alexstewartbeststudy

[alexstewartbeststudy]

Inspiration from Victorian era and 19th Century Literature

Opinions follow the sampled text below.

http://victorian-era.org/victorian-era-literature-characteristics.html

[Text Sample] - [As is quite evident from the title the kind of literature that evolved during the reign of Queen Victoria is famously known as the Victorian era literature. The literature of the Victorian age (1837-1901) entered a new period after the romantic revival. The literature of this era was preceded by romanticism and was followed by modernism or realism. Hence, it can also be called a fusion of romantic and realist style of writing.]

The only thing I have to say about this particular text is that I think Victorian era laws were considerably more sympathetic than previous ones. As such, it makes sense that the general consensus of Victorian people began to grasp the reality of life in their stories. This naturally proceeds onto developments that inspired my designs for this Mortal Engines project.

[Victorian novels tend to be idealized portraits of difficult lives in which hard work, perseverance, love and luck win out in the end. They were usually inclined towards being of improving nature with a central moral lesson at heart. While this formula was the basis for much of earlier Victorian fiction, the situation became more complex as the century progressed.]

That image was solely just to make this blog more interesting

[If one studies possibly, all the great writers of this period, you will mark three general characteristics, Firstly, literature in the Victorian age tended to come face to face with realism. This reflected more on practical problems and interests. It becomes a powerful instrument for human progress. Secondly, the Victorian literature seems to deviate from the strict principle of “art for art’s sake” and asserts its moral purpose.Alfred Lord Tennyson, Robert Browning, Ruskin Bond – all were the teachers of England with the faith in their moral message to instruct the world. Thirdly, this was more like the age of pessimism and confusion. The influence of science was strongly felt here. Alfred Lord Tennyson’s some immature works seem to hold doubtful and despairing stains but his In Memoriam comes out as a hope after despair. Although characterized as practical and materialistic, the literature of the Victorian age portrays a completely ideal life. It was an idealistic age where the great ideals like truth, justice, love, brotherhood were emphasized by poets, essayists and novelists of the age.]

Indeed there are darker stories, such as the likes of Dracula, Frankenstein and Sherlock Holms. Dracula in particular retained some of the romanticism that was present in Victorian age stories. All of those however, delve into real internal humans issues that shape and drive fantastical and surreal stories. I theorise that this was to do with the Industrial era’s machines putting people in poor health in and/or out of commission. There was also scientific movements gaining popularity, curtesy of Charles Darwin, which challenged religious teachings. Regarding that conflict, freak shows would have further exaggerated scientific and moral dilemmas

I think a magnifying glass was brought closer to issues that common people have, with an increasing focusing on stories that do not necessarily have efforts rewarded with a happy endings. Flights of fantasy and steam-punk science fiction would have served as distractions from the anxiety and confusion of the time period. It is little wonder that freak shows became very popular and that in turn, may have further coerced inspiration for darker stories.

With all this in mind, I wanted to use super sculpy to craft a creature that resembled a deformed person, only eerily solemn for the horror aesthetic. I should say that that craft did not resemble any real work subject. Infact the super sculpy model was also inspired by the art of Zdzislaw Beksinski. My pixel animation of the giant mechanical star-nosed mole was a take on steam-punk fantasy.

[alexstewartbeststudy]

Freak Shows during the Victorian Era

http://www.branchcollective.org/?ps_articles=art_emergence_of_the_freak

 [Text sample] [This entry dates the emergence of the freak show as a key form of Victorian leisure to the 1840s. It demonstrates that these exhibitions of physical difference served as spaces for negotiations amongst doctors, scientists, anthropologists, and a mass consumer public about how to distinguish “normal” and “abnormal” bodies and about the cultural meanings attached to these classifications. These shows thus helped to educate the public about their place in the hierarchy of classes, races, civilizations, and nations that was so crucial to the nineteenth-century worldview.]

I’m surprised that Freak shows had this much significance on the world view of those considered as ‘abnormal.’ Even to the point where it largely helped people to accept their presence. I assume that the negotiations between the units of people was simply a matter of acknowledging some body conditions that may have been previously deemed impossible, perhaps for loved ones of the abnormal people.

