Overall very pleased with the outcome. After overcoming a lack of motivation and an excess of self-doubt and self-pressure I managed to produce work that I'm very happy with and explore a context that I'm interested in.
TO DO - write a balanced, in-depth and fair evaluation of my work in my own time in order to formally reflect on my practice.
Thursday, 31 October 2013
Friday, 18 October 2013
Design - Leonard's Rocket Launcher
What we need before we start drawing
He reached down into the large
canvas bag by his feet and pulled out a long tube, which he handed to
Nobby.
'I do apologize about this,' he said, producing a smaller tube and handing it
to Colon. 'I had to do things in such a hurry, there really was no time to
finish it off properly, and frankly the materials are not very good–'
Colon looked at his tube. It was pointed at one end.
'This is a firework rocket,' he said. 'Look, it's s got "A riot of coloured balls
and stars" on it...'
'Yes, I do so apologize,' said the man, lifting a complex little arrangement
of wood and metal out of the bag. 'May I have the tube back, corporal?' He
took it and screwed the arrangement on to one end. 'Thank you... yes, I'm
afraid that without my lathe and, indeed, my forge, I really have had to make
do with what I could find lying around... Could I have the rocket back,
please? Thank you.'
'They don't go properly without a stick,' said Nobby.
'Oh, in fact they do,' said the man. 'Just not very accurately.'
He raised the tube to shoulder height and peered into a small wire grid.
'That seems about right,' he said.
'And they don't go along,' said Nobby. 'They just go up.
'A common misconception,' said Leonard of Quirm, turning to face them.
Colon could see the tip of the rocket in the depths of the tube, and had a
sudden image of stars and balls.
'Now, apparently you two have to step into this alley here and come with
me,' said Leonard. 'I'm very sorry about this, but his lordship has explained
to me at great length how the needs of society as a whole may have to
overrule the rights of a particular individual. Oh, and I've just remembered.
You have to put your hands up.'
The voice behind them said, 'Oh, dear, this won't do at all, will it... ? I can't
deny it, you were quite right, the accuracy would be quite unacceptable at
any reasonable range. Could you bear to stop a moment, please?'
They turned. Leonard was already dismantling the tube.
'If you could just hang on to this bit, corporal... and, sergeant, if you would
be so good as to hold this piece steady... some sort of fins should do it, Im
sure I had a suitable piece of wood somewhere
Leonard began to pat his pockets.
The watchmen realized that the man holding them up had paused to
redesign his weapon and had given it to them to hold while he looked for a
screwdriver. This was a thing that did not often happen.
Nobby silently took the rocket from Colon and pushed it into the tube.
'What's this bit here, mister?' he said.
Leonard glanced up briefly in between patting his pockets.
'Oh, that is the trigger,' he said. 'Which, as you can see, rubs against the
flint and–'
'Good.'
There was a short burst of flame and rather more black smoke.
'Oh, dear,' said Leonard.
The watchmen turned, like men dreading what they were about to see. The
rocket had shot the length of the alley and through the window of a house.
'Ah... putting "This Way Up" on the projectile would be an important
safety point to bear in mind for the new design.' said Leonard. 'Now,
where's that notebook... ?'
'I think we'd better leave,' said Colon, moving backwards. 'Very fast.'
Inside the house there was an explosion of stars and balls to delight young
and old but not the troll who had just opened the door.
Extracted info:
2. Pre-determining some goal posts:
What can we decide on as pre-set rules for the design before we start? Let us play the role of art-director. We want to create some solid walls to work within due to the small amount of time we have.
Trying to create something that looks
3. Brainstorming, research and reference images
a. Brainstorm:
Creating a sense of low accuracy
View collected reference images on Pinterest here: link
Images selected varied reasons. Sometimes for direct reference, other times to try to help generate ideas.
Making:
Colour tests
3D model created in order to setup camera, get accurate perspective, etc.
- Descriptions and info from text.
- Set CLEAR GOAL POSTS - decide some things as an art director before starting work as a designer.
- Brainstorming, research and reference images.
1. References from Jingo
He reached down into the large
canvas bag by his feet and pulled out a long tube, which he handed to
Nobby.
'I do apologize about this,' he said, producing a smaller tube and handing it
to Colon. 'I had to do things in such a hurry, there really was no time to
finish it off properly, and frankly the materials are not very good–'
Colon looked at his tube. It was pointed at one end.
