FMP Evaluation

The basis and direction for my Final Major Project was one of a conceptual direction, where I focused upon the design process during the creation of my concepts. With the genre of work relating to tribal cultures, as well as a variety of other topics found in reality, the opportunity for extensive research was open to me. Therefore, I chose to pursue multiple avenues of research and reference gathering, including; online, book-based, and primary forms of research. Visitation to the Natural History Museum helped to inform my designs with the help of real-world references, supplementing this was extensive research into various topics on-line, as well as the use of book-based references.

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Much of the research was done to visually inform my designs, as well as help to provide function behind them, and thus I was able to expand by reference library in the process. The act of gathering reference helped my designs greatly, as they provided a good grounding point for my concepts, of which is evident in my sketchbook as I use them to create studies, of which I then expand further into conceptual designs in an iterative fashion. The work of others helped to inform the visual style and manner of which to go about designing these concepts, providing insights into the creative process and technical skills required to provide an accurate communication of the designs I wish to put forth.

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In the initial stages of the project I spent a decent portion of time organising and planning, focusing on the structure of the world, as well as listing the various designs I wished to create. Reflecting upon those lists and planning documents, I decided to create a shortlist of the planned work in order to effectively communicate the world I desired to show in a more efficient time frame, therefore allowing me to hit the deadline, as well as present a sizeable body of work. The framework provided by the initial planning allowed me to progress week by week, alleviating stress and establishing a sense of accomplishment as I finished batches of work.

The general process I took was thus; planning and research, followed by reference gathering and sketchbook studies, of which then moved onto iterative designs in the aforementioned sketchbook, with the scanning of said designs allowing me to move onto the digital linework, painting, and texturing, and then finally the presentation and polish phase.

The ambitious nature of the project did change over time, as mentioned earlier in regard to my planning, as I needed more time to take my designs to a polished and presentable level for exhibition I had to spend less time in the ideation phase than desired. However, I still believe my designs were able to communicate the culture of the tribal group to a satisfying level, with consistent design language throughout the concepts. The over-arching connection between the culture’s designs would be the prevalence of the chemicals, as well as their imitation thereof through paint and architecture.

The main tools used in the creation of my project would be both digitally and traditionally based, with Photoshop and my sketchbook being my main avenues for the creation of artwork. Some experimentation of media occurred in my sketchbook, with different media such as colour pencils helping me to experiment with the colour palette before moving onto the digital painting phase.

For the digital artwork, I followed a rather fluid, yet linear, process. Before I begin painting a design, I will import a scanned image of my sketchbook ideations, using them as a basis to help inform, in conjunction with reference images, my concepts. I will then create a rough sketch, adapting the initial design further while using a sketching brush. Once I am happy with the rough sketch, I will lower the opacity and create a new layer above the design. Using a different brush, one designed for refined line-work and lacking a dynamic opacity modulator, I will create the finished design.

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Once that has been completed, I move onto the masking of various parts of the design, creating a series of layer groups that the masks are then tied to. This allows me to easily hide or reveal parts of the image, organise my layer structure to a greater extent, and edit the edge quality in an efficient manner.

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Having these masks in place allow me to easily apply swathes of paint, with the palette colour picked from and informed by reference, easily and efficiently. The masks truly shine when I move onto the more in-depth painting of the designs, allowing me to better control my layers and edit certain areas independently from one another.

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The masking process is rather time consuming, however, it is worthwhile due to the fact that a similar process would have been undertaken via painting without said masks, however with the masks I am provided with greater control and efficiency.

For several of my designs, mainly the weapons and fauna, I decided to add photo textures in order to more effectively communicate the materials present. The use of masks helped with this process as well, allowing me to apply the textures without needing to do much clean-up and busy-work. Experimentation with different layer blending modes and opacity helped in the application of the textures, allowing them to be more effectively communicated without drowning out the overall designs.

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Presentation-wise, I decided to place my designs within groups on A4 sheets, with a grey-scale background accompanied by lighter gradients behind each design, of which help to push them to the foreground. A simple font, Myriad pro, was used to label several of the sheets. The reason for the rather simplistic font is due to my desire to communicate my designs without extraneous information distracting from them; the presentation format is designed to make the designs themselves the focal points.

