Embedded Files
Dungeon Delve - Vertical Slice
Brief Introduction
Brief Introduction
QUICK IDEATION & NOTAN SKETCHING
QUICK IDEATION & NOTAN SKETCHING
WEEK 1
WEEK 1
Dungeon Delves' suggest an exploration of underground spaces so I should make sure to adhere to this . I am very excited that this project will be focused on three-point perspective because I can use it to my advantage to push areas of interest and lighting!!! This will be a lot more advanced than the work done in first year where we were designing props and characters within a blank void. Lighting!!! will also be a big part in this project because it will have to be used effectively in order to create the dingy and mysterious mood of a dungeon. What I think will be difficult to balance will be finding a sweet spot between showcasing design in a functional way, and showcasing mood and atmosphere in a
Dungeon Delves' suggest an exploration of underground spaces so I should make sure to adhere to this . I am very excited that this project will be focused on three-point perspective because I can use it to my advantage to push areas of interest and lighting!!! This will be a lot more advanced than the work done in first year where we were designing props and characters within a blank void. Lighting!!! will also be a big part in this project because it will have to be used effectively in order to create the dingy and mysterious mood of a dungeon. What I think will be difficult to balance will be finding a sweet spot between showcasing design in a functional way, and showcasing mood and atmosphere in a
What even IS a 'Dungeon' ??? The word dungeon can mean very different things when comparing it to how they are portrayed in games verses real life. In the real world, dungeons are places of despair and hopelessness because it is a place where prisoners are kept for torturing or to await death. On the other hand, dungeons in games are PACKED with potential and treasures, magic, and bosses. why would anyone keep their prized possessions close to their enemies? Game dungeons can also look like spectacular places, with grand high ceilings and a vast place to explorer. I guess the only correlation between the fictional and the non-fictional dungeons are the fact that they are (often) underground, and that they are places of fear where people want to escape, but even then, games design the spaces with just enough appeal for you to want to keep exploring.
What even IS a 'Dungeon' ??? The word dungeon can mean very different things when comparing it to how they are portrayed in games verses real life. In the real world, dungeons are places of despair and hopelessness because it is a place where prisoners are kept for torturing or to await death. On the other hand, dungeons in games are PACKED with potential and treasures, magic, and bosses. why would anyone keep their prized possessions close to their enemies? Game dungeons can also look like spectacular places, with grand high ceilings and a vast place to explorer. I guess the only correlation between the fictional and the non-fictional dungeons are the fact that they are (often) underground, and that they are places of fear where people want to escape, but even then, games design the spaces with just enough appeal for you to want to keep exploring.
Choosing a Theme & Story
Choosing a Theme & Story
REFERENCE IMAGES & RESEARCH
REFERENCE IMAGES & RESEARCH
GAME EXAMPLES THAT EXPLORER DARK DARK AESTHETICS
GAME EXAMPLES THAT EXPLORER DARK DARK AESTHETICS
REANIMAL
REANIMAL
INSIDE
INSIDE
Ghost of a tale
Ghost of a tale
Normally, I would try to bend the brief to adhere to my personal comfort zone and taste (this is often warm lighting, academic/fantasy/ witchy themes) but this time I really want to push myself and go for something darker because it is what I believe the brief is demanding. Designs that require dark themes are far harder for me to execute well - seen extremely evident in my first year work - and so I am going to have to try and go about this project in a different way if I have any hope of making this project successful. I should make use of 3d software to help me with lighting, create colour keys and explore a variety of colour pallets and combinations before I begin the painting process.
Normally, I would try to bend the brief to adhere to my personal comfort zone and taste (this is often warm lighting, academic/fantasy/ witchy themes) but this time I really want to push myself and go for something darker because it is what I believe the brief is demanding. Designs that require dark themes are far harder for me to execute well - seen extremely evident in my first year work - and so I am going to have to try and go about this project in a different way if I have any hope of making this project successful. I should make use of 3d software to help me with lighting, create colour keys and explore a variety of colour pallets and combinations before I begin the painting process.
