Artists Spotlight: Brynn Metheney, Tiffany Turrill and Allison Theus

'Artists Spotlight Feature'

In addition to the normal Q&A interviews I'll be including spotlight features on artists whom I feel show a high standard of quality and originality in regard to creature and character design. In this case I would like to introduce you to three very talented ladies who you may or may not know and if you don't, you should know of them....

I'm featuring the three of them together because aside from their unique and appealing styles, understanding of anatomy and attention to detail, they all know each other and have collaborated on a personal joint project. So without further ado, I'll start by introducing you to each of them and provide you with a little background history concerning their education, experience, their collaboration on their creature project and their relation to each other. I asked each of them a little about how they came to know one another in this vast sea of talent, seeing as how they all love drawing creatures and happen to come together forming a bond of friendship, respect and mutual interest.

Tiffany Turrill

Website: http://tiffanyturrill.daportfolio.com/ Contact: tiffanyturrill@gmail.com

Tiffany is 27, she grew up in Mesquite Texas and attended the California College of the Arts in San Francisco, where she graduated with a BFA in Illustration in 2006. Soon after college she was hired on as a concept artist at Gazillion Entertainment's original MMORPG development wing, Slipgate Ironworks for 3 and a half years. Unfortunately the project was never released. She then went on to work for Backbone Entertainment in Emeryville, CA for several (also disbanded/canceled) projects, and one which will be released this fall: Zombie Apocalypse 2. Other clients include Hopelab.org & Blue Funk Productions.
"....Many times while working at game studios, I was asked to design characters who seemed to be male in the extreme - overblown, exaggerated, titillation seems to be the rule. Even the enemies of many video games are simply giant musclebound men. The design aesthetics of said games were hodge-podges of whatever was 'cool' - instead of focusing on developing a compelling, cohesive experience...." - Tiffany

"The critter project itself is similarly free-form, since we're all working professionally, it's intermittent and done often as a breather. Each of us also have other personal creature projects and world building stories as well, so for me, the collaboration helps to keep the brain going, and keep me from limiting myself to certain subject matter. We each provide our own original take on a prompt or word, some of which can be more ephemeral, and some more zoology-based. It's wide open. The original intent was to see what trends emerged with each design, (IE; Brynn seems to render more cat-like vertebrates, Allison has a flair for elaborate wormy things) and singling out these traits, refining them, and perhaps building three separate worlds we took turns developing creatures. So far we haven't invested too much time into it, but things have been quite busy! :) - I definitely intend to continue working on it, though, and hopefully it will turn into material for an art book, or series of art books." - Tiffany"My relationship with Brynn and Allison both stemmed from online interactions. I've been admiring Allison's work for years on DeviantArt, and vice versa, but on a gargantuan community like DA, it's easy to find artists with similar interests and styles....I feel that the relationship came more from a mutual respect and interest in the art, and the fact that we're both creature-making ladies was an added bonus. Similarly, Brynn was a later graduate of my art school, and one of the few people there interested in both concept art and creature design. She was also living in Oakland, and after realizing we had so much in common (and many silly interactions online) we met and became friends." - Tiffany One of the things about Tiffany's work that really caught my attention was her draftsmanship and the quality of her line drawings and sketches as well as her uniquely original and odd yet plausible designs. It's important to be well experienced in producing quality black and white line drawings and sketches for multiple production purposes as well as publishing purposes. - Mike"So, seeing the art of Brynn and Allison was something of a self-realization for me, that there WAS a place for what I do, and others with similar styles, concepts, and methods. And further, that perhaps together we could eke out a space where we could be more fully ourselves in a field built mostly of individuals. Artists do need communities, and the internet has tremendous reservoirs and opportunities for that, but unfortunately the whims of design trends keep certain art styles in vogue, and marginalize others. In order to take my interests from a hobby and make a profession out of it, there are allowances that must be made. Frankly, in my working experience, very few people know much anything about animals, how they behave, and function - and in a games context, knowing everything there is to know might initially impress your peers, but at the end of the day you'll still be tasked with designing a tiger that throws fireballs. You won't always be drawing the thing you love to draw the most." - Tiffany
More recently Tiffany has begun to work her way into publishing children's books, taking several private commissions for forthcoming books - one of which will be published under Green Leaf Book Group this year. You can see some examples of her children's book art style below. - Mike The image below shows what it takes to understand and design your own creatures as Tiffany illustrates the evolution of terrestrial mammals to marine mammals/whales in the chart below. Concept design is just as much a science as real world evolution and it's important to learn real world anatomy as the image below illustrates as a great example. - Mike"I feel that Brynn, Allison, and I are each equally skilled at a breadth of work that overlaps in many places, and we certainly have the same sorts of passions artistically, but that we are each rooted into a different venue of operation professionally. We each have different sets of clients, spheres of friends and contacts, and niches we contribute to. That we are all nerdy zoology-loving girls is a very helpful reminder in what can oft-times be a very lonely profession with little to no concrete guidance. However, this is all for fun at the moment. I do know plenty of artists with similar styles who work tremendously well together and get ample work - and others who focused on the stylistic attraction and could not work well personally. I feel it's best to keep things small. Friends of mine have tried to form illustration groups of 6-8 individuals banding together to ensure work after school, and only 1-2 of the group 'made it'. It's an organic process, and although Brynn, Allison and I haven't embarked quite down that road just yet, who knows?" - Tiffany

