avelvokai

[avelvokai]

Reflective Post #2

Creating fantasy artwork is an intricate journey that involves many techniques, tools, and creative processes to bring the world of "Epic of Naram" to life. Drawing inspiration from various cultures and landscapes, the artistic vision is not just about the characters, but also about the environments they inhabit. Through a combination of photobashing, 3D modeling, and traditional drawing techniques, my goal is to capture the essence of each region and its people, while blending them with the fantasy elements of this unique world.

In my latest pieces, I heavily relied on photobashing; a technique where I combine real world images with digital painting. This allows me to maintain a high level of detail and realism within my work, while still having the freedom to manipulate the environment to fit the narrative I created. For example, in the desert environment, I used photographs of actual desert dunes as the foundation, but then layered over them with custom lighting and textures to create the fantasy like sunset and glowing horizon you see in the background.

When it came to designing the architectural structure, I utilised 3D modeling as part of the early planning. This technique, enables me to test different angles, lighting, and shadow effects before finalising the image. By creating a 3D base of the building, I can experiment with the composition in ways that traditional sketching would make difficult or time consuming. It also ensures that the scale and perspective remain consistent throughout the drawing. Once the 3D base is set, I paint over it, applying details like weathering on the stones, dramatic skies, and subtle cultural elements that hint at the ancient civilisation within the world of Naram.

My process also includes texture studies and incorporating symbolic details. For instance, the characters from the Dead Lands have distinct clothing that speaks to their history, influenced by nomadic tribes, ancient Mesopotamian dress, and the desert environment they live in. The bright blue head coverings and face tattoos symbolising their journey through life’s hardships in the arid landscapes.

What’s crucial in the creation of "Epic of Naram" is the integration of culture, terrain, and storytelling in every piece of art. Each location is built upon layers of history and shaped by the surrounding environment, which also influences how the characters dress, fight, and interact.

In terms of progression, starting with rough concept sketches and basic photobashing helps establish the mood and overall direction. Once the mood is locked in, I continue refining the designs by adding intricate cultural details, such as jewelry, architecture, and symbolic colors. This process ensures the world feels immersive and each design represents its real-world inspirations without simply copying them, allowing the universe to stand apart as something unique.

With every drawing, I see the potential for this project to not only be an art piece but a fully realised visual novel game. The variety of artistic methods from the early use of 3D models to the final textural enhancements brings a level of depth and polish that could immerse audiences for hours. This fusion of technical skill and cultural research ensures that the world of "Epic of Naram" has both depth and beauty, creating a visual storytelling experience that feels rich and alive.

[avelvokai]

Reflective Post #1

Description: My creative journey began with an idea to craft a fantasy world that celebrates underrepresented cultures, specifically those from ancient Mesopotamia and Northeast Asia. The project was not just to design an immersive fantasy art book and visual novel but to construct an empire that is deeply influenced by these historical cultures, each region within the world has its own distinct traditions, histories, and environmental adaptations and making it feel real. My main character, draws heavily from Jurchen traditions, with clothing and symbolism such as Tyrian purple signifying her elite status. As the empire expands, so does the depth of its cultural diversity

Feelings: At the start of my project, I felt deeply motivated by the opportunity to represent cultures that are rarely shown in the mainstream media and games. The challenge was blending historical accuracy with fantastical elements, but it also felt really fun to do. As I drew out each parts of the empire and assigned specific historical references to each culture I had created, I became increasingly enthusiastic and exited in developing this world and its people further. This connection I had with the love of this story made every design choice feel more personal and impactful, especially when representing the distinctions of my environmental adaptations to the people I have created. This could be from coming up with the colours to represent each of the people to their unique features and cultures.

Evaluation: The most successful aspect of this project has been the way each culture reflects its environment while maintaining a sense of belonging to the larger empire I created. However, the biggest challenge has been time management, particularly with the environmental art taking longer than anticipated due to the level of detail required.

Analysis: Upon reflection, one of the most integral aspects of this project has been my research driven approach to world building. The cultures within the empire are not just inspired by historical references but are carefully adapted to their environments in the fantasy world. The process of designing each region, from their features to clothing, was influenced by both their real world counterparts and the fantasy landscape they inhabit. For instance, the desert cultures needed to reflect their harsh environment through lighter, flowing fabrics and earth toned structures that blend into the sand dunes, while northern cultures required heavier, layered clothing and sturdy homes built for resilience. This depth of cultural and environmental integration adds a level of realism and authenticity that I believe is crucial in creating a fantasy world that feels lived in and real. However the balance between creating a unique designs and sticking to historical accuracy had some challenges, such as when trying to avoid clichés and stereotypes.

Conclusion: This project has taught me the immense value of cultural research in shaping a rich and believable fantasy world. Each part of the empire feels unique yet connected, as the cultures reflect their environments and histories in ways that elevate the overall narrative. Despite the challenges of time management and technical learning curves, the process of bringing these designs to life has been incredibly rewarding. I have learned that the key to successful world building lies in the details making sure that each culture has its own identity while contributing to the larger whole.

