Case Study ‘Villian’ by Anthony Gargasz

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Anthony Gargasz is a talented young designer located in Ohio, USA.
Although he is just 19 years old, he shows a lot of motivation and passion
in what he loves to do: creating.
He is also part of the Evokeone collective and is hosting an exhibition next Saturday!

 

 

 

 

 

1. Without knowing someone it is hard to tell if they are a hard working, genuinely good person, or a villain. What if we were able to determine this by their physical appearance alone? The concept for my piece Villain was to expose how someone with evil intentions looks on the inside. The piece began in Maxon Cinema 4D with a basic element; a triangle. Triangles are commonly associated with the illuminati, therefore I felt it would be appropriate for the subject to have a malicious triangular head. Also, I have always been fascinated with the Pyramid Head character from Silent Hill.

 

 

 

 

2. The illuminati triangle head wouldn’t be complete without EYE BALLS! The addition of the eyes begin to bring the character to life, for eyes are known to be the “windows to the soul”.

 

 

 

3. If you are not familiar with 3D programs, here is a comparison of what you see in the editor when creating something and what you see after a rendered preview is generated. As you can see, the editor is not WYSIWYG, What You See Is What You Get, which therefore requires you to frequently render previews to see what your model will actually look like when exporting it. In this step I began to add elements within and around the head to build more structure.

 

 

 

4. Here you can see the transition from editor to rendered. I continued to structure the character’s head, and added a few elements “shattering” away from the focal point.

 

 

 

5. Now the 3D structure of the character is complete. We now have a model representing the mind of someone with evil intentions, with shapes branching off the main focus to show that the evil intentions are not collected, and haphazardly roaming, therefore creating a sense of impending danger.

 

 

 

6. I have now rendered a high res model of the character’s head, imported it into Photoshop, and placed it on an off-white background to create more balance. Also, a lot of the fine details would be lost against a dark background.

 

 

 

7. Making the character appear more complete, instead of just being a head. With evil in mind I chose to make the character’s body a skeleton. This will allow the body to take up less space, so that the viewer’s eyes can be drawn to the eyes, and appear creepier. I found a picture of a human skeleton from google to use as a reference.

 

 

 

8. In this step I took the pen tool, and went outlined the skeleton to create more of a custom torso so that I would not be limited to the appearance of the original image. When outlining the skeleton I focused on the overall essence of the shapes, and not fine detail.

 

 

 

9. I then filled the outline with black to illustrate the darkness within someone who is genuinely evil.

 

 

 

10. To make the torso appear more realistic I added some highlights, shadows, and subtle texture. Also in this step I painted some streaming red lines around the head as a supporting detail to the focal point.

 

 

 

11. Now that the major elements of the character are in place as well as a few supporting details, it’s time to work on the overall atmosphere. On a soft light layer I added a radial gradient with the light source originating from the center of the head. Black is a powerful shade, so to even up the balance a bit I created a lighten layer and filled it with dark purple. Some subtle textures were then added to dirty up the whitespace a bit. This lighting adjustment does wonders to the overall focus of the piece, and brings out some fine details in the face as well.

 

 

 

12 & 13. The dirty whitespace is a nice effect, but does not create an evil atmosphere. To create the evil atmosphere I used these stock images of girls being trapped within canvases. This helps answer the question of “Why is the character a villain?” The elements were then blended in with the background so that your eye is first drawn to the character, then what surrounds it.

 

 

 

14. Back to the eyes. In this step I added details to the eyes by painting in the irises, reflections, and adding some redness.

 

 

 

15. Red eyes wouldn’t be complete without veins, so I painted them into the irritated eyes.

 

 

 

16. As a final touch to the face I added dripping blood. I tried to make it look like the character was drooling blood from the eyes, hungry for terror.

 

 

 

17. In this step I rendered some shards in Maxon Cinema 4D, placed them behind the face, and blended them with the skeleton. The shards provide excellent detail, and give the torso the same “shattering” effect as the head.

 

 

 

18. After adding some more texture to the background, the piece is finished! We now have exposed the interior of someone with genuinely evil intentions in a bone chilling aesthetic manner.

 

 

You can view more of Anthony’s work at his portfolio www.anthonygargasz.com
And follow him on his Twitter @anthonygargasz

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4 Responses to “Case Study ‘Villian’ by Anthony Gargasz”

  1. Hendrik

    Love these kind of case studies. Good job!

    Reply
  2. Francois Hoang

    This is an awesome case study! Big talent with a big future!

    Reply
  3. ricardofx

    this is not a case study,this is a mini tuto lol!
    i luv this guy…thumbs up Anthony.

    Reply
  4. Husam Elfaki

    Geezy is a pro, nobody does it like him, especially not at the grand age of 12! Nice one brother.

    Reply
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