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Cchandler portfolio feb_09_16

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My most up-to-date portfolio as of February 09, 2016

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Cchandler portfolio feb_09_16

  1. 1. CHARLES CHANDLER DIGITAL PORTFOLIO charlespatonchandler@gmail.com
  2. 2. charlespatonchandler@gmail.com ADVERTISING DESIGN CGI MOTION PICTURE 2015 This poster and Facebook Cover Art Champaign for an upcoming Original animated project, was created using various programs such as Poser Pro 2014, Adobe Photoshop, InDesign and purchased GCI characters. This project is an attempt to expand my knowledge and skill in all areas of design and animation. Below is a link to a ‘Sneak-Peek’ of one scene and our Facebook Fan Page. YOUTUBELINK FACEBOOK FAN PAGE CHARLES CHANDLER DIGITAL PORTFOLIO 2
  3. 3. charlespatonchandler@gmail.com CORPORATE DESIGN BRAND IDENTITY 2013 This vector combination mark was conceived in an attempt to emphasize the purpose of the Academy visually; the teaching of beauty and makeup skills without showcasing the typical tools used in that field. CHARLES CHANDLER DIGITAL PORTFOLIO 3
  4. 4. charlespatonchandler@gmail.com CORPORATE DESIGN BRAND IDENTITY 2010 The combination mark of a restaurant based on the Arts and Crafts Movement. The name “Avalon” is the legendary land where King Arthur was taken after he died. CHARLES CHANDLER DIGITAL PORTFOLIO 4
  5. 5. charlespatonchandler@gmail.com EXHIBITION DESIGN LOGO & COLOR CONCEPT MUSEUM EXHIBIT 2011 Originally conceived for a school project, this is 1 of 3 logo and color design concepts for a potential ROM museum exhibit that utilizes 3-D holographic technology and state of the art audio technology to engage and immerse the public on various types of pre-historic sea life. I chose the following examples of my Exhibit Design skills as I have always had a love of the ocean and the idea that there were once creatures in our oceans that could swallow a small boat whole both fascinating and terrifying. Hopefully the public would feel the same based on my design concepts. CHARLES CHANDLER DIGITAL PORTFOLIO 5 DEEPA 3 - D e x h i b i t o f p r e - h i s t o r i c s e a l i f e creatures of the creaturesof the a n 3 - D e x h i b i t o f p r e - h i s t o r i c s e a l i f e PRIMARY COLOR: DISPLAY TYPEFACE: (VARIANT) EXHIBIT ROUGH DESIGN 1 BODY TYPEFACE: CYMK: C = 85 M = 50 Y = 0 K = 0 RBG: R = 28 B = 117 G = 188 SECONDARY COLOURS CYMK: C = 70 M = 15 Y = 0 K = 0 RBG: R = 39 B = 170 G = 255 CYMK: C = 15 M = 100 Y = 90 K = 10 RBG: R = 190 B = 30 G = 45 CYMK: C = 99 M = 0 Y = 0 K = 71 RBG: R = 0 B = 75 G = 107 CYMK: C = 5 M = 0 Y = 0 K = 0 RBG: R = 239 B = 249 G = 254 Couture bold — 12pts If you thought that the dinosaurs on land were fearsome, wait until you see what is in the deep blue sea. Couture bold — 14pts If you thought the dinosaurs on land were fearsome wait until you see what is In the deep blue sea. Couture bold — 16pts If you thought the dinosaurs on land Were fearsome, wait until you see what is In the deep blue sea. Futura Condensed Medium—9/12pts If you thought that the dinosaurs on land were fearsome, wait until you see what is in the deep blue sea. Futura Condensed Medium—10/13pts If you thought that the dinosaurs on land were fearsome, wait until you see what is in the deep blue sea. Futura Condensed Medium—11/14pts If you thought that the dinosaurs on land were fearsome, wait until you see what is in the deep blue sea.