Action Plan: In my future projects, I plan to continue refining my process of integrating cultural research with creative design. I will also aim to improve my time management, particularly by putting more structured time to environmental art. Engaging more frequently with online communities for feedback, such as on ArtStation, will help me refine my designs and receive constructive criticism earlier in the process. Lastly, I intend to explore ways to further enhance the connection between culture, environment, and character, pushing the boundaries of what fantasy world building can achieve.

[avelvokai]

Production post #12

Designing the People of Makkal

In Tamil and several other South Indian languages, makkal means "people" or "children."

The People of Makkal in Epic of Naram represent a prosperous, coastal society, heavily inspired by the Phoenicians and South Asian cultures. Known for their proficiency in trade and craftsmanship, the Makkal people’s design reflects their maritime prowess, their connection to the sea, and their rich cultural heritage. In developing their visual identity, I aimed to balance their sophisticated and luxurious way of life with the practicality needed for a coastal society that thrives on trade and sailing.

Cultural Inspirations: The Makkal people draw inspiration from two distinct yet complementary sources: the Phoenicians, known for their maritime empire and craftsmanship, and South Asian cultures, particularly in their use of color, jewelry, and textiles. The Phoenicians’ mastery of trade and seafaring was central to the Makkal’s design as a powerful trading culture. On the other hand, the vibrancy, elegance, and intricate detailing of South Asian clothing influenced the Makkal’s fashion, making their attire not only functional for the coastal environment but also beautiful and ornate.

Clothing and Design: The Makkal people’s attire is designed to reflect their maritime culture and their love for fine craftsmanship. Their garments, typically made of light, flowing fabrics, are ideal for the warm coastal climate, allowing freedom of movement. Both men and women wear clothing in shades of blue, green, and oceanic hues, symbolizing their connection to the sea. The South Asian influence is clear in the draped garments and intricate jewelry they adorn themselves with, showcasing their wealth and status.

Additionally, the Polynesian influence is reflected in their deep connection to the ocean and the idea of navigation by the stars, a key component of Polynesian culture. This mix of influences provided the foundation for creating a coastal trading culture that feels both dynamic and rich with history.

The women of Makkal are depicted with elegant features, often dressed in flowing, richly colored fabrics accented with gemstones and gold jewelry. Their clothing reflects both their cultural sophistication and their status in Makkal’s society. The men, by contrast, wear simpler, yet still refined outfits, often draped in practical yet finely crafted fabrics that allow them to engage in both trade and seafaring activities. Their sturdy frames and draped fabrics reflect a balance of practicality and elegance, appropriate for a coastal trading society.

Visual Symbolism and Trade Identity: The Makkal are renowned traders, and their connection to the sea and trade is a central part of their identity. Their attire often includes symbols of the sea, such as shells and waves embroidered into their garments. These motifs not only signify their reliance on the ocean for trade and prosperity but also their cultural connection to the water as a source of life and wealth.

Their jewelry is another significant aspect of their design, with both men and women wearing pieces that reflect their status within the trading empire. Gold, pearls, and gemstones are prominent, symbolizing the wealth accumulated through successful trade routes. The use of lapis lazuli in their jewelry also hints at their historical connection to other cultures, as it was a material highly valued in ancient maritime trade.

Refinement and Feedback: Throughout the design process, I focused on ensuring that the Makkal people’s clothing felt both practical for their coastal environment and reflective of their wealth and cultural sophistication. This led me to refine their accessories, adding more trade-related symbols and integrating gemstones and pearls into their designs to highlight their status as master traders and artisans.

In summary, the people of Makkal are designed to embody the elegance and practicality of a prosperous coastal society. Their clothing, accessories, and visual motifs draw inspiration from the Phoenicians’ maritime prowess and South Asian elegance, resulting in a culture that thrives on trade and craftsmanship. The rich colors, luxurious fabrics, and ornate jewelry of the Makkal people make them a vital part of the world of Epic of Naram.

References:

ArtStation. (2024). Sari, Pauline Boiteux. [online] Available at: https://www.artstation.com/artwork/e05lyw [Accessed 4 Oct. 2024].

Pinterest. (2024). TIKKA Victorian gold red blue tikka HAIR JEWELRY Forehead Maang tikka -Indian Head wearJewellery Indian Head piece Sale Taneesi. [online] Available at: https://uk.pinterest.com/pin/976366394215858094/ [Accessed 4 Oct. 2024].

WedMeGood - Best Indian Wedding Blog for Planning & Ideas. (2016). The Best Dressed Real Grooms of 2016 And Why They Rocked The Fashion Charts! [online] Available at: https://www.wedmegood.com/blog/the-best-dressed-real-grooms-of-2016-and-why-they-rocked-the-fashion-charts/ [Accessed 4 Oct. 2024].

Barrington, A. (2023). 🥀. [online] Pinterest. Available at: https://uk.pinterest.com/pin/621778292328826936/ [Accessed 4 Oct. 2024].

‌

[avelvokai]

Production post #11

Designing the People of the Dead Lands The People of the Dead Lands in Epic of Naram are nomadic and resilient, surviving in one of the most unforgiving environments of the world. Their design is deeply inspired by the Bedouin, Tuareg, and Amazigh cultures, all of which are known for their ability to thrive in desert environments. I wanted to capture their connection to the desert, their nomadic lifestyle, and their adaptation to harsh conditions while ensuring that their aesthetic felt distinct and integrated into the fantasy world I’ve created.

