INTRODUCTION

Previously I have taken a break from intensive digital imaging to experiment with alternative processing. This has refreshed my outlook and now I intend to build upon the story woven last semester. My last project involved the production of images with an antique aesthetic, documenting the life of William Lycanthorpe, a fictional 19th century astronomer. I now intend to turn the wheels of time and explore the universe and our views of the cosmos in the future.

As part of the ‘showcase’ I also wish to demonstrate my ability to work in a professional capacity. Thus, I will set myself the following commercial brief to work to in the project:

Create a small series of polished ‘concept’ images for a new science-fiction franchise. The images will feed into the development of the universe’s background, so an imaginative approach is encouraged. As a franchise, the images must be appropriate to a wide range of contexts: screenplay, novels, computer games etc. The artwork could explore these key story elements:

The story is set in the year 2517, as humans have colonised star systems throughout the galaxy, but remain apparently alone in the universe.
Scientists look on as Earth’s Sun expands at an unprecedented rate, consuming the planet and the origins of human life.
Mistrust and jealousy between the scattered human nations.
A sense of foreboding wariness regarding the increasing use of AI to facilitate human life.

The overall tone is still to be set, but initial ideas tend towards contrasts between overly clinical and pristine controlled environments and gritty ‘steampunk’ influenced sub-culture. The images should be suitable for use in pre-release publications (posters and online advertisements for example), with the possibility of inclusion in final video games.

RESEARCH

A part of my research will be directed towards investigations of current concept art, how it is used and how artists go about its creation. This will give me better insight into the commercial application of my images, allowing me to approach the project in a more professional manner.

I have conducted extensive research into current digital imaging collectives and individual artists for several projects before this, however I intend to find new practitioners, and research the latest work of those whom I have already studied. A new point of research will be the work of H. R. Giger, who’s visions of the integration between the biological and mechanical fit quite closely with some of my intentions. However his seeming preoccupation with the sexual imagery of this relationship is not a facet I wish to explore in my own work.

The depthCORE collaboration will again form a centre-point for my investigation into current trends. This creative conglomeration is at the forefront of creative digital imaging, using a wide range of tools to complete artworks to a set brief; with examples of 3d modelling, fractal artwork, photography and photomanipulation. I will also examine current and classic films and video games which explore the concepts of the brief. Empirical research for techniques will be aided my skills learnt from Saddington & Baynes, whom I hope to conduct a work experience placement with during the course of the project.

DEVELOPMENT

Following along the lines of previous projects, I intend to generate complex digital images from a vast number of individual photographs. For any ‘planetscape’ images the photography will be at the core of the image, but will not necessarily be immediately identifiable. In this example a large number of textures will be utilised to create planet terrain, including my own stock images and newly shot ones specifically for the project. For a ‘biomechanical’ aspect, I intend to shoot my subject on a medium format digital back in a controlled lighting studio setup. This will give me the highest possible resolution and detail for incorporating mechanical elements into the human frame. Well documented lighting will help with shooting the mechanical objects, ensuring the highlights and shadow directions match between shooting environments. All images, presets and brushes needed throughout this project will be self-generated – no stock photography or otherwise third-party material will be used.

Unsurprisingly, Adobe Photoshop will be my main tool for the creation of my images, with the many different photographs categorised and stored through Bridge. I will use a standardised layer naming and grouping system, to ensure all adjustments are kept track of, and a file naming system which will allow me to easily revert to a previous version or replace a rouge element. Any ideas or techniques obtained from tutorials will be refined and personalised first, rather than directly copied to create an effect. Reference images will also prove useful when trying to generate certain effects.

Blender, a 3d modelling application, may be used to create mock-ups of scenes to help me view them in another dimension. This may also help me to visualise perspective, one of my weak points, in the images and ensure vanishing points match up. The outcomes of the project may also require me to use Adobe Flash, depending on the circumstances.

OUTCOMES

Due to the complex and detailed nature of the manipulation required by this project, I propose the creation of three – four large-scale images which explore different aspects of the brief, fortified by my own concepts and ideas. One option would be to output the images in an alternative process, building on knowledge gained in my previous project. This would also reflect the idea of a ‘rediscovery’ of photography, which has been a subject of interest through the history of photography: James Mudd’s 1865 paper entitled “A Photographer’s Dream” and the novel “Time and Light” by Bornefeld both touch on this subject in their own way.

However, to best ‘showcase’ my work and my intended professional path, large format lambda (C-type) prints will be my preferred method of output. The depth and quality of these images make them especially suitable for a gallery presentation, how I intend to best show my work. For the futuristic images a modern output will also help to reinforce the ideas behind the images.

This will also allow me to improve my colour management and digital printing skills, which have been more a case of trial and error in the past. I will contact the printers I intend to use and obtain ICC profiles for their printers before starting the major project work. I also intend to create a mini-site and portfolio for the project, perhaps using Adobe Flash to build a futuristic user interface. However this will be dependant on time and secondary to the production of exceptionally high-quality images.

To further satisfy the brief I intend to contact with students from creative writing courses. A short excerpt of writing inspired by the concept images will help to contextualise them and explore how successful they are.

To further satisfy the brief I intend to contact with students from creative writing courses. A short excerpt of writing inspired by the concept images will help to contextualise them and explore how successful they are.