I normally struggled with the lighting because I was trying to make it up without having studied real world lighting before. I also struggled with colours like green and blue and would use them interchangeably which was a big struggle throughout last year.
I normally struggled with the lighting because I was trying to make it up without having studied real world lighting before. I also struggled with colours like green and blue and would use them interchangeably which was a big struggle throughout last year.
I wondered how I would infuse the aspects of underground imprisonment from real world dungeons, and the aspect of fighting enemies and and finding treasures so I thought that about a ship's dungeon where they collect monsters and creatures from all around the world for money. These monsters have escaped their cages and there is a trail left behind by it.
I wondered how I would infuse the aspects of underground imprisonment from real world dungeons, and the aspect of fighting enemies and and finding treasures so I thought that about a ship's dungeon where they collect monsters and creatures from all around the world for money. These monsters have escaped their cages and there is a trail left behind by it.
I could have gone out and explored three comletely different themes for my dungeon. Perhapse one which was beautiful and full of riches, and another which was thriving in lushous greenery.. but I decided I wanted to try exploring subtlties within a certain mood / atmosphere. In the games industry it is very rare that designers will ever get that much freedom in dictating the theme for a space and so I wanted to see how creative I could get by exploring a small neich as if the comissoner decided on a mood they want to achieve but they give me complete freedom on location, story, and historical influence.
I could have gone out and explored three comletely different themes for my dungeon. Perhapse one which was beautiful and full of riches, and another which was thriving in lushous greenery.. but I decided I wanted to try exploring subtlties within a certain mood / atmosphere. In the games industry it is very rare that designers will ever get that much freedom in dictating the theme for a space and so I wanted to see how creative I could get by exploring a small neich as if the comissoner decided on a mood they want to achieve but they give me complete freedom on location, story, and historical influence.
1st Idea: British Trading Boat Dungeon
Dungeon located at the very bottom of boat, specifically a Historical Naval Warship from the late 18th century to early 19th century (1700 - 1800)
Dungeon located at the very bottom of boat, specifically a Historical Naval Warship from the late 18th century to early 19th century (1700 - 1800)
because it offers cool wall structures & it is where the loot / prisoners are kept. Treasure, creatures from around the world in cages
because it offers cool wall structures & it is where the loot / prisoners are kept. Treasure, creatures from around the world in cages
A dungeon where they keep fantastical beasts?
A dungeon where they keep fantastical beasts?
Gameplay potential:
Gameplay potential:
SOUNDS: creaking wood, echoing footsteps, rolling barrels, squeaking oil lamps as they sway , rats squeeking
SOUNDS: creaking wood, echoing footsteps, rolling barrels, squeaking oil lamps as they sway , rats squeeking
Light sources: Deck Prism, oil lanterns, Staircases / ladders going up to higher decks
Light sources: Deck Prism, oil lanterns, Staircases / ladders going up to higher decks
H.M.S Victory & Cutty Sark interior
H.M.S Victory & Cutty Sark interior
ANIMATIONS: Static vs Dynamic animation = swaying items, animals, rodents
ANIMATIONS: Static vs Dynamic animation = swaying items, animals, rodents
Personal items to break up the generic space so it doesn't look like an ikea / show room
Personal items to break up the generic space so it doesn't look like an ikea / show room
Large warship / pirate ship : HMS Victory
Large warship / pirate ship : HMS Victory
If I want to include the ceiling view, make it broken flooboards & include items up top to make it feel fuller
If I want to include the ceiling view, make it broken flooboards & include items up top to make it feel fuller
seed bags... wooden chutes to drain water from above and drips into buckets for the contained beasts to drink ( unhygienic ). Pulleys, Casks, Amphorae,
seed bags... wooden chutes to drain water from above and drips into buckets for the contained beasts to drink ( unhygienic ). Pulleys, Casks, Amphorae,
I was really drawn to the idea of the boat located dungeon because it has multiple historical resources I can look into to inform my design choices and it also provides me with niche problems I need to solve that are required in ships. The layout of a boat can also give me a free cool base to work with so that it doesn't have to be a simple square room. I shared my ideas with my sister and she also thought this idea was the most interesting to explore. I then began looking into how I can include .... creatures?
