Listing Tattoo Artist research

Artist: Mowgli

Tattoo parlour: Through My Third Eye

Address: 342 Hornsey Road London N7 7HE

Location: London



Artist: Poppy Smallhands

Tattoo parlour: N/A

Location: Norwich



Artist: Rizza Boo

Tattoo Parlour: N/A

Location: Glasgow



Artist: Kirk Budden

Tattoo Parlour: Sydney Street Tattoo

Address: 29 Sydney street North Laines, BN1 4EP

Contact: 01273 623839 or

Location: Brighton



Artist: Matt Daniels

Tattoo Parlour: Studio IX

Location: Manchester



Artist: Rae Robinson

Tattoo Parlour: Crooked Claw Tattoo

Address: Ecclesall Road, Sheffield

Contact: 0114 327 1411 or

Location: Sheffield



Artist: Sarah Carter

Tattoo Parlour: Sang Bleu Tattoo

Address: 29B Dalston Ln, London E8 3DF

Contact: +44 20 8616 0840

Location: London



Artist: Dawnii Fantana

Tattoo Parlour: Painted Lady Tattoo

Address: 1 Station Road, Northfield, Birmingham B31 3TE

Contact: 0121 6086086 or

Location: Birmingham



Artist: Gee Hawkes

Tattoo Parlour: Buzz Tattoo

Address: 399 Brighton Rd, Lancing BN15 8JX

Contact: 01903 756555

Location: Brighton



Artist: Chris Green

Tattoo Parlour: Redwood Tattoo Studio

Location: Manchester



Artist: Joanne Baker

Tattoo Parlour: Grizzlys Art Collective

Address: 51 Belgrave Road, Wyken, Coventry CV2 5AX

Contact: 02476 636355 or

Location: Coventry



Artist: Chloe O’Mallery

Tattoo Parlour: Cobra Club

Location: Leeds



Artist: Rebecca Vincent

Tattoo Parlour: Parliament Tattoo

Address: Unit D, Leeds place, London N4 3RF

Contact: 020 7281 8969 or

Location: London



Artist: Daryl Watson

Tattoo Parlour: Painted Lady Tattoo

Address: 1 Station Road, Northfield, Birmingham B31 3TE

Contact: 0121 6086086 or

Location: Birmingham



Artist: Freddie Albrighton

Tattoo Parlour: Immortal Ink

Address: Immortal Ink, 39-43 Baddow Road, Chelmsford, CM2 0DB

Contact 01245 493444 or

Location: Chelmsford



Artist: Lydia Hazelton

Tattoo Parlour: Blue Cardinal Tattoo

address: 32 Halifax Road Todmorden

Contact: 01706 812770 or

Location: West Yorkshire



Artist: Tom Ffoulkes

Tattoo Parlour: Stay Much Better

Address: 1 Beaconsfield Parade Beaconsfield Road Brighton England UK BN1 6DN

Contact: 01273 56 44 94

Location: Brighton



Artist: Andy Marsh

Tattoo Parlour: The Church Tattoo

Location: Redditch



Artist: Craig Mercer

Tattoo Parlour: Studio IX

Location: Grangemouth






Final Major Project-Comic book series Horror world


The idea for my finale major project is a comic book series based in the horror universe, I thought that people don’t find anything to do with horror as funny besides people who love anything scary. When you think it through there are a lot of jokes and puns that actually don’t make them scary at all and thats what I want to create and series of comic books that are theme horror for horror lovers, with puns and jokes and references to other things horror like, horror classic, modern horror films, creepy-pasta, urban legends and serial killers. so everything is based on what people have been terrified over the years with humour but not changing the way the they are so it’s them being them self but having a little fun and an adventures. This idea is for people who enjoy horror and all things scary with humour for them to enjoy.



I got inspired by an artist Amy Mebberson who create the pocket princess which is a fan comic of the Disney princesses living together, and learning to live with one another through various scenario that makes the characters relatable towards one another, the fan comic has no plot and doesn’t seem to have a story which is why I’ve chosen this as my inspiration for my final major project.

These are examples of the pocket princess which is the kind of style of comic that I want to do for my final mayor project, so the comic will be similar to the pocket princess style but instead horror film characters and of course a different theme but this is the inspiration for the final major project.

Comic digital draft

note grammar hasn’t been check in this

These are digital drafts of the comic strips that need to be re written, maybe next time don’t do digital work without the grammar checked.

Colour wheel

these are samples of the colour wheel used for the characters colour affect

Comic book 

A comic book or comic magazine is a publication that consists of a comic art in the form of a sequential juxtaposed panels that represent individual scenes. Although comics has some origins  in 18th century Japan and 1830s Europe, comic books  were first popularised in the United States during the 1930s. The first modern comic book, Famous Funnies was released on the United States in 1933 and was reprinting of earlier newspaper humour comic strips, which had established many of the story telling devices used in comics. Comic books are reliant on their organisation and appearances. Author largely focus on the frame of the page, size and panel positions. These characteristic aspects of comic books are necessary in conveying the content and messages of the author. The key elements of comic books include panels, balloons like speech bubbles, text lines and characters. Text speech bubbles are used for convex containing information that are related to a character.


Horror films classic and modern

  • Halloween 1978/character

On a cold Halloween night in 1963, six year old Michael Myers brutally murdered his seventeen year old sister, Judith. He was sentenced and locked away for fifteen years. But on October, 1978 while being transferred for a court date, a twenty one year old Michael Myers steals a car and escapes Smith’s Grove. He returned to his quiet hometown of Haddonfield, lllinois, where he looks for his next victims.


  • Psycho 1960/character

Phoenix secretary Marion Crane, on the lam after stealing $40,000 from her employer in order to run away with her boyfriend, Sam Loomis, is overcome by exhaustion during the heavy rainstorm. Traveling on the back roads to avoid the police, she stops for the night at the ramshackle Bates Motel and meets the police but highly strung proprietor Norman Bates, a young man with an interest in taxidermy and a difficult relationship with his mother.


  • The Exorcist 1973/character and location

One of the most profitable horror movies ever made, this tale of an exorcism is based loosely on actual events. When young Regan starts acting odd, levitating, speaking in tongues, her worried mother seeks medical help, only to hit a dead end. A local priest, however thinks the girl may be seized by the devil. The priest makes a request to perform an exorcism and the church sends in an expert to help with the difficult job.


  • The Shinning 1980/character and location

Jack Torrance becomes winter caretaker at the isolated Overlook Hotel in Colorado, hoping to cure his writer’s block. He settles in along with his wife, Wendy and his son Danny, who is plagued by psychic premonitions. As Jack’s writing goes nowhere and Danny’s visions become more disturbing, Jack discovers the hotel’s darkest secrets and begins to unravel into a homicidal maniac hell-bent on terrorising his family.