Cultural Inspirations: For the people of the Dead Lands, I drew heavily from the desert-dwelling cultures of North Africa and the Middle East, particularly the Bedouin and Tuareg, whose clothing and way of life reflect their nomadic existence and deep ties to the land. The Amazigh people, with their strong cultural identity and history, were also a source of inspiration. These groups provided the foundation for the practical yet beautiful designs of the Dead Lands, from their flowing robes to their brightly colored scarves and head coverings, which are designed to protect against the sun and sandstorms.

Clothing and Design: The people of the Dead Lands are equipped with clothing that reflects both their need for survival in the desert and their deep cultural identity. Their loose, flowing garments are designed to keep them cool in the scorching heat while covering most of their bodies to protect from the sand and sun. I incorporated layered fabrics and scarves that can be wrapped around their heads and faces, similar to the Tuareg and Bedouin practices.

Visual Symbolism and Adaptation: The people of the Dead Lands are defined by their ability to adapt to extreme conditions. Their clothing is designed not only for survival but also to reflect their nomadic identity. The bright blue head coverings, a direct reference to the Tuareg, symbolize their connection to the endless desert and their resilience in the face of adversity. The face tattoos, inspired by Amazigh traditions, signify various rites of passage and family lineage, adding depth to their cultural identity.

In summary, the people of the Dead Lands are a representation of endurance and cultural richness in the face of harsh desert life. Their designs, inspired by the Bedouin, Tuareg, and Amazigh peoples, reflect their nomadic lifestyle, their deep connection to the desert, and their ability to adapt to their environment. Through intricate clothing, symbolic accessories, and practical survival gear, I aimed to bring this unique culture to life in a way that feels both grounded in reality and elevated by the fantasy world of Epic of Naram.

References:

alisa (2024). African History. [online] Pinterest. Available at: https://uk.pinterest.com/pin/727753621069617787/ [Accessed 4 Oct. 2024].

Tamazgha History. (2022). History of Amazigh tattoos. [online] Available at: https://tamazghahistory.wordpress.com/2022/01/03/history-of-tattooing/. [Accessed 4 Oct. 2024].

Yahoo.com. (2020). Yahoo Image Search. [online] Available at: https://images.search.yahoo.com/images/view. [Accessed 4 Oct. 2024].

alisa (2024). Tuareg Clothing. [online] Pinterest. Available at: https://uk.pinterest.com/pin/727753621069617799/ [Accessed 4 Oct. 2024].

alache. (2015). Blue people of the Sahara- Tuareg. [online] Available at: https://alache.wordpress.com/2015/09/13/blue-people-of-the-sahara-tuareg/?blogsub=confirming#subscribe-blog [Accessed 4 Oct. 2024].

‌

[avelvokai]

Production post #10

Designing the People of Kengir

The Sumerians referred to their land as Kengir, meaning "Country of the noble lords". The people of Sumer referred to themselves as "Black-Headed Ones" or "Black-Headed People"

The People of Kengir are a crucial cultural group within Epic of Naram, inspired by the ancient civilizations of Mesopotamia. Kengir stands as a symbol of an advanced and once-powerful civilization that has since faded, with only its ruins and the main antagonist serving as a reminder of its glorious past. In designing this group, I focused on capturing the blend of mystery, wisdom, and decline that characterizes their society, while also emphasizing their influence on the architecture, science, and magic of the world.

Cultural Inspirations: The people of Kengir are directly influenced by ancient Mesopotamian cultures, particularly the Sumerians, Babylonians, and Akkadians. Mesopotamia, often called the “cradle of civilization,” contributed significantly to advancements in writing, law, and architecture. These influences played a key role in shaping the visual identity of Kengir, from their grand ziggurat-style structures to their emphasis on knowledge, astrology, and spiritual practices.

Clothing and Design: When designing the Kengir people's attire, I aimed to combine elements of ancient Mesopotamian clothing—with long, draped fabrics, elaborate headwear, and the use of rich materials—with a sense of decay and age. The Kengir people, once the rulers of an advanced civilization, now live among the ruins of their ancestors, so their clothing reflects both their past grandeur and their present-day struggles to hold onto that legacy.

For the woman's design I heavily based her jewelry on Queen Puabi. Queen Puabi, a historical figure, was discovered with some of the most extravagant and intricate burial goods in Mesopotamian history. Her regalia—full of rich gold, lapis lazuli, and carnelian—became the visual foundation for the female character designs. I think that her head piece looks otherwordly and worthy to be in a fantasy media.

Refinement and Feedback: During the design process, I explored various interpretations of Mesopotamian garments, looking at how their elaborate patterns and symbols could be incorporated into a more fantasy-driven world. I have asked opinions among my peers and red color was selected as the best one.

Moreover, I chose earthy tones like reds, golds, and deep blues to reflect their connection to the land and the rivers that shaped their society. Ornate jewelry, often made of gold and lapis lazuli, hints at their former wealth and influence, even as their society has become more insular and withdrawn. Their fashion blends the ancient with the mystical, suggesting a people deeply involved in astrology, magic, and the mysteries of their past.