'This is a firework rocket,' he said. 'Look, it's s got "A riot of coloured balls
and stars" on it...'
'Yes, I do so apologize,' said the man, lifting a complex little arrangement
of wood and metal out of the bag. 'May I have the tube back, corporal?' He
took it and screwed the arrangement on to one end. 'Thank you... yes, I'm
afraid that without my lathe and, indeed, my forge, I really have had to make
do with what I could find lying around... Could I have the rocket back,
please? Thank you.'
'They don't go properly without a stick,' said Nobby.
'Oh, in fact they do,' said the man. 'Just not very accurately.'
He raised the tube to shoulder height and peered into a small wire grid.
'That seems about right,' he said.
'And they don't go along,' said Nobby. 'They just go up.
'A common misconception,' said Leonard of Quirm, turning to face them.
Colon could see the tip of the rocket in the depths of the tube, and had a
sudden image of stars and balls.
'Now, apparently you two have to step into this alley here and come with
me,' said Leonard. 'I'm very sorry about this, but his lordship has explained
to me at great length how the needs of society as a whole may have to
overrule the rights of a particular individual. Oh, and I've just remembered.
You have to put your hands up.'
The voice behind them said, 'Oh, dear, this won't do at all, will it... ? I can't
deny it, you were quite right, the accuracy would be quite unacceptable at
any reasonable range. Could you bear to stop a moment, please?'
They turned. Leonard was already dismantling the tube.
'If you could just hang on to this bit, corporal... and, sergeant, if you would
be so good as to hold this piece steady... some sort of fins should do it, Im
sure I had a suitable piece of wood somewhere
Leonard began to pat his pockets.
The watchmen realized that the man holding them up had paused to
redesign his weapon and had given it to them to hold while he looked for a
screwdriver. This was a thing that did not often happen.
Nobby silently took the rocket from Colon and pushed it into the tube.
'What's this bit here, mister?' he said.
Leonard glanced up briefly in between patting his pockets.
'Oh, that is the trigger,' he said. 'Which, as you can see, rubs against the
flint and–'
'Good.'
There was a short burst of flame and rather more black smoke.
'Oh, dear,' said Leonard.
The watchmen turned, like men dreading what they were about to see. The
rocket had shot the length of the alley and through the window of a house.
'Ah... putting "This Way Up" on the projectile would be an important
safety point to bear in mind for the new design.' said Leonard. 'Now,
where's that notebook... ?'
'I think we'd better leave,' said Colon, moving backwards. 'Very fast.'
Inside the house there was an explosion of stars and balls to delight young
and old but not the troll who had just opened the door.
Extracted info:
- Two tubes - the launcher and the rocket
- Launcher tube - material unknown
- Rocket tube - pre-made, shop bought rocket, "A riot of coloured balls and stars"
- Inaccurate - no fins or stick to stabalise flight
- Complex arrangement of wood and metal screwed to one end = trigger device
- Trigger - rubs against flint which fires rocket
- Rocket may be put in upside-down necessitating a future addition of 'this way up'
- Rocket = not accurate, no fins or stick
- Small wire grid = aiming sight
2. Pre-determining some goal posts:
What can we decide on as pre-set rules for the design before we start? Let us play the role of art-director. We want to create some solid walls to work within due to the small amount of time we have.
Trying to create something that looks
- inaccurate
- hand made without a sense of polish
- cobbled together from 'what I could find lying around'
- metal and wood construction, brass or copper sheets, rough cut wood
- Functional, no unnecessary decoration or apparent deliberate aesthetic considerations
- rocket - cheap looking, faded and colourful, old english lettering, very long fuse that gets locked into trigger (to make plausible the fact that it can fire the rocket when put in backwards)
Creating a more complex paragraph description using some of the self-decided aspects above:
Leonard has been instructed by Lord Vetinari to leave the boathouse and the Going-Under-The-Water-Safely-Device to find Colon and Nobbs. Leonard must get them return to the boathouse by any means necessary. Vetinari instructs Leonard to hold-them-up using a weapon. Leonard then sets about quickly putting together a rocket launcher from whatever material he can find lying around.
3. Brainstorming, research and reference images
Creating a sense of low accuracy
- remove physical design features that give accuracy - fins, aerodynamic shape, stick
- shorter, stumpier shape - less accurate
- breaking up the straight streamlined shape with other forms
Creating a sense of home made, un-polished weapon
- home made fireworks, potato guns, etc
- simplistic construction - few parts, few joins, etc - quick and simple
- or more complex construction - made out of a lot of small bits of scrap
- indications of material's previous uses - stickers, stamps, signs, paint, things affixed to, etc, or recognisable shapes from other objects
- what would be near a boathouse that could have parts scavenged from?