  • The Blair Witch Project 1999/location

Found video footage tells the tale of three film students Heather, Joshua and Michael who’ve traveled to a small town to collect documentary footage about the Blair Witch, a legendary local murderer. Over the course of several days, the students interview townspeople and gather clues to support the tale’s veracity. But the project takes a frightening turn when the students lose their way in the woods and begin hearing horrific nosies.


  • A nightmare on Elm Street 1984/character

In Wes Craven’s classic slasher film, several Midwestern teenagers fall prey to Freddy Krueger, a disfigured midnight mangler who preys on the teenagers in their dreams — which, in turn, kills them in reality. After investigating the phenomenon, Nancy begins to suspect that a dark secret kept by her and her friends’ parents may be the key to unraveling the mystery, but can Nancy and her boyfriend Glen solve the puzzle before it’s too late?


  • IT 2017 and 1990/character

In 1960, seven preteen outcasts fight an evil demon that poses as a child-killing clown. Thirty years later, they reunite to stop the demon once and for all when it returns to their hometown.


  • The Conjuring 2013/location

In 1970, paranormal investigators and demonologists Lorraine and Ed Warren are summoned to the home of Carolyn and Roger Perron. The Perron’s and their five daughters have recently moved into a secluded farmhouse, where a supernatural presence has made itself known. Though the manifestations are relatively bengin at first, events soon escalate in horrifying fashion, especially fashion, especially after the Warren’s discover the house’s macable history.


  • The Babadook 2014/location

A single mother, plagued by the violent death of her husband, battles with her son’s fear of a monster lurking in the house, but soon discovers a sinister presence all around her.


  • The Texas chainsaw massacre 1974/character and location

When Sally hears that her grandfather’s grave may have been vandalised, she and her paraplegic brother, Franklin, set out with their friends to investigate. After a detour to their family’s old farmhouse, they discover a group of crazy, murderous outcasts living next door. As the group is attacked one by one by the chainsaw wielding Leatherface, who wears a mask of human skin, the survivors must do everything they can to escape.


  • The evil dead 1981/location

Ash Williams, his girlfriend and three pals hike into the woods to a cabin for a fun night away. There they find an old book, the Necronomicon, whose text reawakens the dead when it’s read out loud. The friends inadvertently release a flood of evil and must fight for their lives or become one of the evil dead. Ash watches his friends become possessed and mist make a difficult decision before daybreak to save his own life in this, first of Sam Raimi’s trilogy.


  •  Jaws 1975/location

When a young woman is killed by a shark while skinny-dipping near the New England tourist town of Amity Island, police chief Martin Brody wants to close the beaches, but mayor Larry Vaughn overrules him fearing that the loss of tourists revenue will cripple the town. Ichthyologist Matt Hooper and grizzled ship captain Quint offer to help Brody capture the killer beast and the trio engage in an epic battle of man vs. nature.


  • The descent 2005/location

A year after a severe emotional trauma, Sarah goes to North Carolina to spend some time exploring caves with her friends; after descending underground, the women find strange cave paintings and evidence of an earlier expedition, then learn they are not alone: Underground predators inhabit the crevasses and they have a taste for human flesh.


  • Saw 2004/character and location
Photographer Adam Stanheight and oncologist Lawrence Gordon  regain consciousness while chained to pipes at either end of a filthy bathroom. As the two men realise they’ve been trapped by a sadistic serial killer nicknamed “Jigsaw” and must complete his perverse puzzle to live, flashbacks relate the fates of his previous victims. Meanwhile, Dr. Gordon’s wife and young daughter are forced to watch his torture via closed-circuit video.
Horror movie character/bio
  • Jigsaw – Saw(puppet)

Billy is a puppet that has appeared in the Saw franchise. It was used by John Kramer to communicate with his test subjects by delivering recorded messages, often appearing on a television screen or recorded tapes.

  • Norman Bates – Psycho

Norman Bates is a fictional character created by Robert Bloch as the main antagonist in his 1959 novel Psycho; portrayed by Anthony Perkins in the 1960 version of Psycho directed by Alfred Hitchcock and the Psycho franchise.

  • Hannibal Lector – The silence of the lambs

Dr. Hannibal Lecter is a character in a series of suspense novels by Thomas Harris. Lecter was introduced in the 1981 thriller novel Red Dragon as a forensic psychiatrist and cannibalistic serial killer.

  • Leatherface – The Texas chainsaw massacre

A violent teen and three others kidnap a young nurse while escaping from a Texas mental institution. Pursued by a vengeful sheriff, the disturbed young man embarks on a murderous rampage that shapes him into a legendary killer known as Leatherface.

  • Jason Voorhees – Friday the 13th

Jason Voorhees is the main character from the Friday the 13th series. He first appeared in Friday the 13th as the young son of camp cook-turned-killer Mrs. Voorhees, in which he was portrayed by Ari Lehman.

  • Freddy Krueger – Nightmare on Elm

Frederick Charles “Freddy” Krueger is a character of the A Nightmare on Elm Street film series. He first appeared in Wes Craven’s A Nightmare on Elm Street as a burnt serial killer who uses a glove

  • Michael Myers – Halloween

Michael Myers is a fictional character from the Halloween series of slasher films. He first appears in John Carpenter’s Halloween as a young boy who murders his sister and then, fifteen years later, returns home to murder more teenagers.

  • Pennywise – IT

It is the title character of Stephen King’s 1986 horror novel It. The character is a malevolent entity which preys upon the children of Derry, Maine, roughly every 27 years, using a variety of powers.


Creepy-pasta character/bio

  • Jeff The Killer

Jeffrey “Jeff” Woods (also known as Jeff the Killer) is the titular main protagonist of the Creepypasta of the same name by the brother of GameFuelTv, who loses his sanity and begins killing to satisfy his homicidal urges.

  • Eyeless Jack

Eyeless Jack is the titular main antagonist of the Creeypasta of the same name. He is not given any origin, and while fans have written many of their own, there is no confirmed origin of Eyeless Jack. He is a serial killer, but his goals, origins, motives, age, nationality, true name, black blood and supposed ability to see and stay alive with presumably no eyes are never explained.

  • The Rake

During the summer of 2003, events in the northeastern United states involving a strange, human-like creature sparked brief local media interest before an apparent blackout was enacted. Little or no information was left intact, as most online and written accounts of the creature were mysteriously destroyed.

  • Laughing Jack

Laughing Jack is the titular central antagonist/protagonist of the creepypasta story of the same name and its prequel, The origin of Laughing Jack. He is a sinister supernatural clown, often posing as an imaginary friend to his victims, who gleefully guts people alive and usually their disembowelled organs with candy.

  • Ticci Toby

He is a tragic boy who was born with several mental disorders and was constantly bullied until he went insane and killed his father. He was found by Slender Man and serves as one of his Proxies.

