Outbreak begining sketches...

For the game Outbreak, I've designed a few zombie and human drawings, just sketches to see what would work. I plan on drawing a few more human figures though just to have some variety...i figured more of the 8bit style would fit with the Human 1 (guy with hat) and characters like the other zombies and humans would fit into the cut scenes...

you can click and zoom in to see any detail...

(if any of the game designers would like to have a jpg of the image sent to them just let me know! ^_^)

computer space reading

While reading the article on computer space I found the idea behind space in computer programs to be really interesting. I play video games, but not a lot, so to think of space in a digital realm is kind of difficult for me. Though i really think this article helped me to understand a few key points. For one, i didn't know what sprites were. When i read the article i found out that they were just 2-d animated objects and characters, kind of like "pac-man" and "space invaders." The idea behind the name still confuses me a bit but i've definitely seen examples of this in several video games. Also, the idea that by simply adding shadows and reflections to characters/sprites can turn a 2-d space into a 3-d space is really interesting. I think it's funny that since there are basically two mapping planes being put together to create the game, the characters and the background, the system can't tell that it's to different layers, and therefore a 3-d space. It represents it as 2-d, not 3-d which makes the entire game seem flat.

One quote that i really enjoyed from the reading was "the space medium is objects mapped onto space." I think that this quote is trying to say that the space created in different mediums is nothing more than a background of space with objects laid overtop of it. It makes sense though, if you take a background, and lay objects overtop of it with shadows and reflections, our eyes are trained to see those objects in a spacial field. We instantly give these objects a positon and place on the background that they sit on top of. This even changes with the spacial field in videogames where, like the reading states, different levels, rooms and corridors can also lead to separate spaces. The more objects that are placed within different realms and levels, the more space is created.

Although i found a few helpful tips within the article, i also found a couple of things that i'd like to know more on. Such as polygonal modeling when creating 3-d worlds and a "3-D scene being a VRML-list of separate files." Overall though, i think that the idea of space in a medium that's essentially represented to us as 2-d (old games, pac man..etc) is pretty interesting, and that by adding a shadow or two i can turn this 2-d space into a 3-d space similar to reality.

Project 1 experimentations

I finally got some vaseline and it really ended up looking pretty cool overtop of some of the prints. I went out on a road trip and just took some shots along the way to finally try out the filter. My theme wasn't decided at this point but i eventually wanted to do works that incorporated Sally Mann's idea of a human presence in historic southern areas. Thanks Billy for coming up with the amazing idea to shoot at Point Lookout!

More Experimental shooting...

Trying different things out in front of the camera lens...

Experimental Shoot Photos

I shot these photos with a basic point and shoot camera, but manipulated the photos in abstract ways.


This is a photo of a car window with rain, I slightly moved the camera while shooting.

Same with this photo of a yellow flower bush, again I moved the camera to manipulate the photograph.


These two photos are of passing car lights. I kept my shutter open for longer than usual, capturing all the moving lights.






This is a photo of a forest trail at sunset. I turned the sepia setting on and increased the exposure settings.

Artist Inspiration # 1-Sally Mann

Sally Mann’s 8x10 wet plate collodian glass prints (a process that involves glass plates being coated in collodian and then dipped in silver nitrate, and then exposed while still wet) seem timeless and still. Her photographs in her Deep South series range from various landscapes and scenery in Louisiana and Mississippi.




This image is of a huge scar that is cut across the tree. The trees are as old as the plantation ruins that surround them and Mann’s photographs capture the vintage aura that remains there. “These pictures are about the rivers of blood, of tears, of sweat that Africans poured into the dark soil of their thankless new home,” writes Mann, remarking on the difference in tone between the “Deep South.”




One of the most interesting parts of the series is the absence of any human beings, even though the memory of them still seems to sit there. Mann seems to capture the sincere history of the south, but with an eerie essence.