[Text Sample] [By the middle of the nineteenth century, the rapid growth of the middle class and the gradual institutionalization of the Saturday half-holiday meant that more people had time and money for leisure activities.  This led to a demand for inexpensive entertainments and spurred the rise of music halls, theaters, circuses, seaside resorts, aquariums, zoos, pleasure gardens, and popular museums (Altick; Bailey; Cunningham; Assael; Toulmin). While home to their unique forms of entertainment, these venues also featured freak performers.  But freaks were not merely an urban phenomenon.  They also visited towns and villages across the United Kingdom with traveling showmen who attended the annual wakes and fairs that remained popular throughout much of the nineteenth century (Reid). Freak shows were thus able to draw in a much broader public than many other Victorian commercial entertainments that catered exclusively to metropolitan consumers.]

This text made me think of how the efficiency of machines used during the Industrial Revolution - that is, rather, the free time made available for past time activities. This is what allowed Freak Shows, as well as many other forms of entertainment to thrive.

[Exhibitions of human oddities were more widely accessible than other pastimes, not only because they were peripatetic but also because they were inexpensive to attend, at times costing as little as a penny.  Many acts offered cut-rate admission for the working classes on certain days of the week or times of the day in order to attract the widest audience possible while still assuring their middle- and upper-class clientele that they would not have to rub shoulders with the riff-raff. Not only did freak shows appeal to individuals widely dispersed across the economic spectrum, but unlike many other leisure activities, they also marketed their acts to both men and women. By providing private viewing rooms “for ladies only,” freak show entrepreneurs created safe spaces within the potentially dangerous city centers for middle-class women to relax and enjoy the spectacle without fear of unwanted attention. By offering half-price tickets for children, freak show managers also suggested to women that this was respectable, family entertainment.]

[alexstewartbeststudy]

Industrial Revolution and Victorian Era Cross Reference and Inspirations

With the Victorian era beginning with the reign of Queen Victoria in 1837, the industrial revolution would be in full swing. 

It was also a time when audiences started to emerge that embraced the weird and wonderful. Freak shows exhibited people with abnormalities that could not acquire a job anywhere else.

[alexstewartbeststudy]

Steam Punk and Inspirations

The steam punk genre tends to be set within an industrial revolution and/or Victorian era. The fashion sense of characters within it exhibit Gothic culture and it’s fashion aesthetics. There is also oft pompous use and glorification of steam engines. It was also a time when audiences started to emerge that embraced the weird and wonderful. Freak shows exhibited people with abnormalities that could not acquire a job anywhere else.]

It’s the factors of steam engines and the strange that carry relevance for my look into that age. [The schedule to watch Mortal Engines makes it worth looking into]

[alexstewartbeststudy]

My 3D Terraformer

Getting into and figuring out how to craft the tendrils of my star-nosed, terraforming mole has been extremely iffy. Much of my time has been spent looking on various internet sites, all the while pondering whether I am setting myself backwards in some way, just because I ended up using triangles instead of square polygons, which my tutor advised against. I do not remember why.

Scrape to remove lumps on tendrils and wax to fatten them in places. This knowledge should solve the lack of orientation control of tendrils, where they would go completely thin upon using the grab tool to change where the tip goes.

[alexstewartbeststudy]

Initial Collage

The plan was to create densely detailed drawings of merged vistas. Some previously created examples where pressed against a window so that the light shone through. the  [a collage consisting of destinations; only where the pictures are merged by similar features. For example: A bush from one scenery merging into the bush of different scenery. I assembled magazines to cut out, rearranging them on A3 paper to discern what looked best before sticking them down with a glue stick.

Starting off, I positioned different vistas onto A3 based on their general altitude. There was a struggle to get the pictures to merge in a seamless way. Merging the rocky terrain was simpler because the shapes of stones, cliffs and rocky spires are generally dissimilar. 

The next part

[alexstewartbeststudy]

The Day of Filming

With the storyboards gathered, as well as some notes made on the day of the shoot, I had the means to structure and memorize the steps to make in order to construct a short teaser trailer. Having made comparisons between some of the films I watched, I also had ideas on how timing and the use of music can intrigue and engage the audience.

I began with choosing either to pull some chosen crew members into my shoot or capture some scenic footage. That depended on if I could catch the crew quickly - I couldn’t. Therefor, some film was shot of a scenic wheat field accompanied by trees, just over a fence. Initially I lacked a camera for this particular purpose but Lawrence filmed this for me with his smooth motion camera. There was no intended movement for this intro take. It was shot solely for fading into the teaser while setting the scene.

