Monday, 28 November 2016

Photoshop toolkit - 9 texture planning and block model

I've started on making the block model and picking out which textures I'll need to experiment with for Maya.


Maya toolkit - 12 UV layout begging


Thursday, 24 November 2016

Repulsion by Roman Polanski 1965 - Film Review 9 space and environment

 Figure 1 

In 1965 Roman Polanski the director of Knife in the Water (1962), Chinatown (1974) and The Fearless Vampire Killers (1967) worked together with Seamus Flannery (art direction) this psycho sex thriller film simply known as Repulsion, this film would leave reviews saying “It is one of Roman Polanski's most brilliant films: a deeply disturbing, horribly convincing psychological thriller that is also that rarest of things” (Bradshaw, 2013) for its production design themes and acting to make it more believable.

The narrative of this film is quite easy to understand, there is a young woman named Carol who is a virgin and has horrible fears of sex. She lives with her sister and boyfriend who at night is the making love, when they leave to go on holiday she is left in the flat where her fears suddenly feel like reality, for madness starts to overflow her during her time alone and she begins to be isolated from the world as she stays in this flat, only in ending in disaster. During this film, the audience is introduced to several themes, for example, fear of sexuality, isolation whether being inside the flat or actual isolation between culture/language and the psychology of the mental mind and how to show this through production design.

One of the themes spotted in this film is isolation. This is shown in two ways; the first way is Carole being alone in her flat barricading the door. This is interesting for Carol barricaded herself into this flat because of her fears and delusions of men and believing that staying will make her safe, as demonstrated in figure 2. The second way that isolation is betrayed in this film is the social and culture by how Carol’s sister is treated by English people, for nearly end the film when all the murders and carols madness finally ends, her  sister finds her in her room, who is then greeted by neighbours where one of them states “she doesn’t speak English does she” (female character in the film, 1965), this helps shown the viewer the diversity that the sisters go through because they are from a different country, Meaning that the sisters mostly talk to each other, people at work and the boyfriend, this isolation shows that they are not willing to speak to anybody else, as if they’re making a little tiny bubble to crawl in for that isolation.
 Figure 2

Audiences will notice the theme of madness in this film betrayed by the character Carol for this quote states “her fears and her isolation in the apartment are allowed to fester along with the uncooked food, with increasingly violent and macabre results.”  (Rosenbaum, 2007) what’s interesting about this is that the food that she gets out when her sister is gone, starts to decay and rot. This is a good symbolism of her own state of mind for her own mind starts to decay and rot just like the rabbit that she leaves out, as shown in figure 3, helping the viewer understand what the director was trying to produce through this decision. This idea of madness to Carol is her depiction of men, for when given visuals of hands going through walls and rape scenes what viewers notices that the man is fully clothed and is roughing Carol up as well as the hands grabbing her by the hair and pushing her around, this gives audiences a clear distinction of what she thinks sexuality as well as making the delusions very real as if we are considering the mind of an abusive relationship.
 Figure 3

 Flannery wanted to bring Polanski’s vision to life by doing scary visuals to create a thrilling atmosphere that would make viewers see that “Using the simplest of resources, director Roman Polanski manages to convey Carole’s descent into madness, in a way that invites audience inside her head even while giving viewers the creeps.” (Biodrowski, 2009) by showing the audience slowly how Carroll’s mind starts to go into madness there is more of a complexity to the character where she starts off as a shy little girl becoming more of a woman who is fearful of sex and is driving herself mad because of this and the director shows this through his set design. To help push this idea along for Polanski he decided to have hairy hands is a feature of men to make Carroll’s fear even more real and her madness taking over, as shown in figure 4, as well as making another illusion feel and look like skin, demonstrated in figure 5. These visions that audience gets in the film gives the clear description of what Polanski wants and how he is going to achieve it.
 Figure 4

 Figure 5 

Polanski has shown audiences through his idea and designs the fear that his character goes through in this film, it expresses the themes of isolation, madness and sexuality, this film will give anyone who watches this a good thrill.

  •          Polanski R. (1965) Repulsion.  London, England. Twickenham Film Studios (female character in the film, 1965)

Illustration list

  •  Polanski R. (1965) Repulsion.  London, England. Twickenham Film Studios (female character in the film, 1965)

Tuesday, 22 November 2016

OGR part 2 'What if Metropolis'

For the second part of my OGR I have gone into more detail on my concept art, how I will the concept art will be modelled in Maya and Orthograph of each individual building and lamppost to model in Maya.

OGR part 2 by laura boots on Scribd

Photoshop toolkit - 8

In photoshop I had to make orthographs for what buildings and streets I want to create in Maya.




Final concept of Xander

This is my final concept and I'm so proud of how is looking, looks great. 


