Friday, 15 March 2013

Shape Theory is good for you.

After reading about the comforting shapes in Tangled's visual development I decided to experiment with some shapes in my designs.

One of the processes used in the Tangled design process was this idea of taking a basic, lovely, safe shape, and realising it as a prop.

So here I wanted to find some comforting shapes for my Fundevogel adaptation, and made a sort of marshmallow-esque shape to begin with, and rendered it as a tree. ta-da.

I really like the look of the first tree and similar to some of the designs from Tangled, it's very short and safe. This shape would look out of place in a threatening forest. Basically this makes it look like a nice part of the woods to be in.

Anyway, in accordance with the visual resonance theme I'm interested in, I decided to take this shape over to the character design of Lina - the only character I was yet to render in detail. The perfect candidate.

A sepia Lina, because I'm not happy with the colours yet. Also, I got carried away with the eyes.

Like Fundevogel, Lina has always lived in the forest, and so, I figured I'd use a tree to harmonise her with the world. Also...

In Arabic "Lina" (لينة) refers to a small, young palm tree. It means "tender" or "tenderness". (Wikipedia)

So that also helped influence her design.

This use of shape I feel is starting to create a nice separation between good and evil characters. It would be interesting to find out just how much of a distinction this could create between locations.

In Chris Solarski's book "Drawing Basics and Video Game Art", Solarsi discusses the use of harmonising shapes to convey a safe or dangerous environment within compositions.

The black shape is the character. The green is the environment. 
I think this is going to be a huge influence on my upcoming scenario concept pieces. Harnessing this theory/technique to demonstrate the mood of locations within the story of Fundevogel, and in tandem with resonating characters could work well to illustrate a "good" character in a "bad" environment, and use this contrast to highlight the tention or atmosphere therein. 

1 comment:

  1. Great work Rory! Very happy to see my concepts are useful to your artwork. Sincerely not wishing to sound like a salesman (although it's unavoidable!), you may be interested to know that my new book, 'Interactive Stories and Video Game Art,' is based on the original article—evolving and adding new elements to the dynamic composition framework. Once again, great work! Chris