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In reflection, there are several things I could have improved upon, namely; the efficiency and extent of my primary research gathering, the time and emphasis spent on the ideation phase, as well as the efficiency of my digitisation process. However, I believe that this project has helped me to further develop my own personal design process, as well as provided me with a framework allowing me to further explore and structure personal projects and an insight into the work needed to properly execute them in a timely manner.

If I were to do this project again, I would of spent more time on the ideation phase, progressing it in conjunction with my planning phase via ongoing studies and annotations in both Photoshop and my sketchbook.

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FMP Progress Diary -20 May 2018-

This week consisted of designing two more characters; male and female warriors, as well as adding colour to all characters designed so far. Painting also commenced on the four creature/fauna concepts, based off of wolves and elks.

For the new characters, a similar process to last week was used, however I was able to duplicate the drawing of the characters’ bodies as a base to design over. This helped me to focus on the design of the armour and clothing, instead of spending time constructing the bodies of the characters again.

The warrior versions of the characters possess a slightly different colour scheme to that of the ‘base’ characters, separating their role in society via visual communication techniques. Not only that, but the inclusion of different materials, patterns, and mask types helps to display their different roles to an ever greater extent.

The painting of the fauna was challenging at first, as I was attempting to paint fur without doing material studies at first. However, the process was rather smooth, with the colour-picking of reference photos allowing me to create a base colour palette, of which I then used to extrapolate a variety of different colours throughout the process. The majority of the colours were a series of de-saturated yellows, greens, and oranges. The efficiency of the strokes, building up of the texture, and management of layers increased as the process continued.

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FMP Progress Diary -13 May 2018-

The work completed this week consisted of finishing up the digitisation of shelters, as well as the masking and colouring thereof, as well as starting upon digitising the characters.

The process for adding colour to these concepts was thus; Mask out the different areas of each design using the mask tool on separate (named and carefully stacked) groups, create layers within each group for further management, use reference images as sources for colour picking, add large swathes of colour, edit masks to refine edges.

The process was rather time consuming, however, it pays off with the overall efficiency of being able to change the edge quality of the masks, as well as the content within, quickly and easily afterwards.

For the character designs, I made sure to gather a variety of reference (proportion, anatomy, drapery/clothing etc.) to help inform my designs. The main challenge was created accurate drapery across the figures’ forms, as well as constructing the feet and hands. Masking of the female character has already occurred, with further refinement of the male character required before beginning the masking stage.

 

Designs:

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Female_Character_temp_2Male_Character_temp

Screenshots:

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FMP Treatment

Project Name: The Rebirth of Man

Project Type/Genre: Concept Art

Direction/Goal: I will be creating a series of conceptual artworks exploring and depicting an alternate future version of earth, in the context of a video game, with man-made chemical resources altering the course of evolution, mutating the flora and fauna, over many years. Genre-wise, it will primarily be survival based, with the effects of the chemical resources and time providing a unique visual approach to the traditional apocalyptic depiction of a ruined earth. The intersection between the use of natural and (scavenged) man-made resources, both now found in the environment simultaneously, will form the foundation of the crafted items and structures within the game world. Creating an interactive element at the end of the assignment, such as a semi-animated show-reel, will help to create a centre piece in my end exhibit.

Synopsis/Story:

Corporation Name:

Galvar Co.

Purpose/Aim of Corporation:

To provide global infrastructure and ground-breaking technological advancements, aiming to create a connected Type I civilization, with hopes for humanity to reach and settle near distant stars.

FMP Story/Synopsis:

The Galvar Corporation has succeeded in monopolising the manufacture and distribution of most goods, as well as the construction and maintenance of most global infrastructure. Their leading advancement at the time of their downfall was an adaptable chemical; a compound aided by programmable nano-bots, manufactured within automated factories and only overseen by a select few specialists. The ability to alter the purpose of each batch of the chemical allowed widespread distribution, and stockpile, of an efficient and multi-purpose resource. Uses of such a compound included; energy/fuel, nutrition, medical/tissue repair, military capabilities, resource acquisition, tracking and global positioning etc.