  6. 6. charlespatonchandler@gmail.com EXHIBITION DESIGN EXTERIOR WAY FINDING MUSEUM EXHIBIT BANNERS & SIGNAGE 2011 CHARLES CHANDLER DIGITAL PORTFOLIO 6
  7. 7. charlespatonchandler@gmail.com EXHIBITION DESIGN INTERIOR WAY FINDING MUSEUM EXHIBIT BANNERS & SIGNAGE (AFTER ENTERING EXHIBIT) 2011 To the left is a hand drawn render of a typical kiosks that would be accessible to the visitor to visually (through 3-D technology) allow them to see some of the pre-historic sea creatures in their natural habitats, interacting with other sea animals immersing them in an 360 degree environment. This concept is also represented by the map on the right CHARLES CHANDLER DIGITAL PORTFOLIO 7
  8. 8. charlespatonchandler@gmail.com CONCEPTUAL DESIGN BOOK COVER PUBLISHING 2015 A conceptual cover design for a murder/mystery short-story of the same name. This image utilizes several different programs including, Adobe Illustrator, Photoshop and Poser Pro 2014 I created this art as an inspirational piece to use as a visual motivator while writing the short story of the same title. CHARLES CHANDLER DIGITAL PORTFOLIO 8
  9. 9. charlespatonchandler@gmail.com CONCEPTUAL DESIGN BOOK COVER—DUST JACKET PUBLISHING 2011 Originally conceived for a school project, this cover was designed to visually intrigue the viewer on a subject matter that some of the public might find dull: religion and art. CHARLES CHANDLER DIGITAL PORTFOLIO 9 Inside Back Flap • picture of author • copy about the method used in coming up with the concept for this book cover. Inside Front Flap • Factual Desicription of the method they have chosen to feature for this book cover. Spine • Title • Author • Imagery Back Cover • Explain why do you chose this one method and why you think it could be a good fit for coming up with ideas. Front Cover • Title - based on one of the following; 6 Thinking Hats, Oracle, or Random • Your name as the author • Imagery Oracles: Their place in Art, Life & Religion Oracles:TheirplaceinArt,Life&Religion T he Pythia, the oracle at Delphi, only gave prophecies the seventh day of each month, seven being the number most associated with Apollo, during the nine warmer months of the year; thus, Delphi was not the major source of divination for the ancient Greeks. Many wealthy individuals bypassed the hordes of people attempting a consultation by making additional animal sacrifices to please the oracle lest their request go unanswered. As a result, seers were the main source of everyday divination. In Greece the old oracles were devoted to the Mother Goddess. At the oracle of Dodona she will be called Diōnē (the feminine form of Diós, genitive of Zeus, PIE *Dyaeus; or of dīos, “godly”, literally “heavenly”), who represents the earth-fertile soil, probably the chief female goddess of the PIE pantheon. Python, daughter (or son) of Gaia was the earth dragon of Delphi represented as a serpent and became the chthonian deity, enemy of Apollo, who slew her and possessed the oracle. Source: Wikipedia.com F or this particular assignment—from the point of view of a design, I wanted to keep the tone of the piece very mystical because of the subject matter. I checked on-line to find an appropriate image through istock and various other locations and found the cover art which embodied the tone of the book. The title itself is the name of the Oracle at Delphi which is in the typeface of ArchilogicalCaps which a gradient was applied, the sub-headers are Bank Gothic Medium for legibility and readability. The body copy is that of Adobe Garamond Pro I placed the authors name at the The over all colour scheme is black with blue overtones in an attempt to give the sense of a void from which information would manifest itself from. If this were to go to print it would be on a semi-gloss or gloss stock. I chose the subject matter of Oracles for this book cover assignment as I am not only an ancient history and civilization buff, but also because of the mystical side of the subject matter. Oracles were said to be able to predict the future, see the past and have knowledge of the present which I’ve always found interesting as it was obtained during a non-lucid state, almost being in between realities. This state is also found in dreams, which I myself have had were I’ve dreamed of something that came to pass. The reason I believe that this subject matter falls into the category of lateral thinking is that the prophecies the Oracle would give were usually not very specific and upto the interrupter of the viewer who would draw their own conclusions on what they have been told and proceed with a course of action from there. But sometimes, we can’t trust what we see hear as in most cases nothing is truly seems. Photo by Charles Chandler
