Teaching / Current Practice / MA

Following the failure of Auriga, I moved toward the security of a full time teaching post (as stated, I had already taught short courses at different UK institutions to supplement my freelance income).  By late 2006, I had accepted a temporary position in Auckland, New Zealand and left to live there for a short period.  It was useful to see different approaches to both teaching and to 3D graphics.

Returning to the UK (via an abortive role in India), I accepted another teaching role. This is my current, permanent position at a further education college.  

I teach 3D graphics to Further and Higher Education students. Having gained a teaching qualification, I now lead a Foundation Degree in New Media and am developing a second award involving mobile gaming.  I enjoy the inherent ‘worth’ of being an educator and would hope to convey this in my own work.  From a more personal perspective, being a teacher has been useful in developing both patience and empathy – not innate attributes.

Working full time as a teacher; freelance work has been limited.  This is perhaps my greatest frustration at present.  Recently I have undertaken an architectural visualisation project and have enjoyed re-engaging with my own practice.  In addition, I create architectural models/animations as teaching resources, using these in both 3D graphics and contextual studies modules.    

Teaching game design has also generated an interest in gaming engines for use with mobile devices.  This has significance for my planned route in the MA Creative Futures as I hope to use this in my final projects.  I am aware, however, that my programming/scripting skills are very limited.  This is equally true of compositing/editing software, where I lack genuine expertise.  I feel that I will need to learn these skills in greater depth to achieve my aims.

In contrast, I do retain useful skills in several software programs:  I utilize Autodesk Maya, 3ds Max and Pixologic ZBrush on a daily basis.  I am generally confident in my skillset, and in my ability to learn new software.   I know from experience that skills in CGI/VFX are swiftly made obsolete and so I have continued to train via online tutorials (eg.Escape Studios / 3D Buzz).   

     

Overall, resurrecting my own practice is the key motivation behind my decision to study the MA Creative Futures.  I miss the demands and rewards of working in the ‘real’ world and aim to redefine my work.  I am aware that my current portfolio is painfully out of date and so this will become a priority in the forthcoming months.   

Barcelona Terminal 2 (teaching aid), 2010

Edutainment and Auriga

As my portfolio increased in volume, I established an online presence with the creation of my own website (the now defunct www.brewis.it) and via the use of relevant online forums. Having worked as a marketing manager in the travel industry, I was aware of the importance of promotion - although I found self-promotion to be a more uncomfortable experience.  

With this in mind, I also aimed to raise my profile by attending industry meetings or events.    For example, I was a regular attendee at Autodesk’s bi-annual meetings in both Birmingham and Manchester.  I also joined a Warwickshire based collective of “Serious Game” makers.  This was a grouping of academics, artists, programmers and developers aiming to utilise gaming technology in wider scenarios.  These included: medicine, the armed forces and education.  Their approach was functional and multi-disciplinary in nature.  I was particularly taken with the concepts of edutainment and the blurring of traditional boundaries (Lister et al, 2009).

Baby, 2005

Medusa (Auriga concept), 2005

As a result of these industry contacts, I came to realise that my own work lacked direction; working as a freelancer I had become something of a ‘generalist’.  This had previously been an advantage when seeking different clients and had helped establish a limited reputation. However, increasingly I felt that my earlier proliferation mean that I was potentially overlooked for contracts in deference to specialist artists.  

In addition, I increasingly accepted short-term teaching roles to to supplement my freelance income. This was work I enjoyed, was well paid, and provided a level of security missing for freelance work.  The courses I taught included those for beginners, post-graduates and industry professionals.  These were held at a variety of venues – including universities, further education colleges and studios.   As a result I was able to meet a wide range of practitioners and students.

However, as with my actual 3D graphics, I found that I was becoming a less specialised professional.  Therefore, taking stock, in 2005 I made the decision to focus my energies on a single product of my own.  Recruiting and leading a small group of animators, designers and programmers; I set about designing a multiplayer game for play via a web-browser.  This was provisionally titled Auriga and was intended to recreate Roman (mythological) chariot racing in an edutainment format.  

