Digital Practice-Bermuda

dsc_0348bermudabermuda2colourbermuda2nobirdAbove is the progression from my early sketch done at the beginning of the module, to the final digital painting. I am pleased with the end result, considering where I started! I would also love to paint this up traditionally to see the difference. I am really happy with the colours, although they are quite conceptual as opposed to realistic.


12.10.16-New Groups and Characters

11.10.16-New group! In my lovely new team are Ryan, Matthew and Rose. I was the only member of the team to stay, so had the task of trying to explain our slightly spontaneous, very, very complex idea. The whole thing didn’t seem too hard at first, and everyone loved the idea. However as we began to think about audience and character, things became a little chaotic. We were slowly finding that with each idea, the story became less relatable, and with each thing we would rule out, another idea came up! We decided that before we started to think about characters at all, we had to figure out a solid narrative for our world, as well as to come up with a few final concept sketches for it, to give us a look and feel to drive towards.

We all came into uni on Wednesday to sort out our storyline, and after a very long time deliberating, we finally came up with our planet’s story and aesthetic. I think we managed to cover the whole white board twice over as well as the wall behind…


So here we go: Bermuda World

‘Once upon a time’

  • The Bermuda triangle exists as a world within our own world-invisible to us due to it being stuck in a different pocket dimension.
  •  A lonely God trapped in the form of a stone carving resides in the Bermuda triangle.
  • He has been around since the beginning of time. When the land around him was not covered in water, he had a planet to rule, but as the water rose around him he lost his friends and his land.
  • Using his powers, he pulls planes and ships towards him, hoping to use their parts to build a new world for himself. However he realises that if anyone finds it, they could come and destroy it, so he creates electronic fogs to alter time and render his planet invisible to all who pass.
  • Still trapped, the God cannot build his new world, so he imbues an octopus with powers, making him his most powerful servant.
  • The octopus uses his new powers to inject other animals with ink, giving them tattoos which bring them under the influence of the God. With each new tattoo, a new glowing carving is added to the stone pillar.
  • The ink causes the animals to mutate to better serve their God. They collect and build the new world from debris and rubbish. They inhabit the island, bringing with them organic life and an ecosystem develops.
  • But the God is chipped, and his magic begins to seep out into the ocean, acting in ways he cannot control.
  • It creates demented ink creatures who threaten life on the planet, and who begin to inhabit the stone carving, slowly haunting the God and driving him mad.



^My versions of the Tiki God. I liked the idea of giving him the illusion of having once moved, but now being encased in stone or wooddsc_0361dsc_0365

Trying to decide whether to have an more organic looking stone God, or a carving God.


The Iron Giant. (1999). [DVD] America: Brad Bird.

I love the emotion in the face of ‘The Iron Giant’ and think our God would look great with the same expressive eyes and mouth-possibly emitting a soft glow from salvaged light bulbs in his eye sockets. Perhaps our God likes collecting trinkets from wreckages and covering himself in them? Crown of lightbulbs?

‘Draw what a character is thinking’


While discussing ideas for our more organic creatures, we decided that it would be cool to give them mechanical or otherworldly parts-granted to them by our God so that they can better serve him. For example, Ryan came up with the idea of giving the birds magnetic beaks, so that they could pick up heavy metal objects and carry them to the island. We also thought that mixture of birds, amphibians and sea life would be good starting points for our creatures as they seem logical to be on an island in the ocean.  Their adaptations can just be to make them able to survive on land? Below are a few of my sketches and final (bad) tonal studies for our height chart.



And our (nearly) final height chart!chart

I think we worked brilliantly as a team on this section of the project. As Ryan had the most experience with digital art, he initially took to drawing up our ideas and was able to make the whole thing look really uniform, with a similar style. We all fired our quick sketches into the group chat on Facebook and got to work! Closer to the end of the week, myself and Matthew tried our hand at digital painting to help get everything done in time and added a few more of our ideas into the mix. Matthew’s drawings in particular had a really good likeness to Ryan’s style, and blend seamlessly with the lineup. Success!

From here, I really want to learn a lot more about anatomy, as well as the basics of speed painting, which I haven’t ever really used before.