Research Experiment 6

The language and communication of narrative through the creation of immersive character designs.

Characters are the life of any story, and the conduit to which a consumer carries themselves through the events of the story. The design of a character can be purposeful and metaphorical, but a successful character has their own personality and identity that makes a relatable connection to the consumer.

Through the creation of my own character designs, I want to communicate the personalities of characters, the usage of archetypes and thematic representation, and how technological advancements can affect character designs. I aim to make these characters immersive by adapting some of the techniques used in existing examples of real life architecture into my own designs.

Some examples of an immersive character design are the Spartan super-soldiers from the Halo series. (1) These characters are part of humanity's military force in the future, and wear full suits of armour while taking on dangerous missions. I believe these character designs to be immersive because the characters can still portray their personalities through unique gestures and stances while in their armour - which can be difficult to accomplish. These designs are effective in making a connection with the consumer while not showing the character's faces, and have practical designs that could be replicated in the real world.

A Mark-IV Spartan render in Halo Wars (Microsoft Game Studios, 2009) (2)

By reproducing the detail and structure of this character design, I was better able to understand how the components of the armoured suit fit together in a practical sense, as well as how the suit fits to the Spartan's body. This was helpful in me portraying the same identity that the super-soldier in the example has and I believe I was able to achieve that.

The series of mini-experiments focused on light, and how changing the amount or type of light around a character can affect what its design communicates. I started by changing the hue of the Spartan design to see if different colours would be more or less effective in portraying the original identity.

Next, I placed the Spartan in darkness, with a focus on the beams coming from his helmet lights. Interestingly, this changed the original stance of heroism and bravery, to one of mystery and caution.

I believe these were effective experiments because I discovered that by simply changing the colour of the armour, I could convey a different tone, and a focus on low-light conditions provided a clear transformation in what is being communicated. These experiments are small examples of what can break or add to the immersion of a character design.


From these experiments, I have managed to identify the characteristics of Halo's character designs, which will assist me in designing my own vehicles that effectively communicate a narrative. These characteristics are practicality, identity and detail. With these aspects in mind, I created an experimental response that relates to one of the fictional worlds from my Final Major Project.

This response is in the form of a character group illustration, showing some of the main characters from my FMP. I have used characteristics of character designs and adapted them to show technological advancements, archetypal representation, and the personalities of characters. This resulted in an image of three of the Mars military force soldiers, each with different identities as shown through individual stances, gestures, and weaponry.


Overall, this experiment inspired me to explore immersion through character designs using examples of fictional designs, as well as helping me to understand how identity and personality is communicated through the visual language of these designs.


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(1) Halo. (2001-2017). [Video-game series] United States: Bungie Studios / 343 Industries, Xbox, Microsoft.

(2) Microsoft Game Studios, (2009). A Mark-IV Spartan render in Halo Wars. [image] Available at: http://i.imgur.com/fuAfQoX.jpg [Accessed 16 Feb. 2017].

Research Experiment 5

The language and communication of narrative through the creation of immersive creatures and animals.

Fauna is the creatures and animals that have developed and inhabited certain worlds. As these animals evolve, they can adapt to their environments, so it is important for artists to have their own animal designs reflect the nature that they exist in. This means there are many possibilities when designing realised fauna.

Through the creation of my own fauna, I want to communicate the effects of civilisations on creatures and animals, the variety of natural life on planets, and its symbiotic relationship with flora. I aim to make these creatures immersive by adapting some of the techniques used in existing examples of real life architecture into my own designs.

Many examples of immersive fauna come from Animal drawing by Charles R. Knight. (1) The illustrations in this book show how to draw many types of animals and are graphic in style. I believe this fauna to be immersive because the creatures and animals are presented in a photo-realistic style, and the artist has incorporated as much detail as possible to render them realistically and true to form.

Animal drawings (Knight, 1982) (2)

By reproducing the detail and realism of these examples of fauna, I have been able to understand how artists take into account more than the appearance of the creature. Many elements of an animal must be considered while producing a faithful representation of them - including things that are unseen, such as the psychology of the animal. This helped me to comprehend the complexity and craftsmanship of a graphic illustration, and how to better render fauna using this understanding.

