Learn about the myths and legends that have shaped these captivating creatures, discover the scientific inspirations behind their fantastical forms, and participate in interactive activities that will leave you feeling like a true adventurer.
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The film started with the creation of the creature and human characters, and from there, the story evolved naturally. My main goal was to highlight the effects mental health can have on a human being, but most importantly, that no matter the day, good or bad, we can all succumb to the dangers our psyche puts us in. With lots of rewrites, colleague notes, and doubt, I finished the script. I tried to find the perfect partner to help bring this vision to life. On Instagram, I came across the brilliant work of Aiden Whittam, a stop motion animator in the United Kingdom. His work caught my eye because it felt so authentic and unique, unlike anything I had ever seen. I reached out to him and luckily, he wanted to be a part of the project!
Creature Comfort was a semi-finalist at the 2022 Student Academy Awards, a Grand Jury Prize Nominee at the Nashville Film Festival, and an official selection at the 2023 American Documentary and Animation Film Festival and the New Filmmakers Los Angeles. Now, the film is out on Vimeo, where I hope those who watch are impacted the way I was while making it.
CORRECTION: A previous version of this article erroneously named 20/20 anchor Amy Robach as the anchor who referred to Native Americans as "Indigenous creatures." The ABC reporter who made the reference is Kyra Phillips.
I'm very honored to be one of the finalists of the 2022 Concept Art Awards, in the independent category.Thank you Concept Art Association and everyone involved! It means a lot to me.I wish all the finalists the best of luck!The winners will be announced on October 15 in the Pasadena Civic Auditorium, presented by LightBox Expo.You can watch all the 2022 CAA Finalists here. About the Concept Art Awards:Co...
Use joints, bones and muscles to build creatures that are only limited by your imagination. Watch how the combination of a neural network and a genetic algorithm can enable your creatures to "learn" and improve at their given tasks all on their own.
Please be aware that this is more of a sandbox simulator demonstrating basic machine learning than a real game. There are no achievements or player rewards. Even if a creature of yours reaches 100% fitness, you don't win anything except for (hopefully) lots of excitement and joy.
In each lesson, I'll take you on a journey through specific types of creatures, the real zoology on which they stand, concise break-downs of real animal anatomy, and its step-by-step and direct application to imaginary animal anatomy. I'll also show you many applicable examples from my own work and my career. Above all, we will keep in mind the purpose, world, and stories for which our creatures are being designed.
Knowing the structure of real animals and applying that structure to imaginary creatures or actual animals adapted for entertainment arts projects is what gives you wings as a creature designer. Sound anatomy is what makes animation possible, and allows the greatest range of possibilities for both imaginative design, and in the creation of dynamic concept art that effectively gets the story across.
In my first lesson, I'll begin with an introduction and course overview that will familiarize you with what creatures are, in relation to both the entertainment arts and science, and how zoology and professional creature design go hand in hand. We'll examine the "why" of the creature, and how to gather research in order to design with intent and plausibility. Next, we'll go over the fundamentals of basic animal anatomy, and then start out with designing a creature based on and yet departing from, the basic human anatomical model.
Fish, amphibians, and reptiles provide some of the most basic, primeval, and yet quite sophisticated anatomical models when it comes to creature design. So many of our favorite characters, from The Incredible Mr. Limpet and Jaws, to the denizens of Yoda's planet, Dagobah in Star Wars come from these groups. We will examine each of their zoologies and anatomies and learn how they are similar and different from one another, and then go on to create our own fantastic creatures based on what we've learned.
Dogs and cats are some of our most beloved animal companions, and appear widely throughout popular entertainment. However, how closely have we studied them to see how they and their wild relatives are anatomically put together? In this lesson we will learn what makes a dog a dog, and a cat a cat, and how to invent imaginary creatures that are undeniably canine or clearly feline - so many plots and story lines are dependent on this very distinction!
Hoofed mammals are some of the most intelligent, beautiful, swift, and bizarre of all real animals. In fact no other animal has had more impact on human civilization and storytelling than the horse. We will look closely at the various anatomies and differing zoologies of the main two groups of hoofed mammals, and transfer our knowledge into creating amazing hoofed creatures that will carry us into our dreams.
