Samuel Hall25/05/2017
UAL Games Dev Level 3FMP Additional
Additional Research
This is the collection of all conducted research, additional to
my mainline research and later in my project stages; all found
after the completion of previous research related work through
developments in my project process.
Others Art Work
Flesh Tech Integration (Talbott, 2017) – This image depicts
clearly an improvised relationship between flesh and technology by
a criminal individual, displaying effectively though the
appearances of tech in deep and vital areas on his body (such as
his chest and neck) communicates how the technology of the criminal
is enveloped deep within his being showing a very strong devotion
to the accomplishing the purpose of the technology on his body
through any means. This furthers my understanding of the use and
limits of criminal when it comes to technology relationships with
their body and the depths they will drive3 to in order to enhance
their capabilities.
Cyberpunk Criminal Fashion (Noureldin, 2017) – This creation
depicts how criminal clothing and appearance within a cyberpunk
universe generally consists of a lot of improvised uses of cloth
for purpose such as carrying high degrees of equipment on
accessible parts of their body such as their legs, and even using
large drapes of cloth to hide and accentuate their vital areas,
aiding them in disguising their purpose as well as communicating
their nature at the same time much like a harmony of personality
and purpose. A heavy importance is set on disguise and the masking
of notable features of the body underneath, hiding the face in a
dark shroud and only allowing the viewing of the prosthetic arms,
possibly to yet again communicate the individual’s capabilities as
a warning. This helps me to understand the priorities to criminals
when it comes to their appearance and equipment on their body.
Cyberpunk Cultural Fashion (Rubinowski, 2017) – This piece
displays the difference in effects of culture on fashion within a
sci-fi near future universe which displays a very prominent change
in the entire composure of the cultures fashions in their extremes;
the depiction of the USA being envelops a much more urban and
improvised design, with thrown on cloth drapes and industrial tech
showing through; as well as a much more nimble and ‘sporty’ nature
to its overall form, as well as featuring lines following along the
arms and legs which follows the trait of sports clothing, the
beings composure also gives the impressions of a ready stance to
act, as if preparing to run. The European being depicts a very
noble and royal visage with a very prideful fashion to it with
elegant and well-kept drapery along its body and accent lines
showing the royalties of each section of the clothing, the legs
darkened cloth ends under the knees shifting to white ‘socks’ which
is a common trait of high class individuals fashion, with the mask
being very ornate and mysterious much like the masquerades of upper
society in reality, this being has the posture of a very collected
and calm being of mysterious intent, communicating no intentions
beyond observation. The third being of the Asian culture is much
more spiritual and ethereal with translucent drapes along its body
layers on top of each other in a harmony almost like a butterflies
wings or a spirits drapes, the helmet features a very lithe head
like that of a folklore fairy or such beings also having the
horizontal outcrops with hanging ornaments giving a very strong
impression of spirituality much akin to a trait of religious
temples. This all helps monumentally to help my understanding with
the difference of culture and how they communicate it through
physical means, the being here shows the composure of a very
inquisitive and interested purpose, as if stalking and watching
with great attention.
Cyberpunk Fashion (Semkow, 2015) – The image depicted here shows
a more modernised of the accustomed fashion of the cyberpunk genre
set by productions like the Matrix, featuring much more slim and
complex designs accustomed to development in today’s society
projected onto our depictions of the future; the seamless merging
of expression of personality on top of utility even blending them
together with the black colouring and silver lining metal is
exemplary for a character allowing an easy transition from purpose
to identity, one design even featuring a green accent highlight
amidst the black to further show a streak of unique identity
showing through the way the character dresses. This piece helps me
develop my understanding of the relationship between purpose and
style.