  10. 10. charlespatonchandler@gmail.com EDITORIAL DESIGN MAGAZINE COVER ART 2011–2016 Originally conceived in 2011 for a school project, this cover art for Xcite: The Magazine was revamped (using both hand-drawn and CGI imagery) to reflect my ever growing interest in CGI animation, personal projects I’m working on and to continue to improve my skill as a Editorial & Cover Art Designer. CHARLES CHANDLER DIGITAL PORTFOLIO 10 COVER ART SUMMER 2013—“SWASHBUCKLED“ the New MEMBERSof the 6478675309647867 A at APEX Animations up-coming projects for Summer 2014! SUMMER2013 We talk to the producers and director of highly anticipated series coming this Winter! COVER ART WINTER/SPRING 2016—“STAR TREK: HEGEMONY“COVER ART FOR ORIGINAL PROJECT—2011
  11. 11. charlespatonchandler@gmail.com EDITORIAL DESIGN MAGAZINE SPREADS 2011–2016 CHARLES CHANDLER DIGITAL PORTFOLIO 11 iiXciteMagazine—April2011 iiiXciteMagazine—April2011 VOL. 1—NO. 1 APR 2011 Editor Charles Chandler Creative Director Charles Chandler Creative Consultant Terry Thompson Deputy Editors Michael Jeremic Terry Thompson Managing and Copy Editor Charles Chandler Contributors Charles Chandler, Michael Jeremic, Mary Miller, Samantha De’Souza, Marco Rodrigues, Terry Thompson, Douglas Embury, George Paton, Rusa “Jerry” Jeremic, Paul Royes Designer Charles Chandler Letters to the Editor Animated welcomes your comments. Please send your letters to Animated Magazine, 240 Wellesley Street East, Suite 610, Toronto, ON, Canada, M4X-1G5, or email us at animated@ animatedmagazine.com. Staff can be reached at firstname@animatedmagazine.com The publisher cannot be held responsible for loss of, or damage to, unsolicited material. All materials for editorial consideration must include a self- addressed, stamp envelope and return postage. C O N T E N T S T H E E D I T O R ’ S D E S K 1 5 7 FIRST LOOK: LAST SON An interview with the Director and Cast of the upcoming animated web-series premiering on Your Minds Eye T.V in April. DID YOU KNOW?: The Batman Series that never was: Take a look at the concept animation art for the unproduced series “Gotham High” PRESPECTIVES: It’s all in the Motion: A discusion with George Brown College’s New Media & Motion Graphics Professor Paul Royes. Welcome to the premiere issue of Xcite: The CGI Magazine created by fans—for fans! We at Animated know that in the every changing world of technology that animation, both 2D and 3D are rapidly becoming more and more mainstream in motion pictures and television, with new innovations being created almost on a weekly basis. Knowing this, we will strive to make sure that you—the die-hard animation fan, are kept in the know about those innovations and the pioneers who are creating them to, at the end of the day, entertain you. Animated offers you some of the best information on the subject. In our issues we will showcase regular articles and columns such as “First Look” which allows you a chance to take a look art and gain information about up coming animation feature films and television projects before their released, Interviews with industry professionals giving you insights on the profession and it’s future, featured articles about local animation studios as well as those aboard, tips and tricks for those who are delving into animation, a letters to the editor section and much more. It’s a incredible world we live in and all you have to do is get ‘animated’ to make wonderful things happen both in front of and behind the camera. On behalf of the Editorial and Production Staff we hope you enjoy Animated as much as we enjoyed creating it. Again Welcome! Charles Chandler Editor
