Prometheus Model Update

Leading on from last terms work, I pulled up the turnaround to consider what the best way of turning this character into a model could be.
As this character has a very bulky shape but moves in a fluid and liquid motion, I feel that making this a non-moving maquette would be the best approach, especially if I'm figuring out how to make the bird puppets move; I have the opportunity to experiment through mobility with those characters.

The purpose of this maquette is to experiment with materials, sculpting and characterisation. I want the cloak especially to look as if it were moving, made from shadows with an ethereal feel about it.
The kind of materials I'll be using consist of chicken wire, modrock, tissue paper, fabric, plastic etc. What I want to avoid is accidentally making it look patchwork and messy; there should definitely be a flow to this piece,
Below I've begun to plan out the structure of the piece. At the moment this is just an idea and I've yet to take measurements, I'm currently just figuring out a way to uphold structure through a support system.

This would be created out of chicken wire (the grey area) and a wooden base with a metal pole supporting it.

Main Character Final Design: Yool costume sheet

'Yool' Shortened from 'Euelpides'.
His best friend since childhood is Ty. Although Ty is more dominant and confident than Yool, he never envies him of this, he instead has a a lot of pride and faith in his companion. He knows him well enough to know when he's going to lay down one of his famous speeches, and often beams or remains quietly smiling in awe of his friends skills in speech. Although quieter, Yool is no pushover and has the same steely determination as Ty, making them an ambitious and formidable team. Yool is more sensitive to other people than Ty is, often thinking quite rationally and logically and considering how others may feel. Because of this he's usually the first to check if someone is okay. Compared to Ty, Yool is quite level headed, Ty being the one who often gets carried away with passionate speeches and grand plans; sometimes he has to bring him back down to earth.

I chose pastel blues and lilacs to match Yools sweet and gentle nature. This way his design contrasts to Ty's, as one part of my design plans for them was making sure they were obviously different from one another, as the original script doesn't define the two too differently. In fact, the character of Euelpides ends up drifting into the background and not being mentioned a lot towards the end of the initial script. I wanted to avoid these kind of plot holes and have a consistent story rather than conveniently have characters disappear half way through the production.

Similar to the long coat I chose for Ty, Yool wears a large poncho to add to his 'cute' vibes and a neck scarf to hide the maquettes neck joint. I've also drawn him with his bird cage and spotted carry-sack from the opening scene of the film. Both main characters wear simple boots that would be designed to withstand long distance walking. Yool also wears gloves to protection against the elements, whereas Ty has very long sleeves and heavy cuffs.

Main Character Final Design: Ty costume sheet

'Ty' Shortened from 'Pisthetairus'.
His closest relationship is with Yool, his childhood best friend; they were companions when they lived in Athens together and both decided to leave in search of a life of freedom, devoid of responsibility. Together they plan everything, but Ty is usually the spokesman and the leader of the duo.

In contrast to Yool's design, I chose khaki's and more earthy tones to suit Ty's calm, collected and more mature personality. Earth is also the star sign most linked to determination and ambition within the Zodiac signs, linking to Ancient Greek beliefs that Astronomy was the first science. However, I made sure that the colour scheme still matched the pastel aesthetic that I've used to design throughout this project.
Overall, Ty is extremely smart and charismatic, but uses these traits in order to manipulate people sometimes. He is very quick witted and thinks on his feet, which often gets himself and Yool out of sticky situations, and has avoided many a confrontation because of these skills. His downfall is the fact that he perhaps begins to take advantage of people and not even realise it, sometimes putting strains on his and Yools relationship.

The choice of shape and costume came about quite naturally. In cartoons, the main characters are often the most simple in design as these will be the figures drawn the most frequently, therefore should not be over complicated or difficult to redraw and intricately model with every new frame. I went for a cute beret with a bird feather in the band for Ty, as I thought a slightly military styled outfit would suit his strategic and precise mind. The feather also relates to the anthropomorphic and animal themes of the film. Having a long coat also helps in the production of the stop motion puppet as it would mask a lot of the figure, meaning a smaller overall project concentrated on one character.
A high necked coat was decided specifically, as within stop motion puppetry it's a lot easier to conceal maquette than it is to try and making a complex, working neck joint. For this reason I've covered the necks on both my characters.

I chose to draw this costume and expression sheet out in a digital format as I felt that the aesthetic and character design suited that media better than paints and pencil. However, for the darker more twisted character of Epops that holds a lot of character within the sketched out marks themselves I'll be hand drawing the designs.

Owl Character Progression.

Wanting to progress my characters so I can begin finalising the designs, I concentrated on creating a small expression sheet for the Owl character I've been working on. Here I focused mainly on experimentation of potential facial features as well as body shape and posture. I've yet to figure out the exact fashion for the Owl, but as the facial expression and features are what I'd like to take forward into a minor sculpting project, this is what I've been making sure to concentrate on. I will of course figure out the Owls personality and role in the bird city as a whole, as I'd like for my designs to have backstory, justification and a sense of three dimensional depth to their characterisations.

