Friday, 31 October 2014

What If Metropolis - Thumbnails 35 - 43

I got some more ideas down, I tried to use some of the silhouettes that I had created to design some possible buildings. Some worked better than others, I also did a few compositions so that my brain was always thinking of different things.

I like 35 and 40 as structures, although they are very different. 42 as a high angled composition could work once it has more details, like the rest of the city.

I think for me 40 is like a observatory kind of structure, It was created using the silhouette from number 29.

Any feedback is welcomed.

The Artist's Toolkit - Pencil and Eraser Characters Textured

I did the character texturing tutorial today, it was just using shaders instead of laying out the UV's and creating the textures in Photoshop.

Wednesday, 29 October 2014

What If Metropolis - Thumbnails 10 - 34

Getting stuck in with the thumbnails, using Jean Paul Gaultier's designs as silhouettes as Jordan suggested to me and playing around with them. Some of the silhouettes have really nice form and I believe they have great potential to be some important buildings in the metropolis.

 I really like 17 and 19 from this page, I think they have great form and look almost futuristic. I see 17 as a temple of some kind, quite extravagant and I see 19 as either a futuristic block of flats or like a work place, like a factory of some kind.
Getting so many bad ideas out the way, 27 looks like it could have some potential as well as 22. they almost resemble sky scrapers to me, 27 actually looks like it could be another temple or an important building of some kind, like a city hall, etc.

I tried to use some of the new forms I had made in some compositions, 31 works really well to me so I expanded the view on 34 to show more. I quite like the angle of 32, it shows that the building (17) is tall and powerful. 

So these are more of my initial ideas,  after the lecture from Laurence Campbell I've decided that I'm going to thumbnail until I'm extremely pleased with the results. If there's one thing I've learnt today, it's that thumbnails are the most vital step (finally drilled in).

Any feedback is welcomed.

The Artist's Toolkit - Clown Life Drawing Session

So today we got to draw 'Bubbles' the clown for our life drawing session, this was great fun. I tried really hard to not draw him cutesy, but I feel as if I may have failed, my hands are only meant for cute things (SIGH). Overall I'm actually quite happy with them.

What If Metropolis - First Thumbnail Sheet

I did a sheet of 9 thumbnails this morning, I tried to create structures that resembled either the female form or Jean Paul Gaultier's designs, for example number 2 is based off one of his dresses that is made almost completely out of metal. This got me thinking in the sense that metal could be a main material for most of the buildings. Its still the early stages so I'm going to look into Jean Paul some more and find out exactly what he uses to make his designs. As he does couture, he uses only the finest materials, so my world will be enriched with only the best fabrics and metals, which would mean this city would be a very expensive place to live.

I quite like the design of the building in number 2, however the composition isn't working. I feel like the composition of number 9 could work. Overall I think the first page is the hardest page to produce, hopefully the next few pages should fly out now that I'm a little more loosened up.

Any feedback is welcomed.

Tuesday, 28 October 2014

What If Metropolis - Starting post

So today we got briefed on our new project, The What If? Metropolis. We got given a muse that with have to collaborate with in order to push the design of our world, I got Jean Paul Gaultier.

I've started to research into Jean Paul Gaultier's designs and his influences, he was extremely influenced by his grandmother Marie Garrabe. She was a mystic, a hypnotist, a fortune teller, a tarot card reader and she gave beauty advice and home perms. She used to encourage and indulge into his surrogate world that he had created, she also allowed him to watch what ever he wanted on television. This was another influence on Jean Paul, he used to watch programs that were forbidden to children which left a mark on his designs. His interest was in couture, which is basically the creation of exclusive custom-fitted clothing, which is hand made from expensive, high quality materials, usually for the more wealthy individual. He liked strong women and reflects this in some of his designs, adding armour to some pieces and making the designs quite bold and powerful. He also likes putting men in skirts and showing femininity in their clothes, which he balances with a strong masculinity. Jean Paul has been part of the costume design for a few films as well, including The Fifth Element.

