Monday, 31 October 2011

Monday Daylies | The Treatment

Hi guys and girls the daylies are ready. The revised treatment is here. I am currently drilling out the final script as I wanted to makes sure people understood the plot and trailer. I added dialogue and change some minor bits. Please comment and be constructive so i can brush it up for Storyboard and animatic tomorrow. The Dialogue I want to talk to Jonno on if you don't mind  as I enjoy your scripted previously.

Treament on the Feliz 2

Sunday, 30 October 2011

My Sunday Day Daylies | Narrative

Evening Boys and Girls

I have been thoroughly looking for a design for our brandings and I have some images I have put together. As for the script i am half way through so stay posted for when it come sup it will be abit later.

Wednesday, 26 October 2011

Secondary Look At The Treatment

Treament on the Feliz

Monday, 24 October 2011

The Attempt At The Treatment

Hey Guys putting together the treament over the weekend and been rading up on our blog. I have created a rouh draft of the treatment have a gander. Tell me what you thing.


The Treatment

Act One: Introduce Problem

Scene 1
Ext. Los Feliz Blvd – Night,
Opening Shot| a shaded figure - protagonist - appears under a streetlamp. The surrounding environment is 60% in darkness as the camera goes to a close-up of our protagonist lighting a cigar. The light from the cigar bounces off his face as he stares outwards – first look at Dorian Daye. (Sounds of heels against concrete can be heard) The protagonist turns away from camera. As it switches to a lady walking down the street in between two streetlamps. As she reaches the next streetlamp the camera goes to a close-up of female character Mave (slow motion imagery as the scene transition). The clip transition via white noise and you see an image of a slightly blooded room. Again white noise portrays the transition.

Scene 2
Int. Cafe – Midday,
After Transition, the camera focuses on Dorian reading the paper in a barely light cafe. The window is complete white from the light outside and makes the environment completely invisible to anyone inside the cafe. (The sound of high heels again can be head) as Mave walks past the window.  The camera goes to a close of Dorian as he stares in bewilderment and his head follows her across the window. The camera goes to an overshot of Dorian as he watches Mave go out of sight of the window. Clip transitions with white noise and shows a shadow figure in a door entrance of a house and white noise make a final transition to next scene.

Scene 3
Ext. Los Feliz Blvd – Night
Transition ends, camera has overshot of Dorian’s silhouette under street lamp as a car pulls into shot. Dorian walks forward and sticks his thumb up in a request for the Taxi to pull over.  The camera jumps to an over the shoulder shot of Dorian as the car pulls into shot and stops at the back window in view. As soon as the vehicle came to a complete stop, the window rolls down and Mave appears in the car. Camera goes to interior view of the taxi as Mave looks out of the car as Dorian’s face lean into shot of the cars window. Mave and Dorian converse quickly before Mave offers Dorian a ride. Camera goes back to pan shot of the car and Dorian as he walks around the back of the car and Mave winds up the window. As Dorian opens the car door on the other side the transition is initiated by white noise then an image of blood trickling across the floor is seen followed by another standard transition.

Scene 4
Int. Taxi – Late Night
Camera is focused on the pair as their position in a intimate way whilst as they converse with each other. The camera goes to outside shot of cab as it comes to a harsh stop. Returning to inside the cab we see the two characters lean forward due to force of the stop. Camera goes to a behind the head shot of Dorian as he peers into the front cabin of the car and goes to converse with the driver. The shadowed figure present in the front of the taxi turns and hits Dorian in the temple with what appears to be the handle of a revolver. We see Dorian fall out of picture (the contact of his body on the floor can be heard) the scene fades out as the shadow figure points the gun into the back (Mave’s screams can be heard)

Act Two

Scene 5
Int. Taxi – Morning
Camera focus on a mid-body shot of Dorian as he stirs awake. The camera goes to the left as he leans up giving a mid body side shot of Dorian as he looks around the empty cab. The light outside again blind viewer to environment as Dorian goes to open the light shines on his face showing him with a stern expression (hear him grunting) as he leans out of shot.