Cyberpunk Lighting, Authority Vibes (Bieniawski, 2017) – This
image is an excellent example of communication through tone and
hue, by utilising the red/pink merging the blue/teal colours by
reflecting them along the wet concrete, the shining glass around
and various metals effectively expresses a sense of overpowering
authority presence even through the mist in the air; the colours
themselves of red and blue communicating authority originates from
the juxtaposition of blue communicating safety and comfort of mind,
where red shows the duty and precedence of the authorities purpose
which is the nature of ‘ready to kill’. The being in the middle
with both light shining behind them, yet their front remaining
metallic, cold and dark communicates their aversion to authority as
if metaphorically and literally running from the authoritative
presence. This furthers my understanding in the usage of colour
(and lack thereof) to communicate purpose and intention.
Prosthetic Standard Arm Details (Smith, 2017) – This image of a
prosthetic arm gives yet another different and unique portrayal of
purpose and origin through its design, this particular arm features
a very slim and exposed, yet still tidy, arm possibly of improvised
construction but clearly by a character with good knowledge of
engineering of this kind of technology with things like the exposed
wrist workings and the shifting panels being of clearly light
industrial build yet also streamlines design for efficient use. The
various panels and bars along the arms larger portions, such as the
forearm, show a much more modular design with the potential for
innovation and adaptation, also with the fingers being rather slim
along with the rest of the arm, while retaining a strong robust
visage gives this construction a very androgynous appearance,
either for someone of either gender and of average or slim build or
for a general usage design applicable to any and all who desire the
technology after its production. This helps my project through
expanding my knowledge of further inspirations and design aspects
for my own prosthetic arms.
Prosthetic Hand Details (Cotter, 2017) – This creation of a
prosthetic hand features a very strong communication of origin
through its incredibly clean and technical looking build with
carbon fibre plating’s and scathed metal blocks it shows a very
expensive creation most likely produced to take damage in combat,
its fingers are very strong looking with each section joined to the
next through very robust looking joints, the wrist section features
a roll able joint holding balls which look as if they simply slot
in and tighten the rings which leads me to believe the rest of the
hand features very modular design giving space for upgrades on top
of the strong base design for additional usage and adaptation after
creation. This helps me with further examples of inspiration as
well as communication or origin, particularly military and
weaponised creations.
Prosthetic Civilian Arm Details (Ociacia, 2015) – This depiction
of a mechanical arm has very strong communication straight away,
with its very clean white and bright plating’s with a very clean
and reflective surface it immediately portrays a very upper society
of civilian design with expensive production but not particularly
made for gritty combat or underground streets; the actual build of
the arm has very thick and clean plates with slight showings of the
more complex workings on the inside as if hiding true potential of
its clearly strong power as if the limb was designed for something
practical yet civilian such as a high tier sports person as the
owner; another thing to note is the bulk and curvature of the arm
giving incredibly strong impressions of masculinity with thick
curved and tones muscular shapes. This helps me with a very
effective inspiration of how to communicate much more specific
purpose through design implications, as well as general inspiration
for design with its very clean and smooth plates hiding the inner
workings of the powerful circuits and movements within, as well as
the elbow looking armoured as if the clean and well-kept bulwark of
an arm was similar to an honourable knights gauntlet.
Cyberpunk Street Personality (Bieniawski, A Night Like This,
2017) – This image shows off a very strong impression of an
underground civilisation in a cyberpunk world, displaying the
personality and atmosphere of every aspect in a very strong sense;
every person in shot looks lost, their distinctive features often
hidden or in shadow giving a very mysterious and isolated feel to
the network of people there; the lights and shines brightness and
wide variety of hues only serve to communicate a man-made
manipulation of impressions, using colours to communicate and
influence whereas they merely expose the darkness in between to a
stronger degree showing the nature of the underground society with
the bright lights and manipulative faces hide behind the shroud the
crime, pain and suffering of the streets and its people. The city
horizon spans in a limitless wasteland of crime, never ending as
far as it goes symbolising the aspect of no escape from reality’s
core, where technology and hovering curves of technology juxtapose
with the jagged, straight edges of the streets, a world of clean
and out of reach potential never able to reach it from where the
people are now, only able to look up at it. This is an incredible
showing of communication through design of mood, setting and just
about everything.