Environment models, 2005

At best, this was a naïve venture.  It is clear that I lacked the experience, technical knowledge and finance to make Auriga a success.  Heedless, I managed the project from its conception, overseeing:  game documentation, modelling, animation, texture work, programming and even music.  Understandably this involved a vast amount of commitment and finance – both of which I seriously underestimated.

At first the project progressed agreeably, demonstration designs were well received and I was offered limited outside investment.  In time, however, the project floundered due to a lack of planning, over optimism (re arrogance) and finance.

For example, designing for the web placed severe restrictions on creative output.  It ensured that polygon counts must be low and that texture maps/lighting be kept to a minimum.  This proved difficult and several problems ensued that required work to be rebuilt.  Several design compromises had to be made and I was never satisfied with the final quality of work.

Circus (low polygon, untextured draft), 2006

Circus (texture draft), 2006

Programming the game was also a problematic area.  I had only a rudimentary knowledge of Lingo and had to rely upon two Java programmers.  Their work was erratic and consequently I began to take more control – costing valuable production time as I struggled with the concepts involved. 

Equally damaging to the project was the choice of Adobe Director and the Shockwave Player as a delivery method.   I judged that Director’s 3D capabilities at the time far exceeded alternative online solutions, including Adobe’s own Flash Player.   However, the expected boom in online 3D content did not materialise.  It later transpired that support and use of both Director and of Shockwave were both already in decline (Aymer, 2006).  

These problems (and many more) forced the deadline for completion to be extended several times and in late 2006 the project was shelved entirely.  The financial costs alone were considerable and I ultimately simply ran out of money.  

The experience of making Auriga highlighted several of my weaknesses.  Firstly, the project was simply too ambitious.  Given its scope, I also planned badly and without consultation with adequate industry experts.  I was also too ready to accept the virtues of a potential new technology, even before these had been proven.  In addition, I was controlling and unable to trust others.  Finally, deadlines and financial restrictions were not adhered to, typically as a result of an unrealistic perfectionism.  

  

3D Graphics

Working in travel provided an additional unexpected benefit: access to powerful computers and to graphic design packages.  I became increasingly interested in the applications available and experimented with web design and 2D applications as part of my ‘marketing’ duties.  This progressed to an awareness of Computer Aided Design and 3D applications.

In late 1999, I decided to leave to pursue my ambition of working in animation.  I had long felt frustrated at not having followed an ‘artistic’ path through education and I considered animation a viable route.  Consequently, I made the decision to train in both 3D animation (Lighthouse, Wolverhampton) and in 2D animation (St Martins College, London).  I followed this with a brief ‘apprenticeship’ at a London based animation studio. 

Disappointingly, my actual animation skills were not of a high standard.  Although technically proficient, I struggled with the repetitive traditional processes of 2D animation and disliked the factory-like nature of the work.  In short, this was not the ‘fun’ or ‘artistic’ industry that I had hoped to enter.          

Fortunately, however, I did find that I was fascinated with the processes of CGI and that I had aptitude for modelling, texturing and lighting.  I was able to learn new programs swiftly and had a genuine fascination with the new technology.  I was also swept along a little by the novel and pioneering aura still surrounding CGI.

Subsequently, using mainly Autodesk 3ds Max and Maya, I participated in projects for video, TV, film, games and visualisation.   Initially, I sought out short term contacts working with 2D and 3D animation companies and these were useful for developing my technical/conceptual skills and gave a clearer perspective of the demands of the industry.  Given my limited experience at the time, I occasionally also found myself working on projects in related disciplines such as web design or Flash applications.  In this way I was introduced to new subjects such as HTML and (very) basic scripting.  

3D Roulette Wheel, 2001

Based largely in the West Midlands, I continued in this vein for about six years building my portfolio and working on a freelance basis.    I was fortunate to work for some large clients and these helped garner a small reputation.  This in turn led to employment on a largely word-of-mouth basis.      