Brynn Metheney
Website: http://www.brynnart.com/ Contact:contact@brynnart.com
You can also check more of Brynn's work at her blog: http://www.fishhookstudio.com/as well as her personal project: http://www.themoraeriver.com/

Brynn will turn 25 come this weekend - May 14th, she was raised in Mojave Desert, Lancaster, CA and moved to the Bay Area in 2006 and studied at the California College of the Arts and Crafts where she received a BFA in Illustration with High Distinction in 2009. Brynn specializes in creature and animal illustration for the game and entertainment industry as well as fantasy and sci-fi illustration for books and magazines. Currently she's working as a freelance/contract illustrator and Concept Artist. Some of her clients include: EuropaCorp, Sychey Games LLC, Sugar Publishing, Fantasy Flight Games, Present Creative, ImagineFX Magazine, WIRED Magazine, “Science, Sort of” Podcast and St. Mary’s College Magazine. Her work has been featured in such publications and websites as - ImagineFX, Contém Glúten, “Science...Sort Of” Podcast - Ep. 24, Drawn! The Illustration and Cartooning Blog and the popular i09.com & Lines and Colors art blogs.
"The internet is an amazing thing. I have actually been following Allison and her work since I was in the 8th grade! I believe I found her on DeviantArt or a similar site. She has inspired me for a long time, showing me the importance of online presence while I still had dial up and of course showing me her amazing skills! She does some amazing work!" - Brynn"I met Tiffany in sort of the same way. Apparently we went to the same school - CCAC. The teacher I was assisting at the time, Robert Hunt, had told me I should try and get in contact with a graduate named Tiffany since we had the same interests. I was so impressed with her work! I had to know her! So I found her on facebook and we started to talk more and more. A couple months later, Tiffany suggested we meet up for dinner and as we talked it turned out we had LOTS in common." - Brynn"We've become such good friends ever since! Tiffany and Allison then invited me to work on this side project and that's how we all sort of became a little collective. I was more than happy (and honored) to be involved and was excited that me and Allison could connect more too. These two ladies are such inspiration to me!" - BrynnBrynn has a great understanding of vertebrate anatomy and while most of her designs are naturalistic she is more than capable of drawing any type of creature. In the posts above and below you'll see unique designs of aquatic creatures, crustacean and alien concepts that still show a strong understanding of anatomy and plausibility. This is what makes Brynn's work stand out among so many other concept artist in the same field. She shows a great love for real world animals as is evident in her work and that's an important aspect of creature design. - Mike"Community is such an important aspect for artists in general. Being an artist can be a very lonely profession, especially if you are working freelance. I think it's a great idea for people with similar tastes and goals to join forces. It helps with personal growth and helps keep you motivated. You have a team of people looking forward to what you might do next and that can be great to keep your mind moving forward. I have noticed a significant improvement in my work since I've been working with these two and even other creature enthusiasts on the internet." - Brynn"When it comes to myself, Tiffany and Allison, it was never actually about us being "women interested in concept art". It just so happened we were all female. I suppose we all related well in that aspect which made us all want to work together but it was always about the creatures. I think it has a lot to do with our tastes too. I have lots of male friends and role models that I admire in my industry and I'd love to work with all of them. This was just the first collaboration opportunity that came up. Later, as we were talking about our project we realized we were, in fact, a team of women. I'm not sure if we will keep it exclusive either. I know we are all proud of who we are and what we are doing and I know being female is a very big part of that but I think it's something that we'd like to keep secondary in regards to this project; our work is what come first to us." - Brynn
"This project has actually been on hold for some time. It was meant to serve as something to work on when we had down-time or needed a place to turn to for prompts. Recently (and thankfully), we've all been too busy with work and what-not to really work on it. It's still a very loose project anyway. We are playing around with themes now and experimenting with a few single pieces here and there. We know we want it to be about creatures and world building. We have talked about making it into a book - sort of a collection of works. That's all for now really although we may start up a blog if it begins to develop more. It's just nice to have a project and soundboard to bounce ideas around in." - Brynn