In summary, the people of Kengir represent the fusion of ancient Mesopotamian grandeur and mystical elements. Their clothing, architecture, and cultural symbols all reflect a civilization that was once powerful but has now become a shadow of its former self. By incorporating Mesopotamian aesthetics into their design, I was able to create a group that feels both historically grounded and fantastically intriguing, bringing the depth of their lost civilization to life.

References:

Women from prehistory, thera,atlantis,minoan,Keftiu,Sappho,Blenda,Hypatia,Cynisca,Catalhöyük,Hatshepsut,Merit-Ptah,Nofretiti,Venus of Hohle Fels, Agnodice, Wencheng, whiteTara, Boudicca, Cumaen Sibyl. (2013). Queen Puabi. [online] Available at: https://women-make-history.jimdofree.com/2013/09/09/queen-puabi/.

‌

[avelvokai]

Production post #9

Designing the Tegelin

The Tegelin means people of the north in the Evenk language (one of the Siberian Tungusic languages)

The Tegelin are a unique cultural group within the world of Epic of Naram, serving as the cousins to the Niyalmans. Their design draws heavily from their connection to nature, their expertise as hunters and fishermen, and their more humble, earthy lifestyle in contrast to the imperial Niyalmans. I wanted to emphasize the Tegelin's close relationship with their environment, as well as their simple, practical way of life that reflects their values and connection to their ancestral roots.

Cultural Inspirations: The Tegelin were inspired by various indigenous cultures known for their strong bonds with nature, particularly the Siberian and Tungusic peoples (mainly Evenks, Udege, Ulchi, Nanay) who live in remote, forested regions. In contrast to the Niyalmans, the Tegelin live closer to the land, which is reflected in their clothing and tools. Their respect for the natural world is central to their culture, and this respect is mirrored in the way they dress and behave.

Clothing and Design: The clothing of the Tegelin is designed for function rather than fashion, with simple, earth-toned fabrics and garments that allow for ease of movement. Their attire reflects their daily lives as hunters and fishermen—pelts, furs, and leather are frequently used, symbolizing their connection to the land and their reliance on natural resources. I wanted their outfits to contrast with the more structured and elaborate designs of the Niyalmans, emphasizing the Tegelin's belief in living simply and in harmony with nature.

Additionally, their shorter stature and more prominent cheekbones set them apart physically from the Niyalmans. These characteristics highlight their strong sense of identity and resilience, as they navigate their harsh environments with skill and adaptability. The patterns woven into their clothing are inspired by traditional tribal symbols, representing their connection to their ancestors and their beliefs in natural cycles.

Visual Symbolism and Values: The Tegelin believe the Niyalmans have lost their way, becoming too disconnected from their ancestral roots and the natural world. This is something I wanted to emphasize in their designs—while the Niyalmans have become an imperial force, the Tegelin have remained close to the land. Their belief in a more natural, balanced way of life is conveyed through their practical clothing and their use of natural materials.

Despite their humble appearance, the Tegelin are proud of their heritage, and their clothing reflects this pride in subtle ways—such as the peltry trade symbols integrated into their designs. This aspect of their culture reinforces their role as traders and their importance in the regional economy, even though the Niyalmans often view them as undeveloped.

Refinement and Feedback: During the design process, I experimented with various textures and fabrics to ensure that the Tegelin's clothing felt authentic and functional. My friend suggested emphasizing their practical nature by including more fur elements and natural materials in their clothing, which helped reinforce their connection to their environment. I also incorporated more natural colors like browns and greens to visually align the Tegelin with their forested and tundra landscapes.

In conclusion, the Tegelin stand as a contrast to the imperial Niyalmans, representing a people who have remained close to nature and their ancestral roots. Their simple yet functional clothing, shorter stature, and physical features highlight their connection to the environment, making them an essential cultural group in the world of Epic of Naram. Through their designs, I aimed to capture the essence of a people who value tradition, survival, and their natural world above all else.

References:

Rushrono.ru. (2024). Available at: https://rushrono.ru/images/territories/russkiy_sever/hist039.png [Accessed 4 Oct. 2024].

Nazaccent.ru. (2024). Available at: https://media.nazaccent.ru/cache/d5/3e/d53e9480d9cdc053bdcec056deb7e25f.jpg [Accessed 4 Oct. 2024].

Blag-dv.ru. (2024). Available at: https://blag-dv.ru/wp-content/uploads/2021/12/%D0%AD%D0%B2%D0%B5%D0%BD%D0%BA%D0%B8_0213.jpg [Accessed 4 Oct. 2024].

Nazaccent.ru. (2024). Available at: https://media.nazaccent.ru/cache/63/bb/63bb13e77e5326f4de697711ac285787.jpg [Accessed 4 Oct. 2024].

Akmns-khab.ru. (2017). Available at: https://akmns-khab.ru/wp-content/uploads/2016/02/534.jpg [Accessed 4 Oct. 2024].

