​

This blog shall focus on Landscape and Environments within the context of the “Drawing for Concept Artists” module.

Brief summary: “Campus building in a futuristic world: this can be a utopian or dystopian, it could have a different cultural or political dimension, and is required to have an advanced technological element.”

​

Initial sketches consisted of a limited variety of mark making tools. Materials used were: pencil; graphic marker and; Fine Liner with the purpose of creating drawings of a graphical nature. The intention being to embody the approach of an architect or a graphic designer, as opposed to a looser, more impressionistic style. Pastels, chalk and paints were not used because of their lack of control and generally not lending themselves towards the style of the student.

 

 

 

 

 

 

 

 

 

 

​

​

​

 

 

 

 

 

 

 

 

Using powerful perspective lines, the student achieves the sense of the buildings popping out towards the viewer to describe the form of the subject with greater clarity (figure 1.2). This was done with emphasis on conforming to perspective points and horizon lines as a means of achieving volume and depth for the drawings, as supported by Reid (2002). This could also jeopardise the sense of scale; the exaggerated angles on the buildings can create a miniaturising effect, which is combatted with the inclusion of a reference for scale (i.e. a character or a door).  By integrating the use of two-point perspective into the work: “… this format gives a more dynamic and representative view.” (Reid, 2002, pp.163).

    Following the initial observational drawing, the student then moved onto collaborating ideas for the design phase and what artistic direction to take for the one hundred years into the future representation (figures 1.3 and 1.4). The student took a more dystopian approach  to the world in one hundred years’ time, looking at the effects of climate change and the far reaching consequences that would then have on Middlesbrough – being situated near to the east coast. This initially led to the concept of significantly risen sea levels, however, further research led the student to imagine the environment as a frozen landscape as a direct consequence of the Gulf stream failing due to the mixture of too much fresh water in our oceans. There is much debate as to whether an Ice Age is possible within the near future, but for the purpose of aesthetics, this was the future outcome chosen.

​

​

​

 

 

 

 

​

​

​

​

​

​

​

​

​

​

​

​

​

​

​

At this stage in the investigative process, the student made the decision to aim to create an environment with significantly risen sea levels which were then frozen over; all whilst including the Library building in the final outcome as a main focus.

    To approach the specification for futuristic technology to be included, the student made reference to the Art of Elysium (Salisbury, 2013) with the intention to include the use of flying transportation or robots designed to chip away large build-ups of ice. Though other options arose, under the time pressure the student felt that hovering ships or robots were the best direction to take due to their distinguishably futuristic nature. The inclusion of one of these assets would immediately render the image as part of a futuristic timeline and address the technological specification of the brief.

​

​

​

​

​

​

​

​

​

​

​

​

 

 

 

To remain in keeping with the brief’s specification to maintain a realistic style, the student chose to create the final solution as a “Photobash” painting on photoshop. Initial stages included taking reference photos of the current scene and later merging them into one large panoramic view. At the time of creating the first solution (figure 1.5), it is evident that the student’s skill in working with photoshop is still in it’s infancy, as seen by the unconvincing lines for hanging icicles, and the unresolved shadows on the underside of the walkway.

 

Following evaluation, the student decided to take the piece  along a more developed avenue, with the inclusion of new buildings in the surrounding environment to add to the impact of the design. During the introduction of the new buildings, the student took into account the two-point perspective that was present in the piece and aimed to conform to it as much as possible, thus maintaining the strong vanishing point to the far left of the design(fig 1.6).

 

​

​

​

​

​

​

​

​

​

​

 

 

 

 

 

 

 

​

​

As the image began to further develop, the student took to a separate file to design and create the transporter located to the left of figure 1.6. First using a greyscale build, cutting back areas that clashed or didn’t work for the piece. The process took fairly little time, and the result complemented the overall composition thanks to the curvaceous nature of the design – which was inspired by art found within the movie Elysium (Salisbury, 2013, pp.86-87). This contrasted well with the strong geometric designs of the background structures, allowing the eye to identify both separately without the transporter feeling lost in the image. In future designs, the student hopes to become familiar with 3D modelling software, which would be ideal for creating assets - such as transporters similar to this one - to then be painted over in photoshop. This would have given a more convincing structure and perspective on the transporter.
                At this point, the student moved on to develop the ice in the midground. The ice acts as a low horizon line, creating a strong definition between below eye-level and above. The student felt that in hindsight, the line comes across rather too strongly and threatens to dominate the view. Furthermore, the conforming to the two-point perspective makes the row of buildings feel quite flat, which could be broken by turning a building or two so that their vanishing points are altered. This would break up the view and cause the viewers eye to be stopped more at key points within the image, and placed them at different depths along the icy horizon. Given the practice, the student aims to apply this to future built environment pieces.
                With alterations to the lighting and the addition of light sources, the eye focusses on two major points of interest within fig 1.6; these being the sun above the library and the lamp post in the foreground. These light sources allowed for highlighted details to be added, which was achieved by creating snow effects which allude to the frigid environment which is being depicted.

​

Overall, the student has displayed a varied knowledge within creating environments, but should focus on bringing all the key strengths together in one cohesive final design and convincing image.

​

​

 

​

References.

​

Chan, D., Stenning, D. and Dixon, M., 2014.  Digital Painting Techniques: Volume 6. Worcester: 3DTotal Publishing.

​

Exposure Labs., 2012. “Chasing Ice”Captures Largest Glacial Calving Ever Filmed –Official Video. [video online] Avalable at: <https://www.youtube.com/watch?v=hC3VTgIPoGU> [Accessed 14 January 2017].

​

PBS Space Time., 2016. Is an Ice Age Coming?. [video online] Available at: <https://www.youtube.com/watch?v=ztninkgZ0ws&t=607s> [Accessed 14 January 2017].

​

Reid, G. W., 2002. Landscape Graphics. New York: Watson-Guptil Publications.

​

Salisbury, M., 2013. Elysium: The Art of the Film. London: Titan Books.

​

Sullivan, C., 1995. Drawing the Landscape. New York: Van Nostrand Reinhold.

​

Uesugi, Y., Dnnison, M. and Thunig, C., 2008. D’artiste Digital Master Class: Matte Painting 2. Adelaide: Ballistic Publishing.

 

List of Figures.

​

    1.1: Flood, K., 2017. Initial Sketch 1. [image online] Available at: <http://kieranf16.wixsite.com/maconceptart/environment-creative-briefs> [Accessed 15 January 2017].

    1.2: Flood, K., 2017. Initial Sketch 2. [image online] Available at: <http://kieranf16.wixsite.com/maconceptart/environment-creative-briefs> [Accessed 15 January 2017].

    1.3: Flood, K., 2017. Development sketches. [image online] Available at: <http://kieranf16.wixsite.com/maconceptart/environment-creative-briefs> [Accessed 15 January 2017].

    1.4: Flood, K., 2017. Photobash. [image online] Available at: <http://kieranf16.wixsite.com/maconceptart/environment-creative-briefs> [Accessed 15 January 2017].

    1.5: Flood, K., 2017. Solution: Part 2. [image online] Available at: <http://kieranf16.wixsite.com/maconceptart/environment-creative-briefs> [Accessed 15 January 2017].

    1.6: Flood, K., 2017 Solution: Part 4. [image online] Available at: <http://kieranf16.wixsite.com/maconceptart/environment-creative-briefs> [Accessed 15 January 2017].