Friday, 30 September 2011

Unit 1: Anatomy - "Waldepeer" Development Day 1

Hello Everyone,

I have one more update for this evening, some of the photoshop development work that I achieved today in Phil's lesson. I have my mind on a painting style that I saw at euro gamer (namely Guild Wars 2 - very painterly). My final concept will rely on suggestion, taking into note things I was told in Life class the other day.

These fundamentals should help me acquire the look I am aiming for, anyway enough chatter. Below are my first 5 developmental concepts, notice the arms.


I will break these down in note form, I will not chatter your ear off. Below is a suggestion in each to the primary elements I am looking to exaggerate to human features.

(1) Was a basic Walrus/seal shape, I just wanted to get an idea and build an initial flow into the concept. I will make a mental note not the underestimate the top of the brow (that differentiates seal from Walrus other then the fangs).

(2) This was my incorporation of the giant arms, I also kept suggestion for a reclining knee bone that is still present even though the legs are now joined at the base. The upper body is defined better with an arched back... it kind of looks like an alien.

(3) Was a more gentle touch, with the signature elongated arms and punched out flipper hands. I also experimented with my colour palette here, drawing from my textures that I posted below in my research. I actually like this pose... it looks relaxed not static but peaceful.

(4) The massive arms dragging the core body across the floor. If you look at my thumbs on Fig 4 number 66 you will notice the original. I didn't get too deep into this one, just put down some basics but I don't think this one will work. I'd expect to see a Walrus laying on his gut, I want to do something "out of the norm".

(5) Was a final experiment with the facial features. I stretched the human nose so this Walrus has 2 giant nostrils. I will play with this idea a bit when I start incorporating my facial detail into the concept.

Anyway, that's me for tonight, got Maya stuff to do for tomorrow.
Take it easy.

Over & Out,

Unit 1: Anatomy - Thumbnails 1 - 68

Hello Everyone,

I spent the last couple of days getting my idea of "Waldepeer" down on paper (in the form of 68 thumbnail sketches). I have a good feeling about the final piece now, a little more confident then usual.

I have been looking at my old post (Anatomy week 2) as well. The post made me re-analyse the distance of black and white. This is why I felt the need to (for my own reasons) invert the sketches in photoshop to see the image from the other side (black being the canvas, while white is the pencil). It kind of looks like chalk but I like seeing both.

Anyway below are my thumbs laid out, the numbers are on them you just may have to click and enlarge them to notice.


Figure 1 - click to enlarge

I wanted to get this initial stage in my sketch book. I spend way too much time focusing on the digital side. There is just something more thumbnail like from the sketch book I cant really put my finger on it. The first 21 thumbs (Fig 1) were based more on the anatomy - fusing of the upper human torso onto a Walrus bottom. Id say number 8 was my favourite on this batch, I liked the wobbly legs but it kinda still looks like a fish man.


Figure 2 - click to enlarge

Thumbs 22 to 45 were playing with figure, namely the curving of the Walrus's central mass, where to put it etc. My favourite here is the wheelchair (number 29) because it is actually how I imagined the concept so I was pleased it came out okay. I managed to reapply the central blubber here, I wanted to deviate from the human form and possibly keep 1 or 2 features. The arms didn't look right to me when they were short so I kept those long, this inspired the exaggeration of the hands.


Figure 3 - click to enlarge

Next was thumbs 46-60. At this point I was feeling much more confident about my design (Fig 3). I could visualise the bones morphing which is what inspired 50 - a, b, c & d and 51 - a, b, c & d.

I felt the curve of the spine flowed nice into the blubber fin walrus bottom. In a moment of madness I sketched up number 52 I wanted to do something incredible hulk like. It made me chuckle but I'm not sure if this will be the approach I take. 52 was my first big experiment with the massive hands (the trait I will be keeping). I wish I had a 6 pack then I could probably pull this concept off... but its just not me. My favourite here is defiantly 52, it makes me laugh every time I look at it.


Figure 4 - click to enlarge

Finally thumbs 61-68, these were the first drawings I did earlier on to get an idea of the Walrus anatomy. I also had a bit of a play with facial features. The thing that bugged me was not one of them looks like me, but I guess I'll correct that once I get cracking on the finale. 66 was best on this, I like the use of the arms pulling the body along. This was an earlier sketch of the giant tank like walrus, I guess you could say it was the original inspiration for big hands.

Well, I think that's where I shall end this post, this was a good experiment and to think about was a little daunting. But!! I'm glad I did it, because now I know what I will be going with. Those hands are key! that with a few little personal traits from yours truly (a Yo, yo maybe?) will be just what the doctor ordered.

Anyway, take it easy people.

Over & Out,

Thursday, 29 September 2011

Unit 1: Anatomy - Life Class Week 2

Hello Everyone,

This week we were told to more or less dive in be more confident (which I found a challenge). This would mean that lines had to be built up quicker more to the demands of the pose (being only 30 Min's between changes).

Generally though, I think my drawing ability is slowly improving. I'm learning techniques I hadn't considered before and if these exercises improve that I can't wait.


Fig 1 was my first of the day (we were told at the beginning to start being more confident with broader lines - not as light as my old ones). The arm was way too long due to the angle of the chair which I messed up, but lesson learned we move on. I was more happy with the face even though it wasn't quite finished, adding more shade there would have helped.


For the next picture (Fig .2) we were asked to add tones (light vs dark values) I can appreciate that. Little X's or points of utmost dark or light values to mark key areas of the anatomy, the side angle was easier to navigate but again I spent most of the time tidying up the figure before I could seriously get into the shading. The side angle was appreciated more as I do understand the side of anatomy better then the 3.5 view.


Fig 3 aka. the last picture of the day was nerve wracking, but an experience non the less. I knew perspective would play a massive factor as the model was laying down. I knew her body mass would expand when laying on the floor, I did actually get to the shading phase but it felt like I substituted her face for it which was a shame. The shading of key areas made sense, if you pinpoint the utmost dark values you can range into the lighter areas, I will be trying this next time we are in life class.

You get this effect when looking at a black and white photo, the colour is removed to remove the chaos. Stripping it down to what a sketch is Light vs Dark.

Look at the photo above, the cheeks and the nose are the utmost light. The inner hand contains the dark as does the neck. If it were to be sketched you would only put the dark... the white is your paper. The black lines are mere illusion and how we sum things up when we draw. Nothing is truly a line, the built up shade is the idea, the white is your light source.

