Into The Deep Exhibition

One of my projects from the last semester was my exhibit which premiered at Adobe's Lehi Campus, titled Into The Deep. It's an introduction to a personal project, showcasing a range of design work encompassing all parts of the process and bridging characters, environments, and props.

What follows here is a truncated version of the exhibit. I would highly recommend checking out the digital exhibit as that has a better layout and more accessible navigation for skipping through the sections. You can find that below.

https://intothedeep.cargo.site/exhibit

https://intothedeep.cargo.site/exhibit

Foreword

As an artist, I think one of the most statisfying opportunities is to build a world. Transporting someone from reality to the place you’ve created in service of something. That’s our job after all. This world - Rotika, (working title!) is mine, and serves as a way to explore humanity’s future- not just here, but among the stars and what that entails. I don’t expect what you see here to fully describe that yet, but it’s a start, and my hope is that some of what’s here can help you immerse yourself in the first steps of what I’m building. If I’ve succeeded, then it might transport you to another place much like how all the books I read growing up did. The images you’ll see here represent months of hard work and rather than serving as a culmination- are merely the first steps in the project. Without further ado, I present Into The Deep, a sneak peek at my forthcoming project.

-Hunter Hewitt

Welcome to the 23rd Century.

Things might be a little different than you expected. Sure, there’s flying ships, walking machines, and some of the most advanced weaponry this solar system has seen- but it’s a far cry from the hypercomplex utopia you might have imagined. What happened?

Over a century ago, humanity was on the cusp of controlling the system and leveraging every aspect of their nascent hypertechnology. Highly capable artificial intelligence, new material breakthroughs, developments in conscioussnes- you name it. But it didn’t last. There was no giant fireball or invasion- it was much more mundane- but complicated. The truth is few know what happened then- but it’s left irreparable effects on humanity.

Among them, a persistent background signal makes long distance communication between the colonies nearly impossible. Ships take months and in the best cases, weeks to traverse between points. Many of the developments from previous centuries are lost to time, or remain, but with few who can understand their machinations. Nearly a century later, on the back of a new charter, humanity is slowly picking up the pieces. Groups and factions are cautiously reaching out to rebuild what was lost. But with the time that has passed they’ve grown more disparate than ever. The future is uncertain.

Now, from the fringe of the system on an unlisted planetoid, something threatens this new and fragile peace between humanity’s rising remnants. Machines, twisted by an unknown plague roam the halls of the facility on Keres, destroying anything in their path. But there’s hope. There’s you.

We need some gear to survive on Keres: The SOV Suit. There were a lot of different considerations for development of the suit. It had to look capable, but avoid the appearance of a walking tank. Not a space marine, but somewhere between space police and a janitor was what I had in mind. The materials and forms were supposed to suggest a combination of self-assembled armor- but avoid the typical junky scavenger look that typifies that aesthetic. This is more akin to someone with a selection of equipment combined to best suit their needs. Small details like the hood being unable to fit with the helmet were all part of an effort to hint at these pieces being from several sources, but ultimately work in harmony on a visual level at a glance.

I wanted the helmet to be relatively simple but iconic- and as the face of the project it had to exemplify much of the form language and visual hierarchy present in the art direction.  The hook of the double visor proved readily recognizable and unique enough to build around as a distinguishing feature.

I tried to include additional details by making a list of real design considerations, like air supply, in this case. Additionally, the antenna behavior helps supplement not only visual interest, but informs and reinforces gameplay as well.

This unit was designed to be a diagetic window into the player’s inventory. In comparison to other suits, which would have a system like this built in- this separate unit helps to highlight the independent background and assembled story behind the SOV Suit. It’s not like other suits- an off the shelf solution-instead it’s more of a collection of tailored pieces suited to a particular taste.

Some of the reference and influences for the SOV Suit design. I spent a lot of time looking at some of the Japanese masters of sci fi from late 20th century works  and old pulp style book covers as well. Note the mixture of utilitarian elements and big shapes. I wanted it to feel like a rough and tumble design, but far from the junky look typical of scavengers and independent setups.