  12. 12. charlespatonchandler@gmail.com EDITORIAL DESIGN MAGAZINE SPREADS 2011–2016 CHARLES CHANDLER DIGITAL PORTFOLIO 12 An interview with the Director AnD cAst of the upcoming AnimAteD web-series premiering on Your minDs eYe tv on April 15. by a certain date for his final and schedule appropriate resources to it. The first step was to create a visual style and storyboard the ideas that the Director had. This phase began in early February 2011 and took several weeks to complete. Once that was done it was on to one of the most important parts of the process—voice casting, which with a script in toe, began. The cast, which consisted of the director’s family and friends, began their voice recording in late February in order for the scenes they were in to be animated and synced to their recordings. Rusa “Jerri” Jeremic, a Professor at George Brown College, played the voice of Councilor E’Shara and had this to say about the project. “I was really excited by reading the script and I haven’t been in an animation project before,” she explains “I really like the concept of delving into Krypton before the Superman era. It’s pretty original and creative.” Although the majority of the cast had been recorded their were two roles that needed to be filled and with the time remaining, this first time director had to take on the rolls of General Zod and the Kryptonian Computer System Brainiac. “These two roles have What started off as a College project has morphed into an upcoming web-series that has people talking. In early 2010, Charles Chandler—a second year Graphic Design student at George Brown College’s School of design, came up with an idea to create a re-invention of a comic book superhero that everyone knows and most people love—Superman. “Over my break from my first year at GBC, I taught myself how to do cell animation on the computer,” says Director/ Producer Charles Chandler, ”as it was an area that I was interested in and perhaps someday get into as a career and since I took the time to learn the software, I wanted to get my feet wet by creating an animated short, “My favorite comic book character since childhood was Superman, so I thought that I would create something based on the story of his origin and how he became to be known as ‘the Man of Steel’, basically re-inventing the character to what I would like to see as a fan, “However, news broke that Warner Brothers was planning to do a re-invention of it’s own, which goes into production sometime in the fall of 2011, so I abandoned the idea. But I still wanted to do something revolving around Superman as a test run for my new skills. Eventually, to focus on my education I put the whole idea on the back burner.” It wasn’t until the winter of 2011 when Charles was in his final semester of his second year at George Brown College, that an assignment for his final in Motion Graphics to create an opening title sequence came about, which started the ball rolling. “It was because of that assignment and trying to come up with an idea that started the ball rolling in the sense of a back- story—which believe it or not had nothing to do with Superman, it had more to do with his parents and what happened to them and their planet before Superman’s conception, which to my knowledge has never been done before.” The basic premise of the series takes place on Krypton— Superman’s home planet, one year before his birth and delves into areas of the characters mythos that have never been explored before as the Director explains. “We all know that Jor’El and Laura El—the parents of Superman died along with everyone else on Krypton shortly after shooting off Superman as a baby to earth and, thanks to the input of the Richard Donner Film from 1979, that a day before that General Zod and his co-conspirators were tried and exiled to the Phantom Zone for trying to take over the planet...My questions, and which eventually became the core story-line why? “There were a lot of unanswered questions about the back-story that I thought would be great to explore such as why did Jor’El choose earth and how did he know his son would be safe there? What was their culture truly like? Did Superman’s mother—a first time one and a young woman at that, panic (which I myself have done) when she found out she was pregnant and how did she deal with telling her parents and her husband? The list of ideas and questions continued on and on and began to take shape into Last