‌

‌

‌

‌

‌

[avelvokai]

Management post #5

As I wrap up this project, one of the key lessons I’ve learned is the importance of being adaptable with my timeline and knowing when to seek help. Asking for an exceptional circumstances extension and turning to student wellbeing was difficult, but necessary to ensure I could still complete the project. Scrapping the visual novel demo allowed me to focus on the concept art book, which became the main priority, but I’ve learned that reaching out for help earlier—both for technical support and time management—could have helped me avoid some of the challenges I faced.

Looking forward, I’ll make sure to include more buffer time in future projects for unforeseen delays and reach out for assistance when I hit obstacles, instead of trying to manage everything alone. This project has taught me that collaboration and feedback are essential, and seeking guidance when necessary can make a significant difference in the quality and timely delivery of the work.

[avelvokai]

Forefront #10

Avatar: The Last Airbender (ATLA) and The Legend of Korra (LOK) are groundbreaking works in the fantasy genre, known for their deep integration of real-world cultures into imaginative, richly developed fantasy settings. These shows are widely regarded for their thoughtful world-building, in which each nation is heavily influenced by a specific culture, such as East Asian, Inuit, and South Asian traditions. This seamless blend of historical influence and fantasy resonates deeply with my project, Epic of Naram, where I aim to integrate underrepresented cultures like ancient Mesopotamia, Northeast Asian, and desert peoples into my world-building.

ATLA's concept art and my concept art:

The way Avatar weaves together cultural elements, environmental adaptations, and a strong sense of identity for each region mirrors my approach in Epic of Naram. For instance, just as ATLA’s Water Tribe incorporates Inuit-inspired cultural designs to reflect its icy environment, the people of my Dead Lands reflect Bedouin and Tuareg traditions, adapted to a desert environment. This connection between culture and environment is central to the believability of a fantasy world, which is a key goal for my work.

What makes Avatar and Korra particularly relevant is that their cultural depth is balanced by vibrant characters and a compelling narrative, allowing viewers to engage with complex themes of identity, power, and legacy. Similarly, in Epic of Naram, my characters, like the Niyalman Queen Jia Lang, draw from rich cultural backstories, combining personal and political struggles in a complex world.

Additionally, the resurgence of Avatar’s popularity in recent years, with the release of new comics, movies, and the upcoming live-action adaptation, demonstrates the staying power and relevance of culturally enriched fantasy worlds. This increased media presence highlights how stories that celebrate diverse cultures resonate with a broad audience, and I aim to contribute to this growing movement with my own project.

By tapping into underrepresented cultural influences, much like Avatar did, Epic of Naram has the potential to offer fresh, imaginative storytelling that connects deeply with contemporary audiences. The success of ATLA and LOK shows that there’s a strong appetite for fantasy worlds built on diverse cultural foundations, and I believe my project will appeal to fans of such richly textured, inclusive narratives.

References:

Reddit.com. (2021). Reddit - Dive into anything. [online] Available at: https://www.reddit.com/r/TheLastAirbender/comments/q72dux/concept_art_vs_final_design/ [Accessed 4 Oct. 2024].

Darkhorse.com. (2020). Avatar: The Last Airbender--The Art of the Animated Series HC (Second Edition) :: Profile :: Dark Horse Comics. [online] Available at: https://www.darkhorse.com/Books/3007-615/Avatar-The-Last-Airbender--The-Art-of-the-Animated-Series-HC-Second-Edition [Accessed 4 Oct. 2024].

‌

[avelvokai]

Management post #4

As the final phase of the project approached, I focused on catching up with the tasks I had shifted. With the visual novel demo removed, I concentrated on completing the environment art and core character designs. My Gantt chart helped me track what still needed to be done, but the intense workload in September was overwhelming.

I had initially planned to complete the final documentation and promo video by early August, but due to the delays, those tasks were pushed to the final weeks before the October 4th deadline. Despite the compressed timeline, I have prioritized ensuring the quality of the concept art book—especially the rich, detailed environments like the Dead Lands and Kengir settings—are completed.

[avelvokai]

Management post #3

At one point, it became clear that I wouldn’t be able to complete the side characters or the fictional cultures as planned. These delays impacted the entire schedule, and I had to request an exceptional circumstances extension, pushing my final deadline to October 4th. The majority of my work was ultimately done in September, which condensed my timeline even further. Unfortunately, I also had to scrap the visual novel component that was initially planned, shifting my focus solely to the concept art book. This adjustment has meant a much narrower scope, with all resources being redirected to character and environment development.

[avelvokai]

Forefront #9

Horizon Zero Dawn / Horizon Forbidden West (Video Games)

Why at the forefront (from my perspective): The Horizon franchise, with Horizon Zero Dawn and Horizon Forbidden West, is a standout in modern gaming for its unique blend of futuristic technology and tribal cultures set within a post-apocalyptic world. What places these games at the forefront of fantasy and sci-fi world-building is their ability to create a richly detailed environment where nature and advanced technology collide in unexpected ways. The world of Horizon is not only visually stunning, with lush environments and towering robotic creatures, but it’s also deeply immersive, with layers of lore, history, and culture that ground the story in a believable future.

