On to the other half of the Vaslav costumes (see the first dresses for the Vaslav play here). I can also go and quote some nice reviews.
I should note that as with all the other theater costume projects the designer is Yan Tax. I paint them after his directions. Still of course checking for any reviews if they say anything about the costumes! Being glad that almost all mention them – and always positively:
Theaterparadijs says: “The costumes of Yan Tax are an especially beautiful representation of the time in which the theater piece is set – which gives the actors an extra dimension.”
(De kostuums van Yan Tax zijn een bijzonder mooie weergave van de tijd waarin dit toneelstuk zich afspeelt en geven hiermee de acteurs een extra dimensie…)
Volkskrant says: “…is totally perfectly produced, exemplary in dresses, decoration and light.”
(…is het allemaal perfect geproduceerd, voorbeeldig in aankleding, decor en licht.)
Parool says: “Yan Tax (costumes) created impeccable evening dresses for the men and fittingly boisterous gowns for the ladies.”
(Yan Tax (kostuums) bedacht onberispelijke rokkostuums voor de heren en gepast uitzinnige jurken voor de dames.)
I’m only seen a couple of times. Anyways it gives a good view into how we struggle work. One thing I find curious is that I always try to highlight the fact that I do the textures on paper (like I outlined in the stylized textures posting). I thought it’s an unique aspect of our game. But again – as in several interviews before – it didn’t end up in the feature. Not sure why… maybe to an average person that doesn’t seem unusual? Would be interested in opinions. I might scale down my focus on this topic in future interviews.
So yeah, learning lots about marketing. And we’re actually getting better at it. More stuff upcoming soon.
This week the play “Vaslav” premiered in Amsterdam’s DeLaMar theater. So I’m posting the designs right now and skip some older projects. I saw it on Tuesday – and liked it a lot. It’s about the early 20th century Russian ballet dancer Vaslav Nijinsky – often called the greatest dancer of all time.
Mainly it’s about his relationship to his mentor Sergei Diaghilev – which results in lots of monologues and dialogues about artists and their drives, intentions and pressures. I was surprised how short the piece felt, despite actually being two hours long and never letting go of this heavy topic.
The stage design was really cool too.
Some artworks from the game “Quest’n’Goblins”, that sadly didn’t see the light of day.
These are designs for the male hero (female one and some other stuff following in other posts). The “Model Sheet” is the final goal here, which means it’s not a marketing artwork, but directly for production: posed and dressed for being modeled in a 3D software.
I worked a lot with pencils for this project – especially for the early sketching. And then colored the final chosen ones. A very effective and fun workflow, that prevents the endless doodling and redoing that can come from working digital all the way.
Pencil sketches for the male hero design….
…of which the client chose the first design, which I then detailed out.
The final colored model sheet. There is not much armor – as those you would collect in the game.
Here is one little sketch that was left over:
Not a model sheet – but I like this design of a buff goblin.
Here is a drawing I did for a friend as an cover for his “Forest” concept album.
It’s specifically for the song called “Dream Diaries“, you can listen to it below. The story has some fractals in it, so that was a good fit.
Happy 2014 everyone! Lazy as I am I used too much of my holiday time for surfing the web. Here are some links I found, that should be interesting for you creative types.
For example a recent study that asked 7000 people where in the body they experience certain emotions (safety copy). The results were quite consistent across cultures.
It also maps nicely to common sayings I think. And besides just making for a cool image, it’s a good hint on what to exaggerate when portraying such emotions in paintings.
PNAS/ Aalto University/ ERC Warm tones show where bodyparts that were felt stronger per emotions. Blue colors show less activity.
Bronze! There was no word for blue in the ancient Greek language. The nearest words to blue – glaukos and kyanos are more like expressions of relative light intensity than descriptions of color. So when the Greek referred to the sky as ‘bronze’, they meant that it was dazzlingly bright, like the sheen of a bronze shield, rather than actually bronze-colored. It seems the ancient Greeks described things based on other qualities, so when a word is used that, to us, seems to indicate ‘yellow’ or ‘light green’ really just means fluid, living and fresh, and was therefore used to describe flowers, blood, the sea and sheep. It would appear to us that the Greeks were referring to all of these things as yellow colored, but that’s because of the way we describe things. Interestingly, in Russia, there are two words for blue: goluboi and sinii, one word referring to light blue, the other dark, which to Russians are two different, distinct colors, not shades of the same color, much like other cultures perceive pink to be a shade of red, rather than a color in it’s own right.
(Originally from the “The Book of General Ignorance“)