A really exciting POV and a fascinating end point in light of your first OGR - I think you've arrived somewhere much more speculative and unpredictable - so well done. This is a green light - with two reservations - the first is I think the POV, though refreshingly subjective, is encouraging us to look at 'nothing' - and it does seem as if there's a challenge here in terms of using the matte painting more boldly - to show us some important or complex feature - as opposed to just 'the sky'. Challenging though it may be, it makes sense to use a matte painting to extend your world in a properly proactive way - as opposed to in a functional sense. Your whole POV suggests we should be looking up and towards something meaningful as opposed to a gap.
The second observation would simply be to ensure that, in terms of your various buildings, you're also still looking at architecture and its functions in a real world sense. I want to be able to better orientate myself - so I'm hunting for windows or fabrication details, or some additional architectural detailing capable of moving your designs beyond the merely sculptural. In this sense, I think there's still more work to be done in design terms.
Finally I'd be expecting to see complete production art for your key assets and a set of clean-as-a-whistle orthographs - a set of official technical drawings. I'm suggesting that students consider using the tidying potential of Illustrator tools as a means of de-sketching their technical drawings.
So, short version - give me something important to look at in terms of the contribution of the matte painting: so something as primary as this:
Think about your key assets as 'architecture' so don't forget to get into the nuts and bolts of the little bits of detailing which will sell your models as credible - and which will also give audiences a sense of scale and materiality. There's a second pass of design-led thinking you need to undertake to fully establish your key assets as complete.
(Also - when it comes to Art Ofs etc - I want to see these pencil sketches post-produced in Photoshop, so they're clean, punchy and professionalised).
OGR 24/11/2016
ReplyDeleteHi Alex,
A really exciting POV and a fascinating end point in light of your first OGR - I think you've arrived somewhere much more speculative and unpredictable - so well done. This is a green light - with two reservations - the first is I think the POV, though refreshingly subjective, is encouraging us to look at 'nothing' - and it does seem as if there's a challenge here in terms of using the matte painting more boldly - to show us some important or complex feature - as opposed to just 'the sky'. Challenging though it may be, it makes sense to use a matte painting to extend your world in a properly proactive way - as opposed to in a functional sense. Your whole POV suggests we should be looking up and towards something meaningful as opposed to a gap.
The second observation would simply be to ensure that, in terms of your various buildings, you're also still looking at architecture and its functions in a real world sense. I want to be able to better orientate myself - so I'm hunting for windows or fabrication details, or some additional architectural detailing capable of moving your designs beyond the merely sculptural. In this sense, I think there's still more work to be done in design terms.
Finally I'd be expecting to see complete production art for your key assets and a set of clean-as-a-whistle orthographs - a set of official technical drawings. I'm suggesting that students consider using the tidying potential of Illustrator tools as a means of de-sketching their technical drawings.
So, short version - give me something important to look at in terms of the contribution of the matte painting: so something as primary as this:
https://s-media-cache-ak0.pinimg.com/736x/21/8b/7a/218b7aa39713652a77f5f37eef77eb30.jpg
Think about your key assets as 'architecture' so don't forget to get into the nuts and bolts of the little bits of detailing which will sell your models as credible - and which will also give audiences a sense of scale and materiality. There's a second pass of design-led thinking you need to undertake to fully establish your key assets as complete.
(Also - when it comes to Art Ofs etc - I want to see these pencil sketches post-produced in Photoshop, so they're clean, punchy and professionalised).