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              <p><font color="#0000FF"><b><font face="Arial, Helvetica, sans-serif" color="#0000CC">volume 
                1, issue 6</font></b></font></p>
              <p><font color="#0000FF"><b><font face="Arial, Helvetica, sans-serif" color="#0000CC"> 
                </font></b></font></p>
              <p>  <p><font face="Courier New, Courier, mono"><b><font color="#339900" face="Arial, Helvetica, sans-serif">Today 
                in loonygames:</font></b></font></p>

<P><font color="#000000" face="Arial, Helvetica, sans-serif" size="-1">New!!</font><font face="Arial, Helvetica, sans-serif" size="2"> The Archives have been cleaned up, fead links fixed, and printable versions restored! Also, don't miss the new comments <a href="../../../index.html">on the front page</a>!</font></p>
              
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        <p align="LEFT"><font face="Arial, Helvetica, sans-serif" size="+3" color="#0022A8"> 
          DRAW, Pardner!</font></p>
        <p align="LEFT">&nbsp;</p>
        <p align="LEFT"><font color="#804000"><b><font face="Arial, Helvetica, sans-serif">By 
          Chris &quot;<a target="_self" href="mailto:cwb@aqueous.net">shaithis</a>&quot; 
          Buecheler</font></b></font></p>
        <p align="LEFT"><font face="Arial, Helvetica, sans-serif">For fun, I attached 
          the question "Do you prefer to work on textures that are component parts 
          of things (i.e. 'a steel', 'a plastic', 'a shower tile'), or more complex 
          textures (i.e. 'a futuristic computer', 'a wall panel with exposed wiring', 
          'a set of books')?" Some of the responses I received were: </font></p>
        <p align="CENTER"><font face="Arial, Helvetica, sans-serif"><i>"I like 
          to do it all, the more challenging the better" <br>
          -Ruben Cabrera </i></font></p>
        <p align="CENTER"><i><font face="Arial, Helvetica, sans-serif">"I like 
          a good mix of both" <br>
          -Kevin Kilstrom </font></i></p>
        <p align="CENTER"><i><font face="Arial, Helvetica, sans-serif">"I prefer 
          working on whatever is the most challenging"<br>
          -Jeff Wand </font></i></p>
        <p align="CENTER"><i><font face="Arial, Helvetica, sans-serif">"I tend 
          to like the more challenging detailed textures" <br>
          - Mike Hadwin</font></i></p>
        <p align="LEFT"><font face="Arial, Helvetica, sans-serif">It's interesting 
          that with all of the diversity these artists have shown, most of them 
          feel the same about this question, three of them even going so far as 
          to use the same adjective. :)</font></p>
        <p align="LEFT"><font face="Arial, Helvetica, sans-serif">Skinning also 
          allows the artists to show some of their varying techniques. While most 
          artists agreed that they typically create a skin "area by area" (i.e. 

          boots, or legs, or head), a few have a different style. Rich Fleider 
          wrote, "Maybe it's a symptom of training extensively with colored pencils 
          but I usually rough out the whole skin, blocking out areas in basic 
          forms and choosing the best color combinations before I begin the process 
          of detailing a skin." He then moves on to the area-by-area approach 
          for final details (usually starting with the face). Mike Miller also 
          works on the skin overall, taking time out often to stretch it over 
          the model and see what needs to be tweaked.</font></p>
        <p align="LEFT"><font face="Arial, Helvetica, sans-serif">Mike Hadwin 
          also has an interesting approach to skinning a character: "I tend to 
          work on a skin from the outside-in. I lay down all the primary shapes 
          and define inner elements from there. If an area of the skin needs extra 
          detail, I'll work on that image in a larger separate file. Then I import 
          that image back into the primary skin and scale it down to the proper 
          size. Scaling down usually means touching up, so I start pixel pushing. 
          A good example of this would be a character's face." </font></p>
        <p align="LEFT"><font face="Arial, Helvetica, sans-serif"><b><font size="+1" color="#0022A8">Conclusions</font></b></font></p>

        <p align="LEFT"><font face="Arial, Helvetica, sans-serif"> It certainly 
          can't be said that the methods of a 2D artist, be they communication 
          styles, techniques, or even the tools, are not a diverse group. Each 
          method is important to the specific artist, as it helps them fulfill 
          a role that is integral to the creation of any good game. Each tool, 
          technique, or style of communication is therefore important in itself, 
          to the creation of that game.</font></p>
        <p align="LEFT"><font face="Arial, Helvetica, sans-serif">I'd like to 
          thank the artists who took time out of their busy schedules to answer 
          the questions I sent. I definitely appreciate it, and I found their 
          answers to be extremely intriguing. </font></p>
        <p align="RIGHT"><font face="Arial, Helvetica, sans-serif"><i><font size="-1">- 
          Chris &quot;shaithis&quot; </font></i><font face="Arial, Helvetica, sans-serif" size="-1"><i>Buecheler</i></font><i><font size="-1"> 
          is a freelance 2D artist.This is his first contribution to <b>loonygames</b></font></i>. 
          </font></p>
        <p align="LEFT"><i><font size="-1" face="Arial, Helvetica, sans-serif">.</font></i></p>
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    <td><i><font face="Arial, Helvetica, sans-serif" size="-2"><b>Credits:</b> 
      Illustration &copy; 1998 Chris Buecheler. DRAW Pardner! is &copy; 1998 Chris 
      Buecheler. All other content is &copy; 1998 <a target="_self" href="http://www.loonyboi.com">loonyboi 
      productions</a>. Unauthorized reproduction is strictly prohibited, so don't 
      do it...we'll hunt you down, you varmint.</font></i></td>
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