  • Smile Dog

Smile Dog’s story consists of a classic horror set-up – an amateur writer visits the house of a lady who supposedly has a story for which he can borrow from. Rather than speak, however, the lady has locked herself up in her room, crying and ranting about nightmares and visions and various other problems. All of these center around a floppy disk she had been given that contain the image smile.jpg – which is Other cases of this have cropped up

  • Bloody Painter

Helen Otis or Bloody Painter was once a loner at school who became a victim of bullying. Before going insane, he was a loner. No one wanted to be friends with him, which he was fine with. The only thing he cared about was his drawings. After people framed him for stealing a watch he didn’t steal, he started being bullied, which didn’t both him. He snapped after his friend Tom fell off the roof and people started to bully him more.

  • BEN Drowned

BEN drowned or Haunted majora’s mask, is a well known creepypasta created by Alex Hall, also known as “Jadusable”. The story revolves around a majora’s mask cartridge that is haunted by the ghost of a boy named Ben. Analysis and updates on a possible addition to the story from the original author can be found on the Jadusable.

  • Hoodie

His first appearance is at the beginning of the series in multiple tapes where it is shown that he is the main character for Marble Hornets, but is consistently annoyed and confused by Alex’s attitude. When the tapes that Jay got from Alex end, it was unclear as to where Brian was or what happened to him.

  • Masky

Tim Wright is one of the main characters of the Marble Hornets ARG and was a friend of Brian, one of the missing cast members, and also the personae Masky. He appears frequently and to date is one of the most mysterious characters in the series. Because of a chain of events that occur later in the series, Tim eventually becomes the central point of view.

Serial killers character/bio

  • Zodiac Killer

The Zodiac killer or Zodiac was a serial killer who operated in Northern California from at least the late 1960s to the early 1970s. The killers identity remains unknown.

  • Ted Bundy

Theodore Robert Bundy was an American serial killer, kidnapper, rapist, burglar and necrophilia who assaulted and murdered numerous young women and girls during the 1970s and possibly earlier.

  • Jack the Ripper

Jack the Ripper is the best-known name for an unidentified serial killer generally believed to have been active in the largely impoverished areas in and around the Whitechapel district of London in 1888.

  • Aileen Wuornos

Aileen Carol Wuornos Pralle was an American serial killer who killer murdered seven men in Florida between 1989 and 1990 by shooting them point-blank range.

  • Jeffrey Dahmer

Jeffrey Lionel Dahmer, also known as the Milwaukee Cannibal or the Milwaukee Monster was an American serial killer and sex offender, who committed the rape, murder and dismemberment of 17 men and boys from 1978 to 1991.

  • John Wayne Gacy

John Wayne Gacy Jr. was an American serial killer and rapist. He sexually assaulted tortured and murdered at least 33 teenage boys and young men between 1972 and 1978 in Cook County Illinois.

  • H.H. Holmes

Herman Webster Mudgett, better known as Dr. Henry Howard Holmes or more commonly known H.H. Holmes, was an American serial killer of the 19th century.


Scary urban legends

  • The Clown Statue

The scary clown statue story is an urban legend about a babysitter who finds herself alone in the house with a creepy statue of a clown. Some people believe that this is a true story, but in reality it’s just an urban myth.

  • The Roommate’s Death

Two roommates remain at their deserted college dormitory over a holiday break. One of the girls goes out on a date that evening  and the other one turns in and goes to bed before her roommate returns. Later that night the sleeping girl is awakened by gurgling and scratching noises coming from outside the hallway door. Frightened, she locks the door and cowers inside the room until morning. When the girl finally opens the door and ventures outside, she discovers the bloody corpse of her roommate in the hallway. The murdered girls throat and she had bled to death in the hallway while clawing at the door.

  • The Vanishing Hitchhiker

A man turns to bid his unusual hitchhiker goodbye and discovers that she had disappeared from the car. He later learns that his mysterious passenger died several years earlier. Vanishing hitchhiker stories as we now tell them date to the turn of the century, but their predecessors go back centuries before that, As time rolled on the wagons and horses of older times transformed into the cars of today.

  • Killer in the Backseat

A good Samaritan warns a female driver about the armed and dangerous man hiding in the back seat of her car. Stories about a stranger slipping into the back seat of a solo women’s car, presumably with ill intentions have been circulating in various forms both on and off the internet for many years.

  • Bloody Mary

Bloody Mary is a folklore legends consisting of a ghost phantom, or spirit conjured to reveal the future. She is said to appear in a mirror when her name is called three times. The Bloody Mary apparition may be benign or malevolent depending on historic variations of the legend.



Examine three characters from different horror films that you have chosen and answer the following questions: Jason, Freddy, Norman, Pennywise

What do you feel are their defining characteristics?

How do the creators ensure that you are connected to the character?

Is you you character a stereotype or has some time gone into developing the character?

How successfully does the character fit into their world?

How would you approach your own character design, how do you plan to make sure your character / world interact together coherently.

Come up with a few examples of “Bad” character design and why do these characters not resonate with you? is that bad character design intended? Does the lack of connection with the character affect you relationship with the end product.




Tim Burton

Timothy Walter “Tim” Burton is an American film director, producer, artist, writer and animator. He is known for his dark, gothic, eccentric and quirky fantasy films such as Beetlejuice (1988), Edward Scissorhands (1990), the animated musical the Nightmare before Christmas (1993), the biographical film Ed wood (1994), the horror fantasy sleepy Sleepy Hollow (1999), and later efforts such as Corpse Bride (2005), Sweeney Todd: The Demon Barber of Fleet Street (2007), Dark Shadows (2012), and Frankenweenie (2012). He is also known for blockbuster such as the adventure comedy Pee-wee’s big adventures (1985), the superhero films Batman (1989) and it’s first sequel Batman Returns (1992), the Sc-fi film Plant of the Apes (2001), the fantasy drama Big Fish (2003), the musical adventures film Charlie and the Chocolate Factory (2005) and the fantasy film Alice in Wonderland (2010), which garnered a worldwide gross of over $1 billion.

Burton has worked repeatedly with Johnny Depp, who has become a close friend of Burton since their first film together. He has also worked with musician Danny Elfman, who has composed scores for all but three of the films Burton has directed. Actress Helena Bonham Carter, Burton’s former domestic partner, has appeared in many of his films. He also wrote and illustrated the poetry book The Melancholy Death of Oyster Boy & Other Stories , published in 1997 by Faber and Faber, and a compilation of his drawings, sketches and other artwork, entitled The Art of Tim Burton, was released in 2009. A follow-up to The Art of Tim Burton, entitled The Napkin Art of Tim Burton: Things You Think About in a Bar, containing sketches made by Burton in napkins at bars and restaurants he occasionally visits, was released in 2015. Both compilations were published by Steeles Publishing.