The principles I understand, that doesn't bother me. Next time I will have to be more bold, I gotta take that leap of faith. My biggest problem is letting go and thats half of what drawing is, I'm sure my old patters will fade as I get more intuitive ones... what a day that will be :)

Anyway, thanks for the comments and opinions they are invaluable.

Over & Out,

Tuesday, 27 September 2011

Unit 1: Anatomy - Review - Neil Jordan's The Company of Wolves (1984)

Figure 1. The Company of Wolves Poster Art

The 1984 film “The Company of Wolves” tells the story of a hallucinogenic dream world created by a sleeping girl - Rosaline (Sarah Patterson), where the beast is king. On a full moon the wolf discards his human-like disguise to run wild, free of the path ordained by the village folk. One could attribute this “Curse” as a punishment to those that “stray from the path” out of the realm of normality itself.

•Directed by: Neil Jordan
•Written by: Neil Jordan & Angela Carter
•Cast: Angela Lansbury as Granny, David Warner as Father, Stephen Rea as Young Groom, Tusse Silberg as Mother, Sarah Patterson as Rosaleen & Graham Crowden as Priest
•Genre: Drama, Horror, Science Fiction & Fantasy
•Duration: 95 Minutes (aprox)

The story is preordained to define the raw hunger of the beast, its animal instincts, its natural purpose to dominate as a pack, as a family in the company of wolves.

At first glance one could draw the conclusion that man becoming wolf would be stereotyped as a curse of sorts inspiring the human archetype of the wolves to hate what they have become. As the story plays out one comes to realise that the wolves like their alter-ego which is rather controversial for those that love a tragic hero/heroine (e.g. “the Beast” - La Belle et La Bette). Rosaline is uncharacteristic in nature staying firmly on the crevices of good and evil rebelling against the populace fear of wolves while idly walking into danger without a care in the world.

Figure 2. “Don’t stray from the path girl"

The belligerent multi linear wolf narratives that differentiate from Angela Lansbury’s Granny to Sarah Patterson’s Rosaline show a contrast of fear to empathy, providing a number of possibilities with no certainties.

The central Red Riding Hood story as played out here appears to be taken fairly straight from the Brothers Grimm. The film makers, however, have more than fleshed out the character of Grandmother, who is full of esoteric advice, such as ''Beware of windfallen apples and of men whose eyebrows meet.'' She also knows a thing or two about wolves. (Canby: 1985)
The film itself is based on “the old wives tale” of werewolves like the boogieman or the monster that hides in the closet, the disorganisation is the collation of uncertainties interpreted by the sleeping child’s idiosyncratic mindset. There is no true answer because the youths mind has no way of processing the underlined truth from a horde of rumours.

Figure 3. “Aren’t you afraid of the wolves?”

“The waking life, with its trials and joys, its pleasures and pains, is never repeated; on the contrary, the dream aims at relieving us of these. Even when our whole mind is filled with one subject, when our hearts are rent by bitter grief or when some task has been taxing our mental capacity to the utmost, the dream either gives us something entirely alien, or it selects for its combinations only a few elements of reality; or it merely enters into the key of our mood, and symbolizes reality.”(Freud, 1911:09)
Dreams of the unconscious mind are erratic at best dragging facts and fictitious rumours to create a pool of surrealism. The mind can even believe it is true when the lines between the real and the surreal become faint. One could argue that Rosaline waking from her dream being attacked by wolves is an example of the unconscious mind blurring reality and rolling her sleeping body into her dream (a dream within a dream).

The anachronistic nature of The Company of Wolves also aides the story in blurring the lines of dreams and reality- some of the storytelling gives us a break from Red Riding Hood stylings in favor of other creepy and ironic wolf tales.(Snouffer: 2009)
The transformation sequences (from man to wolf) are meant to convey the fear of a predator as they would to their prey. The dead-set yellow eyes with the overbearing furry brow highlight the human in the wolf (human on the outside, fury on the inside). One could also note that when going through the metamorphosis from man to wolf the hair of the subject’s chest is the first thing to grow, which is a genetic trait in males when they reach puberty, subtly typecasting the wolfs archetype to males (one could believe this is why Rosaline did not transform in shot like the other male wolves).

Figure 4. “My home is nowhere”

Rosaline is the curious element of the tale, fascinated by the anti wolf ravings of her beloved Granny only to repackage each tale to the favour of the wolf. Rosaline never relinquishes her power, flirting, baiting and toying with every on screen alpha male establishing her dominance to the wolf and non wolf alike. The introduction of the film goes so far as to place toy like obstacles (representing the end of Rosaline’s youth) in front of her sister as she runs from a heard of wolves. Rosaline’s descent into womanhood is symbolised later in the film namely by egg fetuses (another thing she was told that was regurgitated by her subconscious – incorrect)

To Summarize

Generally speaking the message is present but faint (purposely), one could argue that these hallucinogenic elements make the film confusing in places (who saw the baby fetuses coming). Jumping from story to story can seem like a tailspin of uncertainty distancing the viewer from bonding an attachment to the narrative. Rosaline was generally unlikable riding the edges of good and evil while not playing either particularly well, underlining her role as “incomplete”. The story was based on the symbolism to rebel.

Figure 5. “Are you gods work or the devils?”

The belief is that wolves are feral by nature, the epitome of the term “wild”. The village folk advise and advise again “not to stray from the path” which one could assume was the path of normality. Rosaline was curious and like any typical teen was ruled by her adolescence to disobey, to stray from her parent’s path and forge her own identity. She was no longer a child but a growing adult trying to find her way of accepting the changes that were inevitable. These changes were conveyed as a nightmare, a distortion of reality fuelled by her fear of becoming like everyone else. Rosaline wanted to be free like the wolf to do as she may and to be as she sought.


List of Illustrations

Figure 1. The Company of Wolves Poster Art. (com) [Online image]. At: (Accessed on: 28/09/11)

Figure 2. Don’t stray from the path girl. (com) [Online image]. At:
(Accessed on: 28/09/11)

Figure 3. Aren’t you afraid of the wolves? (com) [Online image]. At: (Accessed on: 28/09/11)

Figure 4. My home is nowhere. (com) [Online image]. At: (Accessed on: 28/09/11)

Figure 5. Are you gods work or the devils? (com) [Online image]. At: (Accessed on: 28/09/11)



Canby, Vincent. (1985) Movie Review – the Company of Wolves At: (Accessed on: 28/09/11)

Freud, Sigmund. (1911) The Interpretation of Dreams. 3rd ed. Printed in the USA

Snouffer, Kristin. (2009) The Company of Wolves Review At:
(Accessed on: 28/09/11)

Monday, 26 September 2011

Unit 1: Anatomy - Review - Jean Cocteau's La Belle et la Bête (1946)

Figure 1. La Belle et la Bête Poster Art.