The emergence of underground extremist groups, whom were opposed to the ideologies and capitalist monopoly held by the Galvar Company, as well as wide-spread complacency of a promising future for humanity, created the right conditions for the eventual downfall of the global juggernaut via infiltration and guerrilla tactics. The sudden loss of infrastructure, goods, and services was felt by the entire population, with the complacent population lacking many needed skills or crafts needed to survive in a society that had been automated for so long. The gradual fall of society lasted hundreds of years, allowing the knowledge that once was to fade to dust as those who possessed it perished to the advancement of time.

Some clusters of society managed to persist through generations of decay, hardship, and conflict, maintaining their humanity and passing down the knowledge and ideologies they possessed. However, many were not so lucky, instead falling prey to the eventual allure of the chemical compounds that were released into the world. This oil-like substance, adaptable and multi-purpose in its creation, set about spurring rapid mutations and sporadic evolution among Earth’s flora, fauna, and much of the remaining human population; with many tribes using paint to imitate the chemical substance on their body, engraving their monoliths directly with the chemical itself.

Those who were affected by the chemical, and lucky enough to avoid either the sabotaged, corrupted, or military-grade varieties, persisted and formed primitive societies in relative peace. These groups of altered humans re-created the paths many tribes before them took, forming their own culture and way of life around their environment. With many primitive societies, whom do not have a rational explanation to the mysteries that pervade their existence, they turn to religion.

In the case of these humans, they adopted the chemical that drove them to this point in humanity’s existence as their deity.

 

One sentence description of IP:

“Post-apocalyptic and overgrown world where old chemicals have mutated the environment and its inhabitants.”

 

Research Analysis/Aim:

Research was conducted into a variety of topics and themes, with a heavy emphasis on tribes, evolution, mutation, and general art, design, and conceptual styles.

The research into evolution helped to inform the IP creation process, as well as how the fauna, flora, and cultures may change over time due to the new environmental factors present. Investigating urban decay, chemical exposure, and mutations in general provided me with a clearer mental picture of how the environment, characters, and shelters may look like in this changed world. In conjunction with that research was that of tribal references, with the looking into of different cultures and societies influencing the prevalence of the chemicals in this world. It would make sense that the humans left over would begin to revere, use, and/or manipulate the chemicals, perhaps even worship it, depending on their societal structure and knowledge levels.

The aforementioned research into tribes also provided a good bank of visual references for the tools, weapons, clothing, and shelters used, with my designs combining influence from a variety of tribes, especially Native Americans and African groups.

Research into other art styles and conceptual techniques was imperative, allowing me to streamline my process and produce more appealing designs.

The vast amount of reference images collected served to not only inform my designs, but be direct reference for the textures, materials, and colours needed to create believable concepts.

 

Research Conclusion:

Overall, my research has helped inform my designs via context, content, and style, with a variety of sources allowing me to ground my designs in reality, thus establishing them as understandable and comprehensive conceptual works that communicate a possible reality.

 

Health and Safety: Not many health and safety concerns, however, care must be taken when cutting and mounting the exhibition boards.

 

Tools and Equipment: Wacom, Sketchbook, Computer, Stationery etc.

 

Primary Research: The Primary Research, conducted via visiting the Natural History Museum, aims to use the reference images taken at location during the creation of my weaponry concepts.

Secondary Research: The Secondary Research is extensive, with a variety of images, as well as book/magazine-based [Imagine FX] reference, being used to help inform my designs and ensure that they are grounded in reality.

 

List of Planning/Work to Produce: The prioritised shortlist of conceptual work to complete is thus; characters, melee weapons/tools, shelters, fauna/creatures. Inside each over-arching topic are sub-types, such as clubs, spears, axes, basic shelters, advanced shelters etc.

Planning also included identifying and organising the structure of the world, the societies living within, and the chemicals influence thereof. A structure for the chemicals was planned out, with different types providing different benefits depending upon their original purpose, with the corrupted version negatively influencing those it comes into contact with.