I chose three expressions to work on in Photoshop that, between them, showed the most diversity; neutral, shocked and annoyed. I also chose a full body sketch to show the kind of proportions I'm looking at, at the moment.
My next steps from this will be finalising the design, confirming the personality and characterisation, then sketching out a final expression sheet in order to begin sculpting. I think this order is quite important, as I want to have the personality and characterisation fleshed out before I start thinking how this character would expression emotion.

Mask Designs

While re-conceptualising the city itself, I've also been thinking about further character designs and translating these into areas of practise. One of the previous ideas I was thinking of progressing was the plague doctor bird mask. This is potentially for the character of the Hoopoe, who becomes more and more decrepit and fallen apart as the film goes on, as is hinted at the beginning of the original play.

The concept I have for his character at the moment is that he used to be human, but on a mad hunt for power and wealth he committed terrible crimes. His punishment was to be transformed into a harmless Hoopoe bird. On his quest to turn back into a human, he discovered a root that had properties of transfiguration. However, upon eating this, rather than turning him back into a human he was morphed into a half bird, half twisted human hybrid, explaining why he is constantly molting and is somewhat humanoid. It also justifies the Hoopoe going along with Pisthetairus' and Euelpides plan of forming power and alliance with the birds.
Because of this plot line I've written as the Hoopoe's narrative, it wouldn't be a far stretch to create a villain from this character; someone who starts off supporting and befriending the main characters, but for ulterior motives. Later on he could betray them, or want to overthrow the city becoming king himself.
Currently this is only an idea for the narrative I've come up with after designing and furthering my project through sketches and visual development, but I really like the idea of a hoopoe styled plague doctor mask that acts to hold together this character. I think  a lot of story could be told behind this one piece of costume. 

Above shows some simple thumbnail concepts I've drafted up looking into different shapes and styles. I think it's important to start with silhouettes when figuring out a piece of costume like this, as I need to see the overall look and form before trying to figure out more intricate details.

Photoshop Tutorial

As a lot of the work I've been doing and will continue to do for this project is design based, I've been generating a lot of concept art as a result. I decided to get a tutorial with Jordan on different ways to use Photoshop and ways of creating character designs. Previously, we've done a lot of work on environments, composition and colour comps, but I specifically wanted to understand how to start drafting up character design on a professional level.
As character design is the aspect of both design and making that I enjoy most, I feel that these lessons will be particularly useful in taking what I enjoy to a professional level, and begin looking into placements or opportunities for.

Above shows some of Jordan's work he drew out while chatting about how silhouettes are a great way to start off a character; this concentrates on the shapes, and important personality traits such how they hold themselves, which can say a lot about a character!
For this we focussed on the owl librarian I've started concentrating on as one of the characters I may potentially take forwards into the making process.

Firstly we experimented with simple silhouettes and brushes, focussing on body shapes. It was also illustrated how photographs and objects can be worked into an image in order to create new and unique concepts.

Concept Art Collection

SKIN TEXTURE: FEATHERS

OWL SECURITY GUARD

CLOUD CUCKOO LAND BASE IDEA

Above are a collection of pieces of concept art I've been working on this morning. They cover three different areas of the world I'm creating: Realism and interpretation, character design and environment.
These ideas are all originally in my sketchbook, but I chose these three to take into Photoshop and experiment with further as I felt they had more potential.

Firstly, I've begun to consider my own interpretation as well as the mediums I could study for my areas of practice. So far I've mainly looked into maquettes and puppets for use in stop motion animation, with specific interest in Laika Studios. However, the idea previously suggested of a lab of prototypes using different materials and processes could be very beneficial and exciting to undertake, as well as avoiding the risk of accidentally pigeon-holding myself into one category. This illustration was based on a rough sketch I did when thinking about how the characters of Pisthetairus and Euelpides would grow feathers once they eat the root that grants them wings. I came the conclusion that it would be a more realistic interpretation and a definite stylistic choice to have the mens arms turn into wings instead of having then sprout angelically from their backs. This could not only add to a potential gothic aesthetic, but also perhaps show a young audience that in order to gain something, you have to work for it or make a fair excahnge? This is a moral I'll be working more on, as so far I don't feel that 'The Birds' has much of a moral story behind it.
The drawing itself depicts the dark navy feather sprouting out of the skin; something I could later on turn into maybe a piece of costume, like a glove, or several prosthetic pieces!