Of course, more traditionally styled by the book sketching is valuable too! I remember looking at the old Star Wars sketchbooks by Joe Johnston and company for hours. It led to me doing a lot of marker sketching growing up. So naturally, I still love to incorporate and mix that approach with other avenues digitally as well. In my experience, this kind of sketching can offer quick, unparalleled clarity in defining shapes for a design. Paired with the material sketches and photobashed explorations, both contribute to a more holistic design approach.

Some of the early sketches for the SOV Suit. At one point, I considered the idea of having a type of active camouflage cloak the character would wear when infiltrating the base. The idea was that while normally a dull, warm tone, it would coalesce into spots and eventually a rough pattern matching the background much like an Octopus. Ultimately it ran counter to other priorities and requirements for the design so I cut it.

Through the design process there are often times where a new issue, req, or question may pop up. I find that it’s easy to do a quick sketch over the blockin to test out new directions, clarify, etc. That’s one of the great benefits of quick line drawings.

You can see one of several different designs I tested for the inventory system. Ultimately, I decided to go with the separated terminal on a sling for a few reasons- one of which being how easy comparisons to a pip boy were to draw. But that’s one of the reasons I do these quick sketches! It’s just as valuable to establish dead ends as it is to find the right direction ahead.

Underneath, one of many spreads exploring different boot designs. The end design was pretty similar to what you see the on the right side.

Any good adventure needs enemies, and this is no exception. You’ll find the station on Keres overrun with bots of all kinds and sizes. The inhabitants spared no expense in securing a fleet ranging from small repair bots to lethal military variants, and each one has it out for you.

Meet the Л Type Security Mechanoid, built by Echelon. The base secured many of these units for testing and security purposes in restricted areas. The bot’s limited capability usually requires working in tandem with at least 1 handler for best effictiveness- but now they run rampant across Keres, posing a threat to any survivors in the facility.

I wanted to suggest an older construction in these as opposed to some of the forthcoming designs for militaristic units. So I kept the forms bulky, emphasizing a simpler construction while future models will keep the same design language in their shell, but be much sleeker in appearance.

(Left) A small, bipedal mechanic bot- designed with the idea that the extensions on the end of the arm could be swapped out- not only for story reasons, but to create a wider variety of gameplay possibilities.

(Right) Larger multipurpose repair bot capable of carrying some degree of cargo and making various repairs on base. Much like it’s bipedal cousin, I envision the ends being fitted with different equipment, and by extension, hazards to the player.

(Left) A painting of one of the older exosuits used by workers in hazardous environments. The idea was that maybe these cheaper, bulkier suits were phased out mostly in favor of supervised bot labor, but the shells could be possessed by the malevolent force that’s infected everything else.

(Right) An exploration for a more modern military bot. In contrast to the earlier unit I wanted to keep the same form language but emphasize a sleeker more humanoid form factor. Lots of work to go on these, but these paintings serve as a springboard for further designs.

I explored a variety of options for this design but knew that I wanted something that felt dangerous and utilitarian. Long arms and a wide stance to complement a more stable center of gravity were used to enforce the believability of the design.  While I did a number of sketches for this one- the one that stuck was actually just a pen and paper design I did over lunch one day (pictured left here) that really hit the mark of what I wanted. Something simple, but intimidating. 

There still remains a lot of developmental work here to be done for accessories, movement, variants etc. but I’m happy with the base that’s been established.

 With the machine horde around every corner, you’ll need quite the arsenal to help take them apart. Luckily, the facility on Keres is stacked with all sorts of tools and weaponry that you’ll find. Whether it be an abandoned black ops project,  or a reliable pistol fresh off the fabricator, there’ll be a wide variety to choose from. 

Below I’ll show you two of the earliest designs in depth and some of the process in creating them.

    Meet the Lotus Micropulse Laser Rifle. It isn’t cheap, but sports best in class maneuverability, ease of use, and flexibility. Popular with private security firms across the inner system because of it’s easy-to-use firing modes that work well across unarmored and armored targets alike.

(Left) Breakdown of the interior assembly, allowing for a greater look at the LAS chamber.