 

Reference (prioritized selection, many more sources were used; especially for images):

Evolution:

https://www.sciencedaily.com/releases/2013/04/130409095414.htm (Environmental change triggers rapid evolution)

https://www.youtube.com/watch?v=P3GagfbA2vo (Crash Course Biology: Evolution)

https://www.youtube.com/watch?v=hOfRN0KihOU (Kurzgesagt: How Evolution Works)

https://allyouneedisbiology.wordpress.com/2015/06/15/evolution-beginners-basic-facts/

 

Tribal References:

https://artsandculture.google.com/exhibit/tAKCb6QeUuhmLA (African Tribal Weaponry)

Taylor, C. and Sturtevant, W. (1991). The Native Americans. London: Salamander Books.

http://www.new-guinea-tribal-art.com/wp/index.php/2011/10/05/native-weapons/

http://www.native-languages.org/weapons.htm (Native American Weaponry)

http://www.imnh.isu.edu/digitalatlas/geog/native/text/tools.htm (Native American Tools)

https://weaponsandwarfare.com/2016/10/15/africa-weaponry/

https://www.warpaths2peacepipes.com/native-indian-weapons-tools/native-american-tools.htm

 

Art and Design:

https://www.ctrlpaint.com/library/ (Traditional and Digital Art Foundational Skills)

https://bigbadworldofconceptart.com/recommended-resources-foundation-skills/

https://bigbadworldofconceptart.com/recommended-resources-goodies-freebies/

https://bigbadworldofconceptart.com/recommended-resource-environment-design/

https://bigbadworldofconceptart.com/6387-2/ (Character and Creature Design)

Alexander, R., Cowan, F. and Walker, K. (n.d.). The compendium of fantasy art techniques.

Edwards, B. (2014). Drawing on the right side of the brain. London: Souvenir Press.

Lilly, E. (n.d.). The big bad world of concept art for video games.

MacManus, F. and Howlett, C. (2017). Film Concept Art Secrets. ImagineFX, (152), pp.80-86.

Mearls, M. and Crawford, J. (n.d.). Dungeon master’s guide.

https://www.youtube.com/watch?v=TPxq0iJ2Qqs (Thumbnails to Silhouettes)

https://www.youtube.com/watch?v=FShRsjeCPQ0 (Silhouette Tutorial)

https://www.youtube.com/watch?v=H5X0MB9XWaE (World Building; Forest)

https://www.youtube.com/watch?v=QcpsWG_idX0 (Character Design)

 

Urban Decay, Mutations, and Chemical Exposure:

https://en.wikipedia.org/wiki/List_of_genetic_disorders

https://io9.gizmodo.com/10-unusual-genetic-mutations-in-humans-470843733

https://phys.org/news/2016-12-evolution-action-fish-quickly-lethal.html

http://health.mo.gov/living/environment/hazsubstancesites/healtheffects.php

https://www.urbanghostsmedia.com/2016/05/abandoned-by-man-reclaimed-by-nature/

https://www.wired.com/story/gallery-nature-abandoned-buildings/

https://www.theguardian.com/science/grrlscientist/2015/mar/19/how-chemistry-affects-the-evolution-of-life

 

Genre and Visual Inspiration:

https://io9.gizmodo.com/a-haunting-short-film-set-in-a-world-where-evolution-ha-1787060858 (Dust, a short film regarding rapid evolution)

https://dartgarry.deviantart.com/gallery/49897446/The-Forest (The Forest, a semi-modern survival game)

https://kotaku.com/the-art-of-horizon-zero-dawn-1792878981 (Horizon: Zero Dawn)

https://www.videogamesartwork.com/games/wildstar (Wildstar, a futuristic MMO)

ArtStation. (2018). Bobby Rebholz. [online] Available at: https://www.artstation.com/bobbyrebholz [Accessed 20 Mar. 2018].

ArtStation. (2018). Brother Baston. [online] Available at: https://www.artstation.com/brotherbaston [Accessed 20 Mar. 2018].

ArtStation. (2018). Stephen Oakley. [online] Available at: https://www.artstation.com/possum [Accessed 20 Mar. 2018].