Scene 6
Ext. Alley – Late Night
Dorian is in a tussle with Sammy. They’re both holding each other in an army lock, swinging periodically a few punches. Camera switches to different shots as they stumble through the alley as they going to trash cans and rubbish bags alike. Camera goes to behind Dorian as he finally pins Sammy to the wall and gives him a right hook and send him falling. Camera goes to a floor shot as he tumbles to the ground as he falls through trash cans towards the camera. The camera transition, to a silhouette on a door which is has the crimson tag on it. The camera catches a leg from the bottom left smash through door before fading out.

Scene 7
Int. Gang Hideout – Late Night
Fade in, as camera left pans dingy basement the lights appear red and smoke is visible over an ash tray in a rounded alcove surrounded by gang members along the wall coming to a darkened stairway. Camera fades out and fades in to a shot over a figure right shoulder walking through the stairway to the red light room. The camera remains in this position as he pulls out of the stairwell and we see it’s Dorian. As he turns left he raises his Revolver and points at towards a stage. In result, gangs members stand up in different section of the room with weapons raised. The figure of a women tied to a chair is slightly visible due to the red light bouncing of her body. The action holds for a second as the woman lift her head an looks towards camera (Mave cries Dorian names) The images is cut finally by white noise.

Act 03

Scene 8
Int. Living Room – Late night
The camera begins to track back from the white noise. It appears to pass through glass and begins to see a border around the edge. As the camera continues retreating we see that the border is a TV and as the camera pans further back we see a framed poster of a woman above the TV – Mave in another movie. (We hear a phone ring and be picked up as two blokes converse) The camera now tracks back to show the room littered with rubbish, such as takeaway boxes and DVD on the floor. As we pan further out the camera begins to ascend as it hit the roof we see a figure sat in an armchair putting the phone down on the table beside him. Then seeing his head drop. Finally the camera goes towards the posters and as it closes in there a flash (a gunshot is heard). The poster is covered in a spray of blood and the camera track back to a different room with a body on the floor and at the bottom of the shot a shadow turns and walks away. Fades out finally to title sequence. 

This is a rough draft. I followed Jono's script but I edited it in some place not much however. Just liek to see how my vizulation panned up and may compare for a better story.



Tuesday, 18 October 2011

Marine Teens | Props.



Marine Teens | Basic Body Porportions

Stevie Wilk : Hero 

With the hero I tried to create a similar posture and body proportions of the superheroes such as Superman, Batman or Captain Marvel.  My first two design where in homage to this but didn't look they way I saw my hero. 
 

My second installment of drawings worked ten times better as I tried to exaggerate further the muscle definition of the character. I found the Type 4# and Type 5#. I liked the muscle presence and exaggeration of proportion which imply straight away a hero. 


I had initially started my designs of the sidekick prior to the variance lesson. This image below was the original designs.  I liked the idea of morphing the head with a torso which looks a pear drop. I tried to get this into my work, after we looked at variance in session.

 Although set on a bodies proportions I realised that I could look at more variances to see which proportions would suit best for my sidekick character. Although the first two appear similar to my original designs I tried on the third for a slimmer waist. It had a good effect but didn't satisify my idea for the sidekick design.

My second result of drawings looked at exaggerating proportion again but to no effect. My first seem unorthadox whilst the last character looked to heroic to be a sidekick. However I like the style of the Type 6#. The small waist seemed to work better as long as the proportions where not immensely different than it waist. 

Finally I looked at the villians proportions and knew how I would like the character to appear. From the session I understood that stereotypes suggested the way ro imply a villianious character. However I wanted to show that the character was powerful and stronger than the average human. The first design didn't live up to expectation but the second one apealled to me as it looked as if an experiment gone wrong. Sadly the 3 design looked deformed and didn't look as could as I first percieved.