Allison Theus
Website: http://www.oblivionunleashed.com/ Contact: empireshadow@gmail.com

Allison is 27, she was Born/Raised in Clarksville, MD and attended Carnegie Mellon University where she received a BFA and a Masters in Entertainment Technology (focus in concept art and illustration) from Carnegie Mellon's Entertainment Technology Center (ETC). She has worked for various clients including Flying Rhinocerus Studios, Disney Interactive Studios (Spectrobes II), Divide by Zero Games, Rainmaker Games, Rackham Games, Fantasy Flight Games (Arkham Horror, Call of Cthulhu LCG, LOTR LCG, Warhammer, Fantasy RPG, Talisman, and Warhammer 40k), Paizo Publishing, Kobold Quarterly (Tales of the Old Margreve, and Issue Cover #17), The Escapist Magazine (animator on 'Extra Credits') & Dreamworks ('I am Number Four').
Currently she is producing private book covers and illustrations and collaborating with one of the artists from Palladium Books on some Splicers-related work. In addition she is working on two new IP's. You can also catch a sketchbook feature coming up in ImagineFX Magazine at the end of May.

"I found Tiffany some years ago on Deviantart's forums, I thought she was amazing and have been watching her art ever since. I found Brynn about a year ago through the DA's SPLICE contest. Soon after I struck up a convo with Tiffany I found out that she and Brynn knew each other, and here we are now!" - AllisonAllison has a very nice fluid movement about her designs and this shows both in her line work as well as her rendered illustrations. It's easy to relate to her designs even if they seem so far outside the box and alien to our eyes, she always throws something in the design to bring us back to reality. The tail of the creature below is a great example where the head and general concept is strange and eerie but we can relate to the cold weather climate through the incorportation of fur on the legs, back and that striped tail we see in so many real world animals here on earth. - Mike"I think it's important to have people with similar interests around you. We are three very different people and so we interpret concepts and ideas in very different ways. Having the opportunity to look at what other artists create is always beneficial, as it allows us to see alternate solutions to the problems and challenges that we face. In our case, the fact that we were all women really didn't matter. We all had an interest in creatures and a love for creature creation, and it was around this focus that we clicked. And it is always good to have a few people you can bounce ideas off, get feedback from, and to nerd out with." - Allison
"Essentially, I was frustrated with work and with not having any time for my own art, as there's not too much in the way of creature creation in what I've been doing recently. So on a whim I contacted Tiffany about a joint book project - something fun, relaxing, an on-the-side type deal where we could pass designs back and forth and riff off each other. A 'let's get together and make cool stuff' kind of thing. She was game and then suggested we bring Brynn into the fold (that's basically how I 'met' Brynn), so we did! It's still at a pretty early stage, and this year has been downright crazy so it's on the back burner at the moment, but we're all looking forward to picking it up again soon." - AllisonOne of the things that really caught my attention with Allison's work is her sketches and crazy attention to detail and complex organisms. Allison's work still abides the laws of nature and it's easy to see she understands animal and human anatomy quite well but she also makes her monstrosities and alien designs look very natural with recognizable aspects of real world animals and anatomy. - Mike
All three of these talented ladies are also a part of the creature art blog created and run by concept artist Davi Blight: http://www.creaturespot.com/ where you may find inspiration from a large list of creature and character based artist in all genres, mediums and fields of entertainment related work.