Burton wrote and produced although he did not direct because of filming Batman Returns, the movie is known as The Nightmare Before Christmas (1992) for Disney, wait Disney, Disney the happy child and family friendly of fairy land released this movie, I don’t think I can get over this I mean The Nightmare Before Christmas is pretty scary when you think about it but of course when your a child you don’t think about it with all the singing and of course Christmas involved, it’s not a surprise that since Tim Burton is known for making very….very…..very dark movies, when I first saw this movie I actually thought “is this really a kids movie” but it’s didn’t bother me anyway back to the thing, originally meant to be a children’s book in rhyme. The film received positive reviews for the stop motion  animation, musical score and original storyline. It was a box office success, grossing $50 million. Burton collaborated with Selick again for James and the Giant Peach (1996) which Burton co-produced. The film helped to generate a renewed interest in stop motion animation.

Corpse Bride (2005) was Burton’s first full-length stop motion film as a director, featuring the voices of Johnny Depp as Victor and Helena Bonham Carter as Emily in the lead roles. In this film, Burton was able again to use his familiar styles and trademarks, such as the complex interaction between light and darkness, and of being caught between two irreconcilable worlds.


Comic Strips

A comic strips is a sequence of drawings arranged in interrelated panels to display brief humour or form a narrative, often serialised  with text in balloons and captions. Traditionally throughout the 20th century and into the 21st, these have been published in newspaper and magazines, with horizontal strips printed in black and white in daily newspaper, while Sunday newspaper offered longer sequences in special colour comic section. With the development of the internet, they began to appear online as webcomics. There were more than 200 different comic strips and daily cartoon panels in American newspaper alone each day for most of the 20th century , for a total of at least 7,300,000 episodes

Strips are written and drawn by a comics artist or cartoonist. As the name implies, comic strips can be humours (for example gag a day, strips such as Blondie, Bringing up Father, Marmaduke and Pearls Before Swine).

Starting in the late 1920w, comic strips expanded from their mirthful origins to feature adventure stories as seen in Popeye, Captain Easy, Buck Rogers, Tarzan and The Adventures of Tintin. Soap-opera continuity strips such as Judge Parker and Mary Worth gained popularity in the 1940s.  All are called, generically comic strips, though cartoonist Will Eisner has suggested that “sequential art” would be a better genre-neutral name.

In the UK and the rest of Europe, comics strips are also serialised in comic book magazines, with a strips’s story sometimes continuing over three pages or more. Comic strips have appeared in American magazines such as Liberty and Boy’s life and also on the front covers of magazines such as the Flossy Frills on the American Weekly Sunday newspaper supplement.

Jamie Hewlett

Jamie Christoper Hewlett is an English comic book artist and designer. He is best known for being the co-creator of the comic Tank Girl and co-creator of the virtual band Gorillaz.

Through his career as a designer and a comic book artist, Hewlett’s works have contained a diverse selection of influences from a variety of many different artists.

In a 2013 interview with Consequence of Sound, Hewlett stated that his primary influences were the works of cartoonist such as Mort Drucker, Carl Giles, Jack Davis and Ronald Lowe. In a 2012 inrerview

James Wan

James wan is an Australian film director, screenwriter and producer. Wan is widely known for directing the horror film Saw(2004) and creating Billy the puppet. He has also directed Dead Silence and Death sentence (both 2007), Insidious (2011), The Conjuring and Insidious (both 2013), Furious 7 (2015) and the Conjuring 2 (2016) with the upcoming Aquaman (2018).

Wan was born in Kuching, Sarawak, Malaysia and is of Malaysian Chinese descent. Wan and his family moved to Perth, Australia when he was seven. He attended Lake Tuggeranong College in Canberra, before moving to Perth as an adult. Wan relocated from Perth to Melbourne, where he attended RMIT University.


So designing comic strips was going to be something different for me, I had never created a comic strip before. So this was a challenge not a massive challenge but something new to try. I wanted to do horror movies because I’ve loved horror movies for years and I was thinking for my final major project was comic strips on horror film character. I got the idea from an artist who made a series called pocket princess which is a Disney princess living together and so for my comic strip famous horror movie character are living together learning to put up with living together. This in a horror theme with a comedy vibe or a lot of reference on horror movies, I want to open people eyes to the world of horror movies that it’s not just all scares that there lessons and a funny side to it.

I was going to choose a lot of horror film character like Freddy, Jason, Michael, Leatherface, Chucky, Norman and many more but due to timing and character developing  would take long, so my plan is to stick with three character with some other characters but only for a couple of comics, I find that after developing the characters on my sketch book it was the right choice to go with three characters which were Freddy, Jason and Norman personally my favourite characters,  mostly Jason. At first all their sketches were kind of terrible but then they actually got better after continuing with drawing different styles of drawing. Drawing any style of character of the same one it became easy to find the correct drawing style for the comic strips. Once that was done then it was time to do head movement which was drawing their heads in different angles, up, down, looking to the left and right all angles at 180 degrees and to see how their expression would look minus the fact that Jason is wearing a hockey mask so there not a lot of face expression on him, Freddy and Norman will be easier as they actually showing their faces. Originally it was suppose to be Leather-face, Michael Myers, Chucky, Freddy, Jason and Norman but due to space and drawing I decided to stick with three characters and I know I made the right choice.

When it came to bringing the colours to the character to life, I collect a lot of images from the horror movies and collected the colours I need to fit all the character colour choice. Giving that the comics were about horror movies the colour theme has to be dark colours, the theme of the comic is dark but has a light story to it nothing too dark themed, practically kid friend. The colours from the images I collected to find the colours I needed for each characters, Freddy was harder to do due to the skin, making the skin like burn looking skin. What I did was make a dot affect on the skin using darker shades to show different layers of the skin colour to make it clearly shown he burned on his face, I did the same affect on on his glove as well with his claw. Norman and Jason weren’t as complicated as Freddy as they have normal colour forms, nothing extra to add onto just simple colours. I was debating whether to add shading to the comic strips but I was worried that the shading would create a much too series look and that would create the wrong impression that instead of not trying to be scary it could make it look a little too scary. But over all the colours and the lay out came out much better then I expected.

Creating the comic strips wasn’t as challenge as it seems, due to losing some time on working on the project, that I didn’t have a lot of time to do the comic strips I originally had 20 comic strips in my sketch book but only 18 manage to get done on digital, and matter on displacing them we had to cut two out of the display board so that it looked more even and balanced having 18 created an odd number making the display-board look uneven and a bit messy given the space I had so that was disappointing. If I had the chance to do it all again I would finish all of those 20 comic strips then it would be complete and it would look so much better, although I’m happy with the results of the comic strips. The colours came out the way I wanted, the story went well, my drawings have improved so much, laying out came out better. The comic strips is a telling of horror film characters living together through various scenario and even holidays.


Bouncing ball Maya

We were told to create a bouncing ball effect, where the ball bounces as seen in the video, I watched a how to make a bouncing ball on Maya which gave me all the necessary tips I needed to do this.

