04-20-2017, 02:43 AM
@seki Awesome work! Tasty mushroom. :o
@amit I can't thank you enough for helping everyone when available.
Someday, it'll be our turn haha.
Hello, here are the assignments for week 3.
I got a better hang of not relying on the framing effect now. It took awhile to watch a series without passively ignoring the compositions. Pictorial Composition by H.R. Poore & Loomis' Creative illustration talked about balancing in the depth-axis. :D
The Notan to Colour method is not something I can pull of yet so I made a workaround by seeing/planning the lights and darks local tones within the 4 layers of the image while making them individually. It's still a shaky process. I also find more freedom when doing compositions in linework.
While transitioning to colour, I'm quite lost (and lack the confidence to use texture brushes). The whole image appears dirty or desaturated using the color layer and values get shifted when painting over. The local colour of the area often mismatches the values beneath. The statue in the side study photograph had a magenta hue but it was gray-white in person while the rocks were pinkish from the dew/soil/rain? (couldn't pick the right palette)
Unrelated side notes:
- I noticed a design & thumbnailing process flaw on my board.
- Timeline year was important, stating medieval or modern wasn't enough. (Are there guns, cars, 1800s etc.)
- Having a tighter story helps. A clearer 'main' language has to be made before the comps thumbnailing stage. The previous story was all over the place without any logic, I tweaked it and added a lore to the place.
- When thumbnailing, it helps to think about verbs that the player can perform such as climbing/jumping, along with making a mind map on the player's progression through the game. (Jump through roof > dodge through bullets > escape through chimney and have various progression routes than just one.) I had a bad habit of going back into the same PoV and horizon level and thinking in this way would give a clearer aim of the shot.
- Compositions can be balanced within a small section by it's own instead of the whole canvas.
Edited
-While thumbnailing the compositions, I occasionally forget about focal points 2 and 3. (Or sometimes just thinking of 1-2-3 but not the path for the eye.)
-Color & Light was finally in stock. Time to read it~ :D
The edges in the mood studies lack control, everything were too sharp.
I should've been more drastic with the clouds, especially for the third. The night scene should've a darker shadow, be it from the side or front.
Complimentary colors create a lot of contrast and the bridge's blue 'bounce' was too distracting beside the reds.
The tiny spot of yellow in the study was supposed to emulate light shining through it at a distance. The top of the leave reflected the diffused ambient sky, hence the greyish reflection.
The elements (horse/guy/tent) near the stairs were forming tangents or getting lost in depth.
The bird is flying at an awkward angle.
@amit I can't thank you enough for helping everyone when available.
Someday, it'll be our turn haha.
Hello, here are the assignments for week 3.
I got a better hang of not relying on the framing effect now. It took awhile to watch a series without passively ignoring the compositions. Pictorial Composition by H.R. Poore & Loomis' Creative illustration talked about balancing in the depth-axis. :D
The Notan to Colour method is not something I can pull of yet so I made a workaround by seeing/planning the lights and darks local tones within the 4 layers of the image while making them individually. It's still a shaky process. I also find more freedom when doing compositions in linework.
While transitioning to colour, I'm quite lost (and lack the confidence to use texture brushes). The whole image appears dirty or desaturated using the color layer and values get shifted when painting over. The local colour of the area often mismatches the values beneath. The statue in the side study photograph had a magenta hue but it was gray-white in person while the rocks were pinkish from the dew/soil/rain? (couldn't pick the right palette)
Unrelated side notes:
- I noticed a design & thumbnailing process flaw on my board.
- Timeline year was important, stating medieval or modern wasn't enough. (Are there guns, cars, 1800s etc.)
- Having a tighter story helps. A clearer 'main' language has to be made before the comps thumbnailing stage. The previous story was all over the place without any logic, I tweaked it and added a lore to the place.
- When thumbnailing, it helps to think about verbs that the player can perform such as climbing/jumping, along with making a mind map on the player's progression through the game. (Jump through roof > dodge through bullets > escape through chimney and have various progression routes than just one.) I had a bad habit of going back into the same PoV and horizon level and thinking in this way would give a clearer aim of the shot.
- Compositions can be balanced within a small section by it's own instead of the whole canvas.
Edited
-While thumbnailing the compositions, I occasionally forget about focal points 2 and 3. (Or sometimes just thinking of 1-2-3 but not the path for the eye.)
-Color & Light was finally in stock. Time to read it~ :D
The edges in the mood studies lack control, everything were too sharp.
I should've been more drastic with the clouds, especially for the third. The night scene should've a darker shadow, be it from the side or front.
Complimentary colors create a lot of contrast and the bridge's blue 'bounce' was too distracting beside the reds.
The tiny spot of yellow in the study was supposed to emulate light shining through it at a distance. The top of the leave reflected the diffused ambient sky, hence the greyish reflection.
The elements (horse/guy/tent) near the stairs were forming tangents or getting lost in depth.
The bird is flying at an awkward angle.