Thursday, February 8, 2007

Colour and quality

The computer graphics community has gone through periods of artistic revolution when it comes to both motion and form. It is widely known that if you want to be able to model on a screen you should first go through a lot of time with pen or clay. For the animators the 2d cartoons with Disney's "wise men" in the front has worked as an authority. While this kind of influence has imensly sped up the evolution for the pioneering practicians there is still genres in the cg proffesion who doesn't have any clear paths to follow and therefor still handles the new tools rather clumsy. An example of this is my own area, visual effects. In my short experience, the people in it clearly percepts it as a form of art or craftsmanship and not science. This is very important as the opposite would be a hopeless ground for art to grow. However, we may be the first group of people that looks for beuty in explosions, plasma or other phenomenons and we have no maps over this new terrain. In short perspective this gives us a great deal of freedom but if you look a bit further it also works as a great handicap. Look back a few year and see what effects still holds quality? Obviously we don't create much results that is worth remembering longer then until the DVD release. We don't need perfection to create something effectfull and therefor we don't need to give the work much care. We simply don't have to go all the way. I see the most obvious of this in the missuse of colour. I offen feel that if we would be colourblind we could create pretty much the same stuff. If it wouldn't be for the grain filters, many of the effects that appears on the screen would completely consist of the blending between two extreme colours. Yesterday I wanted to draw up an abstract colourful background, I got inspiration from the sky here in