Son.” With a story line in place, the next challenge was to create a pilot episode story around this world, which is actually the opening title sequence that Charles created for his Motion Graphics final. The screenplay written by Charles Chandler and fellow cast member Michael Jeremic, opens with the destruction of a cargo vessel that apparently was caused by unknown and evil forces. As with any project of this type, wither it be animation or live action, logistics come into play of how long this would take to do, since the director had a dead-line to finish the project the greatest amount of dialog in the script, aside from Jor’El who was brilliantly played by my father Terry Thompson, and since time was short and it would require longer voice recording sessions, I decided to take on those roles myself instead of searching out voice talent who can take time out of their schedules to do it.” Animating the estimated 3-minute scene was no small task, especially to create something visually entertaining and engrossing. According to the director, the tools used in creating this project were simple. “In the end I used a good old fashioned pen and paper to draw out the scenes and then scan them into the computer where I would re-build and flesh them out in Adobe Illustrator and add effects in Photoshop. The actual animated elements were produced in a program called Toon Boom, which was used to create the Simpsons. When the project was finished I added additional effects and credits using Adobe After Effects.” One thing about the project itself was still missing— the sound. A musical score and audio effects were the final component in this project,. The score itself was borrowed from the scores of Superman Returns and the original Superman Movie composed by John Ottman and the world renowned composer John Williams. “As famous director said ‘no ones watching the movie, their listening to the music’ and with that in mind I needed a score that was rousing and stirring and since the scores existed for the character of Superman, I decided to use them. It was a no brainer. I would prefer to have scored my own music for the project, but with the time allotted it just wasn’t feasible, perhaps in the future for other episodes I will who knows.” Charles explained. It was the future that the director had in mind as fellow cast members that finalized a decision to go forward. Mary Miller who played the voice of Councilor Linara had this to say during an interview with herself and fellow cast member/Screenplay writer Michael Jeremic. “I think that Charles should consider doing a mini-series on YouTube and following up what happens to Krypton, you know taking it a step further and keep going with it.” Mary said. “I agree,” explained Michael Jeremic who played the voice of Chancellor Corus. “I think this is a very exciting project I can see it being developed into a longer film and I think it lays out a very interesting premise.” So what are the plans for “Last Son”? “After speaking with the cast and crew, who all expressed a desire to reprise their roles, I think that I will continue a web-series on my YouTube Account perhaps on a monthly or bi-monthly basis since I would ultimately want to take the time to properly animate scenes in the sense of a more fluid motion of the characters, which was achieved to an extent with this pilot, but again time was an issue. I also would love to do other animated web-isodes based on other ideas that I have and showcase them on Your Minds Eye TV.” In the end, this series, promises to be an interesting and exciting pilot and with the cast, crew and director interested in doing further episodes, there is no doubt that this will not be the last sun rise for Last Son. Castof“LastSon”(toplefttobottomright):CharlesChandler, SamanthaDeSouza,DougEmbury,MichaelJeremic,JerriJeremic, ColinMiller,MaryMiller,MarcoRodriguesandTerryThompson. 3XciteMagazine—April2011 4XciteMagazine—April2011 FIRST LOOK