I was really drawn to the idea of the boat located dungeon because it has multiple historical resources I can look into to inform my design choices and it also provides me with niche problems I need to solve that are required in ships. The layout of a boat can also give me a free cool base to work with so that it doesn't have to be a simple square room. I shared my ideas with my sister and she also thought this idea was the most interesting to explore. I then began looking into how I can include .... creatures?
Relics & Treasures from H.M.S Victory Ship: https://www.sothebys.com/en/buy/auction/2022/treasures-2?locale=en
Relics & Treasures from H.M.S Victory Ship: https://www.sothebys.com/en/buy/auction/2022/treasures-2?locale=en
CREATURES
CREATURES
I wanted the boat that I am designing to be illegally collecting and trading rare animals because then it makes sense as to why there is a monster on the loose in the lower decks. This gives me two things to decide on: what creature has escaped? (Only it's destruction and trail will be seen in the scene but players have to be inclined to find it) , and what creatures will be in cages etc that will be seen in the scene? I could go wild with my choice of the monster because it won't be seen in the interior space BUT I have to show evidence of it being there so that it guides the player further into the dungeon. As for the creatures that are visible still in cages / baskets / hanging; I need these to be simple so that I make sure to not spread myself thin and maintain quality throughout my project.
I wanted the boat that I am designing to be illegally collecting and trading rare animals because then it makes sense as to why there is a monster on the loose in the lower decks. This gives me two things to decide on: what creature has escaped? (Only it's destruction and trail will be seen in the scene but players have to be inclined to find it) , and what creatures will be in cages etc that will be seen in the scene? I could go wild with my choice of the monster because it won't be seen in the interior space BUT I have to show evidence of it being there so that it guides the player further into the dungeon. As for the creatures that are visible still in cages / baskets / hanging; I need these to be simple so that I make sure to not spread myself thin and maintain quality throughout my project.
These are some facts that helped me decide on the smaller creatures that will be seen in my dungeon room:
These are some facts that helped me decide on the smaller creatures that will be seen in my dungeon room:
"since the mid-19th Century, many tonnes of feathers and bird skins—mainly hummingbirds and tanagers, were exported to fashion markets in Europe and North America" - These are small, vibrant birds, PERFECT to save time but add some colour to my environment.
"since the mid-19th Century, many tonnes of feathers and bird skins—mainly hummingbirds and tanagers, were exported to fashion markets in Europe and North America" - These are small, vibrant birds, PERFECT to save time but add some colour to my environment.
Animals being transported: Fish, Turtles, (gulper?) Eels, Pangolin, Chickens, Tanagers
Animals being transported: Fish, Turtles, (gulper?) Eels, Pangolin, Chickens, Tanagers
Snakes & Pangolins :(
Snakes & Pangolins :(
Bluestriped Goatfish. It would be really cool to included some glowing creatures to give it some fantasy plus a light source.
Bluestriped Goatfish. It would be really cool to included some glowing creatures to give it some fantasy plus a light source.
Pelican / Gulper Eels
Pelican / Gulper Eels
For the big monster that we will be catching, I decided on a small kraken (basically a buffed octopus)
For the big monster that we will be catching, I decided on a small kraken (basically a buffed octopus)
"Octopuses feed on fishes, birds and even other octopuses. All species of octopus have venom of varying levels of toxicity, which they inject using a beak that is similar to a bird's. They typically hunt at night, pouncing on their prey and wrapping it in the webbing between their arms. All octopuses are carnivores"
"Bored Octopuses are known to eat their arms" !!
