Everything about your project is more satisfying now; a real sense of ownership and understanding coming through in terms of your story. You've pushed past your own literalism and brokered original ground. Good stuff. Really like the digital painting - very atmospheric. The issue for you, I think, is keeping things nice and punchy, even though you've got a monochromatic colour scheme and a single light source. In some ways, it feels to me as if this gives you license to stylise your world still further - remember, the digital set is for an animation (which doesn't meant photorealistic VFX style). If you look at linocuts, for example, you'll see how only working with black and highlights can create some very striking effects:
So, in terms of executing this as a digital set, you might consider really embracing the graphical aesthetic that one light source in a dark space gives you. That said, there is an icy, gauzy translucency to your actual digital painting and mark-making that is evocative - a world made from ice, frost and freezing fog - something almost 'ghost-like'. This is a completely different approach, of course - which is why translating your concept art into CGI represents another distinct creative phase - I look forward to seeing you resolve it. Greenlight!
* just check your spelling; you've got 'cravis' when I think you mean 'crevasse'?
OGR 21/11/2013
ReplyDeleteHi Heidi,
Everything about your project is more satisfying now; a real sense of ownership and understanding coming through in terms of your story. You've pushed past your own literalism and brokered original ground. Good stuff. Really like the digital painting - very atmospheric. The issue for you, I think, is keeping things nice and punchy, even though you've got a monochromatic colour scheme and a single light source. In some ways, it feels to me as if this gives you license to stylise your world still further - remember, the digital set is for an animation (which doesn't meant photorealistic VFX style). If you look at linocuts, for example, you'll see how only working with black and highlights can create some very striking effects:
http://www.humanistperspectives.org/issue153/images/ill-Shawn-woodcut1.jpg
http://media.mlive.com/kzgazette/entertainment/photo/woodcut-love-for-the-mountain-9265655de75ce75f_large.jpg
http://www.aaschorsch.com/images/AE/05_Resources/Artists/Escher_MC/Escher_MC_SelfPortraitInAChair_Woodcut_1920_B_SE25.jpg
... and as seen in Sin City:
http://www.youtube.com/watch?v=Js7TGpDiL2s
So, in terms of executing this as a digital set, you might consider really embracing the graphical aesthetic that one light source in a dark space gives you. That said, there is an icy, gauzy translucency to your actual digital painting and mark-making that is evocative - a world made from ice, frost and freezing fog - something almost 'ghost-like'. This is a completely different approach, of course - which is why translating your concept art into CGI represents another distinct creative phase - I look forward to seeing you resolve it. Greenlight!
* just check your spelling; you've got 'cravis' when I think you mean 'crevasse'?