- boat parts, rigging, port-hole rings, iron bands masts
- fishing lines, reels, nets, fish hooks,
- the river would pick up any trash from anywhere in Ankh Morpork
- so tin cans, brass instruments, shop signs, cart wheels, chimneys, metal pipes/plumbing (period accurate?)
b. Technical research:
Looked at a range of pages to get ideas for reference images, including the following links:
c. Reference images:
View collected reference images on Pinterest here: link
Images selected varied reasons. Sometimes for direct reference, other times to try to help generate ideas.
- form reference of the real-world objects this fictional object alludes to (bazookas, RPGs etc)
- historical examples of projectile weapons and their functioning (handgonne, etc)
- real-world home-made potato-guns (high power handheld cannons)
- general visual design reference of real-world firework rockets of varying shapes and levels of intricacy
- visual design reference of home-made firework rockets - blunt-nosed and very inaccurate-looking
- examples from Fallout 3 (video game) of imaginative weapon designs featuring amalgamation of other utility objects
- visual reference of examples of firework packaging - that low-quality print look
Making:
Colour tests
3D model created in order to setup camera, get accurate perspective, etc.
Wednesday, 16 October 2013
Personal Development - Change of direction, simplifying project
Spoke with Rebecca and after some thinking I decided that a science fiction translation of a fantasy novel is too difficult a task for a junior concept artist.
It would be a more appropriate solo project for a junior Concept Artist to do a more or less direct translation of the book Jingo.
It would be a more appropriate solo project for a junior Concept Artist to do a more or less direct translation of the book Jingo.
Research (design theory, drawing skills) - Matt Kohr's CtrlPaint.com videos
Been having a really hard time dealing with my anxiety surrounding this semester.
Hard to find a starting point for my Discworld redesign. What process should I use? Etc.
Talks about the three steps of drawing something.
Using 3D rendering to simulate light and set up photorealistic light/colour experiments. Also looking at other people's renders.
Material/surface studies - VRAY material samples that have been rendered out to realistically simulate different surfaces, from copper to alligator skin.
Using reference in character designs. Doing a real-world profession (scuba diver) using real world reference imagery. "These sort of exercises or jobs help you build your visual library for costuming and improve your ability to generate sci-fi and fantasy characters"
Taking fashion references from The Sartorialist fashion website and drawing them using gesture, angular block in and contour drawing.
Taking real-world visual information into our visual library for use in our fantasy or sci-fi drawings and designs.
Focusing studies on what we're not good at.
Lots of time wasted searching for references! So the 'Drawing Script' at lovecastle.org/draw is a great resource for giving you images and even setting time limits on how long the image is displayed for.
Note: lovecastle.org seems to no longer exist. This website offers a similar service: artists.pixelovely.com
Visual tangents or the intersection of edges with other edges. When an edge just touches another edge, the depth becomes confused. Tower of Pisa, etc.
We also don't want to draw attention to the presence of the picture plane (that is, to the fact that it's a picture). Keep away from objects intersecting with the corners of the composition.
Obviously use subjectively - if we want to draw attention to the point where two edges or a line and a corner are touching (either physically or despite depth) for symbolic or narrative purposes then we are allowed to do this.
A very design-focused video. Matt talks about how he revisited a painting and realised that the design could use some work. The rear overhang as seen in the above thumbnail, as well as the somewhat complicated face (in terms of general form) needed some work.
The back: He wasn't sure what the overhang at the back was accomplishing. He wanted a more continuous silhouette and wanted to de-emphasise the back of the vehicle.
The front: A bunch of different plates at different angles - it was noisy. A lot going on. Removed a lot of plates, simplified. More angular, sharper. Seems to be a way of making the face fit more conherently with the rest of the form to create a more coherent character. We see the front of vehicles as faces. Headlights, windows, whole front area is where we get a large sense of the vehicle's character from. Character intended here: angular and tough. So angular shapes.
Usefulness of fresh eyes later on - last couple of percent of work made it a really strong design, made possible by fresh eyes.
"You can know about technique and be a great renderer but still make bad design choices - and the end result is that it doesn't look as strong as it could".
