I'm a bit frustrated! Each time you've made new work, I feel as if your results are becoming less successful. For me, your final image is incoherent compositionally. I don't what I'm looking at in terms of actual structures, and when I look at your orthographs, it becomes clear that you're not entirely sure either. The test of this would be if you were to hand those plan drawings to a CG modeller, I think they would struggle to replicate your vision for your key assets. Your key assets have no discernible structure that I can determine and the 'cm' measurements are not helpful in this instance, because you seem to be giving a measurement to a model that is destined to be the size of a building, so they're 'not' this size in centimetres. I think another big issue here Ryan is you're not seeing your buildings as complete entities, but rather as shapes 'cropped' by the parametres of the concept art. That 'Squid' building should be depicted by you in its entirely - i.e. we should see it's feet or what supports it; we should be able to understand the whole object to be modelled (which might ultimately get cropped by the position of the camera in the digital set, but which might not). It seems to me as if you're actually struggling to think of these shapes you've created in Photoshop as distinct forms; this is evidenced by the fact that on your 'key assets' page, you've simply lifted the shapes out of your concept art (straight-edged crop marks included!).
You need to go back a few steps, Ryan. 1) You need to design your key assets from top to bottom as they would exist outside of the frame of the concept art; I should be able to look at them as distinctly as I might look at a set of chess pieces - not fragments of a drawing - but distinct designed components. If you don't do this, the pipeline falls down and you can't move onto modelling. Only then can you produce useful production art and effective plan drawings. 2) I want you to revert to the concept art you created previously (as suggested) where you had the clearer distinction between foreground, midground and background - take those key assets and prepare them as outlined in point 1.
I think you've become a little lost on the way to a very effective resolution - just stop, take a moment, and retrace your steps.
OGR 20/11/2014
ReplyDeleteHi Ryan,
I'm a bit frustrated! Each time you've made new work, I feel as if your results are becoming less successful. For me, your final image is incoherent compositionally. I don't what I'm looking at in terms of actual structures, and when I look at your orthographs, it becomes clear that you're not entirely sure either. The test of this would be if you were to hand those plan drawings to a CG modeller, I think they would struggle to replicate your vision for your key assets. Your key assets have no discernible structure that I can determine and the 'cm' measurements are not helpful in this instance, because you seem to be giving a measurement to a model that is destined to be the size of a building, so they're 'not' this size in centimetres. I think another big issue here Ryan is you're not seeing your buildings as complete entities, but rather as shapes 'cropped' by the parametres of the concept art. That 'Squid' building should be depicted by you in its entirely - i.e. we should see it's feet or what supports it; we should be able to understand the whole object to be modelled (which might ultimately get cropped by the position of the camera in the digital set, but which might not). It seems to me as if you're actually struggling to think of these shapes you've created in Photoshop as distinct forms; this is evidenced by the fact that on your 'key assets' page, you've simply lifted the shapes out of your concept art (straight-edged crop marks included!).
You need to go back a few steps, Ryan. 1) You need to design your key assets from top to bottom as they would exist outside of the frame of the concept art; I should be able to look at them as distinctly as I might look at a set of chess pieces - not fragments of a drawing - but distinct designed components. If you don't do this, the pipeline falls down and you can't move onto modelling. Only then can you produce useful production art and effective plan drawings. 2) I want you to revert to the concept art you created previously (as suggested) where you had the clearer distinction between foreground, midground and background - take those key assets and prepare them as outlined in point 1.
I think you've become a little lost on the way to a very effective resolution - just stop, take a moment, and retrace your steps.