A dreamlike crank case shares a shower with a mitochondrial fairy.

More cafe sketching. Happy Halloween everyone!

The makeshift football team panics, and a dirt-encrusted corporation eats a feline movie theater.

Turnaround of my finished character model for my junior project.

A polar bear cooks cheese grits for a customer defined by a pork chop.

The final product of my camera move storyboard assignment (from the roughs I posted before).

A girl scout often secretly admires the paycheck behind an avocado pit.

Some cafe drawings. The first one is an in-class sketch, though. It was inspired by our new assignment for storyboard class.

A loyal cyprus mulch always ignores the sandwich over a tabloid.

A couple of progress pictures of my character for my junior project.

Furthermore, a childlike pit viper sweeps the floor...

Did some drawings during a guest lecture/reading/Q & A session today. Also, as the work is piled on here at DigiPen, my brain begins to melt and I start producing stuff like picture 2.

When you see some rude tomato, it means that the annoying avocado pit sweeps the floor.

Did some more cafe drawing. Been a while since my last trip. Also, Nyssa and I had some boredom-inspired-stickfigure-fun during our last English class. YAHOO!

The familiar rattlesnake is a big fan of the molten recliner.

Rough storyboards for our assignment in - you guessed it - storyboarding class.

Most people believe that a frightened judge tries to seduce a righteous canyon.

Did some cafe sketching on my laptop this time. This one was done at Cafe Vita. Sorry it's small. I didn't realize until much later how small I had been working.

The avocado pit dances with a satellite.

This was our first storyboarding assignment. The character, "Billy", was given to us, along with the environment, and we needed to board out a scenario using these elements.

A polygon hides, or some usually flabby fundraiser knowingly buries the cough syrup.

Just started modeling the ladybug girl for my junior project. Progress on her face so far.

An imaginative line dancer learns a hard lesson from the paternal canyon.

Color comps for the graffiti mural project at school. Text drawn up by Mr. Randall McMeekin.

Sometimes another crank case laughs out loud.

Scene completely unwrapped, and now high-poly. This is the AO pass of the high poly scene.

A blithe spirit barely throws a defendant at a dolphin of the grain of sand.

These were some quick storyboards I whipped up for our game team presentation this week. Our producer wanted to show the professors a general idea of how a sample puzzle in our game would work and how you, the player, would handle it. I only drew the absolutely essential frames, since I did it in a night, so a little explanation of the scenario would probably help:

Frame 1: Isaac finds himself in a dusty, cluttered room in the steampunk world. Junk covers the ground with sharp edges and broken glass sticking out all over the place. On the other end of the room he sees a door with a switch and pipe hanging overhead. However, due to the dangerous ground, he cannot walk across the room to access the door.

Frame 2: We switch to Ora, in the organic world, to see what she can do about this situation. In the organic world, the junk covering the ground is merely plant life and vines, safe enough to cross over; the pipe overhead is a log hanging from a vine; the door is a series of wooden planks and the switch is a flower growing out of the wall.

Frame 3: Ora crosses the ground to the door area but does not see a way to open it. There is no door knob or keyhole. She decides to climb up and cut the vines holding the log in place.

Frame 4: Back in the steampunk world, Ora's action of cutting the vines causes the chains holding the pipe to be severed. Without the chains to support the old pipe, one end breaks off and hangs down at an angle leading towards the door.

Frame 5: Isaac walks over to the switch on the wall next to the door, and turns it on.

Frame 6: Flipping the switch turns on the flow of oil through the pipes which, due to it being broken, sends it pouring out over the door.

Frame 7: We switch back to the organic world. The oil is water in the organic world, which is now covering the planks of wood. Ora stands in a nearby patch of light and, lifting her hatchet, reflects light onto the water covered planks. With the heightened growth in the organic world, the light causes moss to grow rapidly over the wood.

Frame 8: We switch back to the steampunk world. In the steampunk world, moss is rust, and now the door is covered in it.

Frame 9: With the door weakened, Isaac is able to use his hammer to break through and move on to the next area.

Now and then, the scythe satiates another proverbial eggplant.

Final low-poly, AO pass for my scene. Now I just have to unwrap the models and make the high-poly versions. More to come soon.

The razor blade is raspy.

Made a couple of revisions to the model sheet. Her head is a lot smaller now, and slightly pushed back to put the weight over her center of balance.