Overall, I enjoyed being self employed; the work itself was varied, I constantly learned new software techniques and I developed my ‘business’ skills. This is not to say that the pressures of being self employed (such as insecurity, pressure and isolation) were always to my liking.  I struggled often with time constraints, deadlines and my own motivation.

Creating artwork for videogames was perhaps the most demanding work I undertook.  The deadlines were harsh and clients demanding.  It was not unusual to work two or three days without sleep.  Comparable work for television or film was often generally of a more relaxed nature but also difficult to obtain.

Carthage (game character), 2003

On reflection, these contracts improved both my speed and accuracy.  They showed that the realities of industry were far removed from the skills taught in education.  “Real artists ship” was a maxim I became acutely aware of (Jobs cited in Isaacson, 2011).

The freelance contracts I took most pleasure from were those involving visualisation: particularly architectural visualisation.  I could see genuine worth in presenting pre-visualised concepts and I especially liked the ‘real world’ purpose.

Game Environment Model (initial concept), 2003

3D Visualisation, 2004

Intro / Education / Employment

I have pursued a somewhat unorthodox route to the MA Creative Futures and the context of this may require some explanation.  I have decided to present a loose chronological account of my academic/professional progress in the hope that this may be a useful way of explaining my motivations.  At the very least it will highlight my strengths and weaknesses:

In 1993, I chose to study a Bachelor’s Degree in Historical Studies at Goldsmiths College, University of London.  This reflected less an interest in historical knowledge and more a desire to escape to London.   I was not an attentive student and I was frequently absent.  I spent a significant part of my final year visiting classical ruins in Turkey (despite this not actually being part of the curriculum) and, unsurprisingly, I was awarded a low final grade.

Ironically, it was after university that I really began to study in any detail.  I became most interested in the connections between Modernist ideals and those of Classicism.  This is relevant as I aim to make classical art and architecture the key content of my future 3D designs.

After graduation, I worked for approximately five years at independent student travel agencies.  This was a natural fit, and in a short time I was promoted to managerial roles with responsibility for a multi-million pound turnover.   I was a largely pragmatic manager, although not entirely averse to taking risks.  In retrospect, it was also helpful to work for a ‘youthful’ company and I gained an understanding of both promotion and branding in a real working environment. 

business cards (c. 1999)

Far more importantly, from my perspective, I was also able to take advantage of opportunities to travel extensively.  Invariably I chose destinations allowing access to classical sites and the photographs and sketches I collected during this period will be used as a foundation for my future projects.

visited (c. 2006)

Prologue

Primarily, I have embarked on the MA Creative Futures to unite my creative, technical, academic and philosophical interests.  

More specifically, I have decided to pursue the creation of interactive 3D visualisations.  I wish to use these to detail museums, depict historical environments and to ‘reimagine’ key historical events/archaeological sites.  

To achieve this, I intend combining my existing knowledge of Computer Generate Imagery (CGI) with handheld Augmented Reality (AR) technology.

My initial (experiential and tentative) research has found existing examples of interactive visualisations and AR of variable quality.  This perhaps reflects the embryonic, developing nature of the industry as of 2012.  As a result, I consider there to be an opportunity to profit from the standard of current practice.  

In addition, my education, working background and life experience each indicate that this is a route pertinent to my own concerns.   I expect these to inform my work throughout the MA Creative Futures and beyond.  

Ultimately, I aim to establish a sustainable business and, if successful, anticipate opportunities to pursue wider opportunities.  With the MA Creative Futures I mean to establish a portfolio, structures and strategies to facilitate my aspirations.  

Below: Link showing example uses of AR from New Zealand’s Hitlabz (2007).  This was one of the first AR examples I witnessed and it is fair to say that I was both intrigued and excited by the possibilities presented.  In particular, I was taken with the ‘real world’ and educational applications of the technology.      

Hitlabnz, 2008