Some more general notes on design processes and iterations:
From the Conceptart.org thread called 'Game Art - Advice from Someone in The Industry'
A member called Hiddnfox who had at the time of posting (in 2007) been in the video game industry as a UI artist for 3 months as an intern posted the following:
Hard to find a starting point for my Discworld redesign. What process should I use? Etc.
Doing some research to get a clearer image regarding how I can approach the initial stage of this project as well as to reestablish my motivation and general sense of stability.
Looking at a range of Matt Kohr's video tutorials.
Talks about the three steps of drawing something.
- Reference images/reference sheet from photos and also other artists' sketches and paintings
- Contextual/real world understanding of where the object exists
- Practice which forces us to look closely at the real forms and details sans our mental symbols
Sometimes it's not absolute realism but just believability created through use of relevant real-world shapes and details.
Using 3D rendering to simulate light and set up photorealistic light/colour experiments. Also looking at other people's renders.
Material/surface studies - VRAY material samples that have been rendered out to realistically simulate different surfaces, from copper to alligator skin.
Using reference in character designs. Doing a real-world profession (scuba diver) using real world reference imagery. "These sort of exercises or jobs help you build your visual library for costuming and improve your ability to generate sci-fi and fantasy characters"
Taking fashion references from The Sartorialist fashion website and drawing them using gesture, angular block in and contour drawing.
Taking real-world visual information into our visual library for use in our fantasy or sci-fi drawings and designs.
Focusing studies on what we're not good at.
Lots of time wasted searching for references! So the 'Drawing Script' at lovecastle.org/draw is a great resource for giving you images and even setting time limits on how long the image is displayed for.
Note: lovecastle.org seems to no longer exist. This website offers a similar service: artists.pixelovely.com
Visual tangents or the intersection of edges with other edges. When an edge just touches another edge, the depth becomes confused. Tower of Pisa, etc.
We also don't want to draw attention to the presence of the picture plane (that is, to the fact that it's a picture). Keep away from objects intersecting with the corners of the composition.
Obviously use subjectively - if we want to draw attention to the point where two edges or a line and a corner are touching (either physically or despite depth) for symbolic or narrative purposes then we are allowed to do this.
A very design-focused video. Matt talks about how he revisited a painting and realised that the design could use some work. The rear overhang as seen in the above thumbnail, as well as the somewhat complicated face (in terms of general form) needed some work.
The back: He wasn't sure what the overhang at the back was accomplishing. He wanted a more continuous silhouette and wanted to de-emphasise the back of the vehicle.
The front: A bunch of different plates at different angles - it was noisy. A lot going on. Removed a lot of plates, simplified. More angular, sharper. Seems to be a way of making the face fit more conherently with the rest of the form to create a more coherent character. We see the front of vehicles as faces. Headlights, windows, whole front area is where we get a large sense of the vehicle's character from. Character intended here: angular and tough. So angular shapes.
Usefulness of fresh eyes later on - last couple of percent of work made it a really strong design, made possible by fresh eyes.
"You can know about technique and be a great renderer but still make bad design choices - and the end result is that it doesn't look as strong as it could".
Some more general notes on design processes and iterations:
From the Conceptart.org thread called 'Game Art - Advice from Someone in The Industry'
A member called Hiddnfox who had at the time of posting (in 2007) been in the video game industry as a UI artist for 3 months as an intern posted the following:
I have a couple spaceship thumbnails in my portfolio linked in my sig down below so you can get an idea. After that I pick between 3-6 of them I like the best and 'flesh them out' a bit. Meaning throw up some shadow/highlights and put some bulk into it. I show this to the designers and they converse about it a bit and then I work on 1-2 ideas based on their feedback.So essentially he
- did 20-25 thumbnails
- selected between 3-6 of them to flesh out a bit with some shadows, highlights and 'bulk' (detail?)
- showed the results to the designers
- worked on 1-2 ideas based on feedback
In the same thread, the thread-starter, a member called 'Seedling', discusses the idea of getting into other jobs within a company if getting a CA job is difficult. (2006)
He talks about jobs within the game industry such as low-poly modeller/texturer, tech artist, UI artist, effect/sprite artist, etc. There must be analogues within film as well - storyboarding, matte painting, etc.
From the Denver Comicon 2013 panel - 'So You Wanna Be A Concept Artist'
Defining:
Concept art - setting a tone
Production art - moving towards the product
However it seems from FZD videos and other resources that concept artists often do both.
