Environmental design for Project Celine comprises of a set that is to be used as Celine’s room as well as a set with an outside setting, an open field. My specific task allocation will be Celine’s room, with a a overseeing role for the open field allocated to the two Studio One team members.
As of a few weeks in this role has been quite difficult. The coordination of the project alone has proven to be messy. The narrative, aesthetics and how everything is to coordinate and be congruent has seen a lot of changes in direction.
My first tasks have been to research the various architectural styles that we can encorporate into the designs for Celine’s room. Our first resolve for our design style was victorian to reflect the opulent nature of the character and the context of the environment. The victorian design markers were also chosen to communicate the elaborate environments appropriate for our fantasy theming. The concept art which I had produced as a result aimed to find not only an appropriate level of opulance but reflect the magic culture, elegance and delicate nature of Celine’s character design and Stellettia as a nation. The resultant designs also needed to take into consideration that the room be easily identifiable as royal and palatial. The first iteration of the environment concept art which I produced was deemed a little fussy and a more research was needed. The character design of Celine incorporates a sleek and minimal but refined dress with the fox-like features.
A large component of the research and concept art phase for Celine’s room has been finding a good balance between the whimsy of the fantasy genre we are aiming to create a project within and a sense of believability for elements such as the royal nature of the character and the specific markers within the story world that the animation takes place in. Moving from an originally Victorian inpired aesthetic, then next to baroque and tudor, a mixture of the origanl victorian with flourishes of Classical Asian palatial design has chiaved the balance needed to reflect the development of the fictional world of Project Celine.
In terms of designing the exterior of the carriage I have decided to upskill for not only the current project in Studio 3 but for future production of model sheets, character design and general 2D elements. This has involved some online tutorials as well as informal tutoring from a fellow team member. Using vector tools within Illustrator has resulted in a more precise model-sheet and has made my modelling process in so far relatively more comfortable.
During production of the test asset for the environment production I have for the first time used the Nurms tool within 3DSmax. This at first was a very awkward tool for me to use. The technique which needs to be employed forces the model to have a different topology. As the tool adds extra loops within the existing poly structure, the spacing and way edges are placed effects the final effect. An example is creating curves on a model, if a sharp corner or crease is needed then loops are added closely on perpendicular sides.
Once adjusting to the way one models when using nurms I am happy with the very smooth gentle curves I have achieved within the test asset. Another very pleasing aspect is the way in which a model can be made high resolution, with correct topology quite instantly. One thing to keep in mind is the dependency of proper toplogy planning prior to adding the nurms iteration effect. Now that I am currently modelling the carriage exterior, learning this new tool for my modelling process is proving useful.
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