Monochrome illustration depicts stylized windmill structure with four symmetrically arranged blades extending diagonally from central axis. Each blade is rendered with crosshatched grid pattern simulating lattice framework, with shading density increasing toward blade edges to suggest three-dimensional depth. The blades intersect at central circular hub, which is shaded with stippling technique, emphasizing mechanical pivot point. Tower body of windmill tapers slightly upward, drawn with clean contour lines and minimal shading, with two square windows positioned vertically along midsection. Lower portion of tower transitions into base composed of horizontally stacked stone blocks indicated by staggered rectangular patterns and darker tonal treatment, simulating masonry construction.

Beneath windmill structure appears text “THE MILL” in bold serif typeface. The typography is proportionally large relative to tower dimensions, serving as foundational anchor of composition. The word “THE” is positioned in smaller uppercase letters above the larger “MILL,” creating visual hierarchy and emphasizing principal lexical element. Serif strokes are thick, with sharp terminals and evenly spaced counters, contributing to strong legibility in monochrome presentation.

Illustration employs consistent linear techniques including crosshatching, stippling, and contour reinforcement, executed in black ink on white background without additional tonal or chromatic variation. Negative space surrounding the emblem remains unmarked, isolating windmill and text as singular compositional unit. Overall arrangement combines architectural precision with emblematic simplicity, functioning simultaneously as representational image of windmill and as graphic symbol for conceptual or organizational identity.

Poster-style composition integrating anthropomorphic bread-headed figure into cinematic horror context. Foreground presents humanoid character emerging from water surface, torso clothed in tattered garments with visible tears and discoloration. Head circular with bread-like morphology, smooth rounded form, bulbous nose, simplified facial lines, and cartoon stylization. Skin tone rendered with reddish-brown gradients suggesting both bread crust coloration and undead flesh parody. Right arm extended outward toward viewer, hand simplified into exaggerated cartoon fingers, reinforcing hybrid caricatured-zombie identity.

Background depicts urban waterfront scene with high-rise buildings and bridge structure spanning across horizon. Vertical pilings frame composition at left and right edges, anchoring figure centrally. Water surface reflects architectural structures, creating layered depth between foreground zombie-bread figure and distant cityscape.

Upper margin of poster dominated by bold typographic inscription “ZOMBIE” in saturated red block capitals. Typography large-scale, centrally aligned, reinforcing cinematic poster convention. Font styling bold, sans-serif, contributing to dramatic emphasis. Placement directly above anthropomorphic bread zombie unifies figure and textual identifier.

Compositional system merges horror iconography with absurdist bread anthropomorphism, producing juxtaposition between satirical parody and cinematic poster tropes. Visual structure emphasizes contrast between cartoon stylization of bread-head character and photographic realism of urban background, integrating hybrid media strategies.

Upper field contains a typographic inscription in bold white letters spelling “BREAD,” set against black negative space, serving as primary textual identifier. Directly below this inscription, three anthropomorphic heads are aligned horizontally, each exhibiting distinct structural distortions and mechanical augmentations. Central head presented as primary focal point, rendered in fleshy beige tones with bulbous cranial form, elongated nasal protrusion, compressed ocular spacing, and irregular surface texture suggesting porous or scarred material. Subtle particulate matter appears dispersed from the lower oral region, implying granular exhalation or disintegration.

Left head characterized by lateral attachment of metallic disk resembling a turbine or radial ventilator, occupying the zone where ocular structures would be expected. This mechanical integration incorporates concentric ribbing radiating outward, simulating rotational apparatus or lens-like diaphragm. Cranial dome partially covered in short reddish texture simulating hair mass, but ocular replacement dominates visual identity, suppressing biological features. Jawline simplified with minimal shading, leaving mechanical implant as primary emphasis.

Right head incorporates symmetrical optical obstruction: horizontal metallic striations spanning across both ocular regions, resembling slotted visor or industrial grille. This intervention removes direct eye visibility, substituting mechanical barrier for sensory interface. Cranial surface pale and smooth, suggesting synthetic or mannequin-like quality, with minimal contour shading around mouth and cheeks. Hair region nearly absent, further reinforcing artificial impression.

