ART DIRECTION: EVOLUTION OF AN UMAH

Writer and creator of Erth Chronicles, Richard Johnson and conceptual artist on the project, Lars Rasmussen talk about the constructive process of art direction.

The process of Art Direction at Erth Chronicles is crucial to the development of the world already set out in Richard’s writing. Having already established the world and its inhabitants in the written format, it has now been taken further with the use of supporting artwork by the creator and fellow artists.

When an artist commits to the project a full Erth Guide is sent, along with branding and further details on the project. Everyone works differently, yet feedback in the form of rough sketches, photography and paint over details are crucial in aiding other artists in refining the ideas and pushing their ability even further.

Lars Rasmussen’s design of the Umah began life as a digital painting, closely resembling the study of a horse.

LR: I immediately threw myself at the Umah. Horses just scream adventure and freedom, and when I read about their mutation, or evolution, I was hooked.

I don’t think I have ever drawn a horse - so I started my research looking up horse anatomy along with pictures of buffalos, to try and make a believable fusion between a very muscular front and the lower back. How can this look good without becoming ridiculous and cartoony? The third thing I used as reference was motorcycles - choppers to be exact. They are - like the horse, synonymous with freedom and adventure, and have the same skewed triangular shape that I wanted for the Umah.

I put Harley Davidson and The Marlboro Man on the DVD and referenced Harley’s awesome bike - which is in fact an ‘Evolution’ hehe - It was perfect. I picture the missionary Rojin as having a nomadic aspect, which fit perfectly with the tough, lone biker stereotype. At this point I decided to have Rich look at it, to see if my initial idea was headed in the right direction.

The first draft is emailed to Richard where detailed feedback is supplied.

RJ: The first draft was a beautiful painting, but Lars' depiction was simply just a horse with a sloped back. I tend to annotate and scribble over the paintings, manipulating certain areas in terms of scale. Here, the head was made larger and a rough sketch placed over the legs to suggest something more feline and powerful. I always feel a tad guilty scribbling over someone elses work - fortunately artists on board relish it. I don't want to do a George Lucas and simply stamp it 'Yes' or 'No' - I'm not a kid in a candy store, I need to be constructive.

LR: Rich wanted the Umah to be more powerful with more flexible cat-like legs and paws that could climb mountains - It had to look as if it could stand up for itself, but at the same time have the kind mentality of a loyal steed. I therefore reworked the face - giving it a more imposing yet sympathetic expression. We decided that although the Erth Guide called for longer fur, obscuring the muscles would be a shame. This resulted in a mane - and as the horse’s tail didn’t really work with the feline hind legs, I gave him a lion-style tail.

Rich and I were pretty happy with the result, but after looking at it for a day, we both agreed that something was wrong. The horse was gone, and what we were looking at was a huge hyena.

The thick fur had to go, and I brought back the traditional mane. Rich suggested bringing the horse’s tail back, but in a platted version like you see in show jumping; the platting subtly referencing the Rojin symbol. The horse was back, and the anatomy was now pretty much in place.

Richard is a stickler for details; symbolism being the key to all of the artwork developed.

RJ: This is the Graphic Designer in me. It’s very important that the world is believable and has a sense of culture and history. The symbols of both the Rojin and the Newtonians must look as though they have been embraced and shaped through the centuries. With this in mind, it is incorporated into architecture, clothing and even weaponry.

Lars has completely understood and embraced this; the usage of the Rojin figure of eight symbol has been wonderfully executed in the braiding, stirrup and saddle, to name a few details. The Art Direction process can be as simple as suggesting to plat a tail, resembling the figure of eight or carve into the armour with subtle motifs. These details help you imagine the Rojin going about their everyday lives, passing their time with cultural activities.

After the feedback and further suggestions on developing the armour, Lars’ final design shows the Umah kitted out for its trek across Erth and potential battle.

LR: The armour had to reflect the mentality of the Rojin, and the close relationship between rider and steed. Although skeletal armour might bring out some barbaric associations, the Rojin’s motives would be entirely different. Like most native cultures, they would respect the land and life, and use as much as they could from the animals they had killed - letting nothing go to waste. This creates a contrast to the polluting Newtonians - both in mentality and appearance.

So this is how it came out. But this is just one Umah - the appearance and armour can of course vary from animal to animal. And as the artwork for Erth keeps evolving, I’m sure the Umah will too. Some Umahs might have adapted to other parts of Erth - cold, heat, pollution - what does an Umah gasmask look like? I can vividly imagine this animal carrying it’s rider across the barren planes of Erth, or engaging in brutal battle - but nothing is final. I hope other artists will take on the Umah and develop it further.

You can view the full size image of the Umah in Lars' Gallery and the Creatures Gallery.

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