Monday, 30 November 2015

Maya Tutorial: LIGHTING-Midday/Sunset/Romantic/Night House


Re-Worked Textures

Spring Accessory/Building
After speaking with Jordan, I re-worked these textures slightly to look less realistic and give a greater sense of hand painting.

Texture Swatches/ Maps

Spring Accessory/Spring Building

I plan to also use these as my texture maps. Strangely I want them to have seams when placed on the buildings. This comes from the idea that these buildings were handmade and the imperfections will be seen to an extent. I will place them in ways that it would seem that the creator of this city has tried his upmost to hide these 'bad' areas and create a city that will look good from one specific angle.

Sunday, 29 November 2015

Friday, 27 November 2015

Wednesday, 25 November 2015

Life Drawing

Drawn from a pose done early on in the session

Texture Test

Tuesday, 24 November 2015

SPACE ODDITIES: The Shining (1980)

Fig.1. 'The Shining' Poster
Based upon Stephen King's novel, Stanley Kubrick's, 'The Shining' (1980) is a marvellous film that creates tension through uncomfortably long shots and imagery that keep the viewer fixated on the screen, unable to look away from the horror that unfolds before our eyes.
The set design within 'The Shining' is not that of your usual horror flick, dark caves, dimly lit rooms and spooky corridors are no where to be seen, but in some way, they are. 

Fig.2. Film Still

Instead, we are greeted to a beautiful hotel. Lavishly built and full of colour, this hotel is what is extraordinary about this 1980's picture.  'Instead of the cramped darkness and panicky quick editing of the standard-issue scary movie, Kubrick gives us the eerie, colossal, brilliantly lit spaces of the Over Look Hotel (created in Elstree Studios, Hertfordshire) shot with amplitude and calm. It looks like an abandoned city, or the state rooms of the Titanic, miraculously undamaged at the bottom of the ocean' (Bradshaw, 2012) Outcast from society, the hotel stands still, stuck in it's own time and a recluse to the outside world, the Overlook Hotel takes in jack and his family and shelters them from everything and everyone, but not from themselves. 
Acting as a catalyst to the character of Jack' mental stability, we see his mind slowly descending into a well of dark and violent decisions, something that he can't get himself out of. The character of Jack, played by Jack Nicholson, is an odd character, his raised angular eyebrows and menacing stares create a sense of un-ease from the very start.

Fig.3. Film Still
With an interior that has the elegance and grace of a 1920's flapper, the  Overlook Hotel which acts as a character in itself, still has to deal with the turmoil that lies within.
The job of the caretaker, taken by Jack, had once been the role of someone else, Delbert Grady.
Delbert Grady became tragically unhinged and losing all sense of humanity he ended the lives of his wife and twin daughters, he then ended his tirade by turning a gun on himself, this is told as a disclaimer during Jack's job interview. Once the job is his and all the guests and workers have left the hotel, Jack and his family are all alone, they have the entire place to themselves, or so they think. In a spree of hallucinations this place of calming and sanctuary becomes a place of horror and disgust.
'Yes it is possible to understand some of the scenes of hallucination. When Jack thinks he is seeing other people, there is always a mirror; he may be talking with himself. When Danny sees the little girls and the rivers of blood, he may be channelling the past tragedy'. (Ebert, 2006)

He might just be channeling the past tragedy of the Grady family, but metaphorically speaking, this river of blood could be a sense of the hotel being it's own human-like character.  Human in a way that the winter (The time in which caretakers are hired) is it's 'time of the month'. The Overlook Hotel is on it's winter-long period. 
'Alive with portent and symbolism, every frame of the film brims with Kubrick's genius for implying psychological purpose in setting: the hotel's tight, sinister labyrinth of corridors; it's cold, sterile bathrooms; the lavish, illusionary ballroom. (Nathan, 2012)

This symbolism is shown within scenes that seem to portray this sense of the hotel being on it's period, so to speak. For example, the river of blood that we see gushing from the doors of the elevators could be a possible, yet quite obvious hint at the hotel menstruating. This can be backed up by the fact that as the day's go by quick jump cuts of this can be seen by the characters in short hallucinations. Jack's family within the hotel, all becoming mentally un-stable and stressed act as one with the hotel, their mental unhinging could be the physical embodiment of the Overlook Hotel's uterus breaking down, as they become increasingly helpless to themselves the hallucinations become stronger and more horrific. Blood, blood and more blood!
The colour red is added to more and more shots as the film reaches it's climactic end. The colour seems to paste the walls, the walls of the bathroom in which Jack comes face to face with Mr Grady, the corridors and even the coat that Jack's wife wears within a short scene in the film.  Not only does it back up this idea of the hotel menstruating but it also adds to the sense of anger and evil that Jack is over come by, like a bull seeing red.