To start off I created a ball shape and changed it size making it big enough to look like a ball, then I created a platform to use for when the ball lands on it and to make it wide enough to make the ball give a couple of bounces. Then set the ball above the platform ready for the first drop. Making sure the points are recorded and setting where the ball starts off at the point where it’s ready to drop. Then on the next point drop the ball almost to the middle, then raise the ball back up forward which will look like this.

After that you’ll need to edit to change the way the ball bounces by changing it, by doing that it changes the speed of the ball, at first it looks like a V the way the ball is going, pushing it closer to each other will give it a proper bouncing affect in which the speed of ball falling down so by changing the curves of it will give the ball a more bouncing feature and to make sure each bit is recorded.

So now there one thing missing is where the ball id actually bouncing when the ball hits the ground and slightly losing it’s ball form and slightly crashing on the ground then bounces back up, do



Maya 3D obstacle course

The task we were giving was to show how much we had learn about maya that we were given the task of moving a character from one room to the other, but there was a obstacle course that we had to animate are character to go through the obstacle course. The obstacle course was a simple task but with animating on maya that is a different story.

Basically what you do is animate different point through the obstacle course, after setting it and having it recorded. So in between that you edit the character to be able to move as if the character is moving so walking, climbing and crawling. The point that firstly having to set the points where the character passes different parts of the obstacle course, so then between those different parts you’d would set the arms and legs to move as if there doing the obstacle course in which after animating they are doing the obstacle course. Having to make sure that the arms and legs moved in the right way so the character is walking, climbing and crawling. having that done there were still problems with animating trying to get a walk circle to look correct even animating on one side I still had to check how it looks in different angles to make sure it looks right and that it walks right, crawls right and climbs the right way.


Pipeline of Dreamworks Animation


Story (Story board)

Storyboards are a hand-drawn of the movie and serve as the blueprint for the action and dialogue. Each storyboard artist receives script pages or a “beat outline”, a map of the character’s emotional changes that need to be seen through actions. Using these as guidelines, the artists envision their assigned sequences, draw them out and then “pitch” their work to the director. Over four-thousand storyboard drawings are created as the blueprints for the action and dialog of a feature-length Pixar animated film. They are revised many times during the creative development process.


Storyboards are used to create story. A storyboard originates from written word; for example from a script. A storyboard artist takes the written word and draws it into pictures. The picture are then taken and pinned on a board, a storyboard. After all the pictures are pinned to a storyboard, the artist then pitches it to the director. The artist wants to give a sense of what this movie could be like and tries to bring it to life. The aim of a storyboard is to get a feeling of what the story could be like as a final film. The storyboard artist attempts to convey what it would feel like to watch the film in a cinema.


The following video explains what a storyboard is and the process of storyboard by a storyboard artist. It also shows us a storyboard pitch, where an artist is pitching his storyboards to a group of Pixar employees. The video then compares a storyboard to the finished product; demonstrating the influence and importance a storyboard has on a final product.

John Lasseter on Storyboarding

The following quote from John Lasseter, the Chief Creative Officer at Pixar, illuminates the importance of storyboarding to creating a successful.

“In animation, it is so expensive the footage, that unlike live action we cannot have coverage. We can’t do multiple takes of a scene. We don’t have extra handles, we don’t have B-roll, we don’t have any of that stuff. We have one chance to every scene. So how can you possibly know you’re choosing the right thing?

What we do is we edit the movie before we start production. And we use storyboard drawings to do that. We quickly get away from the written page and the script, and we really develop the movie in storyboards. A comic book version of the story. And we do it the way Walt Disney did it. We have 4×8 sheets of bulletin board material, and we pin drawings and we pitch them to each other. To see how things flow.

And when something seems to be working great then we’ll go on to the editing system and we will make a version of the movie using the still storyboard drawings. And we’ll put our own voices in it as scratch voices, we’ll get temporary music from some soundtrack album that has the right emotion we want, and put sound effects in there. And we can literally sit back in a screening room, press a button — no excuses, no caveats — and we just watch the movie with still drawings.

I will never let something go into production unless it is working fantastic in that version with the still drawings. Because no matter all the great animation you can do will never save a bad story. We will work and rework and rework and rework these reels — sometimes thirty times before we let it go into production. We’re really adamant. We’ll even slow the production down or stop production to get the story right because we believe that it’s the story that entertains audiences. It’s not the technology. It’s not the way something looks. It’s the story.”

– John Lasseter

Here are some storyboards from a number of different Pixar films:

Toy story storyboard



Brave storyboard



Up storyboard





Sources Pixar website




It’s not as entirely linear as this in practice (locks happen before all of the animation is done, for example-so that any extensions can be accommodated), a lot of things end up happening as simultaneously, and I’m typically working on anywhere between 5-26 episodes at a time…but this is the basic system.

Their sharing it here because they get asked a lot where the editing happens in animation (“surely the work’s all done by the time you arrive on the scene?”). Answer: everywhere. I haven’t even included the script changes and pickups/ ADR here. They basically get added throughout, ideally less frequently as time goes on – the further we are in an episode; the more people are affected if something needs to be changed.

Source Judith Allen page




Animation art is one of those industries forever changed by technology, as handcrafted production celluloid (cels) and backgrounds were replaced by digital inks in the later 20th century. The collector’s markets existing as a result can be categorised in two areas: original and reproduction.

Film animation has existed since the turn of the 20th century, but archiving and selling its production artwork was practiced minimally until the 1970s. It’s noted that some early Disney artists actually threw their artwork away after filming, or gave pieces away to friends and family. Some work was even wiped off the cel and reused for a new drawings. By the 1970s, dealers began offering film art to fans, and a lucrative market ensued, peaking in the 2990s, bottoming and then rising again in the 2000s.

When collecting animation grew, vendors responded to demand by producing new and reproduced artwork in lots, manufacturing items like limited edition cels, sericel is actually a silk-screened print on acetate or plastic, and essentially duplicates an original  film cel. Sericel values can vary widely, and it’s best to research the printing before purchasing art. Signed, limited-edition lithographs have become common to collecting as well, and understanding a piece’s background is essential to achieving a good value.



Three-dimensional (3D) models represent a physical body using a collection of points in 3D space, connected by various geometric entities such as triangle, line, curved surfaces. Being a collection of data, 3D models can be created by hand, algorithmically (procedural modeling), or scanned. Their surfaces may be further defined with texture mapping.

3D models are widely used anywhere in 3D graphics and CAD. Their use predates the widespread use of 3D graphics on personal computers. Many computer games used pre-randered images of 3D models as sprites before computer could render them in real-time. The designer can then see the model in various directions and views, this can help the designer see if the object is created as intended to compared to their original vision. Seeing the design this way can help the designer/company figure out changes or improvements needed to the product.

