This week I worked more with InDesign and learned a few important tools and shortcuts that made building the production bible and poster layout easier. The most useful was Ctrl + D for quickly placing images into the document, which saved a lot of time compared to dragging and dropping. Once placed, I used the frame fitting options (right-click > Fitting) to crop and resize images neatly inside their boxes without distorting them. I also discovered the Effects window, which lets you adjust opacity, add drop shadows, or apply blending effects to images and text, which is useful for making layouts feel more polished. Cropping in InDesign works differently than Photoshop: instead of cutting pixels, you move or scale the content inside its frame, which keeps everything non-destructive. These processes were key for keeping my layouts tidy and consistent.
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This week I completed my promotional poster and the full production bible. For the poster, I focused heavily on composition to guide the viewer’s eye. I used the bulldozer itself as the central focal point, framed by large mushroom shapes that created natural leading lines toward the driver’s cabin. I also applied the rule of thirds to balance the subject with the text, placing the title slightly off-centre to create a sense of movement and tension. Looking back at the final production bible, I’m proud of how consistently it communicates the project’s aesthetic and direction. It documents the fungi-meets-machinery theme clearly and provides both visual and written context for the design choices. The workflow is also visible, from early sketches to digital iterations, showing the development of ideas in a way that feels cohesive. That said, I think the poster could still be refined. The flat colours work well for clarity, but I’d like to experiment with adding subtle shading or t...
This week I focused on developing my fungi-themed bulldozer designs through drawing. I began with detailed, high-quality sketches on paper, carefully working out proportions, structural details, and how the mushroom forms could merge with the heavy machinery. Taking the time to add precision and depth in the sketches helped me create strong foundations that felt convincing and well thought out. After finishing the drawings, I scanned and traced them digitally to clean up the linework and make them easier to work with in Photoshop. Once the outlines were solid, I moved on to adding colour. For now, I kept the colours flat, with no textures or shading, to establish a clear palette and focus on the overall balance between the earthy mushroom tones and the pinky-lacy shades of Himekaji. This week I learned some really useful Photoshop basics that made the colouring process much smoother. First was getting comfortable with layers —keeping line art, colours, and background all on separate ...