The first series of mini-experiments was looking at location, and how fauna would be perceived in different habitats. Firstly, I drew a dolphin and schools of fish swimming in the air, high above the Earth. This is a major juxtaposition to what we would normally see of fish, and this results in an interesting image.

Next, I drew birds of prey inhabiting mountaintops, which gave me an opportunity to present these fauna in different stances and off different shapes. There is a sense of depth here with the mountains reaching into the distance with birds flying around the peak.

I believe these were effective experiments because they show fauna in locations that are not their own, and this clearly results in a change to how we perceive these animals.


The next mini-experiment was based on weather, and how it affects fauna. For this experiment, I recreated a classic image of buzzards circling above a cracked, dry ground. This is meant to represent a drought that has dried up the land, and these birds of prey are waiting to pick off the weakened surviving creatures.

I believe this was an effective experiment because it is simple and iconic, and is imagery that a lot of people are familiar with. This makes it easier to see this scenario happening in real life.


The final mini-experiment was into light and how switching the colours of animals can alter how we percieve them. For this experiment, I used darker colours for the naturally brighter animals, and lighter colours for naturally darker animals. This resulted in a confusing mix of fauna that lose their personal identities.

I believe this was an effective experiment because it helped me to see how far I could experiment with the colours of fauna until they lost a clearly communicated narrative that the individual animals are usually known for.


From these experiments, I have managed to identify the characteristics of real life fauna, which will assist me in designing my own vehicles that effectively communicate a narrative. These characteristics are detail, form and identity. With these aspects in mind, I created an experimental response that relates to one of the fictional worlds from my Final Major Project.

This response is in the form of a chaotic landscape with creatures from my FMP. I have used characteristics of fauna and adapted them to show a variety of natural life on the planet, the effects that civilisation has on nature, and the symbiotic relationship between flora and fauna. This resulted in a merging of creatures with plants and foliage to create a chaotic nexus of life.


To summarise, this experiment inspired me to explore immersion through fauna using examples of real-life species, as well as how representations of creatures and animals can present a narrative that is communicated through the visual language of these types of fauna.

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(1) Knight, C. (1982). Animal drawing. 1st ed. New York: Dover.

(2) Knight, C. (1982). Animal drawing. 1st ed. New York: Dover, pp.24, 58, 88. 98.

Research Experiment 4

The language and communication of narrative through the creation of immersive plants and foliage.


Flora is one of the most important aspects of the worlds of a story. The nature of a planet can be diverse and change drastically from world to world - giving artists freedom to design organic plants and foliage to create unique forms of life.

Through the creation of my own flora, I want to communicate the effects that civilsation has on plants and foliage, the variety of natural life present on planets, and its symbiotic relationship with fauna. I aim to make these plants immersive by adapting some of the techniques used in existing examples of real life flora into my own designs.

Examples of immersive flora can be found in James Cameron's Avatar. (1) The movie features the alien planet of Pandora, which is a lush paradise with many exotic forms of life. I believe this flora to be immersive because great care has been taken to connect the plants and foliage with the native inhabitants and creatures of the world, and the designs are unique while being grounded in reality.

Daytime on Pandora in Avatar (20th Century Fox, 2009) (2)

By reproducing the form and variety of this flora, I have understood the shapes that make up the plants and foliage of Pandora, and how each example is similar to real-life flora, though different enough to be distinct to the alien world. This was helpful in learning how to replicate the creation of diverse and organic designs for the flora of my own fictional worlds.

The first series of mini-experiments looked at how the architecture of flora can alter the narrative. I began by arranging the separate floral examples from Pandora together in a complex and forest-like scene. This created an image where plant-life was thriving.

Next, I simplified the arrangement to show a less-developed part of one of the planet's forests. This is immediately clear to not be as effective as a more crowded and vibrant arrangement.

I believe these were effective experiments because I was able to see how the composition and architecture of the examples of plants and foliage changed the intensity of what was being communicated. A more complex arrangement results in a stronger sense of narrative.