Cyberpunk Urban Junk Theme (Bravo, 2015) – This image carries a
lot of heavy connotations with its colours and compositions and
what they represent; starting with colour, the building drab and
dusty visage with pockets of shadow represent the monotony and
apathy of the world at its whole, so lost and confound in the
remains of dust and dirt, the signboard fiery colours represent the
chaos at its heart, presented so prominently it shows the people
have lost their control, that they now live on an order of fire and
damage with a desire to hurt the world instead of explore it now,
the ethereal almost pure sky shining through the layers of trash
heaps and building represent the ever horizon of freedom, fleeting
in the distance and eternally far away with no hopes of reaching
but its ever presence shines hope on those not fallen, while
finally the teal streak of the fleeting ship represents the
progression and authority of the world, a final attempt of
progression and development to the future; with composition, the
dusty towers are ever prominent and towering absolving the world in
their lost visage and state of mind, the chaotic sign at the core
of the underground world and facing away from the light, hidden
from it and allowed to flourish and burn, the flourishes of light
and freedom are framing the world, struggling to shine through the
buildings to rain hope down in a useless attempt to reach
everything, the escaping ship riding into the freedom are the only
attempt and potential success of reaching it, yet flying low and
below those around showing its lack of importance and priority of
escape in this world now. This is an effective model of inspiration
and knowledge collecting on how a world can be communicated in a
single frame of a world for those with the eye to notice the
details.
Cyberpunk Military Hand Details (Chang, 2017) – These designs
for hands feature a very strong communication of a development in
the direction of combat and rough handling, featuring very heavy
plating over the backside of the hands leaving the underside of the
hand open and free much like a medieval gauntlet, with the defences
as plates showing the inner pistons and poles, even they distribute
a very strong and thick build to them and the fingers are shielded
with armour and pointed at the tip giving a heavy sense of
intimidation to their appearance. This helps me with a very good
inspiration of how to conduct intimidation in design and show
capability as well.
Cyberpunk Low Emotion Communication (Leon, 2017) – This design
for this being has heavy communication despite its palette of 3;
through the black shrouded clothing of a clearly tough material
like leather it shows an evasive and masqueraded personality and
intention of possibly nefarious outcome and with the rain running
off it so easily it communicates a tough exterior to the being, the
mechanics of the being barely shown except for the hands and face,
likely for purposes of intimidation at the right time while the
hands have very slim tight panels of black metal hiding the inner
vulnerable working very in a very snug manner keeping the being
vulnerabilities hidden and protected strongly, the ‘face’ of the
being is a very cold looking metallic shell of very streamlines and
pointed visage giving a very dangerous and driven appeal to its
appearance, with the singular glow of blue being central to its
face this communicates a cool and calm nature through the cold
colour and with it being central and unwavering with symmetry it
again communicates the beings drive to its purpose. This helps me
with further lessons of communication in appearance and the synergy
of style and purpose.
Cyberpunk Hand Articulation (Guraziu, 2014) – The design of this
hand is presented to show off every slight detail; starting with
the fingers they are heavily segmented into separate bolts of heavy
looking armoured metal, the underside of them featuring plates on
each segment almost like a Cephalopod which are known for their
suckers and their immense grip and power, another interpretation
could be sensory in purpose on the fingers, again giving it a very
military purpose of equipment. The palm and upper plate of the hand
is segmented into two heavy bulks of material with powerful pistons
on the indents for articulation already showing a very powerful
industrial purpose, clearly built for power with all the pads on
the bottom and various bolts showing off its military origin.
Overall the build is clearly powerful and modular for various tasks
making it a very robust and masculine weapon of a hand. This helps
me with an example of an extreme end of a style communicated being
very heavy and strong with bulky components.
Cyberpunk Character Blending (Llanas, 2017) – Within this image,
the relationship between augmented beings of a cyberpunk world is
ever present, displaying how the world and character are one and
the same with one fuelling the others development; The male
counterpart symbolises the stocky, hard surfaces and jagged edges
of the city and its grounds, the cold and gravelly surfaces and
rugged form, while the female counterpart symbolises the people,
the lights and the sky with the glowing blue eyes similar to the
never-ending sky scape up above, and the smooth translucent
materials along her body symbolising the future. This aids me in
understanding how to synergise communications of various aspects,
aiding to make each part of an image able to bounce off each other
to deepen the message.
