Sculpt: Colouring and Fabrication

At this point I will use Colour based on pitch bible illustration Helen’s bible Illustration bellow.

I realised the water and acrylic racial needs to be precise so the colour stays and drys properly instead too thick and filling the embossed skin, or too runny with un-even colour patches.

I should have thought through more on the steps of colouring as seeing new techniques I could have used such as:

  1. darker gray + bit of velvet as base layer
  2. once dryed, lightly brush thick acrylic white over sculpture, leaving depth to skin texture

Although did manage to have everything planned applied:

  • tips of nub muscle, digging limbs, feeler flesh bits added with darker tone

 

Feelers

left to right:

  1. curve cut will be enough to give the loos frilly look I want from sew gathering technique
  2. measurements of both front and back feelers, I’ve made the back slight too wide due to balancing body composition (stocky ish behind looks visually weaker).
  3. by testing the cut out length of the prototypes with gather method I can get an idea of how much extra length is needed for the legit feeler fabric (measurements in workbook).

Helen got her hands on off cuts of fabrics that are perfect feeler colour and weight!! (see final product post).

-CH

 

Sculp: Shaping and detail appliance planning (wk 11)

This process involves form shaping that matches to the available illustration (referencing last sculpt post), at the same time making sure the sturdiness of the naked wires and structure weight positioning.

adding and de-adding clay to fit the fullness of the head and body, the row of 6 nub muscles are tricky as I try to make it stick to DAS clay (base), resolved with hair dryer to melt sculpty quickens the process and prevent sculpty cracking

 

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Tools for more refined use

choice of Color: we will follow Helen’s bible illustration

 

Detail Appliance

Skin: accordance to micro fabrication of surface (kinetic energy). I’m thinking of making my own stamp that saves time, and gives a coherent system of texture

will go towards the formation of the left down corner image

 

left to right: simply mesh mashing, mesh mashing then stroke surface with wood tool, random wriggle lines then wooden tool stroke.

the third image was trying to soften the sharpness of the scale forms as we are creating a softer edged aesthetic. Then inspired by Helen we’re using cores linen (last image) to emboss, making sure there’r no dust on fabric. Will have to soften the clay before hand with hairdryer.

 

Before applying this method..

these 2 are older versions of my current stage, but just generally refining the thickness and shape of legs, body head as I won’t be able to sculpt the under body part lower then the neck.

 

Applying body details such as Fin pieces and eyes, tentacle flaps.

The pressure of emboss might change these detail so I will need to get the right softness of clay before embossing so the body shape won’t be destroyed by pressure, thought about applying emboss Tentacle flat separately then sculpt on embossed body as plan B.

 

  • heat pit

At this point Helen points out the heat pit shape could be the motion of when they closed it off, so I made the lower row pit a shorter slit to match our illustration and model for pitch bible.

 

to indicate the lidding possibility I will need to sculpt the lower side of each slit a bit higher then it’s opposite side.

 

  • Fin

and the top left is marking sizing and placement of the 6 flaps, will add clay and repeat engraving and forming of flap

 

 

  • Ready for skin texturising!~

will have to fix the head width to match body width according to image sketch.

when embossing and counting the repetitive printing motion helps gives an over-all pattern are of similar depth.

  • Bake at 100 degrees, it took 16 minutes give and take.

 

fixing after bake cracks, parts that are ether too thin, stretched clay that allowed air to seep through seems to be the cause. after careful fine sanding, I used the fusing medium Selly Nead to seal and smoothen area.

-CH

 

Animation

For the animation my first idea was to show the perspective of the aliens since we don’t want this story to be too human focused

It’s hard to show the perspective of a creature that doesn’t see. so i wanted to communicate the way they may feel their world, but through visual medium which is what humans understand best. and after all, this is pitched to humans.

For the representation of ‘feeling’ through visual language, i took inspiration from ratatouille, the scene where the rat mixes flavours in particular.

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The idea was that it would show what the aliens feel and the animation would show how they feel the presence of humans mining.

it would then cut to a 3rd person view so the audience can see the alien’s anatomy.

The scene where the aliens dig upward is based of the escape scene in the decent.

I liked how, in the film, you spend so long underground in darkness with the characters and then suddenly it’s so bright outside.

the point was to show the contrast between earth’s crust and the surface.

In the end i wasn’t able to add sound, which might have helped the scene read as underground and above ground better.

I was taken by the sound in this clip from Mad Max Fury road:

The sound in this clip is more to communicate a sense of unknown, urgency, confusion and panic an then juxtapose that with a sense of relief.

The animation is also unfinished…

in my storyboard i had planned to have the shot pan up at the end to reveal an industrial scene. but i ran out of time and needed the time to make the scene not look terrible, which is what it would’ve been if i tried to squeeze it in before the due date.

if I had more time i think that’s the two things i’d add: a concluding scene and sound.

 

 

 

 

Tools and things

While drawing tools, we asked ourselves “Where would the tools be kept when they aren’t holding them?”.

so I came up with a simple bag design. One that faces away from the front of the creature so it doesn’t fill with dirt when they dig, like a wombat pouch.

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Then, as I was drawing it digitally and colouring it in, i wondered what this back might actually be made of. i imagined it to be leather, but the aliens wouldn’t have cows underground.

Which is why i came to the conclusion that they could use mushrooms.

The mushrooms would be farmed near the surface. they could also use this material for other things such as bedding or on the handle of their tools.

Sculpting problem solving

-CH

 

Adding flat marbles to the tinfoil wrapping in the nub muscle area and add Selly-Nead resin to strengthen the feelers and nub ends. The image bellow shows how I tinfoil wrap the wavey curving area of sculpture

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Forward thinking: texturing Supersculpty thinking and texting and paint with acrylic, team decided on using fabric material on feelers, will have to be after baking and paint drying though

-CH

 

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