A blog created by the students and teacher at Mount Wachusett CC - Graphic and Interactive Design Department for the purposes of sharing and critiquing their artwork as a collaborative project.
Carl – I suggest you choose one of these to work on, and finish. Then use that same approach for the next two. Because on the most recent ones you are using a person (your target audience) as the focal point, I thought you needed some more choices for those people… and they need to look a bit more worried.
So, whichever one of this series you want to concentrate on, here is some feedback for each one:
#1 - Although the narrative isn’t at all clear in the avalanche composition, it is by far the most aesthetically evolved. I see one composition that melds the ideas together in an interesting abstraction. I think it needs a person, like you’ve added to the other 2. The story you want to tell is that when a bad thing happens, it could be corrected by your service to become a good thing.
So there is a “before and after” scenario that you need to establish. The easiest way to do that is to make sure we SEE the bad thing first, and only after that do we see the good thing. It is reversed currently in this composite.
The before/after idea is a concept, and as you have started, you need to stick with that idea for all 3.
So think about the visual hierarchy of the composition and make sure we read this in the correct order. Return to the sizes and clarity of the elements in the piece and make your decisions based on how much contrast to use to pull our eyes around in the correct way. Also… I wouldn’t use a happy skier… it just confuses the scene.
#2 – I see feet, but don’t know why they are hanging down above an exciting and thrilling scene. The interview is going well… so why is this guy in the middle unhappy? Narrative is not clear. I’ve found an angry looking boss that could be the “ bad” event that proceeds your happy interview. Look in the link I’ve sent you.
#3 – both bad the good events are equal here. Also, if the guy in the middle is the target audience, then he has 2 families? Don’t complicate your life (or the story)… the baby image would work great alone, and could be silhouetted in a better way to fit into the composition. I don’t understand the weird floating thing above his head. Keep the story simple… if a bad event happens, a good event could replace it.
Now consider blending the images together in more interesting ways… which means, yes, some intricate silhouetting will need to happen, and some gradient masking will be needed too. I would suggest you use the bad event as the background (in this case a fire) so it overwhelms the scene (as all bad events do to our thinking at first). Also – this guy looks serious but not worried. If you like him, then use liquefy filter to change his facial expression to one of distress.
I have to give it to you, I didn't think there where that many ways to show time travel without "showing" it. Simply amazing work. Though they don't feel very "one" the styles are rather different.
Carl – I suggest you choose one of these to work on, and finish. Then use that same approach for the next two. Because on the most recent ones you are using a person (your target audience) as the focal point, I thought you needed some more choices for those people… and they need to look a bit more worried.
ReplyDeleteSo, whichever one of this series you want to concentrate on, here is some feedback for each one:
#1 - Although the narrative isn’t at all clear in the avalanche composition, it is by far the most aesthetically evolved. I see one composition that melds the ideas together in an interesting abstraction. I think it needs a person, like you’ve added to the other 2. The story you want to tell is that when a bad thing happens, it could be corrected by your service to become a good thing.
So there is a “before and after” scenario that you need to establish. The easiest way to do that is to make sure we SEE the bad thing first, and only after that do we see the good thing. It is reversed currently in this composite.
The before/after idea is a concept, and as you have started, you need to stick with that idea for all 3.
So think about the visual hierarchy of the composition and make sure we read this in the correct order. Return to the sizes and clarity of the elements in the piece and make your decisions based on how much contrast to use to pull our eyes around in the correct way. Also… I wouldn’t use a happy skier… it just confuses the scene.
#2 – I see feet, but don’t know why they are hanging down above an exciting and thrilling scene. The interview is going well… so why is this guy in the middle unhappy? Narrative is not clear. I’ve found an angry looking boss that could be the “ bad” event that proceeds your happy interview. Look in the link I’ve sent you.
#3 – both bad the good events are equal here. Also, if the guy in the middle is the target audience, then he has 2 families? Don’t complicate your life (or the story)… the baby image would work great alone, and could be silhouetted in a better way to fit into the composition. I don’t understand the weird floating thing above his head. Keep the story simple… if a bad event happens, a good event could replace it.
Now consider blending the images together in more interesting ways… which means, yes, some intricate silhouetting will need to happen, and some gradient masking will be needed too. I would suggest you use the bad event as the background (in this case a fire) so it overwhelms the scene (as all bad events do to our thinking at first). Also – this guy looks serious but not worried. If you like him, then use liquefy filter to change his facial expression to one of distress.
Be bold!
I have to give it to you, I didn't think there where that many ways to show time travel without "showing" it. Simply amazing work. Though they don't feel very "one" the styles are rather different.
ReplyDelete