Cyberpunk Criminal Personality (Wittmann, 2017) – This image
shows the more light-hearted, friendly faced and alluring side of
the underground cyberpunk world, the people that retain character;
the girls visage shows a lot of pale skin in her face and chest, a
pure and bright welcoming sight to the weary eyed, with her black
leathers representing her likely true nature of a rebel and another
denizen of the underground, from the fact she offers in a welcoming
hand, drugs, it is easy to gleam this is likely a manipulative
welcoming to get the viewer to indulge in what she offers, she
stands amidst an energy projected pattern of swaying patterns in
red hue, symbolising the mysterious and alluring nature further, as
she seamlessly integrates with her environment. This allows me
insight into the nature of the people of the cyberpunk genre and
how they communicate their intentions or mask them.
Digital Art Tutorials
https://www.youtube.com/watch?v=F1xP-e-y2Ns
10 WORST Digital Art MISTAKES! [Digital Painting Tips] (Rutten,
2016) – This video was a tutorial video from a professional digital
artist, detailing the habits and processes of using a tablet from
the positioning and the method of using the pen to pen sensitivity
and how to correctly use colour wheel effectively. He also
displayed a ‘completed’ piece of work to then make very minor,
professional mistakes and fixing unnoticed errors and how to do so;
this will allow me to watch my actions when using a tablet and have
an artistic mind on at all times to look over work and have the
perception and knowledge to improve upon it without ruining the
art.
https://www.youtube.com/watch?v=VxwBNTI_IAc&t=316s
Digital Art Tips (Marie, 2016) – This video is a self-professed
artist, likely a student, like myself who has taken the
self-allocated time to learn the tablet, again, like me later down
the line. This person shows all the difficulties and trials of
switching from paper to tablet, as well as how they overcame them
and the essential knowledge for the journey to digital art
proficiency, as well as the recommended programs for certain
demographics. This video gives me the help from the perspective of
someone in my exact situation.
https://www.youtube.com/watch?v=eMjuiqGesC4&t=251s
Digital Art For Beginners (ToonSquash, 2016) – Similar to the
last video, this video is from someone who came from nothing and
decided to take up the tablet on their own, someone in my
situation; sharing information on more of the technical sides such
as settings, programs and processes. This gives me further
comprehension of people who have been in my position.
https://www.youtube.com/watch?v=mhTqD1rA-po
How to DRAW with a TABLET on a Computer - #DigitalArt (Rutten,
How to DRAW with a TABLET on a Computer - #DigitalArt, 2014) – This
is another video from a professional digital artist, going to
display as he works, how to draw on a graphics tablet, walking
through every single step from scratch to finished drawings. This
video gives me visual experience with what it is like to draw with
a tablet, and every tiny little detail about how the tablet works I
now know.
https://www.youtube.com/watch?v=qn8KpOm1IQ0
How To Use FireAlpaca (ToonSquash, How To Use FireAlpaca, 2016)
– The most recommended program for free out there by the previous
videos is FireAlpaca, and this video is a tutorial on how this
program works, looks and is different to other programs. This video
will allow me to use the program without wasting time to look
around for things, and be able to effectively find all tools to
increase my arsenal of capability.
https://www.youtube.com/watch?v=ppRUE0wE1B8
“Why Do You Colour Things Blue First?” (Marie, "Why Do You Color
Things Blue First?", 2016) – This video is by an artist who talks
about a very effective style of colouring line-art, by filling in
the image with a vibrant dark colour in order to show up mistakes
very clearly in the white background showing through, allowing
correct addressing of the minute details that need fixing. This
video gives me a technique to ensure my work is without as many
mistakes, including ways to prevent those mistakes in the first
place.