Central lower portion introduces partial torso of a fourth figure, significantly obscured by darkness, but circular mechanical core visible at chest level. This component displays radial segmentation with faint illumination, resembling an aperture, diaphragm, or mechanical meter, creating continuity with ocular machinery of adjacent heads. Overall field unified by stark black backdrop eliminating spatial depth, forcing emphasis onto illuminated heads and mechanical insertions.

Structural contrast between organic textures (flesh tones, cranial irregularities, particulate dispersion) and engineered modifications (turbine ocular disk, visor grille, chest aperture) establishes hybrid morphology. Symmetrical tripartite arrangement reinforces horizontal balance, while inscription above provides categorical framing. Compositional system merges biological caricature, mechanical apparatus, and typographic declaration into singular integrated field.

Bannière promotionnelle imprimée sur support vertical autoportant, placée à l’intérieur d’un espace de bureau. L’illustration centrale représente une figure anthropomorphe en costume sombre, avec une tête composée de pâte cuite évoquant une miche de pain, des traits faciaux simplifiés et une posture rappelant l’iconographie du zombie. Les bras sont tendus vers l’avant dans un geste stéréotypé d’animation cinématographique. Le fond du visuel est rempli d’une teinte rouge uniforme. La partie supérieure contient le texte en anglais « Walking Bread » accompagné d’une mention de l’auteur. Dans la partie inférieure, un code QR imprimé en noir sur rouge est positionné à côté de l’identifiant numérique « themill.world » permettant un accès en ligne. Le dispositif physique de présentation inclut une barre transversale supérieure et des montants métalliques latéraux fixés à une base de sol plate. L’environnement environnant comprend un bureau en bois avec tiroirs et un panneau séparateur de type cloison, soulignant le caractère intérieur et contextuel de l’installation.

宣传竖幅印刷在自立支架上，置于办公室空间内。画面主体为穿深色西装的人形角色，头部由烤制面团组成，形态似面包，面部特征简化，姿势模仿僵尸形象，双臂前伸。背景为纯红色。顶部文字写有英文标题“Walking Bread”及作者署名。下部包含黑色二维码以及“themill.world”的标识，用于线上访问。支架结构由顶部横杆、两侧金属立柱及平板底座组成。周边环境可见木质抽屉桌及办公室隔断，凸显室内展示情境。

Vertical freestanding banner located indoors, printed with illustration of humanoid in dark business suit with head stylized as baked bread loaf. Facial features minimized, arms extended forward in manner referencing zombie cinematic trope. Background uniformly red. Upper section includes English title “Walking Bread” with author credit. Lower portion integrates QR code printed in black with adjacent text “themill.world” linking to digital platform. Support system consists of upper crossbar, vertical metallic posts, and flat floor base. Surrounding office environment visible: wooden desk with drawers, partition panel, emphasizing context of indoor promotional installation.

Вертикален промоционален банер, поставен върху самостоятелна конструкция в офис среда. Централната илюстрация показва фигура в тъмен костюм с глава във форма на изпечен хляб, със схематично лице и протегнати ръце в поза, напомняща зомби. Фонът е червен. В горната част е изписано заглавието “Walking Bread” с авторско означение. В долната част има QR код и надпис „themill.world“. Конструкцията включва напречна горна греда, метални колони и плоска основа. В средата около банера се виждат дървено бюро с чекмеджета и офис преграда, което подчертава вътрешния характер на експозицията.

Pancarta promocional vertical autónoma situada en interior, con impresión de figura antropomórfica vestida con traje oscuro y cabeza semejante a pan horneado. Rasgos faciales esquemáticos, brazos extendidos hacia delante en referencia al cliché del zombi. Fondo de color rojo uniforme. Parte superior con título en inglés “Walking Bread” y crédito del autor. Parte inferior con código QR en negro y texto “themill.world” que enlaza con plataforma digital. La estructura física consta de barra transversal superior, postes metálicos laterales y base plana de suelo. Alrededor se distinguen escritorio de madera con cajones y panel separador, indicando instalación en oficina.

