Saskia Wallis

Constructing the scene was where I imported all of the components, to create the final scene. Which is now ready for lighting, colour blocking and texturing.

Fence fully modelled along with the ground plane, ready to put the scene together.

The barn fully modelled with UV's

Chicken coop finished with UV's

What if Metropolis OGR by Saskia on Scribd

Guidelines Outlines Final

Guidelines Outlines Final

Guidelines Outlines Final

Guidelines Outlines Final

Guidelines Outline Final

Outline Final

Crane Lamp post Windmill Scaffolding Water Temple Residential Building

Edward Scissorhands is a drama and fantasy film set in an American suburb, which was released in 1990. It is well known in representing ‘white flight’. This was a form of residential segregation around the 1960’s, where white Americans were moving away from the central cities and settling within the suburbs (that soon led to the increase in poverty). This film was directed by Tim Burton and has won multiple awards such as BAFTA, 20/20 Awards (Felix) and the Academy of Science Fiction, Fantasy and Horror Films USA (Saturn Award). The main focus of the plot was around the main character Edward, (who was an unfinished creation from an inventor who suddenly died) and how he was isolated from all of the other residents. In the beginning a grandmother is telling her granddaughter a story, of why it is snowing and where it comes from. It starts with a local Avon representative (Peg Boggs) working; as she was not able to get many sales, she ventures up an overgrown hill to an old and gothi

I created these thumbnails to finalise the positioning of the buildings, the matte painting is highlighted in green and the hero building is highlighted in blue. Compared to the concept painting I wanted to make the hero building more central to the frame and not obscured by any other buildings or objects.

For this animation, we were asked to look at the walking cycle. This consisted of multiple principles such was squash and stretch, pose to pose, arcs, secondary action and timing. This was done over 25 frames where the first and last frame were exactly the same. I started by creating the arc and then positioned the head and body throughout all of the frames, as they do not change in size. After I drew the legs for frames 1, 4, 7, 10 and 13, then worked between them (doing the same for the other half). I left the arms until last as they move in an opposite motion to the legs.

Within my influence maps, I looked into what objects that would be present in my scene alongside the different textures, materials, colours and shapes. I also was taking into consideration of how I would model the buildings.

This shows a barn that I have started modelling, using the same process from last week with the chicken coop. To complete this model, I need to add the smaller structure that sits on top of the roof.

Unfortunately I was unable to make it to the drawing session, so instead I focused on a range of different people. Using the 'art model tips' website for reference, I was able to include people of various shapes, sizes and positions. It has shown I need to practice more on the smaller details such as hands, feet and faces. I was also able to experiment with different types of charcoal, which consisted of white, light, medium and dark tones that helped with the shading.

One- Squash and Stretch This gives the illusion of the weight and volume of the character in motion. This is achieved by expanding and compressing the characters body. Two- Anticipation  This makes the audience aware that a major action is about to happen. It is often due to one or two small actions that take place beforehand. Three- Staging  Any action and pose should present clear intension. You should be able take the silhouettes of any of your characters poses and have an understanding of their action they are about to take or their feelings. The staging is also effected by the movement and placement of the camera, as it draws the eye to certain sections of the scene where the action is taking place. Four- Straight Ahead and Pose to Pose The pose to pose refers to drawing the key poses of your character first and then going back to fill in the transitions. This is ideal for dramatic/emotional scenes and makes them more accurate. On the other hand the straight ahead is th