Now doesn't THAT make an octopus sound quite like a beast? I think so and this will be perfect for me to develop the visual destruction that this creature has caused in my scene! I am thinking of adding a trail of water or slime that it leaves behind - this could be done using vertex painting - and maybe have a torn octopus arm stuck in the broken cage. I also want there to be a visual indication of destruction towards items near this trail and have some of the creatures look like they have been eaten - one of my lecturers suggested feathers on the ground which was also something I was thinking of adding.
Now doesn't THAT make an octopus sound quite like a beast? I think so and this will be perfect for me to develop the visual destruction that this creature has caused in my scene! I am thinking of adding a trail of water or slime that it leaves behind - this could be done using vertex painting - and maybe have a torn octopus arm stuck in the broken cage. I also want there to be a visual indication of destruction towards items near this trail and have some of the creatures look like they have been eaten - one of my lecturers suggested feathers on the ground which was also something I was thinking of adding.
A Blue-Ringed Octopus carries enough venom to kill 26 adult humans in minutes
A Blue-Ringed Octopus carries enough venom to kill 26 adult humans in minutes
Dead Washed up Octopus (to see how the colour & texture changes when it dies)
Dead Washed up Octopus (to see how the colour & texture changes when it dies)
Amphorae: type of container with a pointed bottom and characteristic shape and size which fit tightly (and therefore safely) against each other in storage rooms and packages, tied together with rope and delivered by land or sea. The size and shape have been determined from at least as early as the Neolithic Period. Amphorae were used in vast numbers for the transport and storage of various products, both liquid and dry, but mostly for wine
Amphorae: type of container with a pointed bottom and characteristic shape and size which fit tightly (and therefore safely) against each other in storage rooms and packages, tied together with rope and delivered by land or sea. The size and shape have been determined from at least as early as the Neolithic Period. Amphorae were used in vast numbers for the transport and storage of various products, both liquid and dry, but mostly for wine
In the 18th century, ships carried cargo in a variety of containers, including: Baskets, Crates, Sacks, Casks, Amphorae, and Hogsheads
In the 18th century, ships carried cargo in a variety of containers, including: Baskets, Crates, Sacks, Casks, Amphorae, and Hogsheads
2nd idea: Flooded Castle
Signs of a prisoner having been trapped there but they have now escaped. A broken wooden ladder a tthe food of the drop, stones by the barred window, the window barrs are bent from the force, scratches on the walls.
Signs of a prisoner having been trapped there but they have now escaped. A broken wooden ladder a tthe food of the drop, stones by the barred window, the window barrs are bent from the force, scratches on the walls.
SOUNDS: water drips, a dim fire on a torch (most are put out)
SOUNDS: water drips, a dim fire on a torch (most are put out)
Chillon Castle Dungeon - Switzerland
Chillon Castle Dungeon - Switzerland
LIGHT SOURCES: barred, tainted windows, wall torches, bioluminecent fungi (Foxfire), candle light. water reflecting light from outside.
LIGHT SOURCES: barred, tainted windows, wall torches, bioluminecent fungi (Foxfire), candle light. water reflecting light from outside.
3rd idea: Overgrown ancient Roman Vault dungeon (Gothic)
academic Slave , greek potery, dungeon workshop... chained workstations, dimply lit
academic Slave , greek potery, dungeon workshop... chained workstations, dimply lit
herbalist slave??? mortar & pestle, antique vials, ancient greek compass
herbalist slave??? mortar & pestle, antique vials, ancient greek compass
The Antikythera Mechanism
The Antikythera Mechanism
SOUNDS:
SOUNDS:
LIGHT SOURCES: Fireflies, wall torches, bioluminecent fungi (Foxfire), candle light.
LIGHT SOURCES: Fireflies, wall torches, bioluminecent fungi (Foxfire), candle light.