Secondly, the Owl Security guard was a small doodle I did when thinking about the different properties of the birds mentioned in the texts. I already have a fascination with Owls, and was regarding the way they're able to turn their heads almost 360 degrees. This trait they have reminded me of security cameras, and putting the two together I sketched out the Owl Security Guard:

His nocturnal eyes perfectly suited to dark environments, they watch from the doorways and corners of nightclubs, not missing a single trick or drunken antic. Their heads swivel slowly at first, silently scanning the floors of dancing birds, then a sharp turning their heads back to front at any loud noise or sudden movement. No one would dare try anything under their watch.

Thirdly, is my base idea for the city so far. I'm really pleased with this piece as an illustration, but definitely need to work on a stronger concept. As the city is built in a matter of days, there would be no time for grass to grow, and I would also like it to appear more home made or have attributes that help the viewer believe it was built by birds. Maybe have buildings stacked one on top of the other, or look like the city itself has grown from the inside, then been constantly built upon. Looking into architecture could help this too.

Overall I'm very happy with these pieces and can begin to see an improvement in my work, especially when it comes to technique, which I'm pleased with. My next stages will be:
- Begin to research processes and methods I can prototype and begin basic making ideas.
- Focus on specific characters to create specific designs for.
- Research architectures and create a strong concept for the environment for the city itself.

Island Concepts: Photoshop Brush Experimentation

Taking a few of the rough sketches I drew out of the island as a whole from my sketchbook, I've practiced using a few different methods and warm ups in Photoshop. I was inspired to try this more often after being pleased with how the look of my bird priest concept character turned out.

From comparing these three thumbnail drawings, I think that image 2 has the most detail, realism and tone to it. However, this also took the longest to draw out by quite a substantial amount of time.

1 looks the most cartoon like, but this could also be down to use of colour; for drawings 2 and 3, I changed the palette for a much more muted tones.

Ultimately, I think the method used in image 1 gets the concept/ colours and shapes across the fastest, so could be suitable for quick drawings or storyboards. 2 has the most detail so could be used for more in detail concept art of characters, objects or specific places maybe. 3 has a really interesting texture to it, so could be used for feathers, stone, grass, plants etc.

Further Character Concepts

Based on the quote "A Fox is subtlety itself", I designed a loose concept for the character of Zeus's nemesis and infiltrator of the birds city; Prometheus. He sneaks in to inform Pisthetairus of the God's starving condition, hinting on how to dethrone Zeus. He enters the city in a disguise so as to go unnoticed by Zeus or the other Gods. Tying the quote about foxes being subtle and inconspicuous, I came up with this draft concept for Prometheus' disguise: A large hunch, a textured cloak adorned with dry leaves and weird curled shapes. The foxes mask ties back to the quote and is an anthropomorphic link to the animal symbolism I'm using. For this piece of concept art, I went back to the brush and lasso technique I'm familiar with, as I thought it would suit this image better than the previous methods practiced. However, I did experiment with creating the texture on the body section, as I didn't want it to just look like a flat, blank colour.  

What inspired this character was noticing that at one point in the script, religious ceremonies to worship both the birds and the two founding men are created by the birds; hence the idea of a priest character came to mind. This is however, is a concept with a lot of holes; I would need to consider what religious symbolism would actually be used, or what robes could be worn. What I drew was a quick doodle with these ideas in mind.
I based this character on a Gerfalcon, as they have quite a wise but stern look about them, which is how I remember priests to appear when I was younger. However, it still has a piercing eye and very stern demeanor which I like, and I think suits the role.

I used a new technique in Photoshop for this drawing after downloading a new set of brushes. The lasso tool wasn't used at all! Which is a very big step from the usual techniques I've been using. Instead I selected a few different brush styles that gave really interesting textures and look a lot more organic than the lasso technique style. This method was a little more time consuming, (hence why I only did the main body and head) but I'm actually really happy with how it came out! It looks a lot more realistic this way, with the opportunity to add in a lot of different kinds of details, e.g. the dappled grey plumage and highlights around the eyes and beak. 

Messenger Bird: Photoshop Experimentation

This was the second messenger bird I drew; this time I wanted to experiment with using Photoshop differently to what I'm used to, so went for a patchwork watercolour look. The brush was a lot of fun to use, (the actual texture of the brush can be seen in the dark blue line across the cream background rectangle.) I had to figure out a lot of issues that arose with the layers, making sure that they were blended enough to be able to see the pencil drawing underneath.

Overall I like the watercolour brush, but I definitely need practice in this area, to make it look more realistic. Right now I think it actually looks a little messy, so looking up a few tutorials may be beneficial.

Messenger Bird Concept

As there was a recurring theme of a messenger announcing key plot points throughout 'The Birds' I began considering what these messengers could look like and sketched out the idea of a postal/ delivery/ messenger bird. These could be a flock of small hummingbird type characters that flit around, and due the their speed, size and number, are able to quickly pass on information throughout the entire city very easily.