The next mini-experiment was based around location, and what this flora would look like if it were underwater, instead of on the surface of the planet. This resulted in more of the leafed plants appearing as seaweed and the conical plants fitting in well with their new placement.

After that, I created natural floating platforms to support the growth of these plants and foliage - hovering above an ocean. This location provided an interesting dynamic for the long willow-like plants as they drooped over the side of the rock platforms.

I believe this was an effective experiment because it showed me how the same floral elements could look in a different location. It also presented that the narrative that these elements previously communicated is given another layer of complexity by the body of water being present in both images.


From these experiments, I have managed to identify the characteristics of Avatar's flora, which will assist me in designing my own vehicles that effectively communicate a narrative. These characteristics are diversity and form. With these aspects in mind, I created an experimental response that relates to one of the fictional worlds from my Final Major Project.

This response is in the form of a landscape illustration, showing a future Earth city from my FMP having separated itself from the nature of the forest. I have used characteristics of flora and adapted them to show a variety of natural life on the planet, the effects that civilisation has on nature, and the symbiotic relationship between flora and fauna. This resulted in a natural environment that is present in my story, contrasted with a man-made environment of the future city.


In conclusion, this experiment inspired me to explore immersion through flora using examples of fictional designs, as well as revealing the narrative that plants and foliage can communicate through their visual language.

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(1) Avatar. (2009). [Film] United States: James Cameron, 20th Century Fox.

(2) 20th Century Fox, (2009). Daytime on Pandora, Avatar. [image] Available at: http://i.imgur.com/5LQtViA.jpg [Accessed 15 Feb. 2017].

Research Experiment 3

The language and communication of narrative through the creation of immersive vehicles and ships.

Vehicles are required for the inhabitants of a world to travel and even to reach other planets, and can range from small craft to massive ships. The design of these vehicles communicates a lot about how a species constructs objects, as well as how vehicles can fulfil a purpose.When designing vehicles, there is a rule about whether form should follow function, or vice-versa, and this decision is important in making a vehicle feel practical and immersive.

Through the creation of my own vehicles, I want to communicate the history and culture of the species that are a part of my own narrative, as well as their technological advancements and practicality of their vehicles. I aim to make these vehicles immersive by adapting some of the techniques used in existing creations of immersive worlds into my own designs.

One example of immersive vehicles can be seen in the Star Wars film series (1). Throughout the movies, many vehicles have been featured that help to expand the fictional history and world-building of the Star Wars universe. I believe these vehicles to be immersive, with designs that effectively communicate different eras and a clear distinction between the ruling faction and the underdogs in the galaxy.

Star Destroyer pursuing the Tantive IV in Star Wars Episode IV: A New Hope (Lucasfilm Ltd, 1977) (2) 

Lucas manages to communicate the struggle between the Rebellion and the Galactic Empire through the use of these two iconic vehicles in a single short scene. The design of the smaller Blockade Runner contrasts with the dominating arrowhead shape of the much larger Star Destroyer - which represents the wide expanse of the Empire and the fledgling ships the Rebellion has at their disposal. The high level of both practical and ornamental detail on both ships makes these vehicles seem almost real - as if the functions and layout of each has been carefully considered.

By reproducing the detail and design of some of these vehicles, I have learnt how functional design can mix with detailed form to create unique vehicle designs. This has helped me to understand that it is important to develop a practical visual identity for the various factions in my narrative, which will make the vehicles feel real and immersive.


The first series of mini-experiments focused on changing the detail and complexity of the designs, and how both form and function play a role in creating realised vehicles. I began by drawing some simplified Star Wars designs and discovered that by keeping the detail to a minimum, the iconic nature of the forms were still effective in portraying what each vehicle was.

Next, I illustrated some different designs with a high level of visual detail and noticed that while the chosen forms might not have been as iconic as the ones I previously referenced, the implementation of detail resulted in designs that felt more immersive than the simplified drawings.

I believe these were effective experiments because by changing the level of detail, I was able to understand how a realistic complexity of detail makes vehicle designs feel more immersive. However, I also found that a simple form can help the viewer to better visualise what is depicted and not get distracted by excessive detail.