Re: portfolios:
"Frantz added that artists shouldn't show anything you wouldn't want to be working on the rest of your life. He offered the anecdote of an artist who had a stylized illustration of a dog in his portfolio and ended up working on commercial art for pet food the rest of his life.This of course doesn't mean artists should limit what they share in portfolios. The works should strike a balance that shows diversity, but won't limit prospects. If you're best work is an illustration of a duck, diversify and improve your style in other areas, unless you want to be creating ads for hunting magazines the rest of your life. It's a highly competitive market, so it's easy to get pigeonholed."
A LOT of importance placed on fundamentals of illustration. Does this include design?
Design - Detritus' Cooling Helmet (Making)
Step 2 - Visual brainstorm and creation of 5 different ideas for the AD to choose from
To find the overall character of it do a variety of five thumbnails looking at various ideas - a really protective one, one that looks really fragile, one that looks really solid and enclosed, etc. Look at brainstorm above for ideas.
Problem - what size and scale should I be aiming for?
Use Kirby's design as a guideline for scale.
Some quick solving through the image I drew up below (using a found image of Kirby's illustration) shows that the helmet itself as it sits on the top of Detritus' head would be 1.5 to 2 times the size of a regular human helmet. Found size of human by taking the scale of Kirby's crossbow to gauge the approx scale of a 6 foot human, if we bear in mind that the bolt of the crossbow is 6ft long.
http://www.hireanillustrator.com/how-to-commission-an-illustrator.pdf
Select 5 for AD to select from
First knock out the ones I don't like at all
Outcome - experimented with generating ideas then developing them by working around the page. A very interesting and imaginative exercise that works well I think - can generate new and more interesting ideas.
Select critical analysis of this series of images:
As I drew I was thinking about how they looked, whether they were too silly looking/not serious enough, etc, whether the direction-of-gaze of the helmet was still well defined, whether there were any misleading reads in terms of function (helmets looking like construction hats, miner lamps, etc). Some That looked too bizzare or unusual and instinctively wrong. Some also that looked too futuristic, etc.
- Finding ways to add the fins was difficult. Not really any commonly seen real-world analogues to help get the message across. Computer heat-sinks are one analogue but only a specific audience will understand that. Heating radiators could work, but they are described as 'big fins'. Difficult subject matter. I feel the ones that work best are the ones that serve an aesthetic purpose as well.
- Traditional English bobby helmets were the initial experiment. Looking at ways of attaching fans and cooling fins. Perhaps too modern for the general implied time period of the story.
- Roman helmets gave an interesting opportunity to use existing forms (the tall brush-like fans) to my advantage - to turn them into the cooling fins.
- Also experimented with adding a cap-like bill to the front in place of a visor as an addition to keep the sun off Detritus' face. This one feels a quite playful and innocent, with the bill, the central fan and the hanging cheek guards coming together to create an effect like a modern day child's cap. Cheek guards in this particular combination look like playful, hanging earrings, etc.
- Images with horizontal fans on the top of the helmet are all discarded: we'd see Detritus mainly from the front or just below - human head height - in the film. So it makes more sense to have the fans on the sides rather than on top - contextual importance of the read. Fans on top make certain storytelling events necessary where there may otherwise be no point, that is Detritus would have to take it off or bend over to show us that there is a fan on top. More difficult read on the design that requires specific acting to facilitate.
- Flat-topped helmets. Filed down the spiked fans to give a less aggressive appearance. Feels stouter, more solid, more protective. Fins on top makes sense - heat rises. Holes near fins makes sense - fan air can easily rise and help cool fins.
- Flat top with side fin - decided the fin was reminiscent of the side-hair that some balding men get.
- Used a curved join line to lead the eye from the front of the helmet to the fan at the side, then the eye may travel upwards to the fin on top.
- These two helmets look somewhat like contemporary 'bad-ass' helmets - the short curved fin on A is almost like a mohawk, while the spiked on on B combined with the shape of the helmet itself is almost like a biker-gang helmet.
- This whole series doesn't work for me. Big void does give some interesting opportunity for visible clockwork - something that may be useful in other designs later on.
- Spanish Conquest helmets - the same sort depicted in the filmic version of Going Postal. Personally not a fan of this style in this context, given the more English culture that I attach to Ankh Morpork. But I feel I should attach one of these just in case the AD is looking for it.