Once again I began exaggerating even further my design and found a sinister character my first variance. However, the character remained vacant of the powerful posture I was going for which suggest another approach. The next two drawing where attempts to mix the first page with the first design. I found this exaggeration failed miserably. As the proportions where to unorthadox an appear in human.

Week 04| Props and Inanimate becoming Animate


For our 4th week, We looked at inanimate objects and how they where animated in professional films. After we where given an environment. I set upon animating objects within a childs bedroom. For the villian I went for the stereotypical scary wardrobe as a villian.  Above where my original drawings of the villian. 

After a hint from Justin, he pointed me in a direction to help me design the wardrobe and other characters within the environment. I went with a two door wardrobe which is slighty ajar. The eyes would be glowing red if properly produced. Above where my secondary design of the wardrobe.


After finalising behind the wardrob, I began to look at the other characters. From a quick analysis I gather the likely hood would be that a teddy bear which was slowly falling apart and has problems standing up as a sidekick. Moreover The hero would no doubt be a toy robot. As the box shapes sticks with the class stereotype of a hero.

 We then moved on to props I was given the witch from 'Sleeping Beauty' my original idea was to use the crow (sidekick) as a stylish cutlass for the witch. However, after Justin commented on the drawing and advise that the witch turns into a dragon in the film. I noticed that the idea wasn't good enough.


After my talk with Justin, I tried to add the flaming shapes which is present in the character designs. Moreover the flames implying the witch changing into a dragon in the film. This was my outcome [picture above]

Week 03 | Shapes 2 and Proportions


After the previous shapes lesson we look at the effects that have different shapes effect the feel of the character. As you can see above I attempted to convert Hercules in a more villian-esque style. applying sharp angles to the picture I was given.


After talking to Justin I was advised to be less sinister with my angles on the character. The picture above is my attempt at applying this knowledge. In this case I believe I was almost there with this drawing.

After a look at shapes we moved on to Proportions and how they effect the style of the character making them more dynamic. In result I tried to vary my drawings to look at ideas for Heroes, Villian and Sidekick postures.


With my designs I looked at the hero and sidekick. [picture on the left] I looked firstly at the hero, proportionally I exaggerated the chest and broaden the arms to echo the strength of the charcacter. Following this I looked at a sidekick. With this I attempted to create a thinner torso. But remaining with the same style as the hero. I found that making the body parts smaller and distorting the head worked quite well [picture right].

I then attempted further to exaggerate the designs to see what effect they gave. Sadly it didn't work as well and suggest to me; that with my character design I can't be over the top with exaggerating my proportions.

Week 02 | Character Hierachy


 In this lesson we looked at diffferent styles of cartoon drawing - Iconic, Simple, Broad, Comedy Relief, Lead Character and Realistic. I was given Jafar to alter in one of these styles. I tried to draw him as an icon (picture on left) and Comedy Relief (picture on right). I found that the icon was particularly hard to complete.


After struggling with the icon, I attempt to re-draw Jafar as an icon. This was still difficult to achieve however the head was the most simplistic of the designs.

Week 01 | Using Shapes To Define Heroes, Villians and Sidekicks


After, the lecture on shapes we where given two cards representing to subjects. I recieved Superhuman Lawyer. As with the Superhuman I new the likelihood would be the lawyer would be hero. Therefore I used squares to form the character - like the stereotypical build of a hero.



After completeing, the Superhuman Lawyer I was given mutant surfer. With this character I new he could be any shape but for consistency I used a big blocky build for the character. Also with the character being a mutant I decide to elongate and shorten the body parts of the character.