The way the developers use the environment as a storytelling tool is masterful, making the landscape feel alive and filled with meaning. Each region in the game has a distinct cultural identity tied to its environment, whether it’s the nomadic tribes of the desert or the technologically advanced, yet nature-centric, societies in the forests. The success of Horizon comes not only from its gameplay but from how deeply its world-building resonates with players, creating a seamless fusion of mythology, environmentalism, and human survival.

Relevance to my work: The Horizon games have been incredibly relevant to my project Epic of Naram, particularly in how they balance environmental storytelling with cultural development. In both Horizon and my project, the environment plays a key role in shaping the cultures and traditions of the people. In Horizon, the different tribes and their ways of life are directly influenced by the landscape they inhabit, whether they’re living among forests, mountains, or deserts. Similarly, in Epic of Naram, regions like Kengir, Makkal, and the Dead Lands are defined by their natural surroundings, with the environment influencing everything from clothing to survival strategies.

One of the most inspiring elements of Horizon is how the tribes are technologically advanced, yet deeply connected to nature—a balance I’m exploring in Epic of Naram as well. The people of Kengir, for example, live amidst the ruins of an ancient civilization, much like the tribes in Horizon interact with the remnants of the Old Ones’ technology. The contrast between their reverence for the past and their forward-looking survival methods mirrors the delicate interplay of technology and nature found in Horizon.

Additionally, Horizon’s strong environmental themes—how humanity's relationship with nature has changed over time—reflect my own exploration of how cultures in Epic of Naram adapt to and survive in harsh environments like the Dead Lands. The emphasis on nature as both a provider and a threat is central to the themes of both Horizon and my work, and has pushed me to consider how deeply the environment should influence my world’s social and political dynamics.

The Horizon series has set a new bar for how to create immersive, believable worlds where the environment is a character in its own right. It has inspired me to approach my own project with a similar level of attention to how landscapes and cultures interact, ensuring that every region in Epic of Naram feels as alive and integral to the story as the tribes and lands of Horizon.

[avelvokai]

Production post #8

Designing the Niyalmans

Niyalma in the Manchu language means "person"

The Niyalmans are the title nation of the Niyalman Empire in Epic of Naram, known for their martial prowess, discipline, and a sense of superiority that permeates their culture. As I began conceptualizing this group, I wanted their design to reflect their stoic, battle-hardened nature while still maintaining a sense of regality and authority.

Cultural Inspirations: The Niyalmans were heavily inspired by the Tungusic peoples of Northeast Asia, who have strong connections to martial traditions and nomadic lifestyles.

The Manchu were my primary inspiration for the Niyalmans, particularly their ability to maintain their distinct cultural identity while ruling over China. Like the Manchu, the Niyalmans come from a northern, nomadic background but now command a vast empire. This mix of Tungusic cultural roots and imperial rule is reflected in their design, which balances simplicity with an understated sense of power.

I wanted to translate this into their designs by emphasizing simplicity and functionality in their clothing, while still giving them a strong, imposing presence. Their culture’s pride in martial arts is represented through practical and straightforward attire, but one that still conveys their elite status as rulers of the empire.

Clothing and Design: For the clothing design, I aimed to create garments that reflect their disciplined nature. I focused on the idea that, despite their imperial status, the Niyalmans would favor functionality over opulence. The clothing is simple and practical, featuring straight lines, muted colors, and minimal decoration. However, the subtle use of intricate patterns within the fabric hints at their cultural depth and prestige. The dark greens, browns, and reds in their clothing reflect the Niyalmans' past connection to nature, as well as their martial prowess. These colors also serve to contrast them from other cultures in Epic of Naram, like the more vibrant and luxurious styles of the Makkal people.

Character Traits and Visual Symbolism: The Niyalmans are proud and somewhat arrogant, traits that are expressed through their stern expressions and strict postures. Their straight dark hair and brown or yellow eyes give them a sharp, commanding appearance, adding to their imposing presence. I also incorporated elements like their traditional headpieces for women, symbolizing their structured and hierarchical society, while the men’s armor-inspired clothing shows their readiness for battle and leadership.

Refinement and Feedback: Throughout the design process, I experimented with several different color palettes and garment shapes to find the right balance between practicality and regality. After receiving feedback, I focused more on refining the fabric patterns and headpieces to better convey the cultural importance and pride the Niyalmans hold. This feedback helped me solidify their distinct visual identity within the world of Epic of Naram.

In conclusion, designing the Niyalmans allowed me to explore the visual representation of a highly martial culture. Their designs reflect their disciplined, prideful nature while maintaining a sense of elegance in their simplicity. Through their appearance, I aimed to communicate their belief in their destiny as rulers of the empire, while also highlighting the underlying tensions their sense of superiority creates with other cultures in the world.

References:

Nazaccent.ru. (2024). Available at: https://media.nazaccent.ru/cache/d5/3e/d53e9480d9cdc053bdcec056deb7e25f.jpg [Accessed 12 Sep. 2024].

[avelvokai]

Production post #7

For the antagonist of Epic of Naram, I wanted to create a character that radiates power, arrogance, and complexity. The concept of Namenzid, a dark sorcerer hailing from the Dead Lands but with a different and more ancient heritage (Kengir's Blackheaded Ones), began with the idea of someone deeply connected to ancient mysteries and necromancy, yet still human in his desires and flaws.