A magical fantasy for the ages, combining Josette Day’s epic portrayal of “Beauty” with Jean Marais tragic grizzly “Beast”. An inspired work of art that looks past the facade of deformity to the core of everything that makes “us” truly human.

•Directed by: Jean Cocteau & Rene Clement
•Written by: Jean Cocteau
•Cast: Josette Day as Beauty, Jean Marais as The Beast/Avenant, Mila Parely as Adelaide, Nane Germon as Felice, Michel Auclair as Ludovic & Marcel Andre as The Merchant
•Genre: Drama, Romance, Science Fiction & Fantasy
•Duration: 96 Minutes (aprox)

A story that goes back to the core essentials of what inspired us as children: “Magic”. A fictitious world that operates despite all logic to, open a door or light up a room. A string of pearls can be created with a rub of your finger tips and you can teleport to where your heart desires just by putting on a magic glove. What is inside your heart? Look in the magic mirror and see, only your reflection can show you who you truly are.

The film is obviously what inspired the Disney classic “Beauty and the Beast” (the clue is in the name) but one could not help but notice references to other Disney classics. “Cinderella” having 3 nasty step sisters which coincidently think they are above everybody else, including the lovely innocent “Beauty”. References even extend to “Snow White”, when the mirror makes an appearance to reflect what is truly inside the heart of its counterpart, be it greed or “Beauty”.

Figure 2. Bring me a rose father for there are no roses here.

The tale begins when Marcel Andre’s character stumbles onto a mysterious castle when returning from a business deal gone bad. Luck only goes downhill as he is confronted by a terrifying beast (Jean Marais), who threatens to eat him or (if he would prefer) eat one of his daughters in his place. “The Merchant” returns home only to fall Ill, leaving the peril of death in his loving daughter “Beauty’s” hands.

"The master of the house does not appear until the merchant leaves through the garden and plucks a rose as a gift requested by one of his three daughters. The Beast, a huge manlike figure in regal garments framing a feral, leonine head, catches him in the act. At first the Beast condemns him to death. Then it strikes a cruel bargain with the terrified man — it will release the merchant only if he swears that within three days he will either return to meet his fate, or one of his three daughters takes his place." (Bourne: 2003)
Beauty returns to the beast who chooses not to eat her but imprison her only to ask every night at 7pm if she will have his hand in marriage. As time grows she becomes weaker to his advances and actually begins to care about him. There are moments when you cannot but help pity the beast, especially as Beauty makes it clear that she doesn’t want to be any more than a friend to the lonesome monster (the amount of times I’ve heard that).

La Belle et la Bête is at its core a romance story with the man classically chasing his true love, the woman of his dreams. The question that conquers every logical discussion is can love conquer all? Are there limits? Does the outside matter if you love who that person is dearly? In a world of magic anything is possible & in some cases everyday life is that way too.

Figure 3. I repel you, you find me ugly

Love is the magic of this film; it keeps the beast alive and ultimately his castle as he continues to function. For the most part women play the more dominant roles in this classic, namely the deceitful step sisters being carried around having money spent on them left and right, and the gentle “Beauty” running the beast’s heart despite his domineering appearance. Together their love defeats the beast’s curse and transcends reality making love itself the only true magic they share.

Figure 4. When you return Beauty, will you be my wife?

Women at the time of this film were attaining equal ground to the alpha male persona. The taming of the beast was to relinquish the hold men had over women. The story empowers women to the level of a fearful animal that even alpha males (Avenant & Ludovic) had no chance of defeating. Love is this monsters only true weakness, where only “Beauty” can conquer.

Its devices penetrate the usual conventions of narrative, and appeal at a deeper psychic level. Cocteau wanted to make a poem, wanted to appeal through images rather than words, and although the story takes the form of the familiar fable, its surface seems to be masking deeper and more disturbing currents. (Ebert: 1999)
The settings are magical, from the nightly forest landscapes to the interior of the animated dream like castle. Special effects appear to be created by the settings and actors themselves with a single unique transition effect for the beasts return to normality. The costumes of the tale exhibit a creative flare, forever expanding on the female dominance of beauty. The male costumes are simplistic with a smartly dressed beast to exhibit wealth despite his situation.

The makeup is well done especially for Jean Marais “the beast” allowing him to convey a range of emotion without inhibition. His love sick vulnerability would not be as effective if he was wearing a mask, limiting his range of character prominence.

Let’s start with the amazing make-up for actor Jean Marais to portray the beast, which reportedly took five hours to put on, and another five hours to take off. What’s really amazing about it is that it covers his face without completely disguising his facial features and expressions. His eyes, in particular, are still able to emote beautifully. (Lloyd: 2010)
To Summarize

The story is a classic and to think without it so many of today’s modern greats would not have come to pass (Disney where would you be now?). To experience a tragedy of loss and love is the world’s way of reminding us that we are alive, we do feel no matter who we are or where we stand. Beauty back then is as powerful as it is now, with men tripping over themselves to build up the nerve just to talk to the gorgeous girl sitting at the bar. It is a great thing to be reminded that without love, life would not be worth living.

The transformation from the prince to the beast was never filmed; I believe it added a level of mystery to the story early on, in that regard it was interesting. The transformation from the beast to the prince was quick to the point that you wonder if the beast just switched places with Avenant (maybe the arrow was forged from tele-pod metal, who knows). I felt the transformation of the beast was underplayed but taking into account the time in which it was shot, one can appreciate the level of transformation that was apparent.

Belle cures her father with the Beast's magical glove and then goes to find a dying Beast. He's dying from grief because no one loves him. But he's saved by Belle's loving look. While entering the castle, Avenant is shot with an arrow by an unseen shooter and becomes the Beast. At the same moment the Beast becomes Prince Charming handsome like Avenant and tells Belle that she will be his queen. (Schwartz: 2006)
La Belle et la Bête is a classic tale of love in the face of adversity, a tale which nowadays is told primarily in the form of rom com’s (Romantic Comedy’s) with nerds attaining girlfriends the likes of which were otherwise thought impossible. Nerds are today’s Beasts characteristically baron, hybridised humans with a heart of gold that transcends their shortcomings (appearance, demeanour, etc). Beauty is that prize that the modern & post modern beast always dreams to capture and in the end she captures him instead.

