Rodney

Nice Robin! and I'm not just talking about the addition of sound. You've got some nice facial animation going. Fix the white/eye protruding artifact above the eye... give him a gun (or other inspired prop) and that's just about perfect.

Very cool John. Its been too long since we've got a taste of Kapsules. I hope you continue finding time to devote to this project. (Still a really big fan!)

Hey!!! Don't leave us hanging. We wanna see.

Here's a thumbnail comparison to bring all my suggestions together. For what its worth I like yours better!

I still had my photoshop'd image so submit this as one possible solution toward clarifying that he just dropped the sword. Note the suggested change to the eyes to accentuate what he's got his mind on.

I'm so misunderstood! LOL I don't want to overstate the obvious but... here goes... (exploring because you are letting me) Its easy to imagine why the sword is there. That he has tossed it aside is really the only reason I can imagine it would be there. Would any other reason spring to mind? Bear with me here... apparently I wasn't clear or precise enough in my earlier wording. My point is that it isn't clear *why* he would do this. If we knew more about this character we might now that he does this everytime he gets into trouble. (If he did that he'd end up buying a whole lot of swords!) As one in a series of images it'd work within that context but we don't have those other images to refer to. Some facial animation or throwing gesture might help sell it. In animation we (yes... even Caroline's family! LOL) must strive for clarity. Am I reading too much into this thrown away sword business? Anyone else see ways to futher clarify? Dirtying or breaking the sword might be one way to send that message but somehow that too doesn't quite satisfy... Let me just ask the question then. Why DID he throw away his shiny new sword??? (I'm seriously interested in your character and his backstory so I'm hoping you'll elaborate a bit there too)

Javier nailed that one for you.

Somebody please post examples of models they'd like to Copy/Flip/Attach. Simple ones... complex... the more the better. I think we can kill this one dead if we run it through its paces and nail down the process. Copy/Flip/Attach won't always work due to mesh layouts but it works a whole lot better than its being described here. With some examples I think it'll be pretty easy to demonstrate.

A thing of beauty Caroline. My point wasn't just to move it. I just don't know why its there. I don't have to know mind you... but would like to know. In an animation all would be instantly revealed.

Riste, In looking over this topic I hope we didn't come across as suggesting you implement these changes. For my part I've just been exploring the possibilities. As this is a recurring character of yours I'm sure you have a lot of scenes planned for him and I look forward to seeing those. If you do feel compelled to tweak this one... well then... have at it! I want to point out some things that really work well in your scene too as I didn't do a very good job of that. You have very strong poses. Both the barbarian and the Dragon staging is really nice and they work well together. I think the barbarian's pose is the best of the two of course. I especially like the twist/the tension you've got in his body. He's definitely a captivating character. You've got the eye directing elements I mentioned before all over the scene too. The columns direct our interest to center stage. The castle... you've got it there too. Its a successful image as is so be proud of that!

I believe everyone may be thinking too hard on this one. Test Copy/Flip/Attach on a simple model... a grid for instance. Then once you understand the process try it on more complex models. Example: Create a grid (Use the Grid Wizard or make it manually) Grab the whole grid Hold down the SHIFT key while selecting a spline on the side you want to flip on. Right Click > Copy/Flip/Attach You can C/F/A upward, downward, right, left... wherever... just as long as you SHIFT select appropriately prior to selecting C/F/A. The thing you'll have to consider on more complicated models is how aligned the splines are along the axis where the flip will occur. As has been mentioned using the scale manipulator can fix this pretty easily. If the mesh isn't built well for C/F/A purposes you'll get a bad result. You can get some pretty good C/F/A however even with CPs and Splines not being lined up.

I'm thinking Matt might be on to something there. If you can't get Bruce Willis try for Demi Moore. Lighting... yeah... why not. Do lots of the stuff Dan said too! With CC&C like this you should be famous soon.

I'll finish with this. Ultimately we are trying to communicate the story within the image. I apologize that I've taken liberties with *your story* but was inspired by what you already had there. You've got a great thing going. The character must always come first... he's even more important as its *his* story. Highlighting what is on his mind and making that connection will help tell that story. Keep up the great work!