Initial Design Process: I began by sketching Namenzid’s silhouette and posture. From the outset, I envisioned him as someone who would dress in opulent fabrics, reflecting his arrogance and superiority. His costume is a blend of luxurious, intricate patterns and rich, dark colors to signify his wealth and dark ambitions. The influence for Namenzid’s fashion came from a combination of Middle Eastern and Mesopotamian aesthetics, especially focusing on ornate jewelry and elaborate fabrics that a powerful sorcerer would wear to showcase his status.

Iteration and Feedback: I had several iterations of Namenzid’s outfits. Initially, I struggled with making his designs balance the opulence with the practicality a desert sorcerer would need. I sought feedback from my tutor, Neal, who suggested focusing on specific cultural references to ground his outfits. He also suggested adding more jewelry to the 2d look and make his facial expression look more ebil. With this guidance, I added more regal elements to reflect his royal background, such as golden jewelry and intricately woven fabrics.

Leonardo and my peers also gave a positive feedback and advised to give him a less saturated color palette.

Use of Color and Symbolism: The final color choices for Namenzid—a combination of deep reds, blues, and golds—represent his command over dark forces and his high status. The magic flame in his hand, rendered in ethereal shades of blue, contrasts with his darker palette, symbolizing his mastery of powerful, otherworldly forces.

Namenzid’s journey through the story of Epic of Naram is one of domination, where he seeks to overthrow Queen Jia and claim the throne. His character is essential to the world I’m building, both in terms of power dynamics and as a reflection of the cultural richness of the Dead Lands and Kengir. His arrogance, combined with his deep connection to necromancy, makes him an antagonist who is not only visually striking but also vital to the overarching narrative.

References:

Alamy Limited (2024). Costume - Ancient Assyria. [online] Alamy.com. Available at: https://www.alamy.com/costumeancient-assyria-image65403339.html [Accessed 23 Aug. 2024].

Pinimg.com. (2024). Available at: https://i.pinimg.com/originals/78/88/39/7888393333c4cdbcbd6a1c877199a701.jpg [Accessed 23 Aug. 2024].

Character Design Inspiration. (2019). Character Design Inspiration. [online] Available at: http://characterdesigninspiration.tumblr.com/page/81[Accessed 23 Aug. 2024].

Planetfigure.com. (2022). Figures painted by me lately | planetFigure | Miniatures. [online] Available at: http://www.planetfigure.com/useralbums/figures-painted-by-me-lately.290/view [Accessed 23 Aug. 2024].

Tumblr.com. (2024). School Manager by Family Zone. [online] Available at: http://allmesopotamia.tumblr.com/page/103 [Accessed 23 Aug. 2024].

‌

‌

[avelvokai]

Forefront #8

The Witcher (Books, Games, and TV Series)

Why at the forefront: The Witcher franchise has become a central force in modern fantasy, setting new standards for immersive world-building and storytelling. What sets The Witcher apart is its blend of Slavic folklore with rich character development and morally complex narratives. The universe created by Andrzej Sapkowski, and expanded upon in video games and the Netflix series, doesn’t just deliver a fantasy world filled with monsters and magic, but one deeply rooted in the cultural traditions of Eastern Europe. The moral dilemmas faced by the characters, especially Geralt, make the story all the more compelling, as it explores themes of humanity, power, and survival.

The success of The Witcher across multiple forms of media—books, video games, and the Netflix series—shows how adaptable and expansive this world is, reaching a global audience while staying true to its cultural origins. Its ability to fuse folklore with modern fantasy elements has made it a significant player in shaping how we think about world-building today.

Relevance to my work: Like The Witcher, my project Epic of Naram blends mythological influences with grounded human experiences. One of the key aspects I’ve taken inspiration from is The Witcher’s integration of folklore into its world. The way the series uses folklore not just as background material, but as an essential part of its characters, environment, and conflicts, has inspired me to think more deeply about how to weave cultural mythologies into my own world-building.

In Epic of Naram, each region—whether it’s the Dead Lands, Kengir, or Makkal—draws from real-world cultural traditions and mythologies. The people of the Dead Lands, for example, are influenced by Bedouin and Amazigh traditions, much like how The Witcher pulls from Slavic legends. The folklore in The Witcher is deeply intertwined with the political intrigue and societal structures of the world, which aligns with my approach of making mythology not just a backdrop but a driving force in the narrative.

Additionally, The Witcher’s exploration of moral ambiguity and complex political landscapes resonates with the political intrigue I am developing in Epic of Naram. Just as Geralt navigates the shifting allegiances and power struggles of his world, my characters—especially Queen Jia Lang—must deal with betrayals, alliances, and the consequences of their actions in a politically charged empire.

Ultimately, the success of The Witcher franchise has shown me how powerful cultural mythology can be in creating an immersive and meaningful world. It has encouraged me to continue pushing the boundaries of my own world-building by weaving in myth, culture, and complex human dilemmas, creating a story that feels both grounded and fantastical.

[avelvokai]

Production post #7

Since I decided to first draw the main character and antagonist, I focused on finding good reference pictures first, mainly Manchu clothes and Mongolian armour.