Figure 5. I am the monster you must live my beast


List of Illustrations

Figure 1. La Belle et la Bête Poster Art. (com) [Online image]. At: (Accessed on: 27/09/11)

Figure 2. Bring me a rose father for there are no roses here. (com) [Online image]. At:
(Accessed on: 27/09/11)

Figure 3. I repel you, you find me ugly. (com) [Online image]. At: (Accessed on: 27/09/11)

Figure 4. When you return Beauty, will you be my wife? (com) [Online image]. At: (Accessed on: 27/09/11)

Figure 5. I am the monster you must live my beast. (com) [Online image]. At: (Accessed on: 27/09/11)



Bourne, Mark. (2003) La Belle et la Bête Review At: (Accessed on: 27/09/11)

Ebert, Roger. (1999) La Belle et la Bête Review At: (Accessed on: 27/09/11)

Lloyd, Christopher. (2010) Reeling Back - Beauty and the Beast Review At:
(Accessed on: 27/09/11)

Schwartz, Dennis. (2006) Beauty and the Beast - Movie Review At: (Accessed on: 27/09/11)

Sunday, 25 September 2011

Unit 1: Anatomy - Hand Studies

Hello Everyone,

Got my hand studies somewhat finished now, I could spend forever working on them so I thought now is as good of a time as any to post em. I basically went into the bone structure and even gathered a formula to how they are constructed.

It was discussed the other day in life class that everyone is different and that is true. That being said there is a general rule to the human figure so it is correct to the person(s) eye.

When things appear elongated or out of perspective it is usually because the general rule is missing so it can satisfy the viewers eye. That's my take on things anyway. Onto the Hand...


(Fig 1) was my immediate stab, I wasn't aiming for it to get anywhere. I just put my hand in the most deformed position I could and blasted it with the camera. I was rather happy with the end result, it had life to it, even though the thumb could use some work. Listing the bones (Fig 2) was my idea just to imagine where they sat.


Next (Fig 3) I wanted to see the bones on their own specifically and lay the flat just to generalise what I was dealing with underneath (i.e the shapes etc). This was a bit counter productive as they do not generally sit like that, but I realised that later (after my Research). The small hand underneath labeled initial was just something I jotted no idea why...


The next drawing I fleshed out (Fig 4) was the bone structure on its own. Just to see if I could construct the hand from the bones themselves, this probably took the longest. Fig 5 was built from Fig 4 directly and larger with a hell of a lot more detail. The pose is not very imaginative but the fist is something I've kinda been curious about since getting a lot of them when I was in school... erm... moving on.


The next image (Fig 6) was my attempt at perspective drawing. I pumped the image onto my television and kept raising my arm for angles and general proportions. The drawing is as rough as it gets but it is probably the closest to how my hand actually is. It was a success considering I'm new to this measuring malarkey.


The structure began to intrigue me at this point I was already watching my structure of man DVD set and penciled down a grid to lay out my hand. First, I drew out Fig 7 in the library keying in the tones and what went where in general. Then later that day I went home and layed out a 4 x 2 grid (Fig 8) and started following my mentor Riven Phoenix (mans a genius). Fig 9 followed, detailing the bones in the main 4 fingers. Fig 10 was looking at the structure of the wrist and how the knuckles linked into the base of the hand and how the base of the hand connected to the wrist.


Finally I just started drawing the bones, they were intriguing me more and more. Fig 11 was a giant rough but I kept it like that because it showed me the structure in full use (going to grab something). From there I drew a number of rough hand poses (some better then others). Fig 12 represents the front on shapes of the connecting wrist bones. Fig 13 represents a flat hand pressing on something. Fig 14 similar idea to 13 just a different angle. Fig 15 was a retouch on the formula I had reviewed over the prior few drawings. Fig 16 was some form of an upper cut (trying to do the opposite of 14 and 15). Fig 17 was back to the basics - how everything interconnected.

Well that's it for my hand studies, I don't doubt I will do more just so I don't forget this structure system. Looking forward to the feet next but I'm glad the worst one is done... I feared the hands more then the feet.

My system is to remove the painful stuff as quick as possible, don't let it fester, because sooner or later you have to approach that fear and shake its hand...

Anyway, take it easy.

Over & Out,

Unit 1: Anatomy - Life Class Week 1

Hello everyone,

There was a little delay in getting this on here, been waiting for my new camera to come down from the sellers. Good news is I can now take very high resolution shots meaning I can now attain detail with my research, detail that is unscannable.

Anyway this post is about my first life class experience, yes the first. I found it a little nerve wracking and somewhat embarrassing. If there's anything I'm ashamed of its how I draw and to me it doesn't get more personal funnily enough.

I draw very lightly so the pictures had to be leveled. Drawing light was something my business partner taught me he advised me to build lines to create a concept. By nature I have always been pretty brutal and hard with the pencil so now I go as soft as possible and build from the ground up.

The process is good in practice but when your drawing 3 30 minute drawings 30 Min's simply isn't enough. I draw slow to begin with but I found this hard. To incorporate clothes is another issue, the ripples and creases they can take me an eternity to get correct. Anyway onto the drawings...


This (Fig 1) was the first one, as I mentioned above rough as it gets. I found sizing up difficult but I freed my arm a while back so drawing from the arm was relatively easier. Fitting everything onto a page was a challenge and have it be anatomically correct. In fact I'm not even sure that I succeeded in that area.


Next (Fig 2) came the actual model, I didn't actually do too bad here the feet have issues as I know she was standing and not floating. I thought the back was pretty decent and the face angle was more or less where it was. The size was more correct then the others. Generally this one was okay but I'm still not completely happy.


Finally (Fig 3 & my worst), this was the last of the day. I don't know what happened after 2 I guess this is where the clothes became an issue and the bench just completely threw me off for some reason. I did my best to recoup stuff but I couldn't get the hanging foot correct and from there the arms went wrong and the head is either too small or too large not sure. The perspective is completely out as well the bench is too angled (I think). Oh well...