- Decisions re: spanish conquest helmets. I felt a tall and thin helmet wasn't suitable for Detritus' character - he is a tall but also wide, heavy, bulky figure. Therefore a relatively short, stout, and chunky helmet makes more sense. Like with bobby helmet I shortened it. Front-center fan on this shape looks like Miner helmet (lamp)
- More angular Spanish-style helmet. The angles and shortness give it a more fabric-look for some reason.
- Looked more closely at my plan throughout and experimented more widely with the dualities I listed.
- Dedicated some time to experimenting with putting different helmet shapes together as suggested in the information extracted from the text. The images generated here are all essentially just recreations of existing helmet styles in a larger scale, forgoing the idea that they could be a visual mash-up of two different styles. The idea presented is that Cuddy, the dwarf who created the helmet, based his design off of an existing style. Maybe the result is therefore more refined.
- There is a certain 'safety' to the approach I used however in that by using existing styles we ensure that the final design reads as a helmet and not as something else.
- Experimented with having exposed clockwork as a central and prominent part of the design so that it's clear in the initial read. At this point if visible it will have to be inserted on a smaller scale for a closer read.
- Experimented with abstracting the helmet shapes a little more.
Step 3 - Getting the Dice Art Director to pick one to define the direction of later design.
Original goal of 5 designs for AD was missed - got 2 that I was happy with to take forward to the next stage.
Flipped a coin - ended up with the flat-top helmet.
What are the attributes and character of the flat top design (and therefore what are we looking to express in a more resolved manner through further design)? Also note whether these are in-line with the basic 'nature' of Detritus (large, bulky, strong, somewhat unintelligent, can be violent, honour/loyalty, etc) or conflicting with his nature. It's alright to be conflicting - this is a helmet built for him by another person. If there are conflicts, we may explore those or push those further. Remember these are now decisions made by the AD based on his choice of helmet.
- Sturdy, solid, strong, supports Detritus (simple silhouette, blocky, angular, square-ish and tight bounding box)
- Bulky, slow-moving, supports Detritus (short broad shape, no fast lines of movement forward, repeated pattern of circles around the outside of the form
- Technologically intricate, delicate inside, conflicts with Detritus (many small motors instead of one large one)
- Some functional vertical motion with the output of hot air from the top and intake of hot air from the sides.
So desired things we want to communicate are:
bulky, sturdy, strong, slow-moving, technologically intricate and perhaps delicate under the shell of the helmet.
Aim - look at playing with these and the design principles to further explore the above attributes. Do variations, pick one to take to a final. Do it quickly! 1.5 hour max. Needs to be done TODAY.
Step 4 - Developing this chosen design
Ran through experiments to emphasise the desired attributes defined in the previous step.
Critical analysis of some decisions made:
- Increased the scale of the fans to give a better sense of bulkiness and slower speed, more power.
- Realised I wanted to bring more focus onto the face rather than the high contrast and busy upper area. Worked to add detail to that region.
- Flattened top completely instead of allowing it the spiked surface it had before. Flattened the cooling fins as well - there's no longer so much of an upwards-pointing form created, and the eye more easily falls down the form towards the base.
- Looked at adding relevant trims and coverings to joins. The horizontal ones also create a sense of a broader form, therefore more stable and sturdy.
- Tried straight vertical sides, but decided that the sloped sides helped point the eye downwards towards the face.
- Tried diagonal joins directly above the face to help point the eye into it - but diagonals that were this extreme were a bit too dynamic and high-energy for what was supposed to be bulky and slow.
- Tried to break up that large negative space on the lower-rear part of the helmet that we can see (that would cover the side of the cheek) by adding some join lines and rivets. This also balances the visual weight of the front area quite well.
- Played with the idea of removing the trim from the base at the back and just having a trim around the face (like a border) but I decided against this - it felt more stable and sturdy to have a 'cap' on the base at the back.
Let it ferment for an hour or so, came back. Some issues - the top part is a bit too busy and dynamic and doesn't really support the idea of heaviness and sturdiness and bulkiness - it's a very excited shape. An x or a t would be much more appropriate.
Also the circle shapes of the fans are in opposition to the idea of bulkiness and sturdiness. What if they were contained within squares.
Experiments with fewer fins in a cross shape, using flat squares to contain fans, using raised squares to contain fans, and varying the number/size of the vents.
Number 5 is the one to go on with. Big chunky sections for the fins to sit in, the squares around the fans really support them and give them a sense of being solidly mounted, the width of the fins described gives a great sense of being chunky and therefore heavy and bulky and slow. (maybe make more chunky in final image).
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