  13. 13. charlespatonchandler@gmail.com EDITORIAL DESIGN MAGAZINE SPREADS 2011–2016 NOTE: Originally I was approached by some associates in 2015 to help with Visuals and Special F/X for a not-for-profit fan film. Although, the project never went forward, I thought I would showcase some visuals from the project from back in it’s concept stage in the form of this spread. I have no doubt it would have been a fun project to work on had it moved forward. CHARLES CHANDLER DIGITAL PORTFOLIO 13 7 6XciteMagazine XciteMagazine EXCULSIVE FAN FICTION... THE FINAL FRONTIER... Onsus terum pecris. Pat, quere nos pul venius, consumuli publinpri scre nos, consit vitanum, virmaio, manum publium sentessid adeo C. Abuntem in volut it, qui pesigna tudenatiem inem int nonstrum nos ses cus vernicesena, omne tum liniusp iciamquit, eto ad dessestra, corensum iam num medet; Catus, vendeatia cae peratu sulto con se talare cremquam vastra tuitra elis audam teropublii in te it, nondum horum ublicasterum isquem adhum ex nihil videsentium senatil ternum halemum enducturi int? Nihi, us, confex neque comne morum iptis essin dum P. Perei ses fac vo, veriam im morte diis. Romne coenario ubliquas cae iae ips, ve, publis nihilist et inat L. Opiortem orussid sed non tero Caestra nosuliu se et; inem cre dienam apere, intiena, nosum nem permius, quid ad ponum re ad rei sciistremo vit Catuam de noculic orunt? Ciem tatrunumuniu etropos sendamer quis tus hosteatod inte, quam diononvo, virisu es et? Omplis; Cas et; nita, aut nonsum dit, oponsum sere que ta diusuam o vigna, Ti. Lutemum hum nimo Catiae incum intri serorare tem int? Ula L. Te, ori ia tro viviritri et L. M. Am publinatia? involtus consu vem res, quit, se quam et L. Iciem con ius hocchili poris omnorum derobsendum pulossedi probses, terbit. Hos con sa tam publin ad cris. Ad rem, consupi cavolum eori tem nonsunteatin actorum ulerei poeniris, effrei porum, nost? O teme nos pultorei tu vastra nox niriorturo, ut inum actum intem et ia crunununcur, pl. Sciissim ini intem tam concepecrum renatrid me den dum ocae nons hocum, vero ex sena, conerfecure firmaximis? Ca quam tu vis, nime publinu ltodius, que idemnos tritemum potiusMarissidii clem. Cupplia condum pulvis contisq uodiem ius sil hocul con no. menduco nequit, nessa init; nihi, converf irmius bone ina, cae nestrit; inata aus, in in tessentilius medet in vivissis sentili cavescr edesitum patilica retortertem octam quem ore in senerei firitui deessen rei pubi sent. At Catrum sularis spertumus puliam hachuit. Onsus terum pecris. Pat, quere nos pul venius, consumuli publinpri scre nos, consit vitanum, virmaio, manum publium sentessid adeo C. Abuntem in volut it, qui pesigna tudenatiem inem int nonstrum nos ses cus vernicesena, omne tum liniusp iciamquit, eto ad dessestra, corensum iam num medet; Catus, vendeatia cae peratu sulto con se talare cremquam vastra tuitra elis audam teropublii in te it, nondum horum ublicasterum isquem adhum ex nihil videsentium senatil ternum halemum enducturi int? Nihi, us, confex neque comne morum iptis essin dum P. Perei ses fac vo, veriam im morte diis. Romne coenario ubliquas cae iae ips, ve, publis nihilist et inat L. Opiortem orussid sed non tero aperum isse fex sid sciemquonsul condum consit. Caestra nosuliu se et; inem cre dienam apere, intiena, nosum nem permius, quid ad ponum re ad rei sciistremo vit Catuam de noculic orunt? Ciem tatrunumuniu etropos sendamer quis tus hosteatod inte, quam diononvo, virisu es et? Omplis; Cas et; nita, aut nonsum dit, oponsum sere que ta diusuam o vigna, Ti. Lutemum hum nimo Catiae incum intri serorare tem int? Ula L. Te, ori ia tro viviritri et L. M. Am publinatia? involtus consu vem res, quit, se quam et L. Iciem con ius hocchili poris omnorum derobsendum pulossedi probses, terbit. Hos con sa tam publin ad cris. Ad rem, consupi cavolum eori tem nonsunteatin actorum ulerei poeniris, effrei porum, nost? O teme nos pultorei tu vastra nox niriorturo, ut inum actum intem et ia crunununcur, pl. Sciissim ini intem tam concepecrum renatrid me den dum ocae nons hocum, vero ex sena, conerfecure firmaximis? Ca quam tu vis, nime publinu ltodius, que idemnos tritemum potiusOcupionc ulemus, stri iae nonverr ictamensum imorum ure ad sendachicae, factum, que cotia? At eoris bonem atorterum apesiliam quam sentisul hae quium inat, quodi, nostrib uncerraedem adduc factum postrae libem, C. Casdacte te etris, nius mihilles facerox imissin visquodicam actorat quertic ocum diem publicaet vidit; C. Viviven aturnicit, se quod me iu quonero et MORE ON THE GORN CGI RE-DESIGN IN NEXT MONTHS ISSUE!
