Many thanks for your patience. So, a really comprehensive OGR document in terms of research of your source material, but a noticeable tentativeness in regard to actually depicting your environments. You've already had some really useful feedback in regard to not fixating on the human aspect or on the little details - and working on the composition of the space instead. That said, thumbnail 24 is promising, though I think you need to 'supersize' your scale and scope a bit more. I can see here that you're thinking about dynamic use of foreground etc. to encourage a strong sense of space.
Really, I want to see a bit more attack and fearlessness from you Jebb; there's something almost too sketchy and non-committal about some of your pencil work, and I get the sense that you're still feeling your way into this drawing lark.
In your folder wasn't there also some interiors of the Nautilus? The library and the museum? You don't appear to be dealing with these sections yet, but they would offer you an opportunity to consider different sorts of designs, in contrast to all the organic forms of the seabed? The BIG challenge with this source material is, basically avoiding producing generic images of underwater environments. Because you're dealing with organic, real-world forms, it's almost essential that you think about how you might stylise this world of yours - how you might imprint a style. Remember, your creating concept art for an animated version, not simply seeking to reproduce images of the real world via the agency of pen and tablet. For an example of what I mean when I suggest stylising the world, take a look at these references from Pixar's concept art development:
These examples are obviously based on real world reference, and they create a real sense of space, and they're lit beautifully and feel credible, but they're clearly more illustrative than photo-real, and I think with your underwater scenes (and interiors etc) you might want to consider an associated approach.
OGR 13/10/2012
ReplyDeleteHey Jebb,
Many thanks for your patience. So, a really comprehensive OGR document in terms of research of your source material, but a noticeable tentativeness in regard to actually depicting your environments. You've already had some really useful feedback in regard to not fixating on the human aspect or on the little details - and working on the composition of the space instead. That said, thumbnail 24 is promising, though I think you need to 'supersize' your scale and scope a bit more. I can see here that you're thinking about dynamic use of foreground etc. to encourage a strong sense of space.
Really, I want to see a bit more attack and fearlessness from you Jebb; there's something almost too sketchy and non-committal about some of your pencil work, and I get the sense that you're still feeling your way into this drawing lark.
In your folder wasn't there also some interiors of the Nautilus? The library and the museum? You don't appear to be dealing with these sections yet, but they would offer you an opportunity to consider different sorts of designs, in contrast to all the organic forms of the seabed? The BIG challenge with this source material is, basically avoiding producing generic images of underwater environments. Because you're dealing with organic, real-world forms, it's almost essential that you think about how you might stylise this world of yours - how you might imprint a style. Remember, your creating concept art for an animated version, not simply seeking to reproduce images of the real world via the agency of pen and tablet. For an example of what I mean when I suggest stylising the world, take a look at these references from Pixar's concept art development:
http://louromano.blogspot.co.uk/2009/05/art-of-up_3697.html
http://louromano.blogspot.co.uk/2009/05/art-of-up_3697.html
http://louromano.blogspot.co.uk/2009/05/art-of-up_3697.html
These examples are obviously based on real world reference, and they create a real sense of space, and they're lit beautifully and feel credible, but they're clearly more illustrative than photo-real, and I think with your underwater scenes (and interiors etc) you might want to consider an associated approach.