A little later, I had acquired a camera of my own to use and I found the members of my crew. With their participation, I got them to follow instructions based on how my storyboard was structured. The camera was placed at the foot of a tree with it’s view point positioned low and level, so that distant figures and close up feet would be seen. For the take, I instructed three of my crew to run past this view point, each of them at varied distances from the camera. The one furthest away, would bring his entire body into view. The one at mid-distance would be visible from the torso down. The third one would thunder past, with his feet appearing momentarily - all running from right to left.

I was not firm in expressing my wish to get subsequent takes shot before dark because I didn’t want to interrupt their own planned filming sessions. Consequently the remaining scenes had to be shot in the dark, making the accumulated footage redundant and sending me back to square one.

Naturally, since this day was the only opportunity to shoot the footage using quality cameras, I had to re-shoot earlier scenes at night time, due to the change in plan for the filming to take place during the night.

I had help from Chris when I needed to elevate my self up a tree; he held and panned a camera up and over my head and then down to my side, conveniently capturing the sight of someone shining their torch in our direction - for that atmospheric effect, all as I looked onward at a crackling fire. This was for the purpose of integrating my fictional terraformer mole in a way that made it look like I was looking out from machinery attached to the creature.

I was able to recapture an earlier scene at night, as well as additional shoots referenced in notes. The notes referenced story-boarding I did not get down to drawing. At least I had concise directions as well as some script lines to progress on the intrigue. The additional scene looked at the runners from a raised perspective, held level by me while I moved in the same direction as them, only slower. This meant all the runners came into view at a steady pace and as they did, they spoke lines expressing panic, confusion and dreaded realization. The point of those scenes where to instigate engagement and intrigue.

Another take shot the runners coming into view from the darkness, directly in front of the camera. I had them fall over before they got close. While they lay motionless I looked up slowly with the camera into the darkness an continued to let the camera roll. The reason for which was because my terraformer mole is supposed to burst out of the ground directly behind them with the force knocking them unconscious, with all those unusual nose tendrils thrashing around the star-nosed variant of the mole. This scene was meant to instigate a sense of shock, terror and wonder.

I was unable to film every thing the way I wanted to. I realized though that the point of the event wasn’t to necessarily do things in one very particular set way. For instance there is the means of gathering B footage which may have an unforeseen use later. This would have leased up on option restrictions.

[alexstewartbeststudy]

A Brief Introduction to the Industrial Revolution

The point out that this referenced point in time was solely to draw better context for when it comes to how it influenced Freak Shows, in another blog.

The industrial revolution officially started around 1760. The seeds of which were sown with the creation of mills that preceded the machines.

https://www.sahistory.org.za/article/timeline-events-and-inventions-during-industrial-revolution

I used that site to identify the very first point in time that a machine was created for higher rate of work. I then went to wikipedia to learn more about the specific machines and their creators in order to define the origin of the industrial revolution. I will other websites for connect the era to my work directly.

In 1764 James Hargreaves invented the Spinning Jenny, which allowed one worker to operate 8 spindles at once.

This was the precursor to the water powered spinning frame, invented by Richard Arkwright in 1765. It was designed to spin cotton.

Samuel Crompton combined both of those concepts to invent the Spinning Mule between 1775 and 1779. This machine carried up to 1320 spindles and could be manned by one adult supervising two children. It could spin cotton as well as numerous other fibres.

These succeeding machines define the birth and providence of the industrial revolution.

Or more specifically the steam punk era is a science fiction era with aesthetics inspired by the 19th century industrial revolution.] Even it’s fashion sense was built around the the use and glorification of engines. It was also a time when audiences started to emerge that embraced the weird and wonderful. Freak shows exhibited people with abnormalities that could not acquire a job anywhere else.]

It’s the factors of steam engines and the strange that carry relevance for my look into that age.] The schedule to watch Mortal Engines makes it worth looking into]

[alexstewartbeststudy]

Intro Sequence: American Gods

There is a sense of a curious odyssey across America’s time and culture as the trailer unfolds - a worthy representation for American Gods. There are relics of tribal history, the wild west, technological and military prestige, intoxication of drugs and a euphoric god and the greed guiding pyramid of Las Vegas. The sight of a space man nailed to a crucifix would be considered either the kind of semi-imaginative artistry that you would find in a museum or the quintessential of queer shenanigans that some parts of America would concoct, generally as a result of it’s somewhat dislodged culture. The latter interpretation is just the reason why that visage works perfectly for this series. There are so many curios and distinct characters, all with their own highly unique perspectives and lifestyles.