Fengzhudesign.com. (2011). Feng Zhu Design. [online] Available at: http://fengzhudesign.com/ [Accessed 20 Mar. 2018].

FMP Progress Diary -6 March 2018-

This week consisted of digitising the Weapons, Monoliths, and Structures/Shelters I had designed in my sketchbook. Using reference, including my sketches, I created the digital line-art of several of my designs.

The process was thus; import scans of sketchbook into Photoshop, lower opacity, create line-art while utilising a variety of line-weight and layers to help achieve depth and accuracy in my drawings.

Managing the amount of layers, as well as the refinement of the lines, was an ongoing issue. The danger lies within being absorbed by the details, therefore, one needs to be able to take breaks and pull themselves back in order to observe the designs as a whole in an attempt to create a series of cohesive and well-executed designs.

Designs:

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Screenshots:

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FMP Progress Diary -29 April 2018-

This week consisted of mostly Character, Armour/Clothing, Mask, and Weapon/Tool Sketches, with some supplementary structure sketches.

The use of reference from multiple sources; online and Natural History Museum (images taken by me at the museum), helped inform my designs via the use of studies.

The availability of materials, as well as different ‘levels’ of weaponry were taken into account when designing the weapons, with an emphasis on axes, clubs, and spears.

A similar stance was taken for the clothing/armour, with exploration into a possible enemy tribe’s cultural style as well.

Sketches:

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Moodboards and Museum Reference:

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FMP Pitch/Proposal

 

PROJECT PROPOSAL

EDEXCEL LEVEL 3 BTEC EXTENDED DIPLOMA INTERACTIVE MEDIA

 

 PROJECT PROPOSAL

Section 1:

    i.      2D Concept Art

ii.      I will be creating a series of conceptual artworks exploring and depicting an alternate future version of earth, in the context of a video game, with man-made chemical resources altering the course of evolution, mutating the flora and fauna, over many years. Genre-wise, it will primarily be survival based, with the effects of the chemical resources and time providing a unique visual approach to the traditional apocalyptic depiction of a ruined earth. The intersection between the use of natural and (scavenged) man-made resources, both now found in the environment simultaneously, will form the foundation of the crafted items and structures within the game world. Creating an interactive element at the end of the assignment, such as a semi-animated show-reel, will help to create a centre piece in my end exhibit.

Section 2:

iii.      Research into a variety of subjects is integral to this concept, with exploratory sketches and annotations in my sketchbook helping to establish the early visual language of the project. Real-world references will help ground my designs in reality, with the referencing of other artists providing an insight into techniques and processes that will help create a more efficient work-flow, as well as help with the relevant design language one must use to communicate the desired information. Creating a visually stimulating series of concepts that one can instantly understand is paramount.

 

iv.

Evolution:

https://www.sciencedaily.com/releases/2013/04/130409095414.htm (Environmental change triggers rapid evolution)

https://www.youtube.com/watch?v=P3GagfbA2vo (Crash Course Biology: Evolution)

https://www.youtube.com/watch?v=hOfRN0KihOU (Kurzgesagt: How Evolution Works)

https://allyouneedisbiology.wordpress.com/2015/06/15/evolution-beginners-basic-facts/

Tribal References:

https://artsandculture.google.com/exhibit/tAKCb6QeUuhmLA (African Tribal Weaponry)

Taylor, C. (2005). Native American Weapons. 1st ed. Oklahoma: University of Oklahoma Press.

http://www.new-guinea-tribal-art.com/wp/index.php/2011/10/05/native-weapons/

http://www.native-languages.org/weapons.htm (Native American Weaponry)

http://www.imnh.isu.edu/digitalatlas/geog/native/text/tools.htm (Native American Tools)

https://weaponsandwarfare.com/2016/10/15/africa-weaponry/

https://www.warpaths2peacepipes.com/native-indian-weapons-tools/native-american-tools.htm

Art and Design:

https://www.ctrlpaint.com/library/ (Traditional and Digital Art Foundational Skills)

https://bigbadworldofconceptart.com/recommended-resources-foundation-skills/

https://bigbadworldofconceptart.com/recommended-resources-goodies-freebies/

https://bigbadworldofconceptart.com/recommended-resource-environment-design/

https://bigbadworldofconceptart.com/6387-2/ (Character and Creature Design)

Alexander, R., Cowan, F. and Walker, K. (n.d.). The compendium of fantasy art techniques.