The next series of experiments was based around changing the dynamic contrast of the composition and state of some of the vehicles, in order to see whether a different narrative could be communicated. The first element of dynamic contrast that I experimented with was perspective, in which I illustrated the aftermath of a Republic victory on an alien world. During the Clone Wars, the Republic fought against the evil Separatists to maintain peace on many planets, but I have created this image to show the cost of war and defending a world that is caught in the crossfire.

After this, I chose to experiment with role reversal for the two major factions of the Galactic Civil War. Firstly, I produced a scene with a larger Rebellion fleet than is shown in Star Wars, which changed the perception of this faction from the underdog to a competent threat to the Empire. The designs I used are pristine and not dirty and battered - making them seem like new and powerful vehicles when they are usually shown to be salvaged or in smaller quantities.

The other mini-experiment in this series was an effort to make one of the Imperial walkers less pristine and more dirty, which would seemingly change the perception of the Empire to the underdogs. However, making this vehicle look more worn did not help to effectively change the communicated narrative, and ended up making the walker seem more war-torn and intimidating.

I believe these were effective experiments as changing the dynamic contrast showed me that vehicles can be used in various ways to present different ideas, but the condition of these vehicles may not always lend itself to changing what is communicated through the pre-existing design.


The final series of mini-experiments was about how changing the weather can affect how certain vehicles in the Star Wars universe operate, and how a vehicle's interaction with its environment can affect the narrative. I created three illustrations that together show the effects of different weather has on three different vehicles.

The first shows a Republic Gunship in a rainstorm that is using mounted floodlights to illuminate the way, the second is a group of Geonosian fighters that are caught in a sandstorm, and the third is a Republic walker that is attempting to advance through thick layers of snow on an unknown planet.

I believe these were effective experiments because they were able to show how some vehicles operate in harsh conditions, which brings an added layer of immersion into the images, that fits naturally with the realised design of the vehicles.


From these experiments, I have managed to identify the characteristics of Star Wars vehicles, which will assist me in designing my own vehicles that effectively communicate a narrative. These characteristics are a balance between form and detail, a sense of symmetry and practical design. With these aspects in mind, I created an experimental response that relates to one of the fictional worlds from my Final Major Project.

This response is in the form of a poster advertisement for a new spacecraft that has been manufactured on one of the human worlds from my FMP. I have used characteristics of fictional spaceships and adapted them to the future history and technological advancement of humanity. This resulted in a ship that is connected to my story and has a practicality to its design. I also added a price label to the bottom of the poster that uses the in-universe form of human currency.


In summary, this experiment inspired me to explore immersion through vehicles using examples of fictional designs, as well as give some insight into the history and culture of humanity as a space-faring race, which is communicated through the visual language of these vehicles.


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(1) Star Wars. (1977-2017). [Film series] United States: George Lucas, Lucasfilm Ltd / Disney.

(2) Lucasfilm Ltd, (1977). Star Destroyer pursuing the Tantive IV, Star Wars Episode IV: A New Hope. [image] Available at: http://i.imgur.com/Vmzl6Mo.jpg [Accessed 13 Feb. 2017].

Research Experiment 2

The language and communication of narrative through the creation of immersive buildings and structures.

Buildings are the structures that the people of a story inhabit, and work with the environment to communicate the society and culture of the species. Artists and creatives can produce environments ranging from great cities and towns, to architecture in vast open lands where life could be present.

Through the creation of my own buildings, I want to communicate the history and culture of the species that are a part of my own narrative, as well as their technological advancements and the effects they have on nature. I aim to make these buildings immersive by adapting some of the techniques used in existing examples of real life architecture into my own designs.

Some examples of immersive buildings can be found in natural architecture. Many artists have made sculptures from natural elements which provide unique understandings of buildings being a part of nature. I believe these buildings to be immersive, and their elements communicate a timeless narrative about the simplicity of life and the freedom of nature.

