Narnia Worldbuilding
This is an ongoing, iterative project focused on exploring new creative processes. It includes a scene recreation of freeing the animals and creatures from Cair Paravel, a reimagining of the White Witch character as a more nuanced and complex antagonist, and experimental projection mapping applied to her sleigh prop concept.
The Royal Sleigh: The Witch of Narnia
Prop + 3D
This was a short focused project to explore projection mapping, returning to the Narnia brief a year after in order to evaluate how my process has evolved.
The workflow progressed from sketch iterations to a 3D blockout, followed by a paintover, with plans to incorporate projection mapping once complete, though the prop being quite complex with an interior it was best keeping to the paintover
The sleigh draws from Baroque influences through its colour palette and ornate filigree, balanced with strong, readable forms to maintain practicality, and the design prioritises the White Witch over her driver, reflecting her self-importance through the prop itself.
“She is a perfectly terrible person," said Lucy. "She calls herself the Queen of Narnia though she has no right to be queen at all, and all the Fauns and Dryands and Naiads and Dwarfs and Animals—at least all the good ones—simply hate her. And she can turn people into stone and do all kinds of horrible things. And she has made a magic so that it is always winter in Narnia—always winter, but it never gets to Christmas. And she drives about on a sledge, drawn by reindeer, with her wand in her hand and a crown on her head."
Cair Paravel Scene
Environment Concept
This project is a feminist reimagining of a scene from The Chronicles of Narnia, focusing on the moment Susan and Lucy ride on Aslan’s back to free those turned to stone by the White Witch. While key heroic moments in the story often centre on large-scale battles, I wanted to highlight this quieter act of heroism, positioning the two sisters as central agents in the liberation of Cair Paravel.
"For the Lion had gathered himself together for a greater leap than any he had yet made and jumped – or you may call it flying rather than jumping – right over the castle wall. The two girls, breathless but unhurt, found themselves tumbling off his back in the middle of a wide stone courtyard full of statues."
Visually, I explored a dark fantasy aesthetic, drawing inspiration from Elden Ring through grand architectural forms, towering spires, and expansive windows. The colour palette of blues and greys reflects the lingering presence of winter, while subtly suggesting the shift toward spring with Aslan’s return.
For the environment, I developed a base structure in Blender, using 3D blockouts to establish scale and perspective before painting over screenshots to refine the final design.
The White Witch of Narnia
Character Concept
Created in response to the brief “Heroes or Villains,” for an art test with K9 Digital, where I recreate Jadis, the White Witch from The Chronicles of Narnia. Drawing from descriptions in the original text, such as her golden wand and crown, I explored how her character might be interpreted beyond the traditional trope of magical villainy.
In this version, Jadis is affected by a creeping infection across her arm: a manifestation of nature itself. This corruption gradually spreads through both her body and mind, positioning her antagonistic role as the result of internal conflict rather than inherent malice.
The colour palette was kept within cool blues and greys to reflect the transition from winter to spring following Aslan’s return, reinforcing the fragile shift between stasis and renewal.