Anyway not terrible I suppose for a first go, but my drawings were incredibly light. Mainly cause I fear pressing too hard reverting to my old ways. I guess this is a working progress, hopefully I will get better as time goes on.

Over & Out,

Wednesday, 21 September 2011

Unit 1: Anatomy - Influence Map

Hello once again,

Thought I'd just put this Influence Map up as I believe I have my affairs in order for this creative task. There are some additional little nuggets that the map is specifically based on including the wheelchair. I'm not about to reveal everything though.


As you can see I have delved more into the physical drawing of the Walrus as there are certainly some techniques I will be taking account of. Some are settings that could suit the situation should I decide to angle toward cynicism or comedy.

Anyway I hope this provides a good look into my mindset for this task, take it easy everybody.

Over & Out,

Unit 1: Anatomy - The Structure Of Walrus Research

Hello Everyone,

I have made another little observation, namely with my Walrus research. I compiled a little something below that I feel will give me a decent interpretation of the anatomy.


As you can see I even located a piece of artwork that had the Walrus in a human like manor namely in a suit. I am unsure what angle I will be taking, I was originally thinking something funny but the lack of gruesome Walrus stuff is making me think I should go sinister.


My palette will consist of murky colours I knew that going into this, at least with the above I know what to work with. The texture density will also help attain a higher level of detail. The cracks in the skin will probably be the hardest to recreate.


I finally decided to invest in some scene analysis, Waldepeer is going to be in a setting and depending my mood I will pick one of the above accordingly. I think I have a good idea of where this is going now, I will do my best to surprise everyone... even if it burns me out. I think I'm beginning to get the hang of this brief now (finally).

Over & Out,

Unit 1: Anatomy - The Structure Of Man Research

Hello Everyone,

It is time to take a look at the structure of man (there is also a DVD set with the same name). Anyway this post is to sample what is required from bone structure to muscle groups, this will be expanded into my research of the Hand Studies, the Feet Studies & the Head Studies.


As you can see, above I have grabbed a bunch of images that I believe will aid me in completing an accurate interpretation of my own hand. The sketched out versions are for me to understand the level of shading required. The Xray is to see the bones in their glory, the rest is documentation so I know what goes where and why.


I have recurred the same instance below here only for the foot, I believe a various type of mediums will help me achieve accurate interpretations now and in the future. The bones are a decent basis but If I don't understand the muscles I will never have the complete picture.


For the face I decided to research more into the structure as opposed to seeing a finished sketch. It wouldn't be personal to me, where as feet and hands are kind of universal amongst most people. I have already learnt a thing or two just by looking at these diagrams.


For my final 100 yards I thought it best to grab some muscle tissue as that's probably what I understand the least. The skeleton is vital to my understanding of the complete figure. I thought it was also a nice addition to have a comparison between male and female in this little compilation.

Now onto my anatomical video research, I mentioned the structure of man above. I actually purchased it, the man is called Riven Phoenix and he knows his stuff. Check out his site if you dare...

Anyway, I think I'm done with anatomy research. I know what will morph and I know exactly what will happen when I become "Waldepeer". These will no doubt be used in guiding any extra detail...

Over & Out,

Unit 1: Anatomy - The Teleportation, Creative Research

Hello, not that it matters but I never got into this game for personal greed or a higher power, my motives were pure as such was my desire to reach the other end of the world unbound by the sea, the earthly matter or the time space continuum. “Stitch” will soon be a mere memory constructed by the unyielding Waldepeer, the nemesis, a human anomaly, a catastrophe... my unwelcomed house guest, who could imagine the best intentions could be met with such an unsuspected conclusion.”

The Animal fate chosen for Stitch

The Human to Walrus size comparison

The results confirm the computers hypothesis "Waldepeer" is knocking on the gates, ringing the doorbell & breaking through the walls that protect my remaining humanity.

“How do you choose which animal to become? Her father laughed. You don’t daughter . Most of us have but one animal form; we become the animal most like our inner spirit”. (Bennett, 2010:03)
Something should have told me to turn back when my pet Walrus started trashing my lab, I should never have used poor Fred & I should never have ignored the italicised theory. His anger outbursts almost appeared to be human but when I looked into his eye I saw something different.

The basis of the concept was pure and selfless but what I never considered was if such a thing should exist in this world. Particles dissimilate breaking us down to our core and reattach us or reattach what the computer considers to be “us”, its best interpretation. The computer cannot recreate what is in our hearts, our memory, what makes us the true definition of our original selves. We are not teleported; we are merely reborn in a new shell while the old shell is shattered leaving a mere husk in the pod opposite.

The Human Skeleton

The Walrus Skeleton

“Imperfect, something is lost in translation... did I murder myself?”

My research has given me a rough guide, the course that the transformation will likely take, part of me is scared... but the part that is foreign wills the change to continue.

“Before she could jump to her feet and scare him off, before her intention to do so had fully formd the change took her. The world rippled and blurred in her vision. Her body was lost to her in such an utterly strange gust of streaming sensation, blood and bone and flesh all swept into hurtling flux, that she could not think of it as her own. She was formless, and then she was sucked into the alien shape like molten metal flowing into a mould”. (Bennett, 2010:07)
Transformation Timeline (Narrative) -

• Day 1
I hadn’t noticed when climbing into the pod the first and final time that Fred had climbed in a few days prior to cause more carnage... and he did, leaving molecules of Walrus DNA and a broken fragment from his left tusk. With a sudden buzz I shot over to the other pod, the teleporter worked! I was at the top of my game, marvelling at my own genius... what a fool I was.

• Day 5
Things started slow, my strength started to become un-matched my desire grew for fresh shellfish (every night) and to think I used to hate seafood. I crushed a professor’s hand with my grip which to me was lax, I had to apologise but deep down I already knew something was going on.

• Day 7
My gums had been bleeding and were sensitive to the touch, I first wrote it off as a fast and rough clean of my teeth that morning. My mouth was in pain for the entire day, I ended up eating a bucket of ice cream just to keep the temperature of my gums down.
“Walruses are a WhaleTimes favorite. They are powerful, social animals. Walruses skin can be as much as 6 inches thick on their neck. As most people know, they also have tusks. The tusks can be as long as 1 meter (3.2 feet) long. The tusks are used to establish dominance, defend themselves and to help them climb out of the water on to the ice”. (Musgrave: 2011)
• Day 8
The taste of blood had occupied my mouth all night along with the overwhelming pain. I could only eat soup, I had to get to the bottom of this problem, the pain was worth the curiosity. Looking in the mirror I noticed the tip of two secondary teeth overcutting my left and right canines.