I firstly drew this out in my sketchbook, then took it over to Photoshop to colour it. I used my usual method of the 'brush' and 'lassoo' tool to get defined edges and crisp lines. However, from looking at other artists styles I'd like to branch out and experiment a little more with how I use Photoshop. For this image I used a new brush for the wings to try and make them look a little more feathered. I'm not sure this was too successful, but I learnt a lot more about the program by just using the tools a little differently and trying something new.

Owl Concept 2; Initial Doodling

Second owl idea. I didn't draw the entire figure this time as wanted to concentrate more on the facial expression and putting a little more detail into the costume. I like the concept of the owl librarian, as it could include a dusty and dark environment for the nocturnal creature to dwell in. The connection with books also connotes to the Greek god of wisdom; Athena, whose symbol was of an owl. 

Owl Concept 1; Initial Doodling

After beginning to research aesthetics and character design within animation, stop motion and music videos I decided to begin doodling out a few characters of my own. I began with owls, as they one of my favourite kind of bird mentioned within the text. This concept has no real solid research behind it, and started as a sketch from my head of the kind of character I'd like to develop. Obviously this design is quite humanoid; wearing human clothes, with elongated proportions, but I think she's quite a cute character.

I'm happy with this as an initial design, but later on I would definitely want the design to reflect the text more. This was basically a warm up concept to gather an idea I thought was quite fun, as well as get back into the swing of Photoshop.
As this is centrally a design and prototyping project, getting back into practicing concept art should be one of my goals for the research and development part of this assignment.

On reflection I should also change the document size next time, so as to avoid the image coming out as pixely before I start drawing!

Miranda and Prospero Final Designs.

Costume Details:

Miranda has a blue painted on Earth symbol on her shoulder plate, that she painted on there when bored one day. Shows she’s creatively minded, curious of her home planet, proud of heritage.

Miranda has a better suit than Prospero, as he gives her the better things, and repairs his own with patches. 

The waist armor Prospero has is assembled from broke ship parts. 

Miranda always carries a medical kit, as her dad demand she be ready at all times in case she gets hurt. Shows protective tendencies from father. 

They have similar chest pieces but Prospero’s contains his badges from career. 

Circular patches on knees are elbows designed to cushion, protect and lengthen life of fabric in these wear and tear areas. 

Miranda’s suit is green to show her trainee status. Prospero’s is navy to show higher ranking. 

Suit and Ship Concept Art

This design concentrated on expressing personality through formation of posing the character, as well as developing aspects of costume, e.g. the suit, breathing system and helmet. At this point in the project I reaffirmed with myself that making each of these costume aspects in the designated time period was slightly unrealistic, and setting goals of priority was necessary. These ordered as: 1) Designing, sewing and completed the jumpsuit. 2) Sourcing, designing and restyling a helmet. 3) Potential armor pieces, or sections of costume that weren't to be crafted from fabric through sewing. 

Another potential space craft design, inspired by the bio-luminescent mushrooms being researched as part of the eco-system for the environment of the planet. 

Temper05 Spacecraft Design

Original design for scouting spacecraft used in my transposal of 'The Tempest.' Supposedly a small scouting vehicle, built for two people with a small amount of emergency supplies. Incapable of space travel, designed to roam and explore planet surfaces.

Specialist Pathway: Environment concept art.

Two pieces of concept art done in order to explore the environment of the planet I was creating as a set for my interpretation of 'The Tempest.' Looking at both the planet as a whole and the climate on land itself.
The image on top was drawn with reference to other artists work through research of planet surfaces.

Specialist Pathway: Costume Bible Sheet/ Orthographic Full Outfit

Final outfit with accessories over the top of the jumpsuit. New features include helmet, chest piece, shoulder pad, gloves and boots.

Character Concept Art; The Tempest.

Ariel concept art for interpretation of 'The Tempest' from the project I've just completes at university. 

Thought it a good time to begin getting into regular blog updates again, as blogging will be a part of the module next term, there's no time like the present to attempt turning it into a regular habit! 

My idea for Ariel was that instead of being a fantasy based ethereal spirit or fairy, instead they're a piece of non-physical software or interface, that can be seen to the audience and characters as a hologram. 

Caliban concept art.
After being referred too as 'moon-calf' from one of the other characters, I decided to incorporate bovine features into my interpretation of the monster Caliban. 
The symbols seen are representative of the planets Earth and Saturn, which are the planets I drew inspiration from during the design period of this project. Having tattoos or brand marks also show ownership to Prospero, who calls to him as his slave. The scythe is used to both defend from unknown monsters on the planet, and harvest food for the humans Caliban serves. No breathing apparatus is needed for this character as he is native to the planet. 

Specialist Pathway: Costume Bible Sheet and Orthographic.

Front, side, back and side arm view of costume concept for current university project: Transposing Shakespeare's 'The Tempest' into my chosen theme of 50's retro futurism.