(Right) Material callouts help preserve design intent when moving from concept to asset. And the added commentary helps provide alternatives to foreseeable challenges in asset implementation.

(Left) I wanted to communicate not only the functions of different parts based on my research, but the manufacture process which in my mind was a molded shell around the internal suspended assembly.

(Right) The idea with the scope was that it would be a clever way to make use of a laser’s inherent design. Like a camera mirror, the user would see exactly where the laser will hit, before the shutter activates during the beam’s brief pulse.

(Left) The Lotus brand’s sigil is the Lotus flower. It’s namesake is stamped on all of their products and paraphernalia. I envisioned the brand as a sort of high quality-luxury option. Their tools are uncomplicated, easy to use, but ultimately expensive. The visuals had to reflect that exotic appeal.

(Middle) I always wondered how helmets would work with weaponry in media when it so often would make optic use difficult if not impossible. One of the methods to address this was not only to add a digital scope on the Micropulse rifle, but an extended version that allowed for better visibility and ergonomic comfort for users.

(Right) Decals sheet for the rifle.

Different mechanical callouts with animations for the rifle.

I thought it would be great if maybe the lasers mirrored some of the loss and recurring technological progress present in the overall narrative. That is to say, what if some of the older lasers were unwieldy and almost alien to hold? Much more akin to a launcher than a familiar sidearm. Still like this idea but it wasn’t right for the design at that time- and that’s a big part of what concept design is about. It’s about developing design solutions that solve the problem and criteria the best, not just making a pretty image.

Early ideas for the laser weaponry included battery packs that could be stored out of harms way to avoid a meltdown on being hit. There are a lot of weapon visual hooks and gameplay opportunities with the separate pack idea as well. Ultimately for the first weapon design, I stuck with a more familiar form factor and focused on motifs that would be universal across the class like the lenses.

Messy 3d mashups and sketches from an early phase of the micropulse design considering different options.

The Сабитов Kimura Collective, or CK for short, has made a name for itself producing reliable, simple tools and weaponry. The Maika Impulse pistol is one such armament.

Instead of using a traditional magazine, the impulse pistol utilizes two barrels each acting as separate housing for stacks of rounds. When the trigger is pressed, the rounds are electronically activated and discharge in sequence from the selected barrel.

In practice, this means fewer moving parts, flexibility in ammo and good performance in a vacuum as well as atmosphere. Limited and variable range does little to affect it's favor with the agencies that use it.

(Left) Callout detailing the heat exhaust mechanism. This allows it to fire in a vacuum for more prolonged periods than other sidearms. A mainstay feature for CK implements.

(Right)  I wanted the silhouette to be clear and simple. This would be the starting sidearm for any player or character in the story, and as such had to include simple mechanics to complement a reloading system. This would be the training wheels essentially for a prototyped reloading system I have that requires players to manually cycle different controls on the weapon during a reload sequence.

(Left) Callouts for the back screen and unorthodox reloading mechanism.

(Right)  And here’s one of the ideas for how some of the packaging might look for these rounds.  These details are nearly as important as the design itself, because each lends believability and audience buy in for the design. I wanted to emphasize the tactile feeling of the packs overall.

Welcome to Keres, an unlisted planetoid on the outskirts of the system. A thin atmosphere and recently renewed geological activity make it an inhospitable environment. So what would prompt someone to build a facility out here? That’s up to you to discover...

I knew I wanted the local planet to be a dangerous place, but It had to have more going on than being a just a rock. Hours of research later, and I have some more to work with. Lunar deserts, Acidic geysers, and sharp craters dot the surface as far as the eye can see.

Initially, I started with the moon, but moved the location to somewhere more exotic so that it could better complement the setting.

Here, lunar deserts and dunes give way to geysers spitting and rocky outcroppings. It’s devoid of any real life, but the storms and addition of an atmosphere allow for more interesting scenarios and the story and encounters.

(Left) One of the ideas I had was for these lunar sandstorms to occur outside the radius of the crater, adding an additional layer of danger to exterior traversal a player might encounter.

