Final Presentation for Unit 7 Part 1 Formative assessment

2. Star Wars, The Witcher, Studio Ghibli, Dark Souls, Thor, Guardians of the Galaxy, Ori and the Blind Forest, Legend of Zelda,
Hercules, Little Mermaid, Peter Pan
Our final decision was between Star Wars and The Witcher. We nearly chose the Witcher as we would’ve been able to explore the
scenery and characters better as it’s a game, but in the end we went with Star Wars because there are so many films to chose from and
more research material

5. From the film and game we
see it is inhabited by a crystal
fox creature called a
Vulptex. On the recent star
wars trilogy Neil Scanlan (a
founding member of the Jim
Henson Creature Shop) was
in charge of making all the
creatures, including the
Vulptex. From interviews
with people who worked on
the film it is said that the
foxes have taken on the
surface of the planet they live
on, with white crystalline fur.
Also the crystal fur is
used to make a jingling
sound to communicate with
other Vulptex in their
skulk/pack. Furthermore the
crystal whiskers/bristles on
their faces help them feel out
small tunnels as they dig
tunnels and live in small
caverns.
The making of the Vulptex
involved designs, tests and
prototypes, puppets,
animatronics and then the
digital scanning of them for
final CGI in the film.

6. Average height for actual size is around 50 cm and for my sculpt it
needs to be around 25 cm according to the brief therefore, I will be
able to do it 1:2 scale compared to the original creatures from the
film.
For sculpting the Vulptex I am going to try and make it as
accurate as possible. I will make the length, head to tail
25cm and then make the height in proportion to that. I
will refer to my turnaround drawings for proportion sizing
for each view and reference images for detail such as the
facial features and fur texture.
Moving forward I am going to draw out my turnarounds
to scale and use these to make a wire armature.
At first I was apprehensive
about capturing the Vulptex's
likeness, as I have the puppet,
the final CGI character and
other reference images from
the film to refer to and they
have slightly different facial
features. I have done sketches
to capture the basic form of
the Vulptex and then began
looking more into the face
details. I also did some
sketches based on movie
screenshots/concept art to
get more of a feel of the
Vulptex's look and shape
before going on to do the
turnarounds.

7. I am happy with how my final turnarounds have come out and am happy with the overall form and facial
features I have captured from multiple angles. Moving forward I can use this for reference during the sculpting
process; I will also use pictures from the film/official concept art for direct reference. I think using this
combination of references and having references from all angles I will be able to make accurate sculpt.

8. Making an Armature
Here I trialed adding thinner wire for ear armatures as they are a large extremity that
might need some strength. But in the end I decided that the hardened monster clay
would be strong enough on its own once the ears are attached and blended with the
head sculpt.
I am happy with the size and stability of my armature and think it is a good base to begin my character sculpt. Moving
forward I will begin to add tin foil to any thicker areas and start making the overall form using monster clay. I am
apprehensive about creating a really good fur texture that also appears to be crystal like but I am excited to give it a go. I
am going to do some extra research on techniques used to create fur texture in clay to get ideas for how I will do my own
and develop it to be spikey and crystal like.

9. In prep for sculpt looking at actual foxes/arctic foxes and their
form/closeups.
Looking at salt crystals for reference to make the crystal fur.

10. After a tutorial with my tutor I received feedback on my initial armature and we discussed how I had made
the front section where the chest connects the body and head too far forward. From this I went back and
removed the neck and head from my armature and placed it further back and trimmed the front part of the
body down. After doing this I was personally much happier with how it looked, and I referred it back to a
scale drawing and was pleased with the size and accuracy for building the sculpt on top.
I am happy with how my sculpt
has started. Having an accurately
measured armature really helped
make a solid base to add the clay
on top of. Moving forward I am
going to keep building up and
sculpting the clay until I get the
desired form of the Vulptex then
later move on to adding texture
and details.

11. Tutorial Feedback: Based on reference photos, the muzzle/nose could be made shorter as it appears shorter on the final CGI creature in film but is longer on
original animatronic so could work either way. Move forward in adding crystal fur texture and details.
The muzzle length was really bothering
me and based on feedback I wanted to try
shortening it. The quickest way to do this
was the carefully remove the front part of
the nose and then cut the inner armature
shorter and remove some clay. Then
reattach and blend the nose back in. I am
much happier with how the shorter
muzzle looks and think it looks more
accurate to the film and concept art of
the Vulptex.
To start building up the fur
texture I used a thin pointed
sculpting tool to draw in
some initial fur texture. When
doing this I found the clay
came up in small pieces over
the sculpting marks, but I
liked this affect as it looked
like small crystal
shards/snow. Then on top I
am going to add the crystal
forms.
Final form before adding fur texture:
Starting to add fur texture:

12. I am happy with my progress so far and hope to comeplete the full body
crystal fur texture by the end of week 4 in this project.
I have created these varying crystal pieces by rolling out thin sheets of
monster clay and then cutting out strips and cutting pointed ends. I then
each crystal on one by one, blending the end that attaches to sculpt. To
get the fur in layers I start at the end of each extremity and work
inwards going with the direction of the fur I had sculpted in previously.

13. Set Design on Crait

14. Coruscant IlumFirst Temple on Anch-To Eedit Temple on Devaron
Wanted to explore the idea of a Jedi Temple, they’re iconic in Star Wars and they’re randomly located across the Star Wars galaxy, so it would make
sense to build one on a remote planet like Crait
Background

15. Kailas temple in Ellora
Typical Ancient Egyptian temple
Luxor’s Temple of Amun

17. Fan Art Star Wars
Star Wars Tate Modern Royal Hungarian Salt Mine
Cave of Forgetten Books – Martin Geupe
My Garden
CrystalStar Wars Battlefront II
Walkway/
Courtyard
Hypostyle
Hall
Sanctuary
Luoyang, China

19. Section
Plan
Sanctuary/Meditation Temple Interior – View of Entrance
Top View
Temple Exterior – View of Entrance
Statue Head compared to human figure
Temple interior – Sanctuary/Meditation view

20. PROJECT Journey to Star Wars: Rise of Skywalker - Ep 5 The Mandalorians PAGE
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FINISH
Establishing/Extreme wide Shot Very Wide Shot (VWS) Full Shot
Full Shot VWS Establishing/VWS Shot VWS
Full Shot Long Shot/POV? Long Shot/POV? Medium Close-Up/Two Shot
POV Shot
High AngleLow Angle High Angle Eye-level
Eye-level High Angle Eye-level High Angle
Dutch Tilt Eye-level Eye-level Eye-level
Light Wind Blowing, footsteps crunching Light Wind Blowing, footsteps crunching Rustling from pov (A Mandalorian?)
Light Wind Blowing, footsteps crunching Light Wind Blowing, footsteps crunching Dripping water, echoing footsteps Dripping water, echoing footsteps
Dripping water, echoing footsteps Dripping water Dripping water Click of Mandalorian Blaster
Light Wind Blowing