Guest blogger Mike Corriero is a character, creature, and conceptual designer and illustrator living in New Jersey. Since graduating from Pratt Institute in 2003, Mike's client list has included Breakaway Games, Fantasy Flight Games, Allied Studios, Kingsisle Entertainment, Radical entertainment/ Vivendi Universal Games, Liquid Development, Zynga Inc, Challenge Games, Paizo Publishing and Hasbro Inc, among others. Mike's book "PLANET to PLANET creatures and strange worlds" includes hundreds of his sketches of creatures, robots, alien life forms and their environments. I recommend it for students focusing on visual development for games, or anyone who loves creature design. - J. G. O.

An interview with Jerad S. Marantz - Part One

I have come across Jerad's work many times, whether I'm lurking on art forums, or art blogs, google images, looking up art for various films or games. His work always stood out to me before I really knew who created it, because of the striking silhouettes and the unique designs of classic creatures.Jerad studied illustration with a minor in entertainment design at the Pasadena Art Center College of Design, graduating in 2005 (at the time the entertainment department was still being formed and entertainment design was not available as a major). Prior to college, Jerad only started to really study creature design at the age of 13 taking an interest in creature sculpture, figure drawing and character design at a school in Sherman Oaks California called Associates in Art where he was taught by industry professionals. He also attended the Los Angeles County High school of the Arts in East LA. During which time he had taken an internship at a local special FX House. While attending the local FX House, he learned everything from sculpting to mold making.

(Left; Jerad S. Marantz, "Clash of the Titans", "The Burrowers")

Jerad S. Marantz is currently lead artist at the Aaron Sims Company. He also freelances for many FX houses like Tinsley Studios, Legacy FX / Stan Winston’s, Amalgamated Dynamics Inc., and Quantum Creations. He also works directly for Universal from time to time. In addition to film, Jerad also spends a lot of time producing work for the video game industry. He has worked for such companies as Ncsoft, Sony, THQ, Midway, Respawn and Konomi. One of his most recent jobs was designing the creatures for Infamous 2.

(At "The Clash of the Titans" premier, Left to Right: Courtney Bell, Jerad S. Marantz, Aaron Sims, John Norris, Steffen Reichstadt)

Most of his latest jobs have been on big budget films; to name a few: Spiderman (2012), Transformers 3, X-Men First Class, Ghost Rider: Spirit of vengeance, Sucker Punch, and Green Lantern.JSM: My Favorite past projects are Clash of the Titans and The Burrowers. Clash of the Titans was an amazing project and I loved designing for Louis Leterrier. This was also the first big budget film I worked on where I could really see my designs come through. The Burrowers was a great project even though it ended up being a direct to DVD flick. I really like the tone of that film and the creature was a blast to design.I design using a wide range of techniques. I feel that being able to switch up the way you work makes the process consistently interesting and it keeps me on my toes when I’m working an eighteen hour day. I’ll draw, paint in Photoshop, integrate photos in paintings, just photo-bash, model in Zbrush, or sculpt in clay. Unfortunately I haven’t sculpted in clay for years, but do miss it. I find that with programs like Zbrush the results come much faster and require no set up or cleanup. As a designer the more portable you are the better. I used to need a scanner for my drawings, but now I’ll draw directly in Photoshop. It’s just more efficient and speed is a big factor in design.

(Note: Older Traditional Clay Sculptures by Jerad)

MC: How important is it to study human and animal anatomy both from life as well as photos when it comes time to designing a fictional creature? Do you often visit zoos or local museums, life drawing sessions and or draw anatomy studies from books and reference material online?

JSM: Studying anatomy is insanely important. I’ve been studying it for years. I got my first anatomy book when I was around 12, and it was called “An Atlas of Anatomy for Artists” by Fritz Schneider. After that I moved on to my favorite anatomy book, which is “Animal Anatomy for Artists” by Eliot Goldfinger. I highly recommend that book, as well as “An Atlas of Human Anatomy”, also by Goldfinger.