Review | Ed Wood

Ed Wood | 1994

Directed By Tim Burton

Burton’s innovative method is present from the start as his opening scene uses elements from Ed Wood’s film ‘Plan 9 from Outer Space’. In the scene Criswells (Jeffery Jones) appears from a coffin and narrates a monologue that is inches from the original featured at the start of ‘Plan 9’, which again, is narrated by the Criswells Predicts. Following on from this clip Burton makes a near reconstruction of the iconic opening credit scene where the cast names are superimposed on the tombstone. Moreover Burton takes a similar tact by taking the influence of design - such as the abundantly false tombstone and the font. However, Burton pries away from this by taking out the superimposed text and replacing with multiple graves, which is panned via a tracking shot through the graves. This implicates immediately the intentions of the director, as he wants to make the film a tribute, not ridicule by applying higher-budget to his biopic of Wood.






This can be evidently validated in the selection of actors within the homage to Wood. With Burton’s casting being flooded with talented actors ranging from the new and upcoming such as Johnny Depp – who was coming into his own whilst acting - to the veterans such as Bill Murray and Martin Landau – stars of Ghostbuster and Twilight zone . Moreover, their collaboration gives the audience a gift basket of acting; ‘Mr Depp...gives a witty and captivating performance, bringing wonderful buoyancy to this can-do optimism that kept Ed Wood going’ – [Maslin, J ; 1994] and ‘Landau, especially, is superb bringing...real dignity to the role of Bela Lugosi.’ – [GA; 2001]. Moreover, Burton choose this cast to display his tribute in a serious tone but endorse Wood’s life by getting uncanny resemblance to the people who surrounded Wood’s during his career. Such as Jeffery Jones depicting Criswells whom share an uncanny resemblance with Criswell himself. To validate such method, Bela Lugosi is played is by Martin Landau who could be easily mistaken for a twin of the old horror hero. With this, Burton remains in close correlation with Wood’s world - although the actors who play in homage being better actors; tenfold.

http://1.bp.blogspot.com/_NMISA6PxZR4/TQi5p_FbBUI/AAAAAAAAAGc/Mk7NArk8n7s/s1600/criswell.jpg
Fig 1 | Criswels
http://www.annatambour.net/Dreams10.jpg
Fig 2 | Criwells Played By Jeffery Jones


Furthermore with the acting and design playing homage, the most evident but easily forgotten wood-esque choice is no doubt his editing. In validation the film shows displays the similar style of Wood’s edits – black and white film which remains consistent with all Wood’s, movies as well as being perceived as very poorly light such as the original films. Toddy McCarthy making it plainly obvious that statement that the film ‘echoes Wood’s films...while still shooting beautiful looking picture’ – [McCarthy, T; 1994]

In essence, Burton’s picture is nothing more than the biopic from the acclaimed ‘Worst Director of All Time’ Ed Wood Jr. What becomes more evident, is that even though appearing as a film intent on ridiculing the legacy of Wood; it is innovatively echoes as homage to the man who directed films as an outsider of the normal parameters of movie making; very much like Burton’s whose ‘career has always shown an fondness for touching the outsiders’ – [Edbert, R; 1994]. Evidently, Burton’s tribute ‘gives us a hero who is not merely an outsider, but one who attracts even more desperate cases’ – [Edbert, R; 1994]. Basically, films don’t have to be picture perfect to become an accolade to cinema but a lust to create a motion picture. Edbert conveys a similar message as he argues the point ‘two wrongs don’t make a right’ as with Wood; he was ‘blind to hilarious blunders, stumbling ineptitude, and acting so bad that it achieved a kind of grandeur. But badness alone would not have been enough to make him a legend it was his love for film,’ – [Edbert, R; 1994].

Monday, 17 October 2011


With the head I tried to mimiick in some way Lex Luthor from  Superman: Dooms Day. I was hoping therefore to portray anger but also his poorly state. Meanwhile, I tried to remain with ideology of triangle in construction.My favourite on this piece was the bottom left, however with the bandana looks like his a cancwer patient.