Digital promotional layout consisting of a composite arrangement of text, graphics, and photographic portraits announcing an event under the title “At the service of the narrative.” The upper left quadrant contains a rectangular banner with a gradient background transitioning between pastel hues of green, purple, and light yellow, overlaid with black sans-serif typography listing the session’s name and contextual details. To the right, a vertical column of text specifies participants, event format, and institutional affiliation, presented in list form with typographic hierarchy emphasizing bolded names. Below this section are three monochrome portrait photographs aligned horizontally, each cropped at head-and-shoulder scale, showing distinct individuals in grayscale reproduction. The lower region of the composition overlays a translucent gray block containing hashtags, institutional identifiers, and participant names rendered in bold white text preceded by the hashtag or @ symbol. Identifiers reference creative institutions, specific individuals, and project titles including hubmontreal, onf, gnfb_animation_interactive, and personal accounts for Sandra Rodriguez and Sandro. The overall arrangement functions as an informational visual combining graphical gradient design, textual listing, photographic identification, and social media indexing tags for circulation within digital platforms.

Trade show or convention booth installation arranged with modular panels, printed banners, and display surfaces dedicated to the project “Walking Bread.” The booth structure is composed of vertical frame elements supporting alternating red and white fabric curtains that define the enclosed presentation space. At the left edge stands a tall vertical banner printed with an illustrated anthropomorphic bread-headed figure in a gray suit, posed in motion with one arm extended forward. Above the illustration, the text “Alex Boya’s WALKING BREAD” is printed in bold black lettering against an orange-red background, accompanied by a QR code near the lower section. In the center foreground, a rectangular table is covered with a bright red cloth featuring the phrase “WALKING BREAD” in oversized black capital letters spanning the full surface. On top of the table are stacked printed booklets, flyers, and open reference materials, alongside electronic accessories such as a mouse, power cables, and adapters. Positioned centrally on the table is a flat-screen monitor, blank at the moment of capture, supported on its base stand. Behind the table, a seated figure wearing a black shirt, black visor-style cap, and event lanyard holds a smartphone, with posture oriented slightly toward the right. Above this position, a horizontal placard identifies the booth with the text “WALKING BREAD” in bold type, mounted across the upper framework. To the right side of the booth, another placard lists “La Forge Des Créateurs,” indicating a shared or adjacent exhibition space. The flooring consists of smooth gray concrete, consistent with convention hall interiors, while overhead lighting fixtures cast even illumination across the booth. The arrangement highlights the integration of graphic branding, illustrated character design, textual signage, and digital display equipment within a controlled presentation environment designed for public engagement and visibility.

Computer screen capture of Autodesk Maya software displaying a digital 3D workspace with a simplified humanoid figure model at the center. The viewport is set to perspective view, with a grid floor defining spatial orientation. The model consists of a spherical head joined to a cylindrical torso with extended cylindrical arms and legs, resembling a basic puppet or character rig base. Wireframe overlay highlights the polygonal mesh structure, showing evenly distributed quads across the surface. The head region displays denser mesh subdivision, suggesting emphasis on facial or cranial articulation. The figure is positioned upright on the origin plane with its pivot aligned to the grid.

The left side of the interface contains the outliner or channel box, listing scene components labeled as “pCube” elements with numerical identifiers. The right side displays the attribute editor and tool settings, currently showing empty or default input parameters. The upper toolbar contains icons for modeling, selection, transformation, and rendering operations, while the lower timeline is visible for animation sequencing, currently spanning frames 1–120. The viewport shading mode combines wireframe and shaded display to emphasize geometry while retaining three-dimensional form readability.

The operating system visible along the bottom taskbar is Windows 10, with application icons and active tabs including file explorer, web browser, and system utilities. The Maya window itself dominates the screen, providing an uncluttered view of the modeling process. The image functions as documentation of early-stage digital modeling workflow, focusing on mesh construction, topology, and workspace interface.