End of intro & Themes research: chosen theme = boat dungeon
Style & Rendering Inspiration
Style & Rendering Inspiration
INDUSTRY EXAMPLES
INDUSTRY EXAMPLES
Artists: Tian Gan / Satchit Basu / Niklas Bellok / Andrej Rempel / Maciej Baranowski / Geoffroy Thoorens
Artists: Tian Gan / Satchit Basu / Niklas Bellok / Andrej Rempel / Maciej Baranowski / Geoffroy Thoorens
I chose examples that had dark lighting scenarios / held vague resemblances to dungeons / abandoned spaces.
I chose examples that had dark lighting scenarios / held vague resemblances to dungeons / abandoned spaces.
(Annotate them!!! Collect most of them on a page and circle / annotate the crap out of them but also have one or two big pictures here that have been annotated to look at it deeper)
(Annotate them!!! Collect most of them on a page and circle / annotate the crap out of them but also have one or two big pictures here that have been annotated to look at it deeper)
Tian Gan
Satchit Basu
THE INFLUENCE OF PERSPECTIVE
THE INFLUENCE OF PERSPECTIVE
All of these bellow utilize a three point perspective but depending on the placement of the camera, it can go from cinematic and ... to technical and like a disection.. almost isometric. I want to find a nice balance between them to push my skills in perspective understanding, lighting, atmosphere, but also useful for production.. I could do two versions.. one that is further lense and another that is
All of these bellow utilize a three point perspective but depending on the placement of the camera, it can go from cinematic and ... to technical and like a disection.. almost isometric. I want to find a nice balance between them to push my skills in perspective understanding, lighting, atmosphere, but also useful for production.. I could do two versions.. one that is further lense and another that is
Don't do this because the walls are being distorted and things are being obscured.
Don't do this because the walls are being distorted and things are being obscured.
End of perspective & rendering / style / artist inspo
Notans
Notans
QUICK IDEATION & NOTAN SKETCHING
QUICK IDEATION & NOTAN SKETCHING
Tried kickstarting the ideation process through notans. They were quite quick. I had never done these before and so i didn't want to beat myself up about details and things too early in the process... They didn't really have much essence or clear functionality. It was more of a warm up to get used to the process of creating notans for environments. I quite enjoy perspective but since I do not practice environments I tend to get quite overwhelmed with the sheer amount of decisions I need to make; the function of the room? who uses this space? what mood does it exude? what are it's light sorces? Items? is this a clean or messy space? do the items match the architecture of the space? historical influences? How do the people (or creatures) that live here treat the space?
Tried kickstarting the ideation process through notans. They were quite quick. I had never done these before and so i didn't want to beat myself up about details and things too early in the process... They didn't really have much essence or clear functionality. It was more of a warm up to get used to the process of creating notans for environments. I quite enjoy perspective but since I do not practice environments I tend to get quite overwhelmed with the sheer amount of decisions I need to make; the function of the room? who uses this space? what mood does it exude? what are it's light sorces? Items? is this a clean or messy space? do the items match the architecture of the space? historical influences? How do the people (or creatures) that live here treat the space?
Boat Studies
Boat Studies
INTERIOR / EXTERIOR / ITEMS
INTERIOR / EXTERIOR / ITEMS
To get into the vibe of my project and to understand my subject matter better, I did a few studies of boats and what you would find in them using real world references. I used Biro and graphite to record the details. Not that I will be doing an exterior of the boat or cannons etc but the aesthetic of these pieces, the way the ropes hang, the sea air, everything will trickle down to help infuse believability to my dungeon.
To get into the vibe of my project and to understand my subject matter better, I did a few studies of boats and what you would find in them using real world references. I used Biro and graphite to record the details. Not that I will be doing an exterior of the boat or cannons etc but the aesthetic of these pieces, the way the ropes hang, the sea air, everything will trickle down to help infuse believability to my dungeon.