After looking at the original design I looked at otherways to deign the head and see if I could get the same effect with a less stereotyped head shape as disney characters. I felt that the second one in from the right.

Any thoughts ?

Paranormal Activity 3 Trailer Timeline



0:07 – 0:08

The trailer starts immediately by showing an error in a tape as it fuzzes into the film – enticing the fact the new edition is exactly like its predecessor in the Paranormal genre.

0:09 – 0:15

The clips shows to kids playing outside on a summers day and only hints at the time period via the classic ‘Date and Time’ located in the lower right-hand corner. This specifies that the film is before the other two and is the prequel to the film.

0:16 – 0:20

The clip show Katie (Paranormal Activity) as a child which is verified by the narrator (presumed father) as he ask her to smile for the camera. The clip then switches immediately to an overlap of the first film at the end when Katie is possessed by the demon. The editing making the clip appears overriding the original 1988 footage of them as children. In result we engage that the film is looking at the back story to the first film.

0:21 – 0:27

Like the footage of Katie’s it show the narrator getting Kristi (Paranormal Activity 2) to look at the camera then cut to one of the scenes in the previous film as she being pulled through the house. Validating the fact the film looks at the prequel to their inevitable fates.

0:28 – 0:33

The film ends up showing a single shot of the two girls being happy and enjoying themselves before fading and using an echo on the sound to really instil fear into it view. The transition also implies that it is indeed the end of the happiness

0:34 – 0:35

Is a transition with the month when the film will come out; thus informing the viewer of the date but also separating the past from the presents as the trailer continues to explain the movie further.

0:36 – 0:39

The clip plays on the two previous ventures. Starting with the clip looking at the iconic picture of Katie, notorious for it burn marks around the photograph. The clip is then followed by the two sisters hugging each other in the 2nd paranormal activity. This then becomes obvious as key element in the third; with their relationship and the photo having to play a part in the demons game. To convey this further one of the sister is overheard saying that doesn’t she doesn’t remember anything suggesting the childhood memories are blocked and that the film will enlighten the audience on the others.

0:40 – 0:41

Amplifies they ideology by using the single word ‘Discover’

0:41 – 0:42

The clip looks at another fond memory of their childhood. Before transitioning again using the whites noise to another title seen

0:43 – 0:44

The follow on from the last transition ‘the secret’ state the obvious again suggest the activity with the first two will be revealed via the last one.

0:45 – 0:46

Following on the trailer displays previous scene from its predecessors again pointing out notable comments which will be revealed. In the first short clip it shows Katie exclaiming ‘whatever it was it thrived on fear’ followed by a shot of them lighting candles when they where young invite the audience to speculate on the significance and then cuts immediately to Kristi looking shockingly at something.

0:47 – 0:48

Another transition completes the sentence with ‘behind the activity’. Validating the implication of the film motive to enlighten the viewer on why the Paranormal Activity happened.

0:49 – 0: 51

The clip shown during this period identifies with the ending to ‘Paranormal Activity 2’ and into the story concerning Kristi baby boy ‘Hunter’ as Katie (possessed by the demon like in the first one) kills her sister and takes her child. The clip after show tries o play dramatic irony as the girl sit harmlessly together oblivious to what will happen. Following this however the transition similar to “error in tape” cuts displays and image which unwatchable unless slowed but instils fear. To compliment this, one of the girls comment on the happening by narrating ‘The more we paid attention to it the worst it got’.  Subtly implying, that the film will be scarier than it predecessors.

0:54 – 1:03

The film has a 3 second gap before transitioning to a presumed clip in film. This then sees young Katie turn on the camera and turn towards the mirror with Kristi being to her right. This inevitably begins the irritation of being ready to be scared by the clip.

1:04 – 1:11

Katie turns of the lights and leaves only the red record light from the camera light leaving the audience on edge. The characters then begin chanting ‘Bloody Mary’ three times again agitating the audience and instilling fear.