We do not invent imaginary creatures or stylize real animals for them to exist in a vacuum, but rather, to help tell stories within the worlds they are invented for. These visual development illustrations are what movies, games, and graphic novels are made from. In this lesson we'll focus on the profound relationship between story, scene, layout/composition, and creature-ly subject matter - and get started in creating narrative (storytelling) concept illustrations of our own.
The anatomy of animals allows them to assume an infinite variety of poses and positions, which is necessary to both their survival and enjoyment of life, and indeed your creatures must be able to do the same, both in animation, and in the context of narrative illustration. Even after studying anatomy intensively, however, that very same anatomy can seem very puzzling when exhibited by the living animal, depending upon our point of view, or familiarity with that animal. In this class, we will analyze what is actually going on in a selection of challenging poses, and learn to put our creatures into equally dynamic positions as well.
In this final lecture, we'll continue to delve deeper into professional concept/narrative illustration, reviewing the fundamentals, but also going more in-depth into compositional considerations for movies/cinematics and graphic novels, including emphasis on character, traveling and action, crowd scenes and layering. We'll also examine the emotional/spiritual impact of color, light, and environment, all using real and imaginary creatures, and follow the step-by-step creation of another complex concept illustration. We will see how it really is the story that designs the creature.
Terryl Whitlatch is an internationally recognized creature designer for film, animation, and publishing. She began drawing at the age of three when she was first able to hold a crayon. She was also captivated by the many animals on her grandfather's ranch at that same time. For Terryl, these two things started a lifelong love of art and animals.
Scientifically and academically trained as a paleo-reconstructionist, she applied her extensive knowledge of anatomy and zoology to creature design, beginning in 1989 for Lucasfilm and Industrial Light and Magic, where she worked on many films, including acting as Principal Creature Designer for Star Wars: Episode One - the Phantom Menace. She has since worked on many other projects, most recently Disney's John Carter and Pixar's Brave. She is the author of several books, including The Wildlife of Star Wars, The Katurran Odyssey, and Animals Real and Imagined. In addition, she has produced several DVDs on Creature Design for the Gnomon School of Animation and Effects, and has taught creature design and animal anatomy for her alma mater, the Academy of Art University.
The gameplay focuses on raising alien creatures known as Norns, teaching them to survive, helping them explore their world, defending them against other species, and breeding them. Words can be taught to the creatures by a learning computer (for verbs) or by repeating the name of the object while the creature looks at it. Once a creature understands language, the player can instruct their creature by typing in instructions, which the creature can choose to obey.
A complete life cycle is modeled for the creatures - childhood, adolescence, adulthood, and senescence, each with its own unique needs. The gameplay is designed to foster an emotional bond between the player and their creatures. Rather than taking a scripted approach, the games in the Creatures series were driven by detailed biological and neurological simulation and its unexpected results.
The program was one of the first commercial titles[1] to code artificial life organisms from the genetic level upwards using a sophisticated biochemistry and neural network brains,[2][3] including simulated senses of sight, hearing and touch.[4] This meant that the Norns and their DNA could develop and "evolve" in increasingly diverse ways, unpredicted by the makers. By breeding certain Norns with others, some traits could be passed on to following generations.[5] The Norns turned out to behave similarly to living creatures.[6] Norns respond to external stimuli, such as interaction with the player, and internal stimuli, such as changes in chemical concentrations or neural activities.[7] Sight is simulated by having a group of neurons representing each type of object in the world. When an object belonging to this type is in front of the creature ('within eyesight'), the neuron becomes active and the creature can 'see' the object.[4] The Norns possess simulated biological drives which give punishment when they are raised, and reward when they are lowered. The model for Norns' decision-making process is behaviorist and based on Norns learning how to reduce their drives.[8] Dickinson and Balleine state that while this stimulus-response/reinforcement process makes the creatures seem like they are goal-directed, they are instead 'habit machines' responding in a learned fashion to particular stimuli.[9] 589ccfa754
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