https://www.youtube.com/watch?v=ZoydiaQSln4
Digital Art- Lineart Tips!! (Marie, Digital Art- Lineart Tips!!,
2016) – This artist goes into detail of their experience with line
art and how to effectively draw on a tablet, with tips such as
every line should not be a slow drawn careful line, you use quick
strokes and keep using undo until you get the line you need. This
video allows me in depth knowledge on line art methods and
techniques for unique styles, including colour usage.
https://www.youtube.com/watch?v=2CmrMRXoA8Q
How to Draw HANDS and HAND POSES! (Jazza, How to Draw HANDS and
HAND POSES!, 2015) – This video goes into detail on hands, one of
the most complicated parts of human anatomy, as well as pivotal for
my project. The artist deconstructs the hands shapes, translating
construction lines to poses, hand pose foundations, angle
directions, surface texture and curvature. This video advances my
knowledge on how to construct a hand anatomically correct and be
able to pose it while keeping that construction.
https://www.youtube.com/watch?v=Rpj2J4tn4YI
How to Create Characters (the Design Process) (Jazza, How to
Create Characters (the Design Process), 2013) – This video goes
into this artist process on creating a character and the whole
design beginning to end. It starts with his basic three steps of
brainstorm (collection of ideas e.g. lists, key words, sketch
ideas, small features, multiple variations, collecting best ideas),
rough (sketches and refinement e.g. smaller amount of drafts,
collection of best ideas, different idea combinations, line art)
and then final (bringing the design to a finite end e.g. single
draft, best idea combination, finite details, supporting design
with personality, shading). This video is an depth run down of the
basics when designing an original character without references or
observations on an already created source, allowing me a clear plan
when I move to design my own.
Civilian Communication
Clothing
(Aitken, Unknown) (JustFireFits, Unknown) (P$, Unknown)
(Jackson, Unknown) (Darkin, Unknown) (Just Marvellous, Unknown)
Modern civilian fashion follows a rather clean and unified
visage, with very straight edges and a minimal saturation in any
colours that are present; with males there is a very high degree of
communicating a very clean and maintained overall look while their
clothes communicate their professionalism through formal jackets
which typically are mid-thigh in length, another trend is to show
the formal attire on their torso’s while being clean but informal
on their lower half which communicates an approachable utility, as
to mean they are skilled and helpful for the task while also being
charismatic and approachable. Females tend to show a higher degree
of individuality through still wearing black and darker clothes but
highlighting with a desaturated article of coloured clothing to
communicate personality and moods, from my cases the variety is
also much more vast between them, their upper bodies usually
clothed in something loose and almost drapery like looseness to
allure to their beauty, while on their lower halves they typically
either show their legs and form through tight clothing or hosiery
to display their femininity.
Technology
(Richards, 2017) (Acorn Partitions & Storage Systems Ltd,
Unknown) (HP, Unknown) (M&M Global Staff, 2015)
Civilian technologies all hold some very consistent aspects to
their designs, starting with their affinity for combining
seamlessly the use of straight edges with smooth curvature,
creating an overall very slick and accessibly looking appearance;
the next is the very bland colours, using things like whites,
blacks and greys to allow the technology to be very widely
accessible without excluding anyone; overall any technological
access or ports are well hidden or translated into the slick design
such as the Windows PC’s minimal showing of the ports through using
covers, or smartphones having its details around the edge of the
phone.
Locales
(Unknown, Unknown) (Alpan, Unknown) (Molon, 2008) (Pantry,
2014)
Moving onto civilian locales there is a very consistent style to
all of these, how they are all very regulated, controlled and
incredibly pristine; there is a heavy presence of metallic and
glass surfaces as well as reflective tones of colours, mostly
silvers and whites which communicates a very pure and welcoming
environment; The shapes are very much like the technology, a
seamless transition of hard lines and curves, though the more
modern the locale, the presence or curves seems to increase for
amore futuristic and idealistic cleanliness.