1:11 – 1:14

The film remains quiet after they chant and brings even more tension which amplifies by Kristi exclaiming ‘I’m scared’. Not to mention subtle using a monotone base to attract a psychological emotion that something is about to take place.

1:15 – 1:18

The shocker. Katie screams and flashes the torch. Terrifying Kristi and in result the audience. However the audience is reassured when the light shines on Kristi and they appear safe. The audience at this point are misleading into relaxing about the trailer.

1:19 – 1:23

The double shocker. The happy natured girls leave with Kristi being slightly annoyed at her sister as she opens the door a shady figure appears in the mirror which appears remains stills. This ploy already startles the audience but increases as the figure remains staring at the mirror with no facial features in turn adding to the horror.

1:24 – 1:32

Finally the fade out and into the title scene which uses the film overlapping video edit before fading into title sequence keeping the tone of the trailer quiet dark.

The Avenger Trailer Timeline



0:06 – 0:10
Pans across a metropolis, the feature will be based in a large city similar to that of New York.

0:11 - 0:14
The clip shows the city in turmoil. The citizen look scared or startled followed by a clip moving on to car being set alight suggesting an attack on the city.

0:15 – 0:18
Army (National guard) and local PD appear to be fighting an unknown force presumably bigger than them as they appear to be pointing their guns upwards. The clip is therefore hinting at an enemy which is bigger than a regular human - or even someone who has the ability to fly.

0:19 – 0:24
Clips displays a squad (S.H.E.I.L.D presumably) close in on figure. Stern facial expression and clip of figure (Loki) attack suggest main antagonist for the feature. The Dialogue appears to suggest as well the plot as it states ‘In the end...it will be every man from themselves’; implicating, the villain’s plans to divide humanity.

0:25 – 0:29
Validates the city is in trouble. Rubble can be seen along the sidewalks, citizens are running and cars exploding in a domino effect. The choice of placing the clip, after the presumed antagonist; relays back to the audience as a corroborate overview of the character (Loki) is without doubt the Villain in the film.

0:29 – 0:31
Displays the a building with fleets of people running from it as a helicopter lands. The clip in this term suggests a team mobilising. Alongside this is armoured vehicles and armed guard (possibly S.W.A.T to validate the action.

0:32 – 0:35
Man stands waiting for helicopter to land whilst dialogue says ‘What will we do?’ The clip changes to Samuel Jackson appearing from the Helicopter; implying his character is of high importance and a solution to the problems shown early in the trailer. The final image is of him answering the previous question which is ‘We’ll get ready’. This clip tries hooking the audience as it plague the mind of what are they trying to get ready. 

0:36 – 0:40
Shows clip of the makers of the movie - Marvel (Creators) and Paramount (Production and distribution).

0:41 – 0:42
The clip implies a secret base, as a man (in suited attire – possible government agent) uses finger scanner to enter.

 0:43 – 0:45
Clip displays 3 people walking through a high tech facility they appear to be wearing normal clothing. Convey they aren’t government agents and have been gathered. Following clips shows a man walking into a room with armour inside. We get a first look at the face of one of the protagonist and with the armour we gather the character is Captain America/ Cpt. Steve Rogers (Chris Evans) which is titled underneath the armour.

0:46 – 0:57
Shows a combination of action shot with other character in relevance to a team being assembled. These characters seem to be portrayed as protagonists to the feature, as the voiceover suggest the just that. In essence Samuel Jackson (Nick Fury) states ‘There was an idea...to bring together...a group of remarkable people...so when we needed them...they could fight the battles...that we never could’ the clip finishes with Iron Man (Robert Downey Jr.) suggesting a possible big part for his character as well as being the start of the film.

0:58 – 1:02
Next is a clip of the famous Iron man suit and it is followed by it in action, flying through the cityscape; solidifying his importance to the film.

1:03 – 1:05
The penny drops as the characters appear together in uniform showing snippets of them together.  Suggesting the team has been assembled.