I prefer these books to anything else because of their accurate portrayal of anatomy. With many anatomy books, the artists who illustrate them tend to over exaggerate and bulk out the muscle groups. Muscles are thick overlapping sheets, essentially, and to draw them any other way is inaccurate, especially when you keep in mind that there is skin over these muscles. In my studio I tend to surround myself with a lot of anatomy charts, mainly human. There isn’t a lot of difference among mammals. All mammals have the same basic structure, proportioned differently, but with very similar skeletons and muscle groups.When I first started seriously studying art, I went straight into figure drawing. I’ve been figure drawing for years. It was something that I knew I should be disciplined in, but I would never refer to myself as an accomplished figure drawer. For some reason I don’t have the patience to draw things directly in front of me, so I’ve never drawn at a zoo. I tend to be more efficient at drawing directly out of my head, but without studying, without years of observation, drawing out of one’s head would be completely pointless. Everything I do is grounded. When I start an assignment, I’ll actually create collages of reference so that I know I’m pulling from reality. I actually assign the reference collages in my creature design classes. Reference is essential in creating convincing creatures.
MC: When working on a long term freelance contract or working on a project that demands a large array of variants and ideation's of multiple creatures and characters; Do you feel that it is to your benefit to work digitally over traditionally? Would you tell students that it is essential to learn at least 1 or 2 digital painting programs if they choose to pursue a career in the concept art and entertainment industry?

JSM: It is imperative now more than ever that an entertainment designer knows more than one program. It’s not enough to know Photoshop, you really need to know a 3D program as well. The level of finish that’s required of designers today is higher than it’s ever been. I’m often required to create images that look like stills from the potential film. In order to accomplish this I’ll end up doing a few sketches at first. Once a direction is resolved, I’ll start modeling it in Zbrush and then I’ll bring it into Photoshop to finish. Zbrush is a great program for a creature or character designer to know. When it comes to more illustrative assignments, I’ll actually use Google Sketchup to block in a composition so that the perspective is already resolved and I can just focus on designing. Working with 3D is also important because once a direction is committed to and the initial render is done, it becomes very efficient to just do variations over that render in Photoshop. For example, when I was working on the Kraken for “Clash if the Titans,” we would start with a base model, and basically just paint over it in Photoshop using different sea creatures and photo textures to come up with multiple variations so that the director could pick and choose. Ideally, if you’re working with a director who can do this, they will kind of mix and match elements from the many variations and combine them to construct their particular vision.
MC: If you've ever hit a creative block or felt that the beginning phase of designs on a project are becoming stiff and uninspired, what do you usually do to clear your head and begin with a fresh frame of thought? Can you offer any tips to overcoming the overwhelming feeling of restrictions or limitations that cause a creative block?

JSM: I very rarely hit creative blocks. Imagination is a muscle, and like any other part of your body, you can exercise it. I find that I tend to do exercises in my head all the time, whether I’m working or not. I’m always curious and I’m always, for some reason, thinking about creatures and trying to create new designs. That being said, there are several ways to get out of a creative block. I find that by having many ways in which to work, multiple methods in which to design, one rarely comes across a mental block.There are also different ways of thinking about creature design. Aside from combining animals that already exist, you can think in terms of just basic shapes—triangles, squares, circles. All of these basic shapes have a different emotional reads and when you try to design within shapes, it frees you up to explore fascinating silhouettes. Of course you need an in-depth understanding of anatomy to eventually make sense of those silhouettes and shapes, but changing the way that you approach the design can often free you from a creative block.Oftentimes when I’m working I have to work on multiple shows at once. So I find that if I simply write one-sentence descriptions of the variations of the creature that I want to do, all of the imagination part is pretty much over and I just have to execute it. If I had to do a werewolf creature, and I have to do five options, I would literally start writing five short phrases, one per design. For example: werewolf/racing dog. Instantly, what would come to mind is a wolf with the physique of a racing dog—very slender and fast. A good creature designer will instantly be able to visualize that potential design and execute it. I’ll continue: I’ll write bat/werewolf. Instantly you can imagine combining elements of a bat with a werewolf, and again there’s a new design. Armadillo/werewolf, rhino/werewolf… it just goes on like that, and it simply becomes a matter of executing the points on the list.
MC: I notice you start a lot of your designs in traditional pencil or pens, providing multiple variations in a traditional format before moving on to rendering in digital programs. What do you feel is the difference and or advantage between the two mediums?