Today 3D models are used in a wide variety of fields. The medical industry uses detailed models of organs; these may be created with multiple 2-D images slices from an MRI or CT scan. The movie industry uses them as characters and objects for animated and real-life motion pictures. The video game industry uses them as assets for computer and video games. The science sector uses them as highly detailed models of chemical compounds. The architecture industry uses them to demonstrate proposed buildings and landscape in lieu of traditional, physical architectural models. The engineering community uses them as designs of new devices, vehicles and structures as well as a host of other uses. In recent decades the earth science community has started to construct 3D geological models as a standard practice. 3D printers or CNC machines.




In it’s simplest form, 3D rigging is the process of creating a skeleton for a 3D model so it can move. Most commonly, characters are rigged before they are animated because if a character model doesn’t have a rig, they can’t be deformed and moved around. They are stuck in whichever pose the modeler decided to put them in. The rigging process can become very technical and seem overwhelming at times, but after a little practice you’ll be creating great rigs in no time

Key 3D rigging terms you need to know:

  •  Joints: Sometimes called bones, you can think of joints for rigging in the same way you think of joints in a human body. They basically work in the same way. Joints are the points of articulation you create to control the model. For instance, if you were to rig a character’s arm you would want to place a joint for the upper arm, another joint for the elbow and another joint for the wrist, which allows the animator to rotate the arm in a realistic way. Joints


  • Driven Keys: To speed up the animation process for the animators, a rigging artist can utilize driven keys when rigging a character. Driven keys allow you to use one control or object to drive multiple different objects and attributes. In the example above we can use a driven key to control the fist position for the hand, with just one single control. A driven key contains two parts: the driver and the driven. The driver is the object in control of the animation. The driven is the objects and attributed that are being controlled by the driver. Typically for regular key, keyframes an attribute has values keyed to time in the time slider. For a driven key, the attribute has values keyed to the value of the driving attributes. The driver can be another object, or in the case of the example image above it is a control slider. Driven_Key


  • Blend Shapes: A blend shape, or morph depending on your 3D application, allow you to change the shape of one object into the shape of another object. When rigging a common use for blend shapes is to set up poses for facial animation. This might be lip sync poses or more complex expressions like a smile or frown. You can tie all these new poses into the original face mesh and have it operate all on one control slider. Blend_Shape For example, if you want to raise an eyebrow you can model a face pose with one eyebrow raised, connect it to a blend shape and using the slider with a value of 0 to 100 to either raise or lower the eyebrow. This is a great way for the animator to be able to quickly make face poses without having to move individual facial poses controls around. There are some downsides to using blend shapes for facial poses, because the edit ability can be limited. Riggers often will give the often will give the animator both blend shape options and traditional control points to use them in conjunction. Blend_shape_01


  • FK (Forward Kinematics): Forward Kinematics means your character rig will follow the hierarchal chain. This means more control over your chain, but also means you’d need to position each joint in your chain independently of each other. For example, with FK if you positioned the character’s hand the rest of the arm wouldn’t follow like it does with IK. Instead you would need to position each joint independently, starting with the upper arm, the elbow and then the wrist. This obviously takes more time than IK, but can give the animator much more control of the poses. Most times riggers will incorporate both FK and IK into the rig to meet the animator’s needs. Learn more about IK and FK in a post on Demystifying IK and FK for Animators. FK


  • Control Curves: Control curves are created by the rigger to assist the animator in manipulating joints within the rig. Typically a rig consists of many components that need to be manipulated to move the character in the desired pose. This can be very difficult to do without control curves because the animator would need to hide the mesh to see the skeleton within the character and try to determine which joint manipulates the elbow, for example. Control curves are typically simple NURBS curves placed outside of the character so the animator can easily select the curve to position the character instead of the actual joint. Control_Curves




Duties: Surfacing artist are master digital painters. They enhance the appearance of characters , props and environments in an animated feature film according to the visual style set forth by the art director, production and director of the film. The surfacing artist is responsible for technically demanding and complex surfacing setups. They work closely with the modeling and lighting departments to ensure that surfacing needs are met alongside the needs of other department. These artists use computer rendering environments such as Body paint, Maya, Renderman, Zbrush, Mudbox, or Photoshop to develop the needed surface materials, texture and UV maps that overlay 3D models. They must produce consistent, high-quality work while maintaining a steady flow of assignments into the pipeline and meeting rigid deadlines.

Skills and Education: Being a surfacing artist requires creativity and an eye for design elements such as detail, scale, composition, colour and form. The artist must be able to learn new programs and create in different visual styles as required; an understanding of polygonal and NURBS texturing and UV mapping and layout is necessary. Knowledge of modeling and lighting/shading is a plus, since surfacing artists work in tandem with these departments Educational requirement are not as important to landing the job as relevant industry experience and a killer demo reel, but a bachelor’s degree in computer animation will give you a competitive edge.

What to expect: You may have been a talented artist in your childhood; now you are painting with complex equations and specialised software. Expect to work “alone in a crowd” you may be part of a large team, but you’ll probably be interacting more with your mouse and screen than anyone who can talk back to you. Expect eyestrain, incipient carpel tunnel syndrome, and the satisfaction of shouting “that’s mine!” when the most lifelike fur, scales or lava ever animated pops up on the cineplex screen.



Rough Layout

Generally when people think of animation studios, they tend to refer to everyone who works there as an “Animator”. However especially in larger studios, only a fraction of the workforce holds the title “Animator”, as there are many departments doing their part to help bring the vision to the big screen, such as Character Effects, Lighting, Story, Editorial and Modeling. In this article, lets take a closer look at my current home department, layout and look at what they do to help bring the vision to life.

Layout: Bringing it all together 

The most straight forward answer is exactly as the name suggests; they lay-out the movie. More specifically, layout takes all the upstream assets such as backgrounds and props from art department, characters from character designers, storyboards from story department, and they put them together and lay them out according to what the sequence and shots call for, according to the script and storyboard.

Laying out the shot, incorporating all these elements together, inherently means composing everything appropriately, as well as planning out camera moves and ground planes for animation, with guidance coming from the storyboards. This essentially makes layout the cinematographers of the movie. Layout artists in traditional animation will draw each background with a suggestion of lens and focal length, depending on what the story beat calls for, just as a live action production would. In CG Animation it is even lengths, aperture and shutter speeds.

Below you can observe and example of traditional layout, where a camera move has been planned out over the expanse of environment. The warped, somewhat fish-eye perspective suggests focal length as the camera pans over the artwork following the action (Illustration taken from Fraser MacLean’s book setting the scene, Layout artwork by Fraser Maclean, final cleanup by Scott Caple)

In CG pipeline at large animation studios, Layout is often split into two departments: Rough and Final Layout.  Rough Layout, also referred to as previsualization, tend to focus on entire sequences, vs Final Layout, who tends to work on individual shots.  As mentioned before, layout artists act as the cinematographers for the movie, which effectively makes the Head of Layout the Director of Photography for the animated film.  The Head of Layout will go through a process not unlike a live action D.P.  This includes working with the Director to establish a cinematic language for the movie, planning out how sequences will be shot to help support the tone of the story or environment, and even creating a lens kit for the production, and technical aspects like cinemascope vs widescreen.
Previz artists will then work with the Head of Layout and Director to help take the work that was done in story department, and visualise an entire sequence using rough sets and characters, as well as staging rough animation blocking and even creating rough lighting rigs, all to help create what is essentially a low-resolution version of the final look of the movie.  Once that look is established, the rough layout version of the film acts as a visual guideline for downstream departments such as Animation, Lighting, Effects, and of course Final Layout.

