'What If? Metropolis' OGR Part 2

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'What If? Metropolis' OGR Part 2 by Francis on Scribd

I need to stop being a silent squirrel. I tried so hard to get this piece to feel like Kandinsky's artwork but I'm not sure if I did a good job.

Comments

  1. tutorphil23 November 2017 at 09:26

    OGR 23/11/2017

    Hey 'Secret Squirrel' ;)

    So the frustrating news is... yes, you're still a secret squirrel and I don't understand it, because it's like doing this course with one eye shut and one hand behind your back... but the more positive news is that you've come a very long way since OGR 1 and you appear to have absolutely embraced your collaborator now and relaxed much more so around the joys of abstraction. Your final concept art is playful and welcoming. I would observe that the central dome element with those three colour 'horns' or cones could maybe feel a little more special and 'hero' - and part of the issue is the square shaped building that stands slap-bang in front of it - it has the effect of 'blinding' the composition - you're pushing me to focus on something that is covered up. It makes for a slightly frustrating experience, as it's like being invited towards something - and being pushed back from it at the same time. I'd consider re-jigging things a little here to create more purposeful visual narrative - if the dome is of special significance to you and your collaborator, let us visit it.

    For those of you working with more abstract artists, your challenge is to ensure you're dialling in enough architectural detailing so as to make your modelling/texturing tasks easier conceptually - i.e. what is your approach going to be when it comes modelling your assets and translating your concept art to the screen - i.e. what are your abstract forms made of and how are they fabricated. With Maya you can make a whole shape and allocate a material and colour to it very easily, but this often leads to 3D assets that look too generic or mass-produced, as opposed to having the credibility of built objects. If you haven't done so already, I'd look at developing some much more nuts and bolts production art that commit to some real-world techniques, materials and surfaces - for example:

    https://upload.wikimedia.org/wikipedia/commons/thumb/f/f2/Spaceship_Earth_at_EPCOT.jpg/1280px-Spaceship_Earth_at_EPCOT.jpg
    http://www.mgsarchitecture.in/images/MGS-Architecture/Products/cladding-glazing/714-Mondeal-Square.jpg
    https://www.hendrickcorp.com/sites/default/files/styles/width_1200/public/Architectural%20Perforated%20Metal%20Cladding%20-%20Univ.%20Hospitals.JPG?itok=lftZMMnS
    https://proteusfacades.com/wp-content/uploads/2014/10/proteus.site_4-hardman-street-homepage.jpg
    http://www.houseplanninghelp.com/wp-content/uploads/2017/05/benchmark-talks-1.jpg
    http://www.aristo-led.com/files/portfolio/facade_lighting/wang_jing/stock_photo_119445759.jpg

    My broad point is you can really keep all the abstraction, but that if you start thinking about the little things - how each section of your abstract elements intersect with each other (and how those intersections might be an architectural feature in their own right) - how different types of surfaces might combine to give different effects - matte, reflective, grooved, stippled and so on.

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  2. tutorphil23 November 2017 at 09:26

    Currently you've got some rather delicious thumbnails on their way to becoming production art etc. so you're at the stage when you'll need to think about these individual elements as distinct architectural components that you need to think as of being 'built' as opposed to just 'drawn'. You need to think too about the scale-centric stuff - so size of windows and how that can tell us how big these buildings are supposed to be (it's often these elements that students don't think about enough, with a poorly scaled door or window shrinking a giant dome into a toy-sized miniature).

    So - yes, absolutely, this is all so much more exciting and speculative than previously and your challenge now is to think in terms of detail and fabrication and ensure these wonderfully playful buildings convince as 3D objects in a 3D world. I'd also push you to up the ambition and role of the matte painting; the power of the matte painting is to 'build more of the city' as opposed to just drop in a skyscape - can you use it more proactively to grow the scale and expansiveness of this view?

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