“I was still unaware but deep down buried in the shadows he knew his time was almost here”

• Day 12
My original canines had fallen out in the early hours of the morning leaving these two (unknown) increasing replacement canines which were sharper then my original 2. A rash had appeared on my upper chest which was very itchy, the palms of my hands felt dry as if my calluses had expanded. My hair had started falling out & my back muscles had grown into the realms of my neck.

• Day 15
The webbing of my thumb had merged into the base of my hand and my thumb appeared longer nearly the length of my index, my knuckles were hurting as were my feet. It hurt to bend my fingers and toes, it was almost like calcium deposits had built up and shut any exterior appendages down, my bones felt like they were merging together.

• Day 17
The pain had somewhat subsided in my mouth feeling at ease I walked to the bathroom only to see the reality. My face had shifted to accommodate these talon like tusks which were now bigger then every other tooth in my mouth. The rash on my chest had hardened and changed colour just like the skin on my palms and feet, my fingers could no longer bend, neither could my toes. My eyes had gone dusky causing severe tunnel vision. The thing that scared me the most was... a part of me liked it.

• Day 20
Upon getting out of bed my back made a nasty cracking sound, I couldn’t move... I was scared. The only thing I could do was lay there until I fell back into a slumber.

• Day 21
I awoke to find the pain gone but the cracking sound concerned me, the reason was evident when I rose to my feet. My pelvic bone had shifted, it was now narrow, my legs could no longer open wide. I took a gaze at my hands to see the webbing had spread connecting all of my fingers together. My toes were no different... I could feel the bones in my hands as if the muscle had moved elsewhere. I could bend my fingers right back with no pain at all. My teeth now protruded from my mouth reaching my chin...

“What is happening to me?”

• Day 24
I broke my legs this morning, the muscle had seemed to have disappeared. I crawled over to my granddad’s wheelchair and took this moment to visit the bathroom. My hands and feet now looked like fins which appeared to be slowly descending down my legs and arms. My skin was now solid with a granite like texture, I was a de-saturated reddish brownish colour. My face was narrower, my ears had shrunk, all of my teeth had sharpened to the level of the giant canines. My eyes were now midnight black... the colour had been washed away.

The Walrus Hide (skin)

The Human Skin

• Day 25
I slept in my granddads wheelchair, moving hurt too much. My legs had now banded together to form one 5 toed fin. My body mass had engulfed my skeleton my groin was now part of the large central blubber, smooth but tough like the rubber on a car tire. My arms had fully retreated into some form of flipper with just enough strength to carry my body.

“Walrus’s can live comfortably in the Arctic because they are adapted for life in the cold. Beneath their skin is a layer of fat, called blubber, that can be up to four inches (10 cm) thick. Just like a winter coat, the blubber is very good insulation. It keeps the Walrus’s body heat inside the animal, allowing the walrus to stay warm in the bitter cold”. (Person, 2011:10)
“I could only crawl with my tusks, Waldepeer is here & he wants his fish”

Stitch Facial Turn Around

The End Result

I will be a mean beast indeed...

Over & Out,


List of Illustrations

Figure 1. The Animal fate chose for Stitch. (com) [Online image]. At: (Accessed on: 21/09/11)

Figure 2. The Human to Walrus size comparison. (com) [Online image]. At: (Accessed on: 21/09/11)

Figure 3. The Human Skeleton. (com) [Online image]. At: (Accessed on: 21/09/11)

Figure 4. The Walrus Skeleton. (com) [Online image]. At:
(Accessed on: 21/09/11)

Figure 5. The Walrus Hide (skin). (com) [Online image]. At: (Accessed on: 21/09/11)

Figure 6. The Human Skin. (com) [Online image]. At: (Accessed on: 21/09/11)

Figure 7. Stitch Facial Turn Around. (com) [Online image]. At: (Accessed on: 21/09/11)

Figure 8. The End Result. (com) [Online image]. At: (Accessed on: 21/09/11)



Bennett, Holy. (2010) Shapeshifter. 1st ed. Canada

Musgrave, Ruth A. (2011) Fishin'for Facts: Walruses At: (Accessed on: 21/09/11)

Person, Stephen. (2011) Walrus: Tusk, Tusk. 1st ed. United States of America: New York

Tuesday, 20 September 2011

Unit 1: Anatomy - Review - David Cronenberg's The Fly (1986 Remake)

Figure 1. The Fly 1986 Poster Art.

A gruesome remake of the 50s classic, providing a more prominent “sickly sweet” Horror with a greater emphasis on the chief character from get to go. The central narrative is localised with a surreal super human approach to Jeff Goldblum’s portrayal of fly-by-wire Seth Brundle.

• Directed by: David Cronenberg
• Written by: Charles Edward Pogue, David Cronenberg
• Cast: Jeff Goldblum as Seth Brundle, Geena Davis as Veronica Quaife, John Getz as Stathis Borans, Joy Boushel as Tawny, Les Carlson as Dr. Cheevers & George Chuvalo as Marky.
• Genre: Drama, Horror, Mild Comedy, Science Fiction & Fantasy
• Duration: 96 Minutes (aprox)

The black facade unfolds from the daunting introductory credits only to reveal a ball room of all places, “very norm” respectable & not fly-like. What is more shocking is the onset prescience which quickly changes when Brundle whisks Geena Davis’s dominant Veronica Quaife back to his place for some off the cuff piano playing (actually scratch that, look at my pods).

“It’s too late, you’ve seen them I can’t let you leave here alive”

Jeff Goldblum plays a very believable Seth Brundle, nerdy with a quick witt to match, which mentally slows as the cancer like metamorphosis (from Brundle to Brundle-fly to - some kind of Mutant-fly) consumes his character. Geena Davis executes a brilliant likeness to “damsel” Veronica Quaife who retires from the dominant role as she falls deeper in love with the “fly like” “Brundlefly” as he loses more and more of his humanity to insect DNA.

“Goldblum is sublime in a rare leading role. Davis is also in top form. As a couple, they are so convincing and appealing that one regrets knowing that their love story will soon become a tragic horror movie” (TV Guide: 1986)
The narrative is strictly centralised around the daunting grubby Lab/home that Jeff Goldblum occupies, with his transformation as the focal point.