[alexstewartbeststudy]

Title for my Film Shoot

I wanted a title with the font similar to that which would have been printed during the Victorian steampunk era, so I scoured the font types in Adobe Illustrator. My choice of title - Terraformer, was typed with the chosen fonts; Copperplate, Trajan Color and Phosphate. Out of those, I picked Copper Plate as it was was the most dramatic of the collection. I knew that font would reside within an animated transition that resembled organic-like transformation. That’s Why I picked another font with plant like themes to overlap Copper Plate - Bodoni Ornaments. The transition takes lace on Adobe After Effects.

I considered using the Train Color font, considering that these days, the rich and powerful make terraforming acts that detriment the planet and human race on the whole

Below, fonts seen are from top to bottom: Bodoni Ornaments. Copper Plate. Trajan Color. Phosphate.

Used Adobe After Effects to create and animate the effect the of Bodoni Ornaments font transforming into the Copper plate font. The means of which was done by utilising the time window (?). Issues that cropped up were the fact that Copper Plate was smaller than Bodoni Ornaments Font; meaning that I also had to reposition each letter of Copper Plate so that the transformation would not seemingly shrink the word as it transforms. Also, within the time window, I edited the position of the copper font text so that the Bodoni font did not shift sideways, which would have otherwise left behind a less than eloquent impression of text merging.

[alexstewartbeststudy]

Storyboared for filming

My target was to make many storyboards for choreographing the film shoot. Failing that for fear of using too much ambition and being swamped by an insurmountable schedule. That is - even with the pathetic four image story board.

Having made comparisons between some of the films I watched, I had accumulated some tips on composition and the theme. I would apply the music later.

[alexstewartbeststudy]

Fritz Kahn

A German Jewish physician, Fritz wrote popular science-fiction books such as ‘ Man in Structure and Function’ and First Aid – Popular . He paved his way with renowned illustrations to create metaphors that he uses to make those books easily interpreted for the average or uneducated mind. 

Some metaphors made more sense than others, yet they where all at least interesting to look at. Perhaps some of the ‘would-not-be-interested’ types became engaged enough to learn more about their own internal system

Some of Fritz Kahn’s art pieces were some simply stellar realistic and highly detailed depiction of the inside of our bodies.

[alexstewartbeststudy]

John Kearney the Voxel Artist

John Kearney has served as Art Director for some console games and it shows. These voxel creations are varied in composition and style and some are incredibly beautiful and/or unique.

https://twitter.com/HuntingFluff

Only the first of these voxel renditions had some movement to it. The rest are motionless yet undeniably great creations.

I particularly admire the depth of field implicated here. The blur used here affects the lighting in the background, which adds to the atmosphere while being artistic in and of itself. A sense of place is really added here, but that factor is bolstered by the lack of a sky and the overall darkness amidst the ambient lighting. Because of this, I assume that the scene takes place during dusk. It goes to show how more absorbing art can be when the mind fills in missing pieces on it’s own.

Here below, the cars are hovering in a setting that presents modern architecture. This seems to be a vision of a near future setting. In movies with these kind of settings, I sometimes take issue with presentations of near future settings with the likes of hovering technology. That is, if explanations aren't made that warrant it’s use; both functionally and resourcefully. However this is a a brief look into still art - we can just make up our reasons for credibility. The effect of blurring is merged with the dim gray nothingness of a background, seamlessly creating the effect of fog. Some lighting would have been applied to the street blur in order for it to match the colour aesthetic of the background and in this case; the scene. Naturally, the blurring does not effect the lighting in this voxel creation (except up close) 

The more voxels you used for creation, the more 

This voxel creation is is more realistic looking than I thought possible. That is naturally owed to the shear number of voxels used. However, paint work has clearly also gone into additional grime detail as well.

I’m enraptured with this highly stylized and natural looking science fiction wilderness, along with the colour scheme and shape of the vehicle. The reason for which is because of that curious beanstalk like fauna and the rocks shaped like homes invigorating my imagination. The intense sunlight provides shading contrast depth for the whole scene, which for me, implicates potential dark themes for a story here - which I like. The reason being that when story circumstances are bleak, I am more engaged.

