As expressed previously, I'm loving the way in which you're inhabiting the world of your artist - and I love many of those sweet, charming drawings that come under your 'key asset' category. If I said I was a bit disappointed by your concept art, it's because it lacks that same sweet illustrative charm, and I suspect this is about the medium in which it was produced - digital painting versus line art. For me, Heath Robinson *is* line art, so one of your biggest challenges is to translate that loose, illustrative style into 3D. It's the line art factor that gives much of Robinson's inventions their comedic, rickety qualities - and it's that 'rickety' quality that is missing somehow from your digital painting.
For example - all your buildings in the digital painting suddenly feel very reassuringly solid and reliable. The clock tower doesn't look haphazard or 'wonky' or patched-up by well-meaning hands. All your other drawings of buildings in the key asset category have this sense of eccentricity and asymmetry and slight precariousness.
What I'd like to see is you return to your concept art image and empty it out of all that surface detail and push for a kind of realism, and revert instead to the method you used for your key assets; that loose, watery, line-art style. I think you should use this opportunity to think again about the construction of some of the buildings and towers and put some of that 'wonkiness' and slippage back into the mix.
The key to nailing this world of yours, Vlad is to embrace completely the art style that derives from your own line work. For example, the 'matte painting' needn't be some attempt to mimic life, it should simply be a means of you extending the world you've created - so the matte painting can be created in the same way.
Keep it simple, keep it charming, look at the strengths of your key asset drawings and extrapolate everything from them - and that includes your modelling and your texturing. I'd suggest your whole WIM should look and feel like one of your own illustrations translated into a digital set.
Two early OGR's in a row! WOOOOOO
ReplyDelete20/11/2014
ReplyDeleteHey Vlad,
As expressed previously, I'm loving the way in which you're inhabiting the world of your artist - and I love many of those sweet, charming drawings that come under your 'key asset' category. If I said I was a bit disappointed by your concept art, it's because it lacks that same sweet illustrative charm, and I suspect this is about the medium in which it was produced - digital painting versus line art. For me, Heath Robinson *is* line art, so one of your biggest challenges is to translate that loose, illustrative style into 3D. It's the line art factor that gives much of Robinson's inventions their comedic, rickety qualities - and it's that 'rickety' quality that is missing somehow from your digital painting.
For example - all your buildings in the digital painting suddenly feel very reassuringly solid and reliable. The clock tower doesn't look haphazard or 'wonky' or patched-up by well-meaning hands. All your other drawings of buildings in the key asset category have this sense of eccentricity and asymmetry and slight precariousness.
What I'd like to see is you return to your concept art image and empty it out of all that surface detail and push for a kind of realism, and revert instead to the method you used for your key assets; that loose, watery, line-art style. I think you should use this opportunity to think again about the construction of some of the buildings and towers and put some of that 'wonkiness' and slippage back into the mix.
The key to nailing this world of yours, Vlad is to embrace completely the art style that derives from your own line work. For example, the 'matte painting' needn't be some attempt to mimic life, it should simply be a means of you extending the world you've created - so the matte painting can be created in the same way.
Keep it simple, keep it charming, look at the strengths of your key asset drawings and extrapolate everything from them - and that includes your modelling and your texturing. I'd suggest your whole WIM should look and feel like one of your own illustrations translated into a digital set.