The Transformation
“David Cronenberg's triumphant reworking of the 1958 Vincent Price flick remains his most accessible film, meshing his perennial obsessions with disease, decay and metamorphosis into an exuberantly handled, shamelessly melodramatic love story - albeit a love story in which one partner is a pus-packed bluebottle.” (Empire: 1986)
Despite good intentions trouble was evident in the earlier stages (as was the 1958 original) from Brundle’s prior experiment (turning a Monkey inside out, don’t worry we’ll be using your brother next). After a surprising secondary success (with Monkey number 2) Brundle takes a drunken spin in his tele-pod with an unwelcomed house guest (the name gives it away). Following his transportation Brundle’s alteration begins from the inside out (at cell level), initially affecting his mental status and finally his physical appearance.

The metamorphosis is a slow process (for the duration of the entire film) that begins with a comedic super human angle (Brundle doing crazy acrobatics on a number of convenient sturdy balance poles & unleashing tirade after tirade of verbal diarrhea over lunch with a very confused, albeit foxy Veronica Quaife).

“Do you take coffee with your sugar?”

Things quickly become hectic as the fly DNA begins to mutate into Brundle’s thought structure, causing him to think more highly of himself and his own genius. Following this, the fly... erm Brundle begins to look like a junkie with blotches appearing on his face marring his once clean look.

Figure 2. Brundle’s finger nails allow him to confirm he has problems.

The film allows time to progress for a further 4 or so weeks before returning to the even more fly-like Brundle, with him much more aware as to his situation and a rather gruesome skin condition. Following the loss of more human appendages (which Brundle stores in his bathroom cabinet) and his new fly like digestion vomit, Brundle acquires wall climbing abilities as more of his humanity is stripped away with his sanity.

“The film's visual parallels resonate as strongly now as they did in 1985 - his augmented strength, not mention deteriorating complexion, could just as easily be a result of steroid use, and there are any number of debilitating diseases that correlate with Seth's loss of limbs, etc.” (Gilchrist: 2005)
“I'm saying I - I'm an insect who dreamt he was a man and loved it. But now the dream is over... and the insect is awake”

With Brundle’s final elements of humanity still lingering, one cannot help but feel sorry for the poor Brundle as he finally gives up the ghost and just accepts what is happening to him. However, the compassion is abruptly turned to fear as Brundle goes insane over the idea of poor Veronica bearing his child, to which he kidnaps her from the safety of the abortion clinic.

Figure 3. “Help me be Human”.

The final scene sees Brundle in a grotesque display shift to his final fly like form as his final layers of humanity are stripped away with his entire face revealing the monster that he has become; this is when the narrative arch does a 180 degree turn into sheer horror.

A fly’s transformation also nods to the moral dilemmas of the period to which it was released (namely the aids pandemic) subtly trying to teach movie goers to practice safe sex. The message extends into child birth when foxy Veronica dreams that she is giving birth to a maggot (the fly’s kin). It could very well have worked, the film doesn’t hold back on the un-well dilemmas surrounding Brundles cancer-like transformation to Brundlefly...

Figure 4. Regurgitated lunch anyone?

To Summarize

The remade 1986 version of “The Fly” was more reliant on the use of the central protagonist “Brundle” which was strange considering the original was based more on the dilemmas facing the in house spouse “Helene” with a murder enquiry surrounding her husband.

For the most part the concept works but some people prefer a static genre that pertains to a film they would consider. The Fly tries to be multiple genres and in some cases tries too hard.

“A film that tries to be too many things at once - funny but not campy, sad and scary, a horror story and a human tragedy” (James: 1986)
The special effects were the updated factor, allowing Director David Cronenberg to go into greater depth with the transformation Brundle to Brundlefly. The set designs were limited (mainly Brundles Lab) as the focal point was the scientist himself, which probably left room in the budget for all of the gruesome special effects. Brundle’s slum apartment/lab was more believable as the locale for a fly where as the 1958 film lab felt too upper class for something as grubby as a fly to inhabit.

The transformations were succinct with both films, namely the mental battles of man vs. Fly but the 1958 film did not develop the fly’s transformation to its full extent, which is probably why the 1986 version made a greater splash in the industry pool.

Figure 5. They both have their strengths and weaknesses.

The original (1958) flashback was a unique way of working to the demand of the narrative wrapping the audience up in a web of mystery, causing them to constantly second guess themselves, knowing a fly has to show up at some point. While the more “grotesque” 1986 version reverted to the basics of the original concept (he’s a man who becomes a fly - and it’s just as simple as that).


List of Illustrations

Figure 1. The Fly 1986 Poster Art. (com) [Online image]. At: (Accessed on: 21/09/11)

Figure 2. Brundle’s finger nails allow him to confirm he has problems. (com) [Online image]. At: (Accessed on: 21/09/11)

Figure 3. “Help me be Human”. (com) [Online image]. At: (Accessed on: 21/09/11)

Figure 4. Regurgitated lunch anyone? (com) [Online image]. At:
(Accessed on: 21/09/11)

Figure 5. They both have their strengths and weaknesses. (com) [Online image]. At: (Accessed on: 21/09/11)



TV Guide. (2007) The Fly Review At: (Accessed on: 21/09/11)

Empire. (1986) The Fly Review At: (Accessed on: 21/09/11)

Gilchrist, Todd. (2005) The Fly - the Collector's Edition Review At: (Accessed on: 21/09/11)

James, Caryn. (1986) The Fly - Movie Review At: (Accessed on: 21/09/11)

Monday, 19 September 2011

Unit 1: Anatomy - Review - Kurt Neumann's The Fly (1958)

Figure 1. The Fly 1958 Poster Art.

The original Kurt Neumann take or rather the “soft” classic about a genetically altered part man part fly. The film is set on the sloping end of a fifties film high, promoting an interesting combination of genre from mystery to comedy and back from comedy to tragedy.

• Directed by: Kurt Neumann
• Written by: James Clavell
• Cast: Charles Herbert as Philippe Delambre, David Hedison as Andre Delambre, Herbert Marshall as Inspector Charas, Patricia Owens as Helene Delambre & Vincent Price as Francois Delambre.
• Genre: Classic, Mystery, Suspense, Mild Comedy, Science Fiction & Fantasy
• Duration: 89 Minutes (aprox)

The film premise is set on a rather chilling night in Montreal. A woman is spotted dashing away from a crushed body in a hydraulic press (crushed not once but twice) and to think this tale would start out “in the norm”. The perpetrator of this menacing act is quickly identified as Helene Delambre, the spouse of a respected scientist (the recently crushed & dispatched) Andre Delambre.

