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.


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: (Environmental change triggers rapid evolution) (Crash Course Biology: Evolution) (Kurzgesagt: How Evolution Works)


Tribal References: (African Tribal Weaponry)

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


Art and Design: (Traditional and Digital Art Foundational Skills) (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. (Thumbnails to Silhouettes) (Silhouette Tutorial) (World Building; Forest) (Character Design)


Urban Decay, Mutations, and Chemical Exposure:


Genre and Visual Inspiration: (Dust, a short film regarding rapid evolution) (The Forest, a semi-modern survival game) (Horizon: Zero Dawn) (Wildstar, a futuristic MMO)

ArtStation. (2018). Bobby Rebholz. [online] Available at: [Accessed 20 Mar. 2018].

ArtStation. (2018). Brother Baston. [online] Available at: [Accessed 20 Mar. 2018].

ArtStation. (2018). Stephen Oakley. [online] Available at: [Accessed 20 Mar. 2018]. (2011). Feng Zhu Design. [online] Available at: [Accessed 20 Mar. 2018].


Hope and Stop Motion Animation Treatments

Hope Animation Treatment:

Working Title: Hope Animation – Ryan N
Genre: 2D Digital Animation (using Photoshop)
Duration: 90 seconds or less.
TargetAudience: 16-25 year olds (male and female)
Outline – This animation features a nameless main character, a blank template that anyone can project themselves onto. Initially, this character is in a state of peace, represented by the saturated blues surrounding him.However, a vignette effect rushes towards the character, aided by zooming, to transition into the next scene. Here, the character is ‘attacked’ by tendrils of ‘negative energy’, abstractly represented by black and red brush strokes.Afterwards, a series of images flash across the screen, of which represent the struggles and negative emotions experienced by the character after this time of pain. Once that sequence is complete, the character will sit up from an all-fours position, surrounded by static as the camera zooms out.
The next scene will introduce the sphere,an orb of white that flies towards the character, whom raises their head to observe its appearance. It will then zoom past the character, with a scene showing him turning to watch it fly past. Disappointed by this fleeting moment of light, he becomes clearly upset by dropping his shoulders and head in exasperation. Moving forwards, the character finds the sphere again, causing his breathing to quicken in anticipation. From another camera angle, in front of the character, the orb travels towards and around the character before speeding off into the distance. The character turns, tracking and reaching out to the sphere before it leaves.
Another sequence, representing the negative emotions of the character, occurs. This transitions to a scene of the character’s ‘soul’ falling and fading, representing the last bit of hope left disappearing from his life. The next two shots display the character on all-fours once again, in despair while surrounded by darkness, the sky textured with static. A close-up shot of the character is then shown before pulling out,displaying the sphere/orb flying around the character once again before leaving.
The next scene displays a sun rise, the character raising his head while on all-fours as light reaches towards him. The orb flies off the side of the screen, in the direction of the light stretching across the ground. The camera cuts to a long-shot, displaying the character,still on all-fours, as a triangle of light rises up before him with its light stretching towards him. A close-up shot then occurs, with the character’s head and shoulders shown rising up, a background depicting the sun’s light spilling across the sky, changing the colours in a gradient. A long-shot, similar to the one previously, is then shown. Here, the character stands as several more triangles rise in the distance. The screen then fades to white, displaying the credits and end plate.
CharacterBreakdown: The two characters will be a male figure and a bright sphere. The figure is the human in turmoil, while the sphere is an abstract concept or being that provides hope for this person, guiding them along the way to recovery.
VisualElements / Mise en Scene: The visual elements were drawn and ideated within a sketchbook,then re-created in Photoshop. Storyboards were created first, then an animatic(embellish upon?). The lighting, characters and settings within the storyboards and the animatic were created using Photoshop, a Wacom tablet, and a series of tools and custom brushes.
Audio– The audio will be discordant, eerier and unsettling. There will be electronic and nearly sci-fi elements, hinting at the uncertainty and strange, unsettling nature of the subject matter and the journey that the character goes through. Certain sound effects will play to announce the beginning, ends and transitions of certain scenes, with the mood of the audio continuing even into the scenes of positivity; thus showing that even though you believe hope has returned, danger and despair may loom just around the corner, ready to hold you in its clutches once again, highlighting the fickle nature of life and the concept of hope.
Rationale: I have chosen this idea due to the sensitive, yet abstract,subject matter that is prevalent in today’s society. Not only is self-harm on the ever-increasing rise, but hope seems like a foreign concept due to the nature of news journalism and social media. The sensitive aspect of the subject matter, portrayed in an abstracted manner, combined with a message of hope may elicit emotional responses from many. Therefore, it will grab the attention of the viewers, the cause for that may be for good or bad reasons, however that is up to personal interpretation of the subject matter presented.
I have skill and experience in both traditional and digital art (Photoshop and Graphics Tablets), of which will help when storyboarding, conceptualising and creating assets for the animation.However, the actual skill of animation is rather new to me, therefore I will need to learn how to not only use Photoshop as an animation tool, but also the principle and foundations of animation.
Primary and Secondary Research: I have done extensive research into the concept of hope, looking at multiple sources online. Using those sources, I have created notes with references, as well as mood boards, to help aid me when ideating the story for the animation. I have also done research into both storyboarding and animation/film-making, as well as how they relate to one another. Similarly, notes and mood boards were created help with the ideation and development of the animation.
Requirements and resources: The equipment required for this animation would sketchbooks, pencils, colour pencils, computer and peripherals,a graphics tablet and Photoshop. I have access to these and do no require outsourcing for them.
Constraints and Contingency: Problems will most likely been countered regarding the transfer between storyboard, animatic and animation.Not only that, but the actual animating itself. To overcome these challenges,research and experimentation is required, with each situation requiring its own specific approach.
Legal and ethical considerations – I need to ensure that my work is entirely my own, with the audio being either my own or open-source/public domain.
Budget – Potential costs would involve that of a sketchbook, stationary,computer, graphics tablet and a copy of Photoshop, as well as audio software capable of creating music.
Schedule – It will most likely take one to two months to complete the assignment, from research to final animation.


Stop Motion Animation Treatment:

Working Title: Alphabet (Letter Z) Stop Motion Animation –Ryan N
Genre: Stop Motion Animation – Pixilation/Object/Pasta
Duration: 5 seconds
Target Audience: Young teenagers.
Outline – Pasta creates the shape of a Z, with a zig-zag of pasta moving along the left-hand side of the screen.
Character Breakdown – Your main characters: Names, age race gender etc. Include any necessary back-story.
Visual Elements / Mise en Scene: The stop motion animation will be done using pasta lain and manipulated upon a cutting board.
Audio– The sound of pasta being shaken is present,relating to the subject matter.
Rationale – The twisted forms of the pasta relate to zig-zags, of which relates to the letter Z.
Primary and Secondary Research – I have conducted research into Stop Motion and the various forms it takes, as well as the techniques and processes pertaining to those forms and mediums.
Requirements and resources – Pasta, camera, tripod, cutting board, object use to elevate camera, Adobe Premiere, PC, phone to record audio with.
Constraints and Contingency – The lighting will be controlled by taking the images in the evening, with the blinds closed and lights on. The orientation of the camera to the cutting board and pasta will be achieved through the use of an object to elevate the camera. To aid this, a tripod will be used to angle the camera towards the board.
Legal and ethical considerations – N/A
Budget – The costs would include that of the camera, tripod, cutting board,pasta, editing software, PC and peripherals, phone to record audio with.
Schedule – Organising, story boarding, taking the pictures, recording the audio and compiling them in Adobe Premiere will take several hours.