First impressions is that, if you're not careful, you might be treading quite a conventional path, at least if your influence maps are anything to go but - particularly your interiors! Remember, you're a concept artist, and I reckon I was pretty unambiguous at the briefing when suggested that I didn't want to see any 'corners of domestic spaces' or 'tables and chairs' in ordinary rooms. You need to think bigger than that - and yes, you're right Calvino makes it hard because he doesn't deal with interiors, which is why you're being challenged to think about these cities of his as functioning realities. If you think, for example, about existing cities, you think about all the bits of it that make it a city - the cathedrals, the factories, the theatres, the stadiums, the power stations, and so the list goes on. Esmeralda is no different - except for the fact that none of those places are described by Calvino, which means you need to take what you DO know about his city, and from that knowledge derive some additional logic; in order to help you think a bit more creatively about the real challenge of this project, I suggest you spend some time reading some of the feedback on the other Esmeralda OGRs - special in terms of dealing with the 'movement' implied by the descriptions:
While absolutely the canals are important, it looks to me as if you're stuck in a very literal place right now - as if the brief is asking you to paint Venice... You're a concept artist working on production art for an ANIMATION - I think you need to cut loose, Ian and actually give your role some welly! Onwards!
OGR 11/10/2015
ReplyDeleteHey Ian,
First impressions is that, if you're not careful, you might be treading quite a conventional path, at least if your influence maps are anything to go but - particularly your interiors! Remember, you're a concept artist, and I reckon I was pretty unambiguous at the briefing when suggested that I didn't want to see any 'corners of domestic spaces' or 'tables and chairs' in ordinary rooms. You need to think bigger than that - and yes, you're right Calvino makes it hard because he doesn't deal with interiors, which is why you're being challenged to think about these cities of his as functioning realities. If you think, for example, about existing cities, you think about all the bits of it that make it a city - the cathedrals, the factories, the theatres, the stadiums, the power stations, and so the list goes on. Esmeralda is no different - except for the fact that none of those places are described by Calvino, which means you need to take what you DO know about his city, and from that knowledge derive some additional logic; in order to help you think a bit more creatively about the real challenge of this project, I suggest you spend some time reading some of the feedback on the other Esmeralda OGRs - special in terms of dealing with the 'movement' implied by the descriptions:
http://zoeprojectblog.blogspot.co.uk/2015/10/invisible-cities-online-greenlight.html
http://kylesanimation.blogspot.co.uk/2015/10/invisible-cities-ogr.html
While absolutely the canals are important, it looks to me as if you're stuck in a very literal place right now - as if the brief is asking you to paint Venice... You're a concept artist working on production art for an ANIMATION - I think you need to cut loose, Ian and actually give your role some welly! Onwards!