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| http://www.spamula.net/blog/2004/02/decalcomania.html |
Techniques from Stephen Cooper's visit last year: : Stephen mentioned some interesting idea generation methods for landscape which were developed by Surrealist Max Ernst & I would like you to try out next week:
1) Decalcomania:
This technique was developed by the Surrealists and used extensively by Max Ernst, and is a process of spreading thick paint upon a canvas then—while it is still wet—covering it with further material such as paper or aluminium foil. This covering is then removed (again before the paint dries), and the resultant paint pattern becomes the basis of the finished painting.
2) Frottage:
In frottage the artist takes a pastel or pencil or other drawing tool and makes a rubbing over a textured surface. The drawing can be left as it is or used as the basis for further refinement. While superficially similar to brass rubbing, frottage differs in being more chance -based and random in nature. It was developed by Max Ernst in 1925. Ernst was inspired by an ancient wooden floor where the grain of the planks had been accentuated by many years of scrubbing. The patterns of the graining suggested strange images to him. He captured these by laying sheets of paper on the floor and then rubbing over them with a soft pencil.
3) Other techniques Stephen mentioned seemed similar to other Surrealist techniques such as soufflage, (not suffrage! Blogger corrected it) (Stephen identified this as a technique he has used) here is a list which is too useful to ignore even though it is Wikipedia!
Other methodologies that I have identified from last year:
Learning from the art of the past: This could apply to the surrealist techniques above, but the art of the classical periods and especially the Renaissance can help with developing original character and monster ideas. We will look at Ernst, Hieronymous Bosch, Dali, Rubens and Caravaggio and you could take these leads further.
Biomechanical ideas: Looking at the art of H R Giger (Alien) and other examples of "biomech"art, you could try some visual ideas based on analysis of the methods used - (this is different from "mech" art which makes characters almost entirely machine-like.)
Quick attempts at a digital speed paint for those who are into it!
Links :
Concept Art World http://conceptartworld.com
Journal paper on Fantasy in Video Games :
Learning from the art of the past: This could apply to the surrealist techniques above, but the art of the classical periods and especially the Renaissance can help with developing original character and monster ideas. We will look at Ernst, Hieronymous Bosch, Dali, Rubens and Caravaggio and you could take these leads further.
Biomechanical ideas: Looking at the art of H R Giger (Alien) and other examples of "biomech"art, you could try some visual ideas based on analysis of the methods used - (this is different from "mech" art which makes characters almost entirely machine-like.)
Quick attempts at a digital speed paint for those who are into it!
Links :
Concept Art World http://conceptartworld.com
Storyboard art/ Visuals
Terry Gilliam on storyboarding/Watchmen:
https://vimeo.com/20468154
Disney Concept Art:
https://www.buzzfeed.com/summeranne/50-beautiful-pieces-of-concept-art-from-classic-di/?utm_term=.enbwqB0Pm#.enbwqB0Pm
Classic Storyboards:
Terry Gilliam on storyboarding/Watchmen:
https://vimeo.com/20468154
Disney Concept Art:
https://www.buzzfeed.com/summeranne/50-beautiful-pieces-of-concept-art-from-classic-di/?utm_term=.enbwqB0Pm#.enbwqB0Pm
Classic Storyboards:
Journal paper on Fantasy in Video Games :
http://www.eludamos.org/index.php/eludamos/article/view/vol5no1-4/html4
"Overuse is a feature of current game design. It is apparent in the repetition of motifs
such as subterranean settings, the vocabulary of elves, wizards, goblins, magical
swords, etc. In a broad sense, this is part of a trivialization of symbolism evident in
modern culture (Postman 1982). The design of subterranean environments in games
include the use of muted colours, darkness and prevalent shadows, all intended to
create a sense of fear and mystery. The design is so ubiquitous as to be clichéd.
Alternatively, an original designer might use this to advantage by threatening the
hero in a setting which was previously established as warm, benign and safe. The
effect would be to provoke a sense that there is no safe place thereby enhancing the
emotional involvement of the player. In terms of physical space, Jenkins has
observed that games have taken on a new importance with the disappearance of
freely available urban playspaces (Jenkins 2009). In gaming, players occupy an
imaginary space where personal and interpersonal skills are readily developed.
‘Videogames enabled players to create fantasy worlds for themselves where they
were heroic, active, and respected’ (Sanford and Madill 2006, p.294). "
Terry Gilliams films
http://www.smart.co.uk/dreams/parnwarr.htm
http://www.smart.co.uk/dreams/parnwarr.htm
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