' clothing which was around during the time: waistcoats, bowler hats, suits, bow-ties, etc. This is what I came up with.

Maya: Spinning Fireworks

Adaption: Paying Homage to Heroes and Villains in Wild Western Film Part 2

This time, I'm looking towards our hero: Lenny Knightingale, a young, confident, but somewhat cocky weasel.

Of course, going with the hero Archetype, I attempted to make him as relateable and as familiar as possible to audiences. This means good-looking (as much as possible as far as anthropomorphic animals go), bold stance and a friendlier appearance than that of the villain.

I looked at the protagonists of classic western films from the 1950s onwards.

Alan Ladd as Shane in "Shane" (1953)

John Wayne as Reuben J. Cogburn in "True Grit" (1969)

The Mgnificent Seven in "The Magnificent Seven" (1960) (Picture from potential re-make of film)

-and of course, the legendary Clint Eastwood

Maya: Smoke Hatch

Adaption: Paying Homage to Heroes and Villains in Wild Western Film

During a talk with Phil today about my uncertainties and confusion regarding the issue of art style suggested by Alan, he made it clear that I didn't need to change up my visual style. I think what Alan meant by linking in my style with the Old West was in terms of the design of the characters, not how I drew them as a whole.

It was soon suggested that I look at films portraying the Old West, most particularly the Hollywood Old West and the actors made famous by their roles in this genre.

Upon looking further into this, we decided that I could pay homage to these actors, incorporating subtle hints of them within my character designs such as Clint Eastwood's squinted eyes, John Wayne's pale hair and gaunt expression, Jack Palance's Waist coat, Lee Van Cleef's longcoat, etc.



Starting this trend, I'll begin with Phil "Shadow" 'O Grimm

See if you can spot the references.