Infamously known for the cone bra that he designed for Madonna for her 1990 Blonde Ambition Tour. The designs above are all very powerful and reflect upon his view on women.

Above are some of the sketches for the cone bra and for The Fifth Element.

I'll keep digging deeper into Jean Paul Gaultier's work and start to work up some influence maps that will help push the design of my metropolis. There's a lot of information to take in and a lot to think about it in terms of design, my first thoughts are that the world will have to be quite bold, express femininity in some form and show power. I feel as if it'll be rude to not include the cone bra in the design of the world as well, as it is one of his most well known designs, which made him an international icon.

Sunday, 26 October 2014

The Artist's Toolkit - Old Alley Part 2 - UV Layout & Texturing Preperation

Did the texture preperation for the old alley scene today, had some mishaps along the way which meant it took a lot longer than I expected it to. Found the solution after playing around with a few different settings and being determined to fix it.

Lighting is the next, looking forward to breathing some life into this scene.

The Artist's Toolkit - Texturing Part 2 - UV Maps

Did the Block tutorial earlier, rendered out 3 separate images showing the difference the colour gain makes to the image. UV mapping is something I've always found tedious, however Alan's tutorial taught me a few things that will definitely speed up my future maps.

Thursday, 23 October 2014

Alien (1979) Film Review

 Fig. 1. Alien poster

Ridley Scott’s Alien (1979) is a suspense filled rollercoaster, that grips and drags you in to the point where you feel as if you’re part of the story. Alien is a very well executed sci-fi horror that will not disappoint. Every aspect of the film works hand in hand to deliver a heap of suspense and jump out of your skin moments.

 Fig. 2. Breakfast scene

Scott does an excellent job at making you feel as if you are there, using a lot of steadicam up close and personal to the characters at the beginning, almost making you feel as if you’re part of the crew. To the extreme hand held shaky camera shots, that gives you a direct connection to the panic, the fear, the horror that’s taking place. The little details that Scott deals with during a setting that is so futuristic also adds to the feeling of it all being real, like the scene where they’re gathered around the table eating breakfast and complaining about the wages for the job (see fig.2.). As Tse points out ‘It was Alien's gritty realism, relentless horror and gradual pacing that made the film such an unforgettable experience.’ (Tse, 2014).

 Fig. 3. Alien still

The art for Alien is probably the reason that it’s stood the test of time so well, as Jones mentions ‘The top-notch acting (super-astronaut Sigourney Weaver) and imaginative bio-mechanical production design (with the alien created by Swiss artist HR Giger) succeed in flattering a script culled from many cult sci-fi movies, including It! The Terror from beyond Space and Planet of the Vampires.’ (Jones, 2014) the art amongst other things really help the film together as the narrative is very much an old haunted house style film. With clever use of lighting the alien looks real throughout most of the film, the only exception is when it’s ejected from the shuttle at the end.

Every little detail of the film has been designed in depth; it’s possibly that this is due to Scott’s previous experience in advertising. ‘Scott, a recruit from advertising, where instant atmospherics has to be the order of the day, manipulates his audience in a far stronger fashion than he managed with The Duellists.’ (Malcolm, 2013) Using his advertising background, Scott has a far heightened sense of how to draw the audience in. He achieves this by using clever shots and the use of quiet voices that make you feel as if you’re actually there.

Overall Alien is definitely a film that still stands tall even today, stunning visuals and a thick layer of suspense will leave your blood pumping.

Illustration List:
Scott, R. (1979). Figure 1. Alien poster. (Accessed on 23/10/14)

Jones, A. (2013). (Accessed on 23/10/14)
Malcolm, D. (2013). (Accessed on 23/10/14)
Tse, D. (2014). (Accessed on 23/10/2014)

Invisible Cities - Creative Partnership Archive

Invisible Cities - Crit Presentation

Invisible Cities - Research

Invisible Cities - Exterior Low Angle Shot

I did my low angle shot today, this one was probably the hardest for me to create. I referenced these thumbnails while creating this.

