So I think you're pretty much good to go in terms of art direction etc and the soft, idyllic mood of your concept art is very appealing. These are my observations for you to reflect on as you push into production. One of the reasons I really liked your shell-inspired tower (4th from the left on page 7 was because it wasn't just a 'big building-sized shell' but an architectural element that was 'shell-like'. I suppose I feel as if I'm left looking at large shells, because the towers that dominate your composition are the least transformed (the most 'it's just a big shell'). I would like to see you get into some more design-led detail as you consider these as models; a little more thought about window size/entrances/actual fabrication will help these convey their scale and also move them beyond the sense of them being mere shells; remember your artist was 'inspired' by these natural forms, but ultimately pushed past their actual appearance towards more abstracted forms. If I look, for example, at the window forms you've added to some of your buildings, they're these giant generic rectangles, which seem rather plonked on, as opposed to designs derived from the natural logic of your inspiration. I do think you could and should do more here, not least because you'll need more knowledge around all these little details when you come to model them.
In terms of the matte painting itself, I'd like you to dial in a bit more technical ambition in terms of actually using it as a set extension; yes you've got a lovely impressionist vibe here, but I'd like to see your matte really create the sense that we're looking into an expansive view.
I'm a bit confused by your orthographs: I think you're using a pre-existing shell model for the lamps - which you may have modelled yourself? While using 3D models as part of a design method is a legitimate technique, it actually creates a very different impression in comparison with the more asymmetrical appeal of your actual drawings. Beware Maya's predilection for creating antiseptic genericism - it's really good at it, and actually your challenge will be to ensure you keep the more artisan, analogue charms of your more illustrative style.
Just in terms of your other orthographs, can I suggest you consider using Illustrator and the pen tool by which to clean up the lines/profiles of your technical drawings - they're a bit scrappy here. Finally then, when it comes to your Art Of, I'd like to see you produce some polished production art for all your assets (your current drawings have the quality of thumbnails still - really nice thumbnails! - but I'd like to see you move them towards something a bit more 'client-facing') - and, as suggested, some cleaner, more fully-worked out orthographs.
OGR 22/11/2017
ReplyDeleteHey Annie,
So I think you're pretty much good to go in terms of art direction etc and the soft, idyllic mood of your concept art is very appealing. These are my observations for you to reflect on as you push into production. One of the reasons I really liked your shell-inspired tower (4th from the left on page 7 was because it wasn't just a 'big building-sized shell' but an architectural element that was 'shell-like'. I suppose I feel as if I'm left looking at large shells, because the towers that dominate your composition are the least transformed (the most 'it's just a big shell'). I would like to see you get into some more design-led detail as you consider these as models; a little more thought about window size/entrances/actual fabrication will help these convey their scale and also move them beyond the sense of them being mere shells; remember your artist was 'inspired' by these natural forms, but ultimately pushed past their actual appearance towards more abstracted forms. If I look, for example, at the window forms you've added to some of your buildings, they're these giant generic rectangles, which seem rather plonked on, as opposed to designs derived from the natural logic of your inspiration. I do think you could and should do more here, not least because you'll need more knowledge around all these little details when you come to model them.
In terms of the matte painting itself, I'd like you to dial in a bit more technical ambition in terms of actually using it as a set extension; yes you've got a lovely impressionist vibe here, but I'd like to see your matte really create the sense that we're looking into an expansive view.
I'm a bit confused by your orthographs: I think you're using a pre-existing shell model for the lamps - which you may have modelled yourself? While using 3D models as part of a design method is a legitimate technique, it actually creates a very different impression in comparison with the more asymmetrical appeal of your actual drawings. Beware Maya's predilection for creating antiseptic genericism - it's really good at it, and actually your challenge will be to ensure you keep the more artisan, analogue charms of your more illustrative style.
Just in terms of your other orthographs, can I suggest you consider using Illustrator and the pen tool by which to clean up the lines/profiles of your technical drawings - they're a bit scrappy here. Finally then, when it comes to your Art Of, I'd like to see you produce some polished production art for all your assets (your current drawings have the quality of thumbnails still - really nice thumbnails! - but I'd like to see you move them towards something a bit more 'client-facing') - and, as suggested, some cleaner, more fully-worked out orthographs.