Edwards, B. (2014). Drawing on the right side of the brain. London: Souvenir Press.

Lilly, E. (n.d.). The big bad world of concept art for video games.

MacManus, F. and Howlett, C. (2017). Film Concept Art Secrets. ImagineFX, (152), pp.80-86.

Mearls, M. and Crawford, J. (n.d.). Dungeon master’s guide.

https://www.youtube.com/watch?v=TPxq0iJ2Qqs (Thumbnails to Silhouettes)

https://www.youtube.com/watch?v=FShRsjeCPQ0 (Silhouette Tutorial)

https://www.youtube.com/watch?v=H5X0MB9XWaE (World Building; Forest)

https://www.youtube.com/watch?v=QcpsWG_idX0 (Character Design)

Urban Decay, Mutations, and Chemical Exposure:

https://en.wikipedia.org/wiki/List_of_genetic_disorders

https://io9.gizmodo.com/10-unusual-genetic-mutations-in-humans-470843733

https://phys.org/news/2016-12-evolution-action-fish-quickly-lethal.html

http://health.mo.gov/living/environment/hazsubstancesites/healtheffects.php

https://www.urbanghostsmedia.com/2016/05/abandoned-by-man-reclaimed-by-nature/

https://www.wired.com/story/gallery-nature-abandoned-buildings/

https://www.theguardian.com/science/grrlscientist/2015/mar/19/how-chemistry-affects-the-evolution-of-life

Genre and Visual Inspiration:

https://io9.gizmodo.com/a-haunting-short-film-set-in-a-world-where-evolution-ha-1787060858 (Dust, a short film regarding rapid evolution)

https://dartgarry.deviantart.com/gallery/49897446/The-Forest (The Forest, a semi-modern survival game)

https://kotaku.com/the-art-of-horizon-zero-dawn-1792878981 (Horizon: Zero Dawn)

https://www.videogamesartwork.com/games/wildstar (Wildstar, a futuristic MMO)

ArtStation. (2018). Bobby Rebholz. [online] Available at: https://www.artstation.com/bobbyrebholz [Accessed 20 Mar. 2018].

ArtStation. (2018). Brother Baston. [online] Available at: https://www.artstation.com/brotherbaston [Accessed 20 Mar. 2018].

ArtStation. (2018). Stephen Oakley. [online] Available at: https://www.artstation.com/possum [Accessed 20 Mar. 2018].

Fengzhudesign.com. (2011). Feng Zhu Design. [online] Available at: http://fengzhudesign.com/ [Accessed 20 Mar. 2018].

Section 3:

i.               The use of both a sketchbook and digital media will ensure there is a cohesive process, with initial ideas and thumbnails being sketched out and explored in my sketchbook, of which are then moved into a digital format (Photoshop) for further exploration and refinement. My Wacom tablet will allow me to digital draw and paint my concepts, refining them to a polished and presentable level. Research and referencing will be conducted throughout the entire process as necessary, however, the bulk will be conducted and organised in the initial stages of the project. Acquiring conceptual art and design skills, techniques, and processes via books, tutorials, and observation will be critical to the success of my assignment. Techniques may include matte painting, shape language, and silhouette design, as well as other design related techniques.

iv.