For sure, this voxel artist has impressed and inspired me on how engaging voxel art can and should look. Kudos John Kearney.

[alexstewartbeststudy]

Reineke the Voxel Artist

This digital artist has created small enclosed scenes with lots of voxels and thus on a fairly large scale. I also noticed how there is often a singular source of light. These aspects diversify themselves nicely from the likes of Sir Carma.

https://twitter.com/Reineke17

This one below is the only one that did not animate

From what I’ve seen of these images, I think about the circumstances that I would use extensive artistry and nuanced animations for voxel creations. Let’s take the last image with the mouse for example: In the event I where to simply animate a story, I would likely use multiple perspectives as well as some dynamic editing using another program like After Effects or Cinema 4D. An example of such dynamics would show a book falling over with it’s voxels remaining aligned to their respective position along with realistic shading. Extensive amounts life-like animations would also be applied to the mouse.

In the event this was made into a video game I would do things a little differently. Firstly there is no obvious necessity to allow for free camera movement. The reason - I value the aesthetic and free camera movement would  show the crude and simple nature of the voxels more implicitly. The perspective would be isometric - for that novelty effect,just like the bottom image. Animations would be limited to the number of incorporated button inputs as well as some motions for when left idle. The obvious reason for which, is to make sure that there would be enough storage space in the main hard drive, time constraints would possibly be an issue as well.

[alexstewartbeststudy]

Scott Pilgrim vs the World

Edgar Right’s productions tend to have zany shots that would otherwise be boring, turned into engaging and comically endorsed moments of cinematography - this movie is no exception.

Scott Pilgrim vs the World presents a world where people can be eliminated; ‘video game’ style, popping into numerous coins and without a single look of bemusement from any character. The film thus, silently acknowledges this surreal super hero trope.

Even the way that scenes transfer have a comical yet nuanced style implemented. For example, there is a split screen scene where our main character, Scott Pilgrim is having an awkward discussion with his sister over the phone. The scene ends with the sister looks disdainfully over past the dividing line at Scott on the right. A slide effect pans the view to the right with a drawn text effect thrown across the screen to accompany the sound of a school bell ringing; essentially what you would see when looking through comic book.

This is without mentioning the over-the-top shots that abbreviate fighting motions (check out the Street Fighter reference) and facial expressions, as well as the special effects that make Scott’s jumping punch look like he’s travelling at a hundred miles an hour.

The scrip writing does not stay within initiating subject matters for very long and the next point of a conversation naturally proceeds within a short space of time. For example, Ramona's informing of Scott that he needs to defeat her seven exes if they’ll continue to date - to Scott piquing adorably whether that means they are currently dating. Music and ambiance that would overpower an actors voice fall silent (comically essentially) and ques back in with high action.

Overall Scott Pilgrim vs the World is a fun action film that uses abundant comic book styling to oblige in creating a fun to absorb, slick hero movie that is fun to watch again and again.

[alexstewartbeststudy]

Super Sculpy Craft

The creature I invented for this task was something based on people with abnormal bone growth as well as paintings by Zdzislaw Beksinski.

I learnt about the set up for crafting a figure made of super sculpy - the substance of which is flexible even after it has been cooked (with form finalized.)

It starts with wire which is bent to assume the shape of a humanoid figure (most of the time) with the limbs allowed to run longer than necessary. That is to guarantee that there is enough wire; with tweaking and experimentation, the limbs can simply be made shorter if the design requires it.

That advice was for the event that I where to craft a whole figure, but due to the extensive time that I spent brain storming my design, I had to compromise that initial idea. My next target was to create a bust of sorts consisting of an abnormal head and chest of creature - currently unnamed. To begin with I had a plaque provided with a small stick cylinder protruding from the base. some tin foil was wrapped and scrunched around the cylinder stick. Applying the super sculpy to the foil grants more traction between the materials than with most other material combinations. As advised by my tutor, I layered the sculpy onto the foil in thin layers, barely covering it. This was to set the starting point for the ensuing sculpy to follow which I used my fingers to tweak.

Although it would not have been bad for the artistic design of the head to be short and flat, I didn’t want this deformed humanoid to be as dumb as a neanderthal. I pressed additional supersculpy on top of the head because of this.

To relly give off the idear that bone stuctures have grown to abriviated proportions, I added additional sculpy to the cheekbones, temples, sinuses and eye sockets.