Military Communication
Clothing
(Kisiel, 2009) (Admin, 2015) (Unknown, SAS have increased their
Soldiers in London after attack, 2017) (Unknown, Military Free-Fall
Advanced Tactical Infiltration Course (ATIC), Unknown)
Military appearance, no matter what origin, Has a very direct
communication in its appearance; begging with the overall shaping,
which is very jagged and irregular whilst showing very broad and
stoic figures, communicating an authoritative dominance; while the
colours are usually mirroring that of the environment, in the case
that they are not, it is black, and this communicates that they are
completely driven to their purpose, and even when vulnerable are
hard stead in their objective; Another is the actual finite
details, they all carry a large variety of patches and straps on
them to carry a substantial amount of equipment and personal
storage space, while also keeping their clothing covering
everything that isn’t essential to have exposed such as the fingers
or the eyes.
Technology
(Unknown, SA80 A2 L85 Assault Rifle, United Kingdom, Unknown)
(Unknown, Cougar 4x4 MRAP, Unknown) (Prigg, 2012) (Louis, 2014)
Military technology, much like the clothing, follows a
consistent theme of construction and design excluding colour which
is a case by case matter, All of their overall shapes are
incredibly robust and heavy looking with jagged edges and sharp
little details all over, completely built for purpose instead of
style leaving them displaying their utility rather prominently.
Locales
(Birchall/PA, Unknown) (NEWSROOM, 2014) (Unknown, Operation
UNIFER, Unknown) (Wilkes, 2015)
As for military locales, the locations are split into 2
categories: 1 being harsh and wild environments, 2 being the
equipment filled and defended settled locations. The wild locations
are a very naturally hostile array of variety, from dense forests
to baron deserts all the way to misted snow-scapes, these
environments are all natural and require very specific aspects for
successful survival; the bases and constructs by the military are
all highly coordinated, usually symmetrical and organised with
equipment all around in very accessible and formatted
locations.
Punk / Criminal Communication
Clothing
(Staff Styles Wardrobe, 2016) (Parker, 2016) (Epoch Times, 2017)
(Boeselager, 2016)
Punk and criminal clothing has a very striking aspect to their
designs that allow them to be distinguished very quickly as well as
them communicating their message easily on sight. The punk side of
things has a very consistent theme of incredibly jagged and harsh
shapes to their clothing to communicate a rebellious and anarchic
nature, while their clothes almost always are formed of a primary
of black (usually leather) then dotted with silver metallic
detailing, then there will be a couple aspects of the rest of their
fashion which are of a very distinguishable saturated colour such
as their hair or a top. The criminal side of has a much more bland
and colourless visage but none the less still just as strong a
communication on sight, with a very high degree of either black
leather, or a lack of clothing on their upper half, as well as
featuring rather baggy lower halves displaying a strong confidence
in their capabilities to show off as they do, and a stoic stance
against the rest of the world through anarchic behaviour.
Technology
(Akira, Unknown) (Unknown, WEAPONS POSSESSION, Unknown)
(Unknown, SP-33500K LVLP SPRAY GUN KIT, Unknown) (Lohnes, 2015)
The technology of criminals and punks follows a very improvised
and personal design, clearly made through means without regulation;
the weapons are crude and bolted together with rough edges and
combined purposes for efficiency; the colours are either unpainted
for an unclean metal finish or with incredibly vibrant and personal
colours for the improvised and communicative purpose. The builds
themselves feature a wide variety of exposed components such as
metallic engines, piping, bolts and other such construction
remains.
Locales
(Unknown, Visiting Bawana, our urban poverty project in Delhi,
India, 2012) (Parker S. , 2015) (Klaudis, Unknown) (Morrish,
2016)
Criminal locales are consistency of a theme of isolation, not as
much as literally, but metaphorically everyone in these kinds of
locations is surviving on their own and locked in their own though,
poverty, danger and sin all aid to help a person reflect on
themselves in its presence; the locations all either carry the
extremes of open spaces or tight compact locations, as well as a
very prominent detail of litter and damage to property and
definitely not taken care of.
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