Mike creates statues for the forest instead of
designing the forest in a complete natural area [P. 58], Scott states ‘a forest
could be made out of rocks or something altogether’ this statement gives the
artist various ways to brainstorm. Felix
creates something outside of reality Felix states ‘I tried to come up with a
forest that we are not used to seeing.’ Robertson adds in ‘applying his strong
graphic design abilities to this series of sketches, Felix introduces us to the
forest full of fantastic funky life we have never seen before. Nature is one of
the most amazing sources of design inspiration’ he continued. The next step is using
sources, influenced from other artists and designers, ‘The forest scenes were
inspired by the work of former Disney illustrator Eyvid Earle. Le shares his
techniques on creating a forest ‘There is more emphasis on flat two-dimensional
shapes instead of forms. A dense forest scene like this would be overwhelming
if I tried to model the forms of ever leaf and rock. Instead I view foliage as
a flat shape of contrasting value, colour, and texture overlapping into the
atmospheric perspective. Nature follows very specific rules in its designs’. Follow a similar rhythm towards the whole
forest and eventually it will finish a composition both appealing and
interesting to the audience. [p. 66-67]
‘I
began exploring the hunt man’s air gun with several quick, rough thumbnails and
decided on an approach that that included modern as well as old fashioned components.
I felt this mix of old and
new would lend itself well to not being a stereotypical.’ States Le. Le also
states an interesting fact about concept design ‘The brain is task specific, so
the more I think about perspective, the less brain juice I have for design.’ An
important quote to the anything concept related is to not spend too much time
brainstorming on one subject alone. Le creates an interesting approach for the
airgun instead of having an air supply come from a tank; he states that ‘I
thought it would be interesting to see it come from an organic source. Imagine
that there are little creatures that live in the forest who have a defense
mechanism whereby they create compressed air and fluff themselves up to appear
larger to predators.’ [P.72-73]
The students
started to design the giants in the same way they designed the huntsman, Yamada
states ‘I began designing the giants by sketching silhouettes. But unlike the
huntsman, I was not limited by the realities of human figure.’ [P.78] Yamada contradicts
his own statement ‘They needed to be human enough to be relatable, but
different enough to stay mysterious.’ Le states ‘I’m toying around with the
idea of the giants sharing the same body. It would be interesting to see how
this affects their movement with two or three different mind-sets. He adds in
‘it would be humorous to see them constantly bickering about simple daily
choices.’ [P. 82] Putting realistic approaches to the character designs works
well when it comes to creating characters as previously stated. Le states ‘one
of the approaches for character design is to do the headshots first, then
design the body around the aesthetic of the head.’ Robertson supports Le by
stating ‘Khang spends some design time here on potential heads we might see on
the giants in our story.’’ He adds in ‘Colour combinations change the look of
the creature: pink flesh, leathery skin, stripes, spots. The varieites are
endless.’ Colour is key to conveying personalities, colour changes the way we
think about anything, it changes the mood, and perspectives towards anything.
The pieces eventually go into a digital perspective and the giant design is
finished.
Reference:
McCaig, I. 2005, THE SKILLFULLHUNTMAN, Visual Development Of Grimm Tale At Art Center College Of Design. Hong Kong, Design Studio Press.
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