Friday, 18 November 2016

Thursday, 17 November 2016

CG Artist Toolkit: Life Drawing - 7

In life drawing, I only managed one drawing for I had to go to a meeting, however, thanks to Michaela for letting me take a picture of her work as reference (thank you, Michaela)

During class

At home 


Black narcissus by Michael Powell & Emeric Pressburger 1947 - Film Review 8 space and environment

Figure 1
In 1947 Michael Powell & Emeric Pressburger directors of  A Canterbury Tale (1944), The Tales of Hoffmann (1951), The Red Shoes (1948) and The Small Back Room (1949) Wanted to create a story based on a novel by Rumer Godden, so they enlisted the help of Alfred Junge (a production designer) To help crates of the film and make the story come to life.

The narrative of black narcissus is about five nuns that go to a mountainside village to help the sick and children to learn and heal. However, during their time in this village, the sisters start actor bit strange, where one is starting to remember her past the only reason why she became a nun was to forget it, whilst another is having second thoughts of being the nun and is getting into sexual desires. This leads too many confrontations in the film leading up to the sister in command to try to and fix everything. When coming up with ideas for the film the directors turned to a novel to help expand the themes as this reviewer explains "The co-directors created from Rumer Godden's novel an extraordinary melodrama of repressed love and Forsterian Englishness - or rather Irishness - coming unglued in the vertiginous landscape of South Asia."(Bradshaw, 2005) This proves to the viewer what the directors were trying to conceive, showing that they were following a clear narrative and guideline of how they wanted to point out the theme of the film as this review will go into more detail.

The one thing to note watching this film is the main character, the sister in command, for although she is given the great task of controlling all the nuns for this expedition, she comes off as quite lonely as if she has no one to talk to or relate to in the film. Now viewers can see this as she gets herself off in her own little world, which is having a flashback to what life was like before she became a nun as shown in figure 2, in her facial expressions viewers can see how she had this loneliness about her in her eyes be her thinking about her past or trying to take control of the situation, also with another review noticed that "You can fully sense the pervasive loneliness that entraps Sister Clodagh in distracting pangs of lost love reminiscence,"(Uhlich, 2012) What this quote means is that when the viewer sees her actions and looks upon her, the viewer will find themselves feeling nothing but sympathy for this character for her loneliness also makes her isolated from her group emotionally. However, in the film she put on an act to be confident and giving an 'I can do this' sort of attitude towards the characters.

figure 2 

The main point that this film is trying to get through to the viewer is sexuality whether it is with the Production design or the narrative. The way this theme comes across is by the confrontation of religious beliefs and human intent, for one of the character's Sister Ruth has this struggles and ends up give into sexual desires by dressing sexy and wearing makeup (figure 4) as if to attract a mate, as demonstrated in figure 3. Another thing to notice about both figure 3 and 4 is that both have the color red, which viewer assistant with passion, love and romance also known as another form of sexuality. What viewers might find interesting is this quote "much of the Archers' career is summed up when a British estate manager (David Farrar) tells the sister Superior (a suggestively tense Deborah Kerr), “There's something in the atmosphere that makes everything seem exaggerated.”(Sragow, 2015) this is interesting for the character Sister Ruth's development when coming into South Asia she starts as a nun who complains to a sex driven woman who will stop at nothing to achieve her goal.

figure 3

figure 4

When creating the film Junge Used lights to signify what was happening in the scene as well as what the characters going through for red is not only the symbol of passion but also the symbol of danger, for in thinking of our eyes what is demonstrated in this figure is the antagonist sister Ruth looking evil and plotting hence the heavy colours of red, to create the other set into the film, for example, the mountain photos shown in figure 6. Junge enlisted the help of Jack Cardiff to create a painting for the whole point of this image is to give the illusion that that is actually a real set that the drop is very deep and it looks like it could kill anyone who would fall down. Another reviewer who was also noticed this matte painting stated that "those matte-painting vanishing perspectives and cinematographer Jack Cardiff's harshly exaggerated lighting cues—creates a psychologically charged space in which an ungodly tragedy can unfold."(Uhlich, 2012)  This is effective for when looking at viewers would get a clear understanding of what Junge was trying to achieve for it is a key element later on into the film the depth and scale of that mountain which the painting shows very well.

 figure 5

  figure 6 

The point of the film is making is sexuality showing in many ways as demonstrated in this review by colour, costumes, and acting. The production designer Alfred Junge and the directors Michael Powell & Emeric Pressburger have truly shown the viewer the sexuality theme through the smallest of things making this film marvel to watch, This film shows a great confrontation between religious beliefs and human nature are presented very well.


Sragow, M. (2015) Black Narcissus - the new Yorker. Available at: (Accessed: 15 November 2016).

Bradshaw, P. (2005) Black Narcissus. Available at: (Accessed: 15 November 2016).

Uhlich, K. (2012) Black Narcissus. Available at: (Accessed: 15 November 2016).