Base Sketching
Base Sketching
BLOCKOUT GENERATING
BLOCKOUT GENERATING
/ SET DRESSING
/ SET DRESSING
week 1 - Tuesday
week 1 - Tuesday
Blocked in an idea for my dungeon and also attempted a rough sketch of another layout but I found that for an environment so small, blocking it out in 3d would be far more efficient because then I get to duplicate assets, AND analyse the environment from all sides to judge it's composition. Drawing it from just one angle in perspective is less useful when I am still figuring the layout out. It could be quicker if i drew the room in a birds eye view but it still wont take into account how the two floors would look together / overlaying objects like stacked items. For this project, 3d blackouts are definitely the way to go for the begining stages.
Blocked in an idea for my dungeon and also attempted a rough sketch of another layout but I found that for an environment so small, blocking it out in 3d would be far more efficient because then I get to duplicate assets, AND analyse the environment from all sides to judge it's composition. Drawing it from just one angle in perspective is less useful when I am still figuring the layout out. It could be quicker if i drew the room in a birds eye view but it still wont take into account how the two floors would look together / overlaying objects like stacked items. For this project, 3d blackouts are definitely the way to go for the begining stages.
A very initial look on attempting to blackout my dungeon slice. I like how the curvature of the boat is being shown through this slice because it add a unique structure that really helps sell the idea of this space being in a boat. Also allows for interesting design choices to be made surrounding it. I'm not liking how predictable this layout is but I at least know that the dual floor, curved wall, and ladders are things I definitely want to keep in my environment. I like the offset flooring on the lower floor too. I want to show the animal cages in an interesting way but i don't think having them hanging from the empty sky is a cleaver choice because it will only make the audience wonder what it's hanging from, leading their gaze away from my environment which is not what I want.
A very initial look on attempting to blackout my dungeon slice. I like how the curvature of the boat is being shown through this slice because it add a unique structure that really helps sell the idea of this space being in a boat. Also allows for interesting design choices to be made surrounding it. I'm not liking how predictable this layout is but I at least know that the dual floor, curved wall, and ladders are things I definitely want to keep in my environment. I like the offset flooring on the lower floor too. I want to show the animal cages in an interesting way but i don't think having them hanging from the empty sky is a cleaver choice because it will only make the audience wonder what it's hanging from, leading their gaze away from my environment which is not what I want.
LECTURER FEEDBACK!!!
LECTURER FEEDBACK!!!
Make the rooms taller so that I can show more of the environment. Make use of the ship's curvature so that it really sells the idea of this interior being within a ship. Make the stairs steeper so that it takes up less space in the environment. Don't obscure the rooms too much using the overhead floorboards.. include different cage types and chains. If I want to include higher view, (centre of the horizon line) I have to be mindful to not get into 4 point perspective territory.
Make the rooms taller so that I can show more of the environment. Make use of the ship's curvature so that it really sells the idea of this interior being within a ship. Make the stairs steeper so that it takes up less space in the environment. Don't obscure the rooms too much using the overhead floorboards.. include different cage types and chains. If I want to include higher view, (centre of the horizon line) I have to be mindful to not get into 4 point perspective territory.
Blockout
Blockout
ESTABLISHING THE BASE COMPOSITION
ESTABLISHING THE BASE COMPOSITION
week 2 - Tuesday
week 2 - Tuesday
After iterating through a bunch of different compositions in my game production sessions, I landed on this design. I really like how it manages to be inviting enough by revealing interesting areas but also hides just enough for you to want and explore the place. I wanted it to feel like there was a lot to explore but still retaining that claustrophobic and crowded feeling that you get when bellow deck. I made sure to keep items subtly pointing towards my main focus point; the caged trap door - which has intriguingly been been broken apart.