My creation was lacking life energy and I blamed the lack of eyes for this. I Rolled two sculpy balls into spheres, which were roughly 1 cm in diameter. Then using a scalpel tool. I carved the lines that where meant to define the iris of the eyes, as well as the dots of the pupils.

The fearful energy given off by my creature is a step in the right direction in terms of striking design. However I thought the gap between the brow and the eyes needed something done to them so that those very features did not look so superficial.

Considering how the brow design could be closer to the eye, I realized that the skin has also grown at an exaggerated rate. Super sculpy was applied in thin horizontal strips to bridge the gap between the eyeball and the brow, creating flabby brow skin.

The sculpy on the back of the head was cracking and needed reinforcement. Clumps were now added to the back of the head. This gave me a good excuse to abbreviate the bone structures even more, to keep to my general proportions.

I absolutely wanted to create a rib cage for my creature that expands outward. For the surreal yet authentic design plan, I needed to be able to reference the how many ribs I was creating as well as the form that they take - hence the internet images of human ribs.

Below is a sketch of essentially how I want the rib structure of my creature to pan out.  I wasn’t sure at first how to go about creating the ribs so I got advice from my lecturer. The entirety of the ribs creation was down the the advice I received.

The gist was to cut copper wires at experimental lengths using secateurs, before bending them into complete circular shapes using pliers. I would use the spot wield machine to seal the ends together.

As I was counting the ribs I was mindful of which ones branched off into smaller ribs. Based on the time I had left to complete my work.

I decided to not incorporate the stemming ribs because the stand I was using was not big enough for my expanding creature structure.

In order to creare the flsh covouring the ribs, I positioned paper Mashier over the top of the ribs and spred PVA glue over the top. By flipping the ribs over the same was also done for the underside.

Multiple layers were applied as all the gaps where covered up, save for the center, where the head is to be positioned.

Once the glue was dried...

Here is a brief interval to appreciate the work of other students. I adored these creature designs due to the presented mixed themes of fantasy, surrealism and horror, which is right up my ally.

God I love this contorting being for it’s inspired strangeness. My favorite creation created by someone else for this project.

I like how this creature resembles no particular animal, only sharing minor traits. To me, this makes it a highly original creature with what seems like some kind of ancient yet scientific subject - due to the wires coming out the back of the head.

HP Lovecraft would be proud of this.

Back to my work. With some assistance, a new bigger base was cut for my creature to compensate for the slightly overhanging rib cage. With the ribs placed over the head post, the head was planted into position. From there more paper mashe was applied with glue to essentially, create the neck bridging the head and the rib cage.

I did not have a degree in colour mixing; and when it came to making the paletes that I wanted to paint my creation with, needed help from my tutor.

I wanted a varying pallet of skin colour for the impressions of the flesh being made taut by bone structure as well as flabby and relaxed. That’s why the there are light beige colours on the forehead and upper mouth convex. As far as I see, eye balls are not perfectly white, but can have a certain graying factor to them. I ended up painting them a greenish grey with a small precise brush. Those solemn eyes had to get their bags painted a sore purple. My tutor taught me that in order to merge the skin colour traits, I should brush on the dividing lines while the paint is wet. I was not in the mind frame to do things tactically in order due to how rushed I felt. so making colours merge was semi successful.

I was shown that, in order to paint the purple veins I should brush perpendicular sparingly with dry paint. That therefore didn’t leave too much of an impression on the rash pink on the back of the head which I wanted to preserve.

In the end, the point of my creatures appearance was to show what might be considered surreal and fantasy based, yet grounded so you could envision someone like this depicted at a freak show.

Can you see mine?

 My second favorite.

This one is just great.

[alexstewartbeststudy]

Ken Adams

Sir Kenneth Hugo Adam is a production designer and winner of 2 academy awards for best art direction. He designed productions for James Bond films of the 1960′s and 1970′s, as well as for Dr Strange Love.

Ken Adams refusal to design for Stanly Kubrick’s ‘2001: A Space Odyssey meant he could drive his fame with semi futuristic sets for the later James Bond films.

Ken Adams volcano set below.

Adams provided work for ‘Around the World in 80 Days’ and ‘Ben-Hur,’ though uncredited.

Ken designed the famous car in ‘Chitty Chitty Bang Bang,’ which was produced by the same team from the James Bond series.

Adams also worked on story boards and concept art for Star Trek: Planet of the Titans.