JSM: I like to start my designs in pencil. I can design a creature in a half hour, just simply with line work, and there is nothing faster. The biggest problem with working in pencil is that it’s simply not enough. It doesn’t answer enough questions, especially textures and color. Many directors and producers struggle with reading drawings, and have come to expect designs that look photo real.When I jump on a project, I like to deliver my first set of designs in a way that really helps me understand what the director can interpret. I’ll include line drawings, grayscale tone work done in Photoshop, and also very realized designs done either in Zbrush or that have a very heavy photo base in Photoshop. Working this way, I can tell what the director responds to. While I was working on “Clash of the Titans”, the design process was a very efficient because Louis Letterier could read everything from a fairly tight drawing to a napkin doodle. Drawing is an imperative skill.

MC: To provide students with a basis on the fundamentals of creature design, what are a few of the most important things they need to study, understand and consider when approaching the most basic elements of conceptual monsters? Where should they start?

JSM: The first thing that students need to have is a solid understanding of anatomy, both human and animal. I teach at two different schools, the Concept Design Academy in Pasadena and Gnomon School of Visual Effects over in West Hollywood. I’ve been teaching now for four years and I’ve noticed that most students lack a basic understanding of anatomy. Second, I would encourage students to also study evolution.
MC: It's easy for artist to fall into a generic sense of design, usually just redrawing portions of photos. What would you suggest they do in order to stray as far outside the box as possible, so as to come up with unique and plausible creatures.

JSM: It’s very easy to start repeating yourself as a creature designer. Often times what keeps me from it are just the many different assignments I take on. It’s crucial that you study your own work. It makes you aware of the patterns you fall into. I look at my work from time to time and I see the patterns. For awhile I was obsessed with backward legs. And in 2006, all I would design were creatures with large neck muscles that made the silhouette look like a hood. It’s important that you study your own work and you identify your patterns, so that you can break them. There is of course something to be said for style; there are a lot of creature designers who identify themselves with a certain style, but in my opinion, style contradicts entertainment design. You do not want your book to have a heavy style at all. Having a heavy style will limit the work you take on. Ideally you want to convince a potential client that you can take on anything he throws at you, whether the creature is nightmarish or adorable.
MC: Who are some creature and character artist you look at for inspiration? How has their work and their sense of design influenced you and your own work?

JSM: There are a lot of creature designers out there that have really influenced me. To name a few: Miles Teves, his work feels very natural to me. Aaron Sims had a profound influence over my work. His level of finish just fascinated me and it was something I wanted to be able to accomplish myself, which is of course why I now work with him. Another one of my favorite creature designers is Nirasawa. His Creature Core and Nira Works books are amazing. His work probably had the most influence on me as a child. It’s incredibly out of the box and yet is grounded in a very solid sense of anatomy.

>> Part Two up Next >>

MC: I'd like to invite you guys to check back soon and keep an eye out as Jerad has a lot more helpful information to share in the second half of this interview which will be up shortly. Jerad, thanks for taking out the time to reply to my tediously in depth questions, as I think it helps to try and get a little new info out of professionals working in the field and it's very much appreciated. Part Two up next.

As an additional Note: Just so artist/students looking to head into entertainment design understand. In addition to working on dream gigs, sometimes things don't always work out for the best. Expect to do your research, study, work hard and expect failures and work you're proud of to be canned quite often whether by art directors or studios.
"Jerad points out in his resume multiple features that never saw the light of day. Some of which include: Monstersquad, Fantastic Four (Re-Launch), Dune, God of War, Dark Samurai and Creature from the Black Lagoon to name a few."
You'll sometimes have the option to feature the work produced for the project and to include the credit in your resume but your designs and effort will sometimes feel as if it were all for nothing.
At the end of the day, as a designer you need to realize that it's your creativity, your determination, inspiration, motivation and the experience as well as improvement that count more than anything else. If you drew what you perceived to be your best design ever and lost the file or the drawing was ripped up, you need to chock it up as a learning experience and you can only do better next time. - Mike C -

Guest blogger Mike Corriero is a character, creature, and conceptual designer and illustrator living in New Jersey. Since graduating from Pratt Institute in 2003, Mike's client list has included Breakaway Games, Fantasy Flight Games, Allied Studios, Kingsisle Entertainment, Radical entertainment/ Vivendi Universal Games, Liquid Development, Zynga Inc, Challenge Games, Paizo Publishing and Hasbro Inc, among others. Mike's book "PLANET to PLANET creatures and strange worlds" includes hundreds of his sketches of creatures, robots, alien life forms and their environments. I recommend it for students focusing on visual development for games, or anyone who loves creature design. - J. G. O.