The first sketch of designs looked like this:

I scratched off the first two look, however I did end up using the first one for the character's culture page later on.

Since I decided to first draw the main character and antagonist, I focused on finding good reference pictures first, mainly Manchu clothes and Manchu/Mongolian/Jurchen armour.

The first sketch of designs looked like this:

I scratched off the first two look, however I did end up using the first one for the character's culture page later on.

As for the color palette, I decided the violet is going to be the main color to highlight the royal status of the character as violet was considered one of the rarest and most expensive dyes.

During a tutorial, Neal gave me a few suggestions on what to fix, mainly the background to see her silver hair better as well as adding more lighting on her.

Here is a progression of my page layout and design change as per Neal's advice.

I decided to turn her battle look into a separate page:

I am pleased with the look of my pages and will do similar outline for other characters.

References:

Tempy Ebi (2019). jurchen clothing. [online] Pinterest. Available at: https://ru.pinterest.com/pin/604819424938595736/ [Accessed 2 Aug. 2024].

Worthpoint. (2017). Antique Chinese Blue Silk Robe Embroidery Gold Medallion Manchu Qing Flowers Vtg | #1881878012. [online] Available at: https://www.worthpoint.com/worthopedia/antique-chinese-blue-silk-robe-1881878012 [Accessed 2 Aug. 2024].

Reddit.com. (2022). Reddit - Dive into anything. [online] Available at: https://www.reddit.com/r/CDrama/comments/sxxy15/manchu_clothing_comparison_between_qing_dynasty/ [Accessed 2 Aug. 2024].

Tumblr. (2019). Chicken Lore. [online] Available at: https://gallusrostromegalus.tumblr.com/post/166063017278/kentumatsu-irkbitig-turkic-archer-woman-my [Accessed 2 Aug. 2024].

Auktionsverket.com. (2019). Stockholms Auktionsverk. [online] Available at: https://www.auktionsverket.com/arkiv/fine-art/special/2019-12-09/248-a-manchu-officer-s-ceremonial-armor/ [Accessed 2 Aug. 2024].

‌

‌

‌

[avelvokai]

Management post #2

At the start of the project, I created a detailed Gantt chart to help map out my tasks, ensuring I would meet my deadlines for each part of the concept art book. The Gantt chart breaks down my work into categories such as character design, environment art, and final documentation. Initially, everything was on track—my main character and antagonist concepts were being developed according to plan, and I felt confident about the overall schedule.

However, personal issues soon disrupted my progress, causing delays. Specifically, I wasn’t able to complete the side character designs and fictional cultures by the scheduled dates. This has forced me to reassess my time management strategy and make adjustments to my workflow. For the moment, I am prioritizing the main character and antagonist designs, while pushing the side character work into the environment phase to catch up. I plan to work extra hours over the coming weeks to make up for lost time.

[avelvokai]

Production post #6

Designing the environment for the Dead Lands involved a mix of techniques, including photobashing and using assets from Clip Studio Paint to create a visually stunning and cohesive desert landscape. The goal was to convey the harshness of the desert while highlighting its beauty, especially during sunrise and sunset, when the desert takes on vivid hues of orange, red, and gold.

For the sand dunes, I started by using photobashing to create a base. I gathered several high-resolution images of real sand dunes, which allowed me to achieve a realistic texture and structure for the desert.

Photobashing these images together helped me establish the flow and movement of the dunes, ensuring the environment felt natural and dynamic. After laying down the foundation with the photobashed dunes, I moved into Clip Studio Paint to blend the different textures, adjusting the lighting and colors to match the overall tone I wanted for the scene.

I then incorporated Clip Studio Paint’s mountain and rock assets to add depth to the background and enhance the composition. These assets helped me quickly build up the rocky formations that define the Dead Lands, providing a stark contrast to the softer, flowing dunes in the foreground. The mountains were placed strategically to frame the scene, giving a sense of scale and isolation that adds to the desert's imposing nature.

Once the photobashed dunes and mountain assets were in place, I used digital painting techniques to blend everything together, ensuring that the transitions between the different elements felt seamless. This included adding shadows and highlights to match the lighting conditions of a desert at sunset. I also enhanced the atmosphere by adding light dust particles in the air, giving the environment a more dynamic and lived-in feel.

In the end, the combination of photobashing and Clip Studio Paint assets allowed me to create a rich, detailed environment that conveys both the danger and beauty of the Dead Lands, while maintaining the cultural and thematic focus of the nomadic peoples who call this desert home.

References:

CLIP STUDIO ASSETS. (2024). CLIP STUDIO ASSETS. [online] Available at: https://assets.clip-studio.com/en-us [Accessed 15 July 2024].

Wikipedia. (2020). Great Sand Dunes National Park and Preserve. [online] Available at: https://en.wikipedia.org/wiki/Great_Sand_Dunes_National_Park_and_Preserve.

www.originaltravel.co.uk. (n.d.). The Biggest Sand Dunes in the World | Original Travel Blog - Original Travel. [online] Available at: https://www.originaltravel.co.uk/travel-blog/the-biggest-sand-dunes-in-the-world.