Arena Salix at Schlepzig, Spreewald, Germany, 2004. (1)

Reed Chamber, Wildland and Wetland Centre, Arundel, Sussex, England, 2002. (2)

Just Around The Corner, New Harmony, Indiana, 2003. (3)

I have researched into a book called Natural architecture by Alessandro Rocca (4), where I found examples of natural architecture from art movements such as "Sanfte Structurum", and artists such as Chris Drury and Patrick Dougherty.

By reproducing the detail and architecture of these buildings, I have learnt how each one has been constructed, as well as how they manage to represent the natural elements that they are made from. This has helped me to also understand how natural architecture becomes a part of the environment, while still being inhabitable spaces. This results in these buildings feeling real and immersive.


The first series of mini-experiments was based on changing the architecture of the buildings. I began by illustrating a series of drawings that show each natural structure emulating a different architectural style. I chose to emulate the styles of Gothic, Neoclassical and Post-Modern architecture with this series, by adapting the characteristics of each style into the natural form of the buildings.

Next, I created drawings of natural architecture in different natural shapes/forms, including a large tree and a mountainous landscape. The inclusion of buildings that are a part of these organic shapes helps to create immersive structures that could be inhabited, and remain one with their environment.

I believe these were effective experiments because by changing the architecture, I was able to see how the natural elements impacted the buildings in order to make them feel immersive. I was also able to understand what architectural styles were not effective in achieving this immersion.


The next series of mini-experiments looked into changing the location of the natural architecture, and how changing the environment the buildings were in could change how they are perceived. Firstly, I experimented with drawing one of the natural architecture examples in a rocky, desolate area. This portrayed how these different forms of nature conflict with each other, and may break the immersion of these structures being created in the sparse environment.

The other mini-experiment in this series took another of the examples and put them together to illustrate a dense, populated area. As the opposite of the previous mini-experiment, this "city" of organic buildings achieves its own surrealist style.

I believe these were effective experiments as changing the location helps to remind me that the architecture of the buildings cannot simply stand alone and has to play off of other elements, such as the environment, and their asymmetrical nature is capable of leading to interesting results.


The final series of mini-experiments was about presenting natural architecture in dynamic contrast in specific ways. The first mini-experiment was a natural contrast of one side of an organic building being alive, while the other half is wilting and dying. The illustration is composed of various vines, flowers, and branches in the form of a non-organic building.

The last mini-experiment shows how natural structures grow near sources of strong sunlight, with shadows present in the areas hidden from the sun. Shape and colour are used well to indicate nature's need for sunlight in order to grow and prosper.

I believe these were effective experiments because they represent the balance between life and death, and how this could affect architecture made from natural elements, as well as showing the range of forms that could become inhabitable buildings.


From these experiments, I have managed to identify the characteristics of examples of natural architecture which will assist me in creating my own buildings that effectively communicate a narrative. These characteristics are a strong link to the nature of the environment, rounded shapes/forms, and an element of asymmetry. With these aspects in mind, I created an experimental response that relates to one of the fictional worlds from my Final Major Project.

This response is in the form of a poster, advertising a city on one of the alien worlds from my FMP. I have used characteristics of natural architecture and adapted them to the history and culture of the Chron'lar species. This resulted in an alien world that communicates narratives through the natural composition of buildings and the environment. I also added writing from the Chron'lar alphabet/language to the poster that translates to "Neos. Thodox. Home."


In conclusion, this experiment led me to explore immersion through buildings present in various examples of natural architecture, as well as revealing the narrative that these buildings communicate through their visual language.


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(1) Sanfte Strukturen, (2004). Arena Salix. [image] Available at: http://www.sanftestrukturen.de/Weidenbau/2004/2004.php [Accessed 9 Feb. 2017].

(2) Drury, C. (2002). Drawings for Reed Chamber. [image] Available at: http://chrisdrury.co.uk/reed-chamber/ [Accessed 9 Feb. 2017].

(3) Dougherty, P. (2003). Just Around The Corner. [image] Available at: http://www.stickwork.net/featured [Accessed 9 Feb. 2017].

(4) Rocca, A. (2007). Natural architecture. 1st ed. New York: Princeton Architectural Press, pp.72, 155, 166.