After iterating through a bunch of different compositions in my game production sessions, I landed on this design. I really like how it manages to be inviting enough by revealing interesting areas but also hides just enough for you to want and explore the place. I wanted it to feel like there was a lot to explore but still retaining that claustrophobic and crowded feeling that you get when bellow deck. I made sure to keep items subtly pointing towards my main focus point; the caged trap door - which has intriguingly been been broken apart.
Drawing over the block out to subtly suggest material ideas and to assign the ambiguous primitive shapes a purpose.
Drawing over the block out to subtly suggest material ideas and to assign the ambiguous primitive shapes a purpose.
LECTURER FEEDBACK:
LECTURER FEEDBACK:
Go wild with the narrative!! Break up the staircase, rip up the baskets, barrels should be broken and bent too. Really capitalize on visually showing this beast going wild on the lower floor.
Go wild with the narrative!! Break up the staircase, rip up the baskets, barrels should be broken and bent too. Really capitalize on visually showing this beast going wild on the lower floor.
Reference of an octopus arm grabbing a jar. I tried looking at this because I want the kraken arm to be hanging on the bars and I didn't know how they should be curling. If they are curled will it look too 'alive' when it's supposed to be dead?
Reference of an octopus arm grabbing a jar. I tried looking at this because I want the kraken arm to be hanging on the bars and I didn't know how they should be curling. If they are curled will it look too 'alive' when it's supposed to be dead?
Photobashing
Photobashing
BEGINNING PHOTOBASHING
BEGINNING PHOTOBASHING
week 3 - Monday
week 3 - Monday
I already photo bashed a section of the boat's wall and floor.
I already photo bashed a section of the boat's wall and floor.
Started incorporating photos to my scene and looking into values a bit.
Started incorporating photos to my scene and looking into values a bit.
Used a colour layer and filled it with black to check the values. Started to push back areas in the shadows and lighten areas in light.
Used a colour layer and filled it with black to check the values. Started to push back areas in the shadows and lighten areas in light.
In this session I focused on setting up my lighting. My lecturers helped me to decide on cold lighting for the upper floor to contrast well with a darker and warmer lower floor. The lower deck would only be lit by dim oil lanterns; this would shine warm light so the shadows would be cool.
In this session I focused on setting up my lighting. My lecturers helped me to decide on cold lighting for the upper floor to contrast well with a darker and warmer lower floor. The lower deck would only be lit by dim oil lanterns; this would shine warm light so the shadows would be cool.
Closeup of the drainage doors before I reduced their contrast
Closeup of the drainage doors before I reduced their contrast
Included more photographs to my piece. This includes filling the baskets of dead creatures, the chest, the lantern, and buckets.
Included more photographs to my piece. This includes filling the baskets of dead creatures, the chest, the lantern, and buckets.
Ctrl + J = duplicate selection + bring to new layer
Ctrl + J = duplicate selection + bring to new layer
Ctrl + Shift + Alt + E - everything visible flattened to a new layer
Ctrl + Shift + Alt + E - everything visible flattened to a new layer
Image > adjustments > Match Colour > Source : image that will be edited Layer: layer that the source will refernce from.
Image > adjustments > Match Colour > Source : image that will be edited Layer: layer that the source will refernce from.
At this point I felt like I have pushed everything of importance (interesting fantastical creatures, cages, blood splatter etc) into the shadows making it really difficult to even tell what is going on in the scene. I also realised that I haven't made much progress in telling the narrative of this environment to the point that 'its a ship' is all that this concept is holding onto,
At this point I felt like I have pushed everything of importance (interesting fantastical creatures, cages, blood splatter etc) into the shadows making it really difficult to even tell what is going on in the scene. I also realised that I haven't made much progress in telling the narrative of this environment to the point that 'its a ship' is all that this concept is holding onto,
I was looking back at what I had done and I'm starting to go bit too saturated again. I always tend to push bright colours because it is what i know and I also did it when I was trying to distinguish between materials.
