My, what a Calvino-esque travelogue you've written - and what a fascinated concept - two cities, one ordinary, one extraordinary! I must say I loved all the mad little details in your travelogue (smoked mackerel!?) - I enjoyed it!
I assume then, that in terms of digital set, you'll be focusing on the city above? You've produced some lovely, expressive thumbnails - for example, I love 24, 25 and 54 - very evocative (and I like all the trad media thumbnails too). Your big challenge is going to be a) how, in your digital set, can you tell us about 'the other city' (matte painting perhaps?) and b) how can you ensure that your design of the upper city isn't just simply a collection of Miro-shapes and not, in fact, a city?
What I really like about your idea here is the way in which you've made literal both the world of the artist and the world as the artist saw it - they sit next to each other, separated, but linked. I look forward to seeing you further clarify this idea through concept art.
OGR 05/11/2015
ReplyDeleteHi Katie,
My, what a Calvino-esque travelogue you've written - and what a fascinated concept - two cities, one ordinary, one extraordinary! I must say I loved all the mad little details in your travelogue (smoked mackerel!?) - I enjoyed it!
I assume then, that in terms of digital set, you'll be focusing on the city above? You've produced some lovely, expressive thumbnails - for example, I love 24, 25 and 54 - very evocative (and I like all the trad media thumbnails too). Your big challenge is going to be a) how, in your digital set, can you tell us about 'the other city' (matte painting perhaps?) and b) how can you ensure that your design of the upper city isn't just simply a collection of Miro-shapes and not, in fact, a city?
What I really like about your idea here is the way in which you've made literal both the world of the artist and the world as the artist saw it - they sit next to each other, separated, but linked. I look forward to seeing you further clarify this idea through concept art.