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10 Nov 2009

Quick post quote

I was just watching the 'Dragon age Origins' Bonus Disc thats in the collecters edition and one quote made me think:

'The concept art for Origins is the make the team pumped to make it and work on it'

So theres the key:
I need to make people excited and to want it.

3 comments:

tutorphil said...

Hi Earl,

I think Simon's comments re. the underwater forest constitute a pretty water-tight (haha!) summary of some of the compositional and technical challenges you are yet to meet; more generally, I detect a visual inhibition on your part; there is a conspicuous absence of exploratory drawings/thumbnails here - in comparison with other blogs, yours seems underdeveloped and not proactive enough; how hard are you working to push past your own limitations in terms of your drawing skill? Are you, for instance, investigating perspective and the various rules of creating the illusion of depth? There are a raft of books in the UCA library that deal with the mechanics of drawing, and no doubt a number of websites etc. You need to 'self-medicate' - go get some help and enrich your understanding and skills.

The three drawings you've uploaded from your sketchbook are 'a waste of space' - not because of their usefulness to you and your development of your spaces - but rather because they're blurry and impossible to view; while your blog is an informal space, it is also a publishing platform (and an outward facing one too) so can I strongly suggest that you up the professionalism and ensure that all images uploaded are 'fit for purpose'. Take a look at Ruben's blog, for instance - there is a lot of care and attention in evidence - and I want you to be as fastidious with your own work and its presentation.

Clearly you need to draw more - you need to revisit your scenes and keep investigating their potential through alternate compositions and different approaches to framing their content; also, remember the 16:9 proportions and use that filmic ratio to add dynamism and drama to your compositions. Put very simply, you need to think more by doing, as opposed to writing or procrastinating; okay, so you may not be the world's most confident draughtsman, but you won't improve unless you keep at it - and often.

Your creative development needs to demonstrate a much greater commitment to developing creatively! I look forward to some 'leaps and bounds' and 'eureka moments'... don't disappoint! :-)

Please see 2nd comment for assignment advice.

tutorphil said...

Written Assignment stuff…

Some general structural advice regarding framing your essay in the more general context of ‘production design’ – by way of introduction to your specific case-study (i.e. the movie or game of choice), you’ll need to demonstrate your understanding of the purpose of production design/designers in enshrining certain ‘narrative values’ within the look of the production; you should discuss the general aims/objectives/definitions of production design – see below:

“Before designing anything, the designer develops a "design concept," an overarching metaphor for the film's appearance that governs individual choices. This "concept" may or may not be established in conjunction with the director. Once settled upon, however, it structures all decisions made, helping the art staff to give an individual film visual distinction.”
Read more: http://www.filmreference.com/encyclopedia/Independent-Film-Road-Movies/Production-Design.html#ixzz0WRjZ6wTX


You’ll find alternative definitions that you may want to include, but your following analysis of your chosen exemplar should be an in-depth discussion of that ‘overarching metaphor’ that organizes all the various components of the production’s design; you need to be looking for recurring motifs, colour values, use of space, set-design etc. that, collectively, create ‘the look’ and be able to talk insightfully about the narrative contribution of ‘the look’ – i.e. – how does it assist in the audience’s understanding of the narrative or thematic framework.
IMPORTANT; try and think of your written assignments as ‘complete worlds’ – i.e., that they must contain all information necessary for your reader to follow your discussion coherently. Never presume prior knowledge on the behalf of your reader; do not, for instance, presume that your reader understands or is familiar with ‘Production Design’ – you always need to define your terms WITHIN the essay; likewise with films and games; give their release date, their director etc. Use footnotes to give definitions or information that would otherwise interrupt flow of argument; for instance, if you don’t want to pause rhythm of sentence by giving reader additional information about a particular artist or designer, use a footnote to put this data into the ‘margins’ of the discussion. On Word, goto to Insert and then ‘Footnote’ to install footnote at bottom of page.

AVOID DESCRIPTION – obviously, you will need to give some plot details to contextualise the scenes you want to discuss, but I don’t want a blow-by-blow account of the game/film; give a brief prĂ©cis and get on with the ANALYSIS.

Below is a list of useful websites; use them in addition to other sources of reference (books, docs, making ofs) to SUPPORT your observations; you need to gather EVIDENCE to corroborate with your analysis. GENERIC observations (i.e. ‘stating the bloody obvious’) are to be avoided at all costs. Tell me something I DON’T know!

http://www.filmreference.com/
http://www.imdb.com
http://uk.rottentomatoes.com/
http://www.screenjabber.com/
http://www.empireonline.com/
http://www.metacritic.com/
http://www.totalfilm.com/
http://www.channel4.com/film/
http://movies.nytimes.com/ref/movies/reviews/

WORD COUNT!

The gloves are coming off; the brief asks you to produce 1,500 words… and that’s what want; shortfall assignments will be penalized accordingly – or failed.

Good Luck! ☺

Simon (calamity) Holland said...

I knpw one of your problems is how to open up a Kelp forest, try looking at the spacing of trees in a forest and use clumps of kelp to create a similiar effect, with the fronds opening up high in the water creating dappled patches of light on the sea bed.

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