Tuesday, 10 November 2009

More Thumbnail Ideas

Cliffs/Sea Shore:
Whilst reading the excerpts which described the sea shore in the journey to the centre of the earth i had really strong and good ideas on what i wanted to do with this oiece of work, but when it came to paper, i just couldnt put my ideas in my head onto paper, so it didint work out so well, but i think the bottom one is the better out of the three.

End of Volcanic Tube Caves:
The same as above again applys for this piece of work, i have great ideas in my head but just cannot get them down onto paper. I do want to develop this idea further though because i quite liek the idea. Im thinking the cave should over look this amazing glistening sea and land underneath the earth. Sort of like the top sketch.

Im not liking these ideas as much though, so im thinking of taking the Mushroom Forest, Volcanoe Landscape and either the Volcanic Tunnels or Cave forward.
Now its time to get digital.


  1. Hi Richard... don't know if you saw this on tv the other evening - I only caught the last 15 mins or so. There might be some inspiration for you there, if you are looking at waterfalls etc....


    It was about the Zambesi River - as I say, the last quarter of an hour or so was very dramatic !

  2. Cheers Jackie, it is actually really helpful, just skimming through it quickly just now gave me a few composition ideas :)

  3. Great thumbnails Richard, cant wait to see where thse lead to, your digital work with Phil 2 is progressing nicely and it is good you are using your source material in the practical classes.

  4. Interim Online Review - Unit 2 : Space 10/11/09

    Hi Richard,

    Am loving your attitude and embrace of the graphics tablet; your thumbnails are very exciting - loads of energy and 'thinking outloud' contained in them, and it's clear your own confidences are on the move. Unlike some of your classmates, your scanning in at a quality that means your sketches can be enjoyed; I know prepping for Blogger takes time, but it's worth it. As I commented previously, when you let the more impressionistic and painterly approach push your compositions (as in the tunnel painting) they gain dynamism and impact, so I'm looking forward to seeing you move towards your 3 resolved scenes; one of the big challenges for you is the issue of lighting - as, by the nature of the book's subject, it's not daylight you're dealing with; I would let this encourage you towards a more theatrical 'film-logic' approach to lighting; after all, in movies, parts of the set are lit, not because of any 'real word' logic, but rather to make the composition work, or to create atmosphere, or to fix 'the look' (Alien is full of 'non-logical' lighting - all the strobing stuff for instance and the 'light' in the unlit alien space ship). Essentially, I'm talking about flair and art direction...

    Please see second post for general advice re. the written assignment

  5. Written Assignment stuff…

    Some general structural advice regarding framing your essay in the more general context of ‘production design’ – by way of introduction to your specific case-study (i.e. the movie or game of choice), you’ll need to demonstrate your understanding of the purpose of production design/designers in enshrining certain ‘narrative values’ within the look of the production; you should discuss the general aims/objectives/definitions of production design – see below:

    “Before designing anything, the designer develops a "design concept," an overarching metaphor for the film's appearance that governs individual choices. This "concept" may or may not be established in conjunction with the director. Once settled upon, however, it structures all decisions made, helping the art staff to give an individual film visual distinction.”
    Read more: http://www.filmreference.com/encyclopedia/Independent-Film-Road-Movies/Production-Design.html#ixzz0WRjZ6wTX

    You’ll find alternative definitions that you may want to include, but your following analysis of your chosen exemplar should be an in-depth discussion of that ‘overarching metaphor’ that organizes all the various components of the production’s design; you need to be looking for recurring motifs, colour values, use of space, set-design etc. that, collectively, create ‘the look’ and be able to talk insightfully about the narrative contribution of ‘the look’ – i.e. – how does it assist in the audience’s understanding of the narrative or thematic framework.
    IMPORTANT; try and think of your written assignments as ‘complete worlds’ – i.e., that they must contain all information necessary for your reader to follow your discussion coherently. Never presume prior knowledge on the behalf of your reader; do not, for instance, presume that your reader understands or is familiar with ‘Production Design’ – you always need to define your terms WITHIN the essay; likewise with films and games; give their release date, their director etc. Use footnotes to give definitions or information that would otherwise interrupt flow of argument; for instance, if you don’t want to pause rhythm of sentence by giving reader additional information about a particular artist or designer, use a footnote to put this data into the ‘margins’ of the discussion. On Word, goto to Insert and then ‘Footnote’ to install footnote at bottom of page.

    AVOID DESCRIPTION – obviously, you will need to give some plot details to contextualise the scenes you want to discuss, but I don’t want a blow-by-blow account of the game/film; give a brief précis and get on with the ANALYSIS.

    Below is a list of useful websites; use them in addition to other sources of reference (books, docs, making ofs) to SUPPORT your observations; you need to gather EVIDENCE to corroborate with your analysis. GENERIC observations (i.e. ‘stating the bloody obvious’) are to be avoided at all costs. Tell me something I DON’T know!



    The gloves are coming off; the brief asks you to produce 1,500 words… and that’s what want; shortfall assignments will be penalized accordingly – or failed.

    Good Luck! ☺