(Right) One of the reasons for the base’s location at the crater reveals itself: proximity to useful metals and the nearby ice caps meets a network of mines.

Now defunct lava tunnels live in stark contrast to the rigid hallways and constructed network of catacombs reaching beneath the base.

Eventually, caves and lattice work give way to more pedestrian facilities which begin to unveil some of the facilities’ purposes.

Now, far from the stretches of rock and sand, you step through the interiors the facility that were once home to nearly 300 hundred staff. Unfortunately, few lived to tell the tale and you’ll have to navigate this spread of mechanical ducts, halls, and tunnels yourself. 

The areas needed to represent the cultural shift humanity has undergone-rejection of more complicated and elegant systems in favor of palatable and utilitarian appearances. Large affordances and a sturdy construction would need to be the focus. Something you could trust that is straightforward in it’s appearance. 

I leveraged those same shallow angles and simple shapes complemented by an array of patterns and different materials, which when embedded in the forms, elevated their complexity without betraying the look of honest simplicity I was going for.

One of the biggest timesinks on the project but a real pleasure to work on was Unibon- my own language I created. I wanted to capture the feeling of being in a truly foreign time and place- a culture unfamiliar. In order to achieve this I leveraged some of the back story. In this world, two of the most prominent surviving cultures were of Russian and Japanese descent. So in creating a new universal language, I referenced the roots of each in matching sounds to my new language. So you’ll notice references to motifs present in Katakana, Hiragana and Cyrillic alphabets. As for it’s structure, I primarily based it on Lojban-the logical construction of which seemed like a good fit. 

The use of Unibon also enables this sort of sub-story that can be seen throughout the setting as there’s this official, universal language, but it’s not always being used. Maybe in colloquial dialogue, some people rely on their root tongue. And it can tell different things about a faction’s attitude and relationship with the central government and other groups based on how they do or don’t use this language. It may be official, but that doesn’t mean it’s always ubiquitous.

Some of the knock on affects of addressing the languages resulted in changes to existing languages as well. For instance, at this point in time, much of the Japanese in this world has been abbreviated or shortened, with the long usage of Kanji all but lost to time-primarily relegated to logos and decorative work. The sort of melding of this and other languages is part of what helps push the subtext and unique nature of the setting. It’s a story about people from different groups pushing the bounds of their own philosophies-for better or worse.

(Right) Public sector commissaries are one of the amenities provided to the inhabitants, although their supply and stocking aren’t always timely.

While I heavily utilized more earth-like tones to make areas feel more livable, splashes of aggressive color-usually in service of a specific faction or group are employed as well. Often these grouping show up in important indicators, like door headers that lead into new spaces.

I remember seeing a paternoster lift for the first time and thinking it was such an interesting and efficient way to traverse floors-albeit with some specific weaknesses. But for a public facility in the right circumstances, it’s great-hence the prop exploration here. I envisioned this lift primarily as a means of shortcut for the character or in a gameplay space. It could be temporarily disabled via some security measure or power loss and subsequently returned to working form to provide quick access between floors.

We’ll need a vessel to carry our character to Keres. In this case, it’s a Hoplite Reconnaissance Ship. I knew that this would be one of the first things players or viewers will see in theory if it’s used in any sort of intro so I wanted the form language to set the stage for what would be later explored in the architecture and other props.

There was a tricky balance to strike with this design. I knew it wouldn’t be visible for long- so I didn’t need to detail all of the mechanics, but I still wanted it to be functional and have some neat visual hooks for cinematics. It needed to look nimble, and fast, but avoid the look of a top-end dogfighting craft. So I leveraged aggressive angles, but pulled back on some of the aerodynamic surfaces to make it more blocky and utilitarian.

(Left) The rough sculpt I started from.

(Right) I had this idea for a booster system that would enable the ship greater range and serve as a neat visual hook during an intro. The booster also helps allow greater leverage in maneuvering as well as distancing the radiation produced by the engines from the cockpit.

Some of the mechanics of the hoplite, showcasing different visual hooks that could be used in a cinematic.

Some of the mechanics of the hoplite, showcasing different visual hooks that could be used in a cinematic.