I tried to keep the same colour scheme as the establishing shot, as I still wanted the scene to feel quite warm and inviting.

Invisible CIties - RE: Interior Establishing Shot

With some fresh eyes and a bit of advice I darkened the beam in the foreground and gave it a bit of rim lighting. It looks much better on my eyes now.

The Artist's Toolkit - Balloon Structure Paintings

Yesterday's life drawing class was heaps of fun, got to experiment with dyes. I tried to make it as colourful as possible, because it was a very vibrant piece.

Invisible Cities - Interior Establishing Shot

I did my Interior shot today, I've been staring at it now for around about 7 hours so my eyes are literally going to fall out. I may need to tweak some tomorrow/later today when I have some fresh eyes.

I may of gone a bit over board with my air brushing near the end, but overall I'm happy with how its turned out. This was the shot that I was most worried about.

Tuesday, 21 October 2014

The Artist's Toolkit - Structure Drawing

I did a drawing based off of one of the pictures I took of the elaborate structure Phil made for us for our first life drawing lesson.

Invisible Cities - Exterior Establishing Shot

So I spent most of today working on my exterior establishing shot, I'm actually quite happy with how it's come out. But that could be because I've been staring at it for what feels like forever. I'll re visit it tomorrow with some fresh eyes to see if anything needs tweaking.

Monday, 20 October 2014

Concept Artist's "Who's Who?" (Daniel Chavez)

Invisible Cities - Colour Comp For Exterior

I did a colour comp of what could possibly be the idea I use as my final exterior establishing shot.
I missed out all the little details my final piece will have. This was mainly a test to see if the image worked. I feel like I can work from this to make my final piece.

Sunday, 19 October 2014

Invisible Cities - Submission Disc Artwork

Just getting another thing checked off the list. I'm actually quite happy with the overall design/theme of this. This is something I will push into my crit presentation as well, all about the theme.

I went with an almost sepia colour scheme as my city design is quite old and out dated, used my original thumbnails as the background for the case and added in one of the colour thumbnails I did earlier. The CD sticks with the sepia theme and I added a thumbnail in for the background.

That's one less thing I have to stress about next week, let the pressure continue.

Invisible Cities - Experimenting With Colour

I took some of the thumbnails I did and some reference images and started to experiment with some more colour. I want the exterior shot to look quite cute and warm, to reflect on the whimsical features of the city. I want the interior shot to look much cooler.

Invisible Cities - Isaura Exterior Shots

I started trying to re think my framing of my city, tried doing it in a few different perspectives. Perspective is something that really does take me some time to get my head around, so I definitely need a lot more practice with it.

I quite like 4 and 7, could potentially develop those, I think 4 is the most interesting to look at, I tried really hard to not put anything central.

Saturday, 18 October 2014

2001: A Space Odyssey (1968) Film Review

 Fig. 1. 2001: A Space Odyssey poster.
Stanley Kubrick’s 2001: A Space Odyssey (1968) will almost certainly leave you speechless, filled with heaps of suspense and stunning visuals, it is definitely a great piece of science fiction that still stands strong today. The story itself is somewhat hard to follow, you can even argue that there isn’t actually a narrative at all, as Milne points out ‘apart from a sequence involving an endearingly sulky computer, so offended by a suggestion that it has made a mistake that it announces in the silkiest of tones its intention of taking over command, there is remarkably little plot to 2001. The film, in fact, might be best described as a factual philosophical speculation, rather than as the drama it sets out as but never develops into: and like all good speculations, it leaves the spectator up in the air with a tantalising vision as food for thought.’(Milne, 2010). Kubrick leaves so many questions unanswered, leaving you to form your own conclusions.