Bradshaw, P. (2012) 'The Shining- Review' At: Accessed on: 24/11/2015

Ebert, R. (2006) 'The Shining' At: Accessed on: 24/11/2015

Nathan, I (2012) 'The Shining' At: Accessed on: 24/11/2015


Figure 1. 'The Shining (1980) [Poster] At:http: // Accessed on: 24/11/2015

Figure 2. [Film Still] At:,fl_lossy,q_75/v1405713014/the-shining-the-overlook-hotel.jpg Accessed on: 24/11/2015

Figure 3. [Film Still] At: Accessed on: 24/11/2015

Maya Layout Tests

Sunday, 22 November 2015

Building Collages

Collaged from fabric and stone textures

Friday, 20 November 2015

Creator's Building

Concept Art: Re-Post

I decided to re-post this because I made a couple of tiny amendments: A couple of walkway lights (On the side) and some small lights in the distance. The kind of look like camera flashes that are often seen during fashion shows. Which is cool. I also darkened the image to give it a better ambience.

Animation Tutorial: Starfish

Sketchbook Pro Tutorial

Sketchbook Pro, Whale/Airship: Perspective
Sketchbook Pro, Whale/Airship: Tidy Version

Photoshop, Whale/Airship: Final Outcome

Thursday, 19 November 2015

Pre-Concept Art: Magazine Collage

I used cutouts from magazines to collage together part of my concept art. I used this as a guideline.

Tuesday, 17 November 2015

SPACE ODDITIES: Repulsion (1965)

Fig.1. 'Repulsion' Poster
Roman Polanski's, 'Repulsion' (1965) is an uncomfortably artistic movie, packed full of metaphorical imagery. With a story that uses a piercing soundtrack to create a looming sense of tension whilst thrusting impactful scenes upon audiences that are hard to watch. 

This review will look at the way in which scenery and character are used throughout the film to convey meaning and help the narrative of the story.

Fig.2. Film Still

'The Nightmare she creates for herself is one of the most bizarre hallucinations and jolts; the 'assault' scene played out to the amplified ticking clock; The sudden giant cracks she imagines on swings on a light' (Bradshaw, 2013)

These hallucinations are what drive the films narrative. Throughout the entirety of the movie we see, Carol, played by actress Catherine Deneuve, tormented by her inner demons. Teetering on the edge of reality, her story is portrayed via wild imaginings, vile ones to say the least.
But it's the subtle yet clearly obvious ones that stand out most. As Carol switches on a light within her apartment, a sudden crack appears in the wall. These cracks metaphorically resembling elements of Carol's sanity. She is having breakdown. We see her gradually losing all sense of reality. 
It's as if her home (the apartment) and herself have become one. Her apartment being her mental state in a physical form, cracking, rotting away and losing sense of what is right and wrong.

Fig.3. Film Still

In Bosley Crowther's NY Times movie review, her states, 'The Dressed Carcass of a rabbit on a platter becomes a monstrous symbol as the picture goes along'  (Crowther, 1965) 

The carcass of a rabbit is prominent within the film. Slowly but surely rotting away. Yet again, another metaphor of Carol's mind. A sense of decaying and death, something that is greatly looked upon after two men are killed by her. This subtle use of imagery shows the amount of time that has passed, the amount of time it has taken for Carol to become so distant from reality.

And the hands, who could forget the hands, literally piercing the walls of reality. 
As Carol walks down the darkened corridor of her apartment masculine hands forcefully make their way into shot, revoltingly grabbing at Carol.
All sense of sanity have been diminished at this point. Just like the rabbit, they are dead and gone. 

'One loses count of the number of times the degenerating character's psychotic solitude is interrupted by the ring telephone, always shown in the same close-up camera angle' (Biodrowski, 2009)
Steve Biodrowski's 'Repulsion' review looks at the way in which the telephone is used throughout the film.The ringing telephone, a central location within her home, the phone works an anchor of reality pulling Carol down, every time that it rings, a connection to reality is being opened, taking her away from the mad hallucinations she is having. 
Overcome by her insanity, she cuts the cord to the telephone, cutting all ties with bother reality and the outside world. Her apartment is her playground, a small one at that. A real sense of claustrophobia can be felt, the use of black and white throughout the film really helps this. The dark corners of each  of the rooms are emphasised by this simple, yet highly effective cinematic look. What monster is lurking within them. The corners of Carol's mind.

Finally 'Repulsion' showcases a great use of sound. For example, there is a scene in which we see Carol walking down the street, during this time drums can be heard. A constant beating and metronomic rhythm playing out in what seems to be her mind. A focus, taking her mind of the world around her. Like a marching band she walks to the beat of the drum, keeping her sanity in check.

Some scenes are imprinted within the minds of the viewer. It's purpose is to create a sense of emotional unbalance for both the viewer and the actors on screen, which it does in abundance. 'Repulsion' is a film that will be hard to forget.


Biodrowski, S. (2009) 'Repulsion (1965)- Horror Film Review' At: Accessed on: 17-11-2015

Bradshaw, P (2013) 'Repulsion-Review' At: Accessed on: 17-11-2015

Crowther, B. (1965) 'Repulsion' At: Accessed on: 17-11-2015


Figure 1. 'Repulsion (1965)' [Poster] At: Accessed on: 17-11-2015

Figure 2. [Film Still] At: Accessed on: 17-11-2015

Figure 3. [Film Still] At: Accessed on: 17-11-2015