Design For Steampunk Film: Developing The Nautilus

My design of the Nautilus had begun by looking at every interpretation I could find in books and online, etc. This gave me a strong idea of what had worked well in the past and also to ensure I developed a more unique version apart from previous designs. Where as, in the past people had been drawn to designing a submarine that strongly resembled a metallic sea creature I decided early on I wanted my design to be grounded in Victorian engineering but give subtler hints to natural design; such as the repetition of a single shape in shells, scales, fins, etc. I wanted a design that fitted in a specific and recognisable time period, albeit in a more fantasy-esque approach. It had to be visually impressive but still remain functional, from the exterior I wanted people to be able to tell what varying sections contained and how that all fitted together seamlessly.

Early rough sketches of the exterior

I approached the design from the outside and worked my way inwards. I knew the different sections of the set I wanted to build, (engine room, library, bridge, etc) but I wanted to pin-down how these would relate from the exterior of the Nautilus. I began constructing a rough exterior model to get an idea of the size and shape of these rooms from the outside.

Initial rough shape, with scale man to help keep proportion.

 As with all my models I kept a scale model man at had to remind myself of the size things would be in relation to an actual person. I find with designing sets, especially the more fantasy-based, designs can become to big and impractical without constantly considering their actual life-size.

Rough knock-up with limited detail added.

Close up on rear , I tried to hint at a lobster's tail but still keep a mechanic style to the design with the rivets and plates, etc.

Completed rough model.

With the rough exterior model finished I began to construct the interior sections that would make up the Nautilus and form my set design. Whilst I would design these pieces individually I was aware they would all have to connect together and form the majority of the submarine's interior.

The rough model formed the start of my design, 

in the foreground the interior of the bridge section was starting to take shape.

  

As with all my models on the course I began to construct a rough knock-up of the set. This went rough a considerable amount of change and refining but the exterior model I had built gave me a good starting point to work from.

Rough outline of bridge section.

Bridge and Salon sections before I added the staircase that would join them.

Bridge section and below the main Salon section of the Nautilus set.

Whilst constructing the set I roughly mapped out what I wanted the shape of each room to look like. The arches in the salon I wanted to slightly resemble a huge ribcage as it was positioned in the center of the submarine. While I still hadn't pinned down the final design, not to mention surface detail, texture, etc, I was focused on establishing the size and shape of each room after which I would begin to develop each based on the research I was still compiling.

The set begins to take shape, mirroring the exterior model.

The rough model laid out on an outline of the studio it would be built in.

I decided to separate the model into two sections within the confines of the studio, by dividing it into the top half and lower half as the studio would not be tall enough for it to be built in one single structure stacked together. Originally I had laid out the bridge, cargo deck and the engine room as one continuous set but as I began to develop the engine room I decided it would be better to add this section to the rear of the salon and lower sections. This would mean the engine room would be raised up and create two floors creating a grander set piece.

Original engine room, before I decided to raise it and create two floors.

Altered engine room with floor cut out. I created a second floor below and replaced the original ground level with a mesh walkway.

By altering the design I kept the majority of the submarine as one continuous set, the bridge and cargo deck would be built away from the rest of the interior. This was also more practical than having the entire set in one single structure for ease of moving around and shooting scenes. The corridor that contains the staircase to salon and door to the engine room I built twice on each separate section to give a greater ease of continuity when filming a shot following characters from one area to another.

Both sections fitted together to make sure the interior matched the exterior model.

Although the set would be split into two sections within the studio I built it to still fit together as one piece so it matched up exactly with the exterior model. I had decided by this point that I would also make an exterior model for the exhibition as I felt it was important to show the entire design of the Nautilus inside and out.


I started to work on the final models for the interior of the Nautilus that would consist of a white card model as I had done for all other projects on the MA, however I started to build the final exterior model as well which would be full colour and the same scale as the white card studio set.

Final exterior model with rough version behind.

Underside, propeller motor.

I began to add more surface detail into the model.

In the novel Jules Verne describes the Nautilus as having a ramming lance at the front end of the submarine as it's primary weapon. This 'horn' like object was also part of the reason why the Nautilus was mistaken for a sea monster, possibly a giant Narwhal. For my design of the ram I wanted something unique and almost ornate in appearance. I decided to base the design on a giant squid as they were synonymous with the book. Using air drying clay I designed a metallic-like squid which once dry I coated with wood adhesive to strengthen what was an extremely fragile part of the model.

Squid drying with card supports.

Once the squid had dried I removed the card supports and painted it with several coats of wood adhesive.

Along with the squid spear I put a lot of surface detail into the exterior model, such as pins which while holding the model together whilst drying also doubled really well as bolts in the rivets. As I completed sections I began to undercoat and paint the model to pin down the colour scheme I wanted to use quicker.

Building up surface detail.

I began to spray and paint the model as each section was finished rather than waiting until the whole model was complete.

I decided as my adaption would focus on a Steampunk-style to the novel my colour scheme would incorporate alot of copper and brass into it. The raised and uneven surface made dry brushing metallic paints on much more succesful as the paint would be more prominent on the higher surfaces and leave the recesses more shady.Rather than use a wide variet of colours I looked more at differing hues of a few block colours.

With the undercoat dry I began dry brushing and working with enamel and acrylic paints.

I picked up the surface detail with brass and copper, keeping the colour palette quite limited.

Completed sections painted.

The majority of the Nautilus was hand-made, however for some sections I bought pieces to serve as close up details. Such as minature anchors, wire mesh and computer fans which I cut out of their frames to use as propellers.

For the propellers I used computer fans cut from their housing.

The fans were a quick solutions to the propellers and still spun round once attached.

Metal fins made from layers of card built up and dry brushed.

Rear fin attached around propeller.

Completed Nautilus exterior model.

At the same time I built the exterior model I also built the white card interior showing the set itself, the two models together formed the entire design and helped one another in showing a complete design of the Nautilus inside and out. In the next blog I will show the interior model of the set as well as the exhibition held at the end of the course.