Very early versions of the sculpt; here showing the different moveable components that would end up in the final version eventually. Note the difference in form language here compared to the final version, which complemented the rest of the setting much better and helped sell the story of the craft as a whole.

(Left) Here are some of the many explorations I made in choosing a color scheme for the hoplite. I wanted some degree of vibrant color to set the tone for the rest of the story-that this may be a moody world, but it’s not bleak or dark- it’s full of color.

(Middle and Right) There was a brief, early idea in which the main character would sneak aboard a freighter in order to make their way to the station. So these were some quick sketches and explorations of that.

Crates like these may not be exciting for most people but I love designing props like this as much as any other aspect of a project. These also need to tie into the aesthetic and form correctly in order to sell the world to the audience. The shape of a crate can tell me a lot about the world. In this case, I was trying to reinforce large affordances and simple form factor underscored by technological advances.

In a project like this, I could use assets from any kitbash library or other easy-to-acquire asset repository, but I’d be depriving the setting of the depth that gives it soul.  Writing off details and form as unimportant can communicate to the audience a lack of care or attention. Most of the time, I don’t think it reads consciously, but on a subconscious level, they are aware that something is missing. That’s why in many aspects design for boxes, crates, bottles-you name it- are just as important the success and soul of a work as the characters or environments.

Individual livery from a variety of factions and conglomerates indicates their varied, but far reaching influence. Some of the patterns I designed were inspired by older Russian and Japanese graphics in an attempt to communicate elements of surviving cultures.

In this world, there are many different alliances, factions, conglomerates, etc. that hold power in different ways. Rather than just being manufacturers, many of these serve as collectives in one capacity or another, vying for influence over this burgeoning solar culture, and desperate to win over their own portion.

The cultural graphic flare is an opportunity to break tradition and complement the overarching form language in an unprecedented way. I love mid century modernism and minimal logos as much as the next person, but wanted to start exploring something different with the graphic identity of the project.

What if it included more texture? A tertiary layer of texture, patterns, and visuals could help set a distinct style while allowing for more possibilities for these groups to stand out. And in use for larger spaces, the tertiary layer and elements could be stripped to preserve readability.

(Left) Sabitov Kimura- Reliable producer of simple and widely popular arms. A favorite of independent groups working on a budget.

(Right) Kotori- New world manufacturer of experimental weaponry with a trend for innovation and complexity.

(Left) Lotus-Borderline luxury weaponry with unparalleled ease-of-use and ergonomics.

(Right) Meteor- Old Ruso-manufacturer of explosives and weaponry. Knack for heavy duty arms that pack a punch.

(Left) Modulem- Odd manufacturer known for their line of entirely modular tools and weapons-sporting best in class flexibility for the price.

(Right) Example of Graphic logo design process and sketches.

Door scanners gate access to different parts of the facility, providing roadblocks at some junctions and opportunity at others. I wanted to create a spread of different sized versions varying in complexity that I could use continually in the environments.

(Left) Door headers identify in world locations and routing throughout the base. Not the use of Univon in primary text supplemented by more native and colloquial languages in the subheaders. Just another element of reinforcing the idea that this universal language, though in use, is undercut in some capacity by these different groups.

(Right) Sometimes it’s much easier to just build and texture a rough version of an asset if I know I will be frequently using it. In this case I build and modeled these crates quickly as a asset to populate scenes later on.

And here are some of the earliest explorations for the interior architecture. Note the shared one point perspective in these which allowed for quick iteration and a focus on the forms and texture. This allowed me to quickly put out a variety of these when searching early on for promising routes that could be extrapolated into a variety of elements. Ultimately, where the architecture is now has differed a good bit, but there are elements here which will pop up later again, be remixed, and so on.

(Left) Some of the many sketches made during the ideation process in finding forms.

(Right) One of my kitbashing sheets reused throughout the project. Instead of relying on external assets, creating simple forms that match the language I'm developing help speed up some of the environment iteration.

Thanks for checking out some of the work from my exhibit! I have examples of more work, including examples of fashion and graphic design on my portfolio at https://hewitt.cargo.site/