  14. 14. charlespatonchandler@gmail.com INFORMATIONAL DESIGN CHARTS & GRAPHS 2011 An example of using traditional graphs/charts as well as typography and interesting graphics to engage the public on deforestation that is facing our world. CHARLES CHANDLER DIGITAL PORTFOLIO 14 Legend: Remaining Destroyed—1993 Destroyed—2010 6% 58% 36% Mexico 5% 82% 13% Central America 14% 67% 19% Columbia 76% 17% 7% Venezuela 80% 18% 2% Guyana 19% 57% 24% Ecuador 64% 26% 10% Peru 33% 34% 33% Bolivia 42% 24% 34% Brazil Deforestation Tropıcal Raınforestsin the Americas: of Percentages for each nation indicating how much rainforest was destroyed by 1993 and how much will be destroyed (projecting logging levels) by 2010 Deforestation = Animal Extinction: Breath in the Fresh Air—It may not be here for long! The effects of Deforestation on the Carbon Cycle Deforestation is the removal of a forest or stand of trees where the land is thereafter converted to a nonforest use. Examples of deforestation include conversion of forestland to agriculture or urban use. The term deforestation is often misused to describe any activity where all trees in an area are removed. However in temperate mesic climates, the removal of all trees in an area—in conformance with sustainable forestry practices—is correctly described as regeneration harvest. In temperate mesic climates, natural regeneration of forest stands often will not occur in the absence of disturbance, whether natural or anthropogenic. Furthermore, biodiversity after regeneration harvest often mimics that found after natural disturbance, including biodiversity loss after naturally occurring rainforest destruction. Deforestation occurs for many reasons: trees or derived charcoal are used as, or sold, for fuel or as lumber, while cleared land is used as pasture for livestock, plantations of commodities, and settlements. The removal of trees without sufficient reforestation has resulted in damage to habitat, biodiversity loss and aridity. It has adverse impacts on biosequestration of atmospheric carbon dioxide. Deforested regions typically incur significant adverse soil erosion and frequently degrade into wasteland. Decades or centuries after a habitat perturbation, extinction related to the perturbation may still be taking place. This is perhaps the least understood and most insidious aspect of habitat destruction. We can clear-cut a forest and then point out that the attendant extinctions are low, when in reality a larger number of extinctions will take place in the future. We might curtail our hunting practices when some given population falls to very low numbers and think that we have succeeded in “saving” the species in question, when in reality we have produced an extinction debt that ultimately must be paid in full. Extinction debts are bad debts, and when they are eventually paid, the world is a poorer place. Biology plays an important role in the movement of carbon between land, ocean, and atmosphere through the processes ofphotosynthesis an respiration. Virtually all multicellular life on Earth depends on the production of sugars from sunlight and carbon dioxide and the metabolic breakdown (respiration) of those sugars to produce the energy needed for movement, growth, and reproduction.
  15. 15. charlespatonchandler@gmail.com POSTER ART DIGITAL SKETCH ENHANCED WITH PHOTOSHOP EFFECTS/COLORING WINTER 2015 Rendering CGI animation is very time consuming, so while on downtime I began to create posters based on some of my favorite heroines/ villainesses in the comic world... Just for fun. Utilizing a 3-D model for position reference, the image was then enhanced in Photoshop with regards to color and effect. An example of the creative process can be seen on the left. CHARLES CHANDLER DIGITAL PORTFOLIO 15 1) Original pencil positioning rough 2) Digital Render 3) Final image
  16. 16. charlespatonchandler@gmail.com DRAWING “SUPERGIRL” PENCIL SKETCH W/INK 2008 A pencil sketch created in the likeness of Actress Elisha Cuthbert after news broke that she was being considered the title role in the re-boot of the DC Comics character “Supergirl” movie franchise. I’ve always had a fondness for superheroes and enjoy drawing freehand. CHARLES CHANDLER DIGITAL PORTFOLIO 16
  17. 17. charlespatonchandler@gmail.com CGI IMAGES “THE MUSE” VECTOR DRAWING 2010 Based on a dream I had about a person I knew, this image is a completely rendered vector drawing created in Adobe Illustrator. CHARLES CHANDLER DIGITAL PORTFOLIO 17
  18. 18. THANK YOU FOR YOUR TIMEcharlespatonchandler@gmail.com

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