If you are working on either a traditional or tradigital (digitally hand-drawn animation) animation project in a team environment, or if you are working with other people, it is important to communicate information clearly and keep your work well organized. In this artist, you will learn how to make a smooth transition from the story board to an animation by making use of a production step known as a layout and posing. To find out more about the steps described in this article, please refer to the animate user guide.

The Layout and Posing process comes from traditional animation where it is done on paper and then passed on to the animator. The Layout and Posing step translates the storyboard information to a format which the animators can use. Since the storyboard is not always accurate, the layout artist will reproduce the storyboard scene to the correct scale, draw the animation poses on the model (posing), plan the camera moves and create the black and white background (background layout).

The background is a section from the location design, also called key background. Background layout is different than the location design. The background artist will refer to the storyboard and the location design to draw the appropriate background for the scene.

For tradigital animation projects the Layout and Posing is done in the animation software, since the main purpose of this technique is to save paper and transfer most of the work to digital.

With Animate you do your layouts and posing digitally there is no need to use paper or scan elements in. Simply open your Drawing or Camera view and draw your background and posing as well as camera move references.




Manipulated to appear as moving images. In traditional animation the images were drawn (or painted) by hand on cels to be photographed and exhibited are made with computer-generated are made with imagery (CGI). Computer animation, while 2D computer animation can be used for stylistic reasons, low bandwidth or faster real-time renderings. Other common animation methods apply a stop motion technique to two and three-dimensional objects like paper cut-outs, puppets or clay figures. The stop motion technique where live actors are used as a frame-by-frame subject is known  as pixilation.

Commonly the effect of animation is achieved by a rapid succession of sequential images that minimally differ from each other. The illusion- as in motion picture in general-is thought to rely on the phi phenomenon and beta movement, but the exact causes are still uncertain. Analog mechanical animation media that rely on the rapid display of sequential images include the phenakisticope, zoetrope, flip book, prazinoscope and film. Television and video are popular electronic animation media that originally were analog and now operate digitally. For display on the computer, techniques like animated GIF and flash animation were developed.

Apart from short films, feature films, animated gifs and other media dedicated to the display moving images, animation is also heavily used for video games, motion graphics and special effects. The physical movement of images parts through simple mechanics in for instance the moving images in magic lantern shows can also be considered animation. Mechanical animation of actual robotic devices is known as animatronics. Animators are artists who specialize in creating animation.




Crowds simulation is the process of simulating the movement (or dynamics) of a large number of entities or characters. It is commonly used to create virtual scenes for visual media like films and video games, and is also used in crisis training, architecture and urban planning, and evacuation simulation.

Crowd simulation may focus on aspects that target different application. For realistic and fast rendering of a crowd for visual cinematography, reduction of the complexity of the 3D scene and image-based rendering are used, while variations in appearance help present a realistic population.

In games and application intended to replicate real-life human crowd movement, like in a evacuation simulations, simulated agents may need to navigate towards a goal, avoid collisions and exhibit other human-like behaviour. Many crowd steering algorithms have been developed to lead simulated crowds to their goal realistically. Some more general systems are researched that can support different kinds of agent(like cars and pedestrians), different levels of abstraction (like individual and continuum) agents interacting with smart objects, and more complex physical and social dynamics.


Three film trailers

What did I learn from the trailer?

I learned that there trying to point out on people who have invaded or living in other people homes.


Horror and Thriller

Who is the main character/protagonist?

The family

What do you learn about the mise-en-scene?

There showing a happy family moving into a house but they seem to be afraid of something or someone in their house and are trying to use security home to keep whatever their afraid of getting in.

Character representation?

a family starting a new life


What is it about (story in the trailer)?

the story is about a family moving into a house only to find that there is something or someone roaming in their house, their using security home to project themselves but it seams it’s already in the house.


What did I learn from the trailer?

that is a 60 monster classic in a fantasy style movie


horror and romance

Who is the main character/protagonist?

Elisa who is the deaf girl and what seams to be a creature from the black lagoon

What do you learn about the mise-en-scene?

They showing Elisa life and that she was deaf in which she encounters the creature

Character representation?

falling in love with a creature


What is it about (story in the trailer)?

It’s about a deaf girl named Elisa, who works in a lab when she is asked to clean the lab only to discover a creature, she teachers him sigh language  and they start falling in love.


What did I learn from the trailer?

that even oddest kind of team can work together


action and comedy

Who is the main character/protagonist?

A guy who searches for people who go missing and a guy who hunts guys downs

What do you learn about the mise-en-scene?

showing their life and how they end up working together

Character representation?

team work


What is it about (story in the trailer)?

It’s about two guys who go on a search to find someone who gone missing and are hunted down by another group of men who are looking for this person and they work together to find this person

Live action game film idea

Idea one: Visage

A horror themed game in a haunted house, a house that seems normal but at night is haunted by a spirit. This was inspired by Visage (video game)

Visage is an independent survival horror game in development by SadSquare Studio. Similar to Allison Road, the game is a spiritual successor to P.T. The game ran Kickstarter and Steam Greenlight campaigns.



Visage will be set inside a huge house in which terrible things have happened. Players will relive fragments of the house’s history, each of them dragging them closer to what’s behind the dark history of the place. Players will witness firsthand how people died in the terrifying house. Each death has it’s visage.


The game takes place in a secluded town in the 1980s. The origin of the house the characters are in has been there for centuries, and it’s foundations never seem to decay. Dozens of families have lived here. Many of them died brutally, while others lived their lives placidly in their beloved home.


Visage is being developed since January 2015 and was announced in September 2015. The game has been successfully financed by a Kickstarter campagn running from January through March 2016. The release is set for 2018.

Similar to Allison Road, Visage core gameplay is to capture the spirit of the cancelled Silent Hill project, and is inspired by P.T SadSquare Studio has been inspired by other survival horror video games.


Idea two: Firewatch

Firewatch is a first-person mystery adventure game developed by Campo Santo and published by Campo Santo and Panic. The game was released in February 2016 for Microsoft Windows, OS X Linux and PlayStation 4, and for Xbox One in September 2016.

