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      <h5><b><font face="Arial, Helvetica, sans-serif">//<a href="../../../index.html"><font color="#7C420E">loonygames</font></a>://<a href="../index.html"><font color="#7C420E">issue 
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                      <p><b><font face="Arial, Helvetica, sans-serif" color="#0000FF"><i><font color="#904C10" size="2">Painting 
                        on Polygons:</font><font color="#904C10" size="4"><br>
                        Looking For Employment</font></i></font></b><br>
                      
                      <div align="right"> <font face="Arial, Helvetica, sans-serif" size="-1">By 
                        Rick &quot;<a href="mailto:flat@iserv.net">Flatness</a>&quot; 
                        Grossenbacher</font></div>
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                    <h5 align="right"><b><font face="Arial, Helvetica, sans-serif" color="#00025E">Vol. 
                      2, Issue 8<br>
                      January 12, 2000</font></b></h5>
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              <p align="right"><loonystart></p>
              <h5 align="right">&nbsp; </h5>
              <p align="left"><font face="Arial, Helvetica, sans-serif">Another 
                tip is that relocation is essential. If you want to work as an 
                artist for a game company, you need to be able to relocate. To 
                be efficient, most companies want you right there. Yes, there 
                are some companies who will work via the Internet, but those are 
                few and far between, and most wont touch you unless you are damn 
                good and have some experience. With the economy as good as it 
                is right now, however, there are still some companies who need 
                the help so badly that they will resort to working remotely, but 
                again, unless you have experience it is doubtful that they will 
                give you much of a look. They usually find it to be a serious 
                pain to deal with someone from across the United States and try 
                explaining things over e-mail (not to mention the cost of long 
                distance telephone called now and then, airfare, and even hotels 
                to bring the artist to their headquarters every now and then). 
                I know this, because I&#146;ve done it. I was working on the Gameboy 
                Color version of Polaris Snocross (not released yet) and one of 
                the programmers was trying to explain to me about a certain perspective 
                that he wanted a particular jump to face and it was quite difficult 
                to communicate this over a series of e-mails. If I were sitting 
                right there he could have just held a piece of paper up and shown 
                me. So, you can see how little things like this are annoying and 
                slow the whole process down. That&#146;s why game companies will 
                tend turn their noses up at people who want to work remotely. 
                Plus, they really want more of a team setting. And it is hard 
                to be part of a team when you rarely see the person.</font></p>
              
            <p align="left"><font face="Arial, Helvetica, sans-serif"><img src="images/critique.gif" width="309" height="34"></font></p>
              <p align="left"></p>
              <p align="left"><font face="Arial, Helvetica, sans-serif">This week&#146;s 
                critique is on the work by Scoll (<a href="mailto:scoll@hyperjump.de">scoll@hyperjump.de</a>). 
                He is a beginner and I&#146;m always happy to help out beginners 
                since this column is designed for everyone of all levels. Let&#146;s 
                take a look at the picture he has sent in:</font></p>
              
            <p align="center"><font face="Arial, Helvetica, sans-serif"><a href="http:/home/loonygames/loony.timedoctor.org/content/cgi/image.pl?image=/content/2.8/pop/images/scoll.jpg&amp;w=380&amp;h=433&amp;back=/content/2.8/pop/index2.php&amp;name=Painting%20on%20Polygons"><img src="images/scoll_sml.jpg" width="114" height="129" border="1" alt="click to enlarge!"></a><br>
             <ignoreme> (<a href="http:/home/loonygames/loony.timedoctor.org/content/cgi/image.pl?image=/content/2.8/pop/images/scoll.jpg&amp;w=380&amp;h=433&amp;back=/content/2.8/pop/index2.php&amp;name=Painting%20on%20Polygons" target="_self">Click 
              to enlarge</a>)</font></p></ignoreme>
              <p align="left"></p>
              <p align="left"><font face="Arial, Helvetica, sans-serif">The first 
                thing I instantly noticed that I liked very much is that he has 
                a loose line. If you look closely, you will see where he goes 
                out of the main line sometimes and redraws over his original lines. 
                This is very good when sketching because it isn&#146;t always 
                good to commit to a line right away. This way, if you draw lightly 
                at first, you can redraw over areas which need to be better defined. 
                When I&#146;m sketching I rarely use an eraser, but I draw very 
                lightly at first -- drawing and redrawing over lines until I have 
                something well-defined.</font></p>
              <p align="left"></p>
              <p align="left"><font face="Arial, Helvetica, sans-serif">While 
                we&#146;re on the topic of lines, Scoll also uses some line quality, 
                but I would like to see more of it; some lighter lines that are 
                very, very light and also darker ones that are thick and very 
                dark. If these are used correctly it will drastically make the 
                lighting look more realistic. Even an idea to try might be to 
                make one side of the face much darker than the other. Or better 
                yet, maybe drastic downward lighting that would cast sinister 
                looking shadows under the eyes, nose, mouth, chin, and chest. 
                That would make considerable difference to the mood of the drawing.</font></p>
              <p align="left"></p>
              <p align="left"><font face="Arial, Helvetica, sans-serif">On thing 
                else to keep in mind are proportions. The shoulders and chest 
                need to go out a bit on either side. The head is a too large for 
                the body (or the body is too small). One way to think of this 
                is that the shoulders are about three heads wide. Of course, this 
                depends on the type of creature you figure or whatever you are 
                creating, but it a good general rule to follow.</font></p>
              <p align="left"></p>
              <p align="left"><font face="Arial, Helvetica, sans-serif">There 
                is something that I would like to applaud Scoll for. He took the 
                step to add some action and interest in his picture. I like how 
                the drawing suggests that the creature is looking down at you. 
                If it were at a flat, eye to eye level perspective then I don&#146;t 
                think it would have been nearly as successful.</font></p>
              <p align="left"></p>
              
            <p align="left"><font face="Arial, Helvetica, sans-serif">As a beginner, 
              sometimes it&#146;s hard to take the step to let your work get critiqued 
              so I&#146;d like to thank Scoll for submitting his drawing. I&#146;m 
              always accepting drawings for critique, so if you have something 
              that you would like to see appear in a future column and hear my 
              artistic drivel, please send in your art to: <a href="mailto:flat@iserv.net">flat@iserv.net</a>. 
              And, as always, I&#146;m accepting general questions too. Whether 
              it be traditional art, something about the game industry or something 
              specific to a program like Photoshop, Illustrator, or 3-D Studio 
              MAX.</font></p>
              <div align="center">
                <p align="right"><font face="Arial, Helvetica, sans-serif"><i><font size="2"> 
                  Rick &quot;Flatness&quot; Grossenbacher works on Gameboy Color 
                  games for Vicarious Visions. </font></i></font></p>
              </div>
              <p align="left"></p>
              <p align="right"><font face="Arial, Helvetica, sans-serif"> </font></p></loonystart>
              <p align="left"><font face="Arial, Helvetica, sans-serif"><a href="index.php"><font color="#7C420E"><b><font size="+1">&lt;&lt;Prev</font></b></font></a></font></p>
    
        
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<p><i><font face="Arial, Helvetica, sans-serif" size="-2">Credits: Illustration 
  &copy; 2000 Dan Zalkus. Painting on Polygons is &copy; 2000 Rick Grossenbacher. 
  All other content is &copy; 2000 loonyboi productions. Unauthorized reproduction 
  is prohibited, you cartoonish villian, you.</font></i></p>
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