“He put his head and his arm under the press. Why?”
“I cannot answer that question; coffee, Inspector?”

Patricia Owens character, Helene Delambre remains rather cold toward the beginning of the film, “swatting” away questions relating to the atrocious circumstances of her recently departed husband Andre. The tension only returns to the scene with the buzzing of an elusive fly which causes Helen to go crazy when the household servant reveals a fly swatter.

“Don’t swat the fly!” (Demands the crazed Helene)

Following a wave of regret Helene finally confides in her husband’s brother Francois who follows her account of his late brother’s demise (in the form of a flashback), initially introducing his brother’s latest invention.

An interconnected relay shifting the containing matter of box 1 to box 2 (aka teleportation), Andres (unstable) experiments expand from lifeless matter to his poor helpless cat & then quickly to a guinea pig which to everyone’s surprise doesn’t disintegrate.

“Into space... a stream of cat atoms...” (Says the happy go lucky Andre)

The use of haywire experiments only work to inform the audience that something is going to go wrong with this happy go lucky scientist, fearlessly playing with fire. The introduction of the transformed Andre is rather sudden with the climax buried under the cloth containing a very mute Andre – part fly, part man.

Figure 2. Andre Hides his Face.

The moment of transformation when Andre comes in contact with the fly is not visually demonstrated, the circumstance is merely understood by cryptic typewriter messages left to his dear wife Helene on his lab door.

“Knock once for yes and twice for no” (instructs Helene)

Following Helene’s introduction to her partial husband (part Jekyll, part Hyde), the basic interaction breaks down to knocks on a table (to communicate yes or no) and over edge ear piercing screams - namely when Helene finally sees what has become of her husband. Andre’s instincts increasingly become more primal as he fights off the fly’s nature to dominate his body for as long as possible, or long enough for Helene to find the illusive white headed fly.

“Silly it may be but the tension is quickly cranked up as Hedison realises he has to find the fly so that he can try to reverse the damage.” (BBC Movies: 2007)
“I said catch them don’t kill them” (says Helene rooting around a fly carcass)

The missing head and left arm of Andre is in fact merged onto the front of a tiny fly which the body of Andre wishes to capture to remerge he and the fly’s atoms (as if it would work out the second time). It is only after a prolonged period that the body of Andre grows weak against the advances of the fly’s DNA, which causes Andre in a last act of desperation to destroy himself, ultimately ending in a tirade of anger & the destruction of his lab.

Figure 3. Andre’s Transformation is revealed.

The chase for the untamed fly with a tiny arm and head attached (or the white headed fly) is the only factor to confirm the sanity of murderess Helene after the crushing of Andre/fly’s body, which is briefly seen by the audience & not by Andre’s trusty brother Francois. Not even when Andre is uttering “Help Me” in a high pitched stupor as he lay caught in a spider’s web.

“Matter cannot be transported” (says Inspector Charas before seeing the remnants of Andre in a spider’s web)

The film almost ends in a down note when Helene’s story is considered bogus (who exactly could comprehend such a tale). When everything appears to be over with the cuffs going on Helene, her son Philippe appears from the fray to inadvertently inform Francois about a white headed fly caught in a spider’s web. Francois and Charas depart to the illustrious bench containing the web, fly & SPIDER.

Figure 4. A closer look at the Web.

“I shall never forget that scream as long as I live...” (Says Inspector Charas following the demise of Andres second half)

“We never could get it all out,” said Vincent Price of the scene’s filming. “We were playing this kind of philosophical scene, and every time that little voice [of the fly] would say ‘Help me! Help me!’ we would just scream with laughter. It was terrible. It took us about 20 takes to finally get it.” (Biodrowski: 2007)
Following Andres exit the film resolves and everything appears back in the scope of normality. Helene is no longer a murder suspect (I wonder how they got the charges dropped), Francois gets to move in on his brother’s wife and everything appears to be right in the world. Philippe’s mentality is the only one to remain ignorant to the fate of his father to which Francois decides to sum up in the form of an off the cuff pleasantry.

“Well Philippe he died because of work” (Says Francois as he wonders into the distance with his brother’s family).

To Summarize

The narrative of “The Fly – 1958” was told from an interesting perspective point, the use of the flashback arch added to the depth of the central character on & off screen. The beginning of the story was particularly strong with questions retaining into who Helene had murdered and why?

The cast (particularly Helene) played their roles accurately (which I imagine would be difficult when pioneering a concept like this). The sound was impactful, a little grating (particularly Helene’s scream and the sound of the transporter warming up) but it worked for the role it had to play.

The crazed exploration for a fabled white headed fly certainly aided the films comedic elements; Helene looked particularly crazy when fussing over flies.

Figure 5. Help me! Help me!

The tragic nature of the film was lost due to a helium pitched “help me” and a fast paced resolution tying the ending up with a neat little bow. All being said the film is a classic and inspired other greats to expand into this form of creativity. While it is not without its flaws it had its peak in the fifties & is still an acceptable form of entertainment in today’s industry.

This entertaining fantasy film has become a popular cult classic, but also a film that has been often held up to ridicule and scorn. It manages to draw a fine line between black humor and the taking of its absurd tale seriously. That it plays it straight with mock seriousness becomes both the film's strength and weakness. (Schwartz: 2007)
List of Illustrations

Figure 1. The Fly 1958 Poster Art. (com) [Online image]. At: (Accessed on:20/09/11)

Figure 2. Andre Hides his Face. (com) [Online image]. At: (Accessed on:20/09/11)

Figure 3. Andre’s Transformation is revealed. (com) [Online image]. At: (Accessed on:20/09/11)

Figure 4. A closer look at the Web. (com) [Online image]. At: (Accessed on:20/09/11)

Figure 5. Help me! Help me! (com) [Online image]. At: (Accessed on:20/09/11)


BBC Movies. (2007) The Fly Review At: (Accessed on: 20/09/11)

Biodrowski, Steve. (2007) The Fly (1958) – A Retrospective At: (Accessed on: 20/09/11)

Schwartz, Dennis. (2007) The Fly Review At: (Accessed on: 20/09/11)