  Date Tasks Resources/Techniques

 

1 20.03.17 Research + Planning/Brainstorming

-Aspects/Mechanics of Survival Games

-Urban Decay, Evolution, and Chemical Exposure/Mutations

-Story, Gameplay, and Visual Ideas (Informed by Research)

-Internet

-Books/Library

-Sketchbook

-Word

-Task Management Software

-Wordpress Blog

2 27.03.17 Research + Planning/Brainstorming

-Aspects/Mechanics of Survival Games

-Urban Decay, Evolution, and Chemical Exposure/Mutations

-Real-World Tribes and Native Technologies

-Story, Gameplay, and Visual Ideas (Informed by Research) + Planning Order of Work

-Internet

-Books/Library

-Sketchbook

-Word

-Task Management Software

-Wordpress Blog

3 Easter

Holiday

Research + Brainstorming + Early Visual Development

-Biomes + Effects of Chemical Spills upon Environments

-Story, Gameplay, and Visual Ideas (Informed by Research)

-Early Sketches (Relating to Order of Work)

-Internet

-Books/Library

-Sketchbook

-Word

-Wordpress Blog

4 Brainstorming + Early Visual Development

-Story, Gameplay, and Visual Ideas (Informed by Research)

-Early Sketches (Relating to Order of Work)

-Sketchbook

-Word

-Wordpress Blog

5 18.04.17 Development + Feedback

-Begin Digital Development of Sketches (Continue Drawing in Sketchbook)

-Seek Feedback

-Sketchbook

-Photoshop

-Wordpress Blog

6 24.04.17 Development

-Continue Development (Working both Traditionally and Digitally)

-Sketchbook

-Photoshop

-Wordpress Blog

7 02.05.17 Development

-Mainly Digital Development of Concepts

-Sketchbook

-Photoshop

-Wordpress Blog

8 08.05.17 Development + Feedback

-Digital Development of Concepts

-Seek Feedback

-Photoshop

-Wordpress Blog

9 15.05.17 Polish + Presentation

-Refine work

-Ensure that it is polished and ready for presentation

-Photoshop

-Illustrator

-Wordpress Blog

10 22.05.17 Evaluation + Presentation

-Evaluate work and process

-Organise work for presentation

-Photoshop

-Illustrator

-Word

-Wordpress Blog

Section 4:

v.      Feedback will be enquired from both self-reflection and peer review, as well as the advice from tutors. Advice may be acquired from online forums as I see fit. Awareness of the natural development of the project is important, with attention being payed to the progression of my designs in my written evaluation. Reflection regarding my time-management, efficiency of techniques and processes, as well as the overall outcome will be conducted as well.

 

FMP Progress Diary -22 April 2018-

This week consisted of research, studies, and designs of shelters, structures, and monoliths. I worked in my sketchbook, making studies of the reference I gathered, and then dynamically moving between studies and designing.

The intent with the monolith designs is to create a series of rocks/carved-rock ‘obelisks’ that the human’s culture uses as a tool of worship, with the chemicals being the focus thereof, as is evidenced by the inclusion of the aforementioned chemicals in the monoliths themselves. The designs of the monoliths range from crude to carved and relatively complex, with face and crown-like designs being used to attach deity-esque connotations to the chemicals and their current understanding of their supposed origins.

The structures are constructed using materials found within the environment, with the inclusion of the monoliths being a large part of the more religious and culturally-focused tribes/communities. The complexity of the shelters range from simple leaning shelters to more complex huts and halls. The difficulty of constructing these shelters must also be taken into account, as well as the inclusion of a community aspect as opposed to a smaller group of people striking off on their own. A variety of factors influence the shelters that may be created, such as; type and availability of resources, predators or hostile tribes, weather, and community/settlement purposes etc.

Sketches:

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Moodboards:

FMP Progress Diary -15 April 2018-

This week consisted of digital thumbnails/sketches for the wolf concept, using reference images and my own sketches to help inform my designs. Referring back to my planning and research in order to develop my designs in a more believable and interesting way.

The concepts shown below are developed in a way to communicate the influence of the different chemicals upon their evolution, with different types affecting them in different ways. Some will cause the animal to become malnourished and starved due to greater energy demands, others may cause uncontrolled growth bone (calcification), ridding them of several senses as their eyes, ears, and/or noses are covered from birth (or during their life cycle).

The process used to create theses designs was thus; Reference -> Sketches -> Digital Sketch (referring back to Reference/Sketches) -> Refined Sketch. Annotations and variations were created as I explored the designs.

Designs:

Wolf_Thumbnails_01

Moodboard:

Wolf_Moodboard_01.jpg

 

Screenshots:

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