1:06 – 1:09
Shows images of the singular main protagonist in action – Captain America, Thor, and Iron Man – this providing the notion that they have individual a task to complete for themselves which is validated by a snippet of Nick Fury dialogue ‘Gentlemen...What Are You Prepared to Do?’; implying pushing their morals or challenging their beliefs.

1:10 – 1:18
The following clip shows a dispute between two of the main protagonist in the film. Suggesting the possibility the team is not stereotypical but very unorthodox implying issue within the team could affect the story. Moreover the conversation shows added humour to the film after the comment from Captain America to Iron man when he say ‘Big man when in a suit of armour...take that away what are you?’  In turn sparks the response ‘a genius, billionaire, philanthropist’ from iron man; setting off Thor laughing.

1:18 – 1:26
A clip displays the team in action in different fighting scene displaying the film as an action packed feature.

1:25 – 1:26
Advertise when the film will premiere also dividing the action.

1:27 -1:30
The following image shows Captain America in trouble, evidently suggesting him as going rogue and trying to win the battles on his own. Fighting his own team mate – Thor – then being launched out of a building by the main antagonist – Loki.

1:31 – 1:35
Shows what appear to be elements of one of the main battles between two protagonists – Captain America and Thor – against antagonist – Loki.

1:35 – 1:42
The clips has the voiceover from Iron Man saying ‘If we can’t protect earth...we can definitely avenge it’ followed by an action sequence of iron man. This inevitable makes the audience understand what movie is about.

1:43 – 1:48
Voiceover displays the final title sequence and the name of the film solidifying the comment previously.

1:49 – 2:00
The final hook a single clip displays comedy alongside the revealing of a fourth protagonist whom doesn’t really get air time from the rest. This is no doubt because it tries to hook in viewer by a surprise guest which in this case is the Hulk.

Gangs | Resarch into bodyshape and fashion

Fig 1 | The Body Shape
The body shape is vital to my idea behind the gang memeber.  I looked at current design of gangster alongside the triangle shapes of classic evil characters. Moreover I looked for a skinny body shapes to help me portray The Initiate as a malnourished hard up gangster from the bottom of  Los Feliz.


For the fashion style it was easy to go for the mordern day classic gangster look. However when approaching photos of the Crips during 1969 it appeared that it could mixed in with the classic Zoot suit of the 1920's plus the Fadora.

Design Body Shape & Headshape




I tried to load of different body shape to gather the way I would like to the gangster looking. I found my favourites being the bottom left and bottom right. I felt they showed about him being malnourished but still have a gangster tint to it. 




With the second edition of design I looked to imply some muscle but not an immense amount that make it a complete different posture from a skinny one. I felt that only the top right was the closet do the desired effects.

Any thoughts?

Monday, 10 October 2011

My 80's Cartoon

Marine Teens

Hi, Justin here's my story design and charcter bios I have put in with my influence maps. But my drawing will be shown tomorrow as they haven't been scanned in yet.

Wednesday, 5 October 2011

The Gang and The Initiate.

The Gang 1

Sunday, 2 October 2011

Villians Character Design

For my design I want to have Animorph as the villians specifically a Tiger as the leader with other animals as generals. I have researched some programs which have animorph to see the way they're designed and if they're specific to the Triangle, Square and Rectangle rule.

















Power Rangers: Mutant Ranger fight



With my Character design propsal based on High School Soildiers I thought it insane not to consider these guys as a starting block to my synopsis and to build upon it to make a new breed of High School Soildiers minus the Dinosaurs.

Saturday, 1 October 2011

Grp 1 | Research - Manson Murders/ L.A Gangs | Week 1 Plus

Synopsis

This is the data I collected and idea I jotted down about the gangs of L.A. The Manson Murders and even the Debt Crisis. When reading them I found a connection and a storyline. It's a rough idea for where we're going but it a starting point.