Tag Archives: environmental art

Faerietank – Part 7 – The Drawing

For new readers just tuning in: You are invited to participate in this painting! It’s a faerie tank—like a fish tank, but with faeries instead. You don’t need any more information to start. Just look the drawing over, gather thoughts, and comment below. To see where this project all began, click here.

*****

Okay, let’s take a look:

101-Faerietank-Part-7

 

******

I’m looking forward to hearing your thoughts.

A few notes before we go into our talking points:

What this is: it’s a *drawing*, not yet a study of lights, darks, gradation, or color. Yes, there is some shading, because we need a vague idea of what it will look as we examine, but the real study of lights and darks will look like the following, though much more finished:

Temporary Value Study:

002-Faerietank-Rough-300

So, some talking points we want to consider (feel free to copy/paste these into your comment):

1 – Does anything ‘pop out’ right off as being out of place?

2 – Is it interesting?

3 – Does it feel right?

4 – Will we remember it after we walk away?

5 – Anything else?

Remember, we’re looking at this as a drawing, so we want to hold off on making comments about lights and darks until the next round.

Alright, we’ll be doing notes from now until Wednesday night, then we’ll start the real value study. Let’s get going.

Matte Painting from “The Loch”

First of all, if you haven’t already voted on last week’s post, make sure that you do; voting ends tomorrow at midnight.

A few years ago I worked on a trailer pitch for “The Loch” by Pennyfarthing Press, under director Ryan Woodward. It was a blast to do matte paintings and work on environmental design with them. Here is one of the final products (at 1200 pixels wide for now, because I don’t know the policy on posting full size studio work done for hire; the actual size is around 5000 pixels wide).

CLICK ON THIS IMAGE to see it at 1200 pixels wide:

 

Crop of the bridge:

 

Crop of the house where Ness, the main character, would live:

 

The piece is done on about 120 separate layers, as it was supposed to be a pan-in shot, so as the camera zoomed in the different layers would spread apart.