I was looking back at what I had done and I'm starting to go bit too saturated again. I always tend to push bright colours because it is what i know and I also did it when I was trying to distinguish between materials.
LIGHTING COMPOSITION & RENDERING INSPIRATION
LIGHTING COMPOSITION & RENDERING INSPIRATION
I got stumped with the colour pallet and how I could improve the lighting set up to lead the viewer's attention across the environment effectively so I went out to find examples of environment concepts which use similar lighting and mood that I have right now so that I can take inspiration from them to bring my own piece forward:
I got stumped with the colour pallet and how I could improve the lighting set up to lead the viewer's attention across the environment effectively so I went out to find examples of environment concepts which use similar lighting and mood that I have right now so that I can take inspiration from them to bring my own piece forward:
Concepts by Niklas Nebelsiek (Top)
Concepts by Niklas Nebelsiek (Top)
& Paulo Loveranes Galamgam (Bottom)
& Paulo Loveranes Galamgam (Bottom)
What a mess..
What a mess..
I really struggle with environments because I never know when it is ready to start rendering. It's not like a character where there is a believable anatomy I can judge it on or a face that I can pin point exactly what feels off. Environments are especially difficult for me when I can't envision the inhabitants or the one who owns the space. All I have is value, colour, and lighting, and ALL of those can be changed to infinity. I just kept on changing it because nothing felt right.
I really struggle with environments because I never know when it is ready to start rendering. It's not like a character where there is a believable anatomy I can judge it on or a face that I can pin point exactly what feels off. Environments are especially difficult for me when I can't envision the inhabitants or the one who owns the space. All I have is value, colour, and lighting, and ALL of those can be changed to infinity. I just kept on changing it because nothing felt right.
I stumbled across this still from the game Black Mirror which has an appealing colour pallet.
I stumbled across this still from the game Black Mirror which has an appealing colour pallet.
I had to deal with glitchy effects like this for every brush stroke I put down so its was like drawing blind until I turned the layer off and on again so I mainly 'painted' using the selection tool so that all I had to do was fill it in and it wouldn't matter that I couldn't see.
I had to deal with glitchy effects like this for every brush stroke I put down so its was like drawing blind until I turned the layer off and on again so I mainly 'painted' using the selection tool so that all I had to do was fill it in and it wouldn't matter that I couldn't see.
This was a really challenging block. I forced myself to use Photoshop for the majority of my piece instead of resorting back to Procreate. I did use procreate when I was trying to make a lot of messy changes but I was straight back to Photoshop once I needed to photo bash. Photoshop is far better at retaining the quality of the images than Procreate is, and there are very few layers available when on the iPad which makes it difficult to work with, leading to very destructive workflows.
Unfortunately, In the constant pursuit of making my piece better, I constantly dug myself a bigger hole and made it worse every step of the way. I lost valuable time back tracking on what I had created, claiming that it wasn't good enough only to see further down the line that I preferred it over what I had in the moment. basically a cycle of 'it was better before'.
Unfortunately, In the constant pursuit of making my piece better, I constantly dug myself a bigger hole and made it worse every step of the way. I lost valuable time back tracking on what I had created, claiming that it wasn't good enough only to see further down the line that I preferred it over what I had in the moment. basically a cycle of 'it was better before'.
This is the first interior environment piece I have ever made.
This is the first interior environment piece I have ever made.
I should have spent more time on research and developping ...
I should have spent more time on research and developping ...
Block 2 Year 1 Outcome
Block 2 Year 1 Outcome
Block 1 Year 2 Outcome
Block 1 Year 2 Outcome
^ point in time when the piece looked far better ^
^ point in time when the piece looked far better ^
The lesson I have not learned: Saturation and use of colour :C !!!! and when it's time to stop changing things and start finishing it.
The lesson I have not learned: Saturation and use of colour :C !!!! and when it's time to stop changing things and start finishing it.
Images I used / planned to use...
Images I used / planned to use...
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