One of the most influential factors of the film is the incredible music; it’s noticeable from the start that it injects a huge amount of suspense into the audience. Perfectly executed in every way, it was an extremely powerful tool that held the film together. At times it makes you feel quite uneasy and almost uncomfortable; the sheer power of it definitely had the best impact on the film. As Brayton states ‘2001 was the first film of the director's career where the music choices were consistently thoughtful and extraordinarily important, especially his use of three pieces by Gy├Ârgy Ligeti (without Ligeti's permission), with the composer's jarring micropolyphony creating a sense of unearthly aural sensation, chaotic without actually being formless, that ideally suits the film's depiction of human beings getting in out of their element (of course, the iconic use of the fanfare from Richard Strauss's "Also Sprach Zarathustra" - itself based on a Nietszche work where he discusses, among other topics, the idea of the Superman, which makes it thematically cunning and aurally pleasing - is also brilliant, though a bit damaged by almost a half-century of parodies).’ (Brayton, 2014).

 Fig. 2. Journey to the moon still.

 2001: A Space Odyssey is a ground breaking film for its visuals, each aspect was carefully conceptualised to create the futuristic world. As Spiegel points out ‘The cuts from shot to shot, scene to scene, are so precise and never rushed. Some may see this as overindulgence, but the deliberate choices throughout, visually and aurally, combine to create one of the most exciting and challenging pictures of the decade.’ (Spiegel, 2014), Kubrick did a fantastic job at creating and displaying every little detail of the future to the audience. This ranges from the larger details like the spaceships and HAL, to the more subtle things like the food trays, anti-gravity slippers and hair nets (see fig. 2.).

Fig. 3. Monolith still.

  It’s possible that the black monolith’s appearance is connected to the advances in evolution. This seems to be the case as at the start of the film when the monolith first appears in front of the apes (see fig. 3.); they take the first steps into evolution. Survival of the fittest springs to mind as the ape beats a rival ape to death with a bone, this is cleverly mimicked later on in the film when Dave is terminating HAL. During that scene Dave has an almost lifeless face; it reflects the brutality of survival. Shortly after HAL is terminated, Dave is faced with the monolith; he survived and was ready to take the next step of evolution.

Kubrick’s 2001: A Space Odyssey is definitely a film for any sci-fi lover to watch, it’s packed with superb visuals, chilling music and a ton of suspense.

Illustration list:
Stanley, K. (1968). Figure 1. 2001: A Space Odyssey poster. (Accessed on 18/10/14)

Brayton, T. (2014). (Accessed on 18/10/2014)
Milne, T. (2010). (Accessed on 18/10/2014)
Spiegel, J. (2014). (Accessed on 18/10/2014)

Friday, 17 October 2014

Invisible Cities - More Interior Thumbnails

Tried to focus more on the composition of my shots to deliver a more interesting image. I quite like 3 and 7, the angles definitely make it a lot more interesting to look at, however I'm not sure if it will show off enough of the interior.

If any one has any advice on different shots I could try or if you think any of these have potential, please do let me know!

Invisible Cities - Isaura Interior Thumbnail Development

Started creating some more developed thumbnails for the interior of a windmill, I wanted to incorporate the cogs/gears and the windmill seemed like the perfect building for that.

I did a couple of different colouring styles, I prefer number 2 for its texture but I think I prefer the colour from number 1.

I looked at windmill interiors and some of Heath Robinson's work for some inspiration. I also had a look at hillside towns/cities to re think my exterior establishing shot.

Invisible Cities - Isaura Thumbnail Development

Tried a different technique to colour in my thumbnail today, I like how it suggests form and I learnt a lot of new tools that I didn't previously know. So i'd like to thank Ella for showing me some new stuff.

I've taken inspiration from mouse trap and water silo's for my exterior establishing shot.

Wednesday, 15 October 2014

The Artist's Toolkit - Common Shaders Tutorial

Did the common shaders tutorial today, heres all of my renders. Who would have thought one material could basically do everything.

Invisible Cities - Experimenting With Colour

Did another thumbnail today which actually took me quite a long time to do, so I decided to try adding colour and experimenting with different saturations and brightness. It's amazing just how much a bit of colour changes the mood of the thumbnail.

I really want the colour to portray warmth and almost a carefree kind of attitude. My vision of Isaura is that its a simple, carefree place to live.

Any feedback is welcomed!