Artistic Choices (Practical experimentation - part three)

 Continuing on from the last post by utilising the reference points collated and thumbnailing and sketching out rough designs on how the landscape can appear while continuing to develop abstract reference points to add more depth to the designs as well as experimenting with the Spacegooose methodology of using everyday objects as rough shape and composition for crafting unique space ship designs.

photograph reference of an extendable stapler

original sketch of the framework or shapes that make up the stapler

transformation of the sketch into a spaceship

photograph reference of a compass

Initial sketch

sketch turned into a spaceship

From these initial experimentations with this method for creating spacecraft I can go forward with alternative angles and sketches of the ships, fine-tuning them to fit with the aesthetics of the player character so they fit together as coming from the same manufacturer, as well as redrawing them with my earlier established pixel brush on ProCreate or origami/paper crafting or watercolour styles to see which art style fits the project best.

Moving forward I also started sketching out landscape ideas based on the earlier reference points that could also be further developed with different mediums whilst also attaching further research and references to start worldbuilding based on the flow of work being produced.

Despite not wanting to rely on volcanic activity to represent the anger stage of grief and wanting to utilise the volatile actions of large-scale mining equipment, looking at the unique landscapes of volcanic places created with centuries having passed offered a unique opportunity when designing environmental art.

Basalt columns offered an undulating difficult to traverse terrain that would represent the difficulty of journeying through grief that people suffering from it have ups and downs with their emotions during this period and also the idea of grief coming in waves allowing me to suggest the terrain being undulating with peaks and troughs to move across before reaching the mining operation. One interesting observation of these columns and their formation was how they cool from the outside with a hotter centre which creates cracks and separation a juxtaposition to people suffering from grief who may have a cold centre - feeling numb to what has happened or hollow as a person with anger being expressed externally commented on as having a fiery temper or volatile nature, yet society comes together for those dealing with grief rather than separating into individuals like the basalt. Having a volcanic mineral would also give a reason for the mining operation narratively speaking.

I had also started to sketch out thumbnails of environmental panels for areas of the game based on previous reference points allowing each one to develop from analysis of the previous sketch.

The first row was simply attempting to detail the rocky uneven terrain but struggling to display how the player would move through the scene with it taking the format of a side-scroller, but also looking at animated backgrounds such as a coastal scene (water playing a big impact into the formation of rock formation as well as repeating the idea of grief coming in waves) before developing strange loop like terrain features making the environment feel more alien as a world.

This moved into the second row where the use of planets being visible in the sky gave a more overt feeling to the player that this was a foreign world as well as the sort of rigging they could move across in the foreground that was present in the oil rig references and could allow for obstacles to overcome through the second player being able to operate the machinery to temporarily pause the dumping of minerals that was blocking the path. The final panel on this row using a dimming of colour to show a depth of field to the scene with line work displaying which parts of the foreground terrain they would move over as opposed to those not joined to the floor being terrain they would move in front of.

The final row shows both interiors of the space shuttle where the game starts with more development of alien terrain as well as dying fauna, I liked the idea of these panels showing establishing shots, parts of the game with a circular composition and highly screen-shottable when looking at the game as an art piece and relying on the idea of it appearing beautiful in style giving a sense of peace whilst journeying through it despite the deeper meaning behind it. Composition within the panels can have an important affect on the player and has played a key part of the creation of art pieces in terms of directing the viewers eyes across a piece of art and when detailed by Edgar Payne he found the following 15 archtypes.

The circle was a prominent shape in Renaissance art, used in paintings, frescoes, reliefs and murals to create a balanced composition and ideal human figures. The circle was also used in ecclesiatic architecture, such as Filippo Brunelleschi's Pazzi Chapel. The Renaissance period of art was primarily produced during the 14th, 15th, and 16th centuries in Europe under the combined influences of an increased awareness of nature, a revival of classical learning, and a more individualistic view of man. Scholars no longer believe that the Renaissance marked an abrupt break with medieval values, as is suggested by the French word renaissance, literally meaning "rebirth". I love the idea of this word meaning rebirth, taking it metaphorically as an approach to what the player character achieves by journeying through the game and coming through the other side changed, but also the circular composition displaying the cyclical nature of life and journey we undertake within it. Looking at characteristics displayed within Renaissance paintings could open the door to experimenting with oil painting for the art style due to it being prevalent within this style, I want to pay more attention to the compositional themes present especially the effects of circular composition and its uses and how it can be experimented with in moving image compared to still life. Since having such a round shape be the dominant structure in the formation of the environmental art would juxtapose the triangular shape being used with the character design process I have already established and would play a part in representing the idea of the player character not belonging here but also offer unique design opportunities with the player character being a triangular form which rounded shapes are placed upon to design the suit and the environment having a circular composition with which sharp jagged rocks like basalt columns can detail.