The story follows a Shoshone National Forest fire lookout named Henry in 1989, following the Yellowstone fires of 1988. A month after his first day at work, strange things begin happening to both him and his supervisor Delilah, which connects to a conspired mystery that happened years ago. Henry interacts with Delilah using a walkie-talkie, with the player choosing from dialog options to communicate. His exchanges with Delilah inform the process by which their relationship is developed. The game was directed by Olly Moss and Sean Vanaman, written by Chris Remo, Jake Rodkin, Moss and Vanaman, and produced by Gabe McGill and artist Jane Ng, based on a single painting by Moss. The design draws inspiration from New Deal advertisements by the National Park Service and field research conducted Yosemite National Park.

The game received generally positive reviews, earning praise for its story, characters, dialogue, and visual style. However the presence of technical issues and the game’s ending were both subjects of criticism. Firewatch won the award for the Best 3D Visual Experience at the Unity Awards 2016, Best Indie Game at the 2016 Golden Joystick Awards, Best Narrative at the 2017 Game Developers Choice Awards. By the end of 2016, the game had sold over a million copies. A film based on the game is being developed.



Firewatch is a first-person adventure game that takes place in the American state of Wyoming in 1989. Players take on the role of Henry, a fire lookout who is assigned to his own tower in Shoshone National Forest. Through exploration of the surrounding area, Henry uncovers clues about mysterious occurrences in the vicinity that are related to the ransacking of his tower while out on a routine patrol and a shadowy figure that occasionally appears watching him from afar.

Henry’s only means of communication is a walkie-talkie connecting him to his supervisor, Delilah. Players may choose from a number of dialog options to speak with her upon the discovery of new interactive objects or environments, or can refrain from communicating. The players may choose from a number of dialog options to speak with her upon the discovery of new interactive objects or environments, or can refrain from communicating. The players choices will influence the tone of Henry’s relationship, new areas will opened up for players. The game also features a day-night cycle. Objects found in the wilderness can be kept in the inventory for later use.


Following the Yellowstone fires of 1988, Henry (Rich Sommer) takes job as a fire lookout in Wyoming after his wife developed advanced early-onset Alzheimers. On his first day, Delilah (Cissy Jones), a lookout in another watchtower, contacts him via walkie-talkie and asks him to investigate illegal fireworks by the lake. Henry discovers a pair of leering. On his way home he comes across a locked cave and spots a shadowy figure. He returns to his watchtower to find it ransacked.

Later, Henry finds an old backpack and a disposable camera belonging to a boy named Brain, who Delilah explains was a lookout with his father Ned. Ned was an outdoorsman who drank heavily due to his traumatic experiences in the Vietnam War, while his son, Brian, enjoyed fantasy novels and role-playing games. Though it is against the rules for employees to bring their children to the towers, Delilah was fond of Brian and lied about his presence. He and Ned left abruptly and never returned.

The teenage girls are reported missing. Fearing an inquiry, Delilah falsifies reports to say that neither she nor Henry encountered the girls. By the lake the next day, Henry discovers a radio and a clipboard with notes including transcripts of his conversations with Delilah. He is then knocked unconscious by an unseen assailant. He wakes to find the clipboard and radio gone. In a meadow referred to on the clipboard letterhead he finds a fenced-off government research area. He breaks in and discovers surveillance equipment and typewritten reports detailing his and Delilah’s conversations and private lives. He also discovers a tracking device which he takes with him.

Henry and Delilah discuss destroying the government camp, but decide against it. As Henry hikes home, someone sets fire to the camp. He uses the tracking device to find a backpack with a key to the cave. Delilah reports a figure in Henry’s tower; when Henry arrives, he finds a Walkman taped to the door with an incriminating recording of Henry and Delilah’s discussion about destroying the government camp.

When Henry enters the cave, someone locks the gate behind him. He escapes through another exit and discovers Brian’s old hiding spot, where he went to escape his father when he tried to teach him how to climb. He goes deeper into the cave using climbing equipment left at Brian’s camp, and discovers Brian’s decomposed body at the bottom of a cavern. Delilah is upset by the news, blaming herself for allowing Brian to stay.

The next day, the fire at the government camp has grown out of control and an evacuation order is given for all the lookouts. As Henry prepares to leave, the tracking device begins beeping. He follows the signal and discovers a tape with a recording from Ned. Ned claims in the tape that Brian’s death was accidental, and that the boy fell due to climbing inexperience. Unwilling to return to society after Brian’s death, Ned admits he has been living in secret in the wilderness ever since. Henry finds Ned’s camp, along with items stolen from the government camp, the lookout towers, and the teenage girls, who Delilah confirms have been found safe. The government camp was simply studying wildlife; Ned had been using its radio equipment to ensure no one was looking for him and to create transcripts to scare Henry away. Delilah blames Ned for Brian’s death and leaves on the helicopter, telling Henry to return to his wife. He goes to her tower, where the rescue helicopter is waiting for him, and he and Delilah say their goodbyes via radio.


Firewatch is the first video game for Campo Santo and was created by Jake Rodin and Sean Vanaman, who were the creative leads on the walking dead; Nels Anderson, the lead designer of mark of the ninja; and artist Olly Moss. Chris Remo was involved in many aspects of the design and also composed the score.

Development for Firewatch began with a single by Moss. Jane Ng, lead environmental artist at Campo Santo, was tasked with translating Moss’ work into 3D environments while maintaining his stylised artistic vision. Moss, who had previously been known primarily for his graphic design work, had joined Vanaman and Rodkin to found Campo Santo after spending many years working on the periphery of game development. In creating the painting, Moss emulated National Park Service posters from the New Deal era in both colour palette and iconography. The development team went on a camping trip to Yosemite National Park for inspiration for the game, where they visited a lookout tower built with the same design as its video game came from Vanaman and Anderson’s experiences growing up in rural Wyoming.


Final idea: assassin’s creed 3

Assassin’s creed 3 is a 2012 action-adventure video game developed by Ubisoft for PlayStation 3, Xbox 360, Wii U and Microsoft Windows. It is the fifth major instillment in the Assassin’s Creed series and a direct sequel to 2011’s Assassin’s Creed: Revelations. The game was released worldwide for playStation 3 and Xbox 360, beginning in North American on October 30, 2012 with a Wii U and Microsoft release following in November 2012.

The plot is set in a fictional history of real world events and follows the centuries-old struggle between the Assassins, who fight for peace will free will, and the Templars, who desire peace through control. The framing story is set in the 21st century and features series protagonist Desmond Miles who, with the aid of a machine known as the Animus, relives the memories of his ancestors to find a way to avert the 2012 apocalypse. The story is set in the 18th century, before during and after the American Revolution from 1754 to 1783 and follows Desmond’s half-English, half-Mohawk ancestor, Ratonhnhake ton also known as Connor, as he fights the Templars in the colonies.

Video diary:






Director and production manager me and Indre

Camera mainly me and Indre

Art director me and Indre

sound-person Indre

Editor me and Indre


Main character Ben, Indre and me (assassin and british army)

How you intend making this trailer

Real location Richmond park

Real actors Ben, Indre and me

Real props archery kit and knife, make up, clothing

what equipment you will need