Looks like were are headed for trouble with this one. As we might free up some space in the upper left it could give us the opportunity to bring in the dragon for a nice close up. In my case... not so nice... so forgive the rush job. My errors will be easy to spot. Hopefully it at least illustrates the point. You could exaggerate the dragon's head and make it even bigger to really let us feel the peril our hero is in.

In this next level of detail the image is getting a bit too busy. Time to pick and choose what works... and discard what doesn't. The next place I'd suggest putting some attention is in the far background. Adding hints at what is back there can be easily done without spending a whole lot of time and effort. Flags... (both literally and figuratively) are pointers you can use to guide the eye around the image. In this case I've added some flags from the parapets that point again to the upper left corner. Whatever the eye will eventually be drawn to in the upper left corner it'll be really easy to see. Additional elements might be arranged to draw attention (or even divert it) where necessary. Crumbling buildings? Depth? Subtle change in color can suggest them too. In this example there are some horizontal lines above our barbarian that could easily be done away with... maybe a good place for a crumbling brick pattern? A subtle cue the world is crashing down on him?

Adjusting the sword is my attempt to find a place for it in the image. An additional benefit to moving it is that it frees up some additional space in the upper left corner. There are then the two columns left and right of the main character than might also adjusted. My example here is entirely too much but chosen to illustrate a point. The flow of objects (lines of action etc.) should help create depth and push the attention of the viewer to where you want it. The archers in this example could be replaced with any statue. Perhaps it could be the remnants of an old iron fence and this is the path where we enter the castle grounds. It sure looks like a good place to leave! Whatever we might place there we of course would not want it to interfere with our first impression of the dragon. Breaking off a significant part of the statue on the left might hint that the dragon has been here before and keep that corner free.

Riste, That's a really generous thing to do! It'll be a wonderful resource to explore. No major crit from me. The main story being told is pretty obvious. I'll post a few examples of some things I might adjust if I were setting up the scene. Please take them for what they are... just exploring. Your own take... and the story you have in mind is the most important thing. So the first thing I should tell you is that I really like your image. There is a lot to like... a Barbarian... Dragon... sword and fantasy setting... I'll start with the Sword. It isn't entirely clear what is going on with the sword. I'm sure you have a story behind it but its not entirely clear. As I don't know the story just for compositions sake I might move it into his hand and angle it a bit. (More after dinner or I'll be going without... or so the family says)

You are in Henry! Lots of new faces around here. Pull up a comfortable chair and make yourselves at home.

I think the guy/gal on the right had better be a VERY good bowler to knock those 2 pins down. The crowd waits in anticipation... This could be the upset of the season.

Thats some pretty good experience behind you for a second session! P.S. Your Rabbit called. He misses you too. Says you can find him in the Data folder under Models/Actors. I think he said 'Bring Carrots' but I could be mistaken...

You may find my Advanced Lathing Methodologies tutorial of interest. You have a few options when lathing of course but knowing that you can lathe anywhere in any axis... helps. Advanced Lathing Methodologies Its been so long since I looked at this tutorial I'm sure it could stand some updating. Perhaps someday... (Tutorial required Flash Player)

Works for me. You're in.

That has been a goal for going on 2 years now. Look for some advancement in that area this year. Part of the issue with references is keeping them available and valid. I don't want to create something that is out of date the day after its added. There is also the simplicity that Hash Inc has built into TaoA:M. Accessibility for new users is a priority. If anyone has links, information to add to those exercises they can be added anywhere in the TaoA:M forum. When I do any updating on my end thats the first place I'll look. I don't fully understand the arm decaling question. What many folks are discovering with the darktrees is that they can create decals from them and that can work better. Regarding the archived folders. I'm there lamenting with you. Those areas are gone though and now we are off to try to build an even better forum. If you post here you'll surely get your answers.

In addition to Jim Talbots tutorials (available on his site and the v14 Extra DVD) there are some others tutorials out there covering decaling with and without flattening. Will Sutton's Hippogyraph decaling demo is available on the 2006 SIGGRAPH DVD as well as by itself on his Cafe Press CD ($19). Well worth the price of admission. The spline heaviness of your model is definitely going to be problematic. When in doubt I'd suggest borrowing the mesh from another model to begin with or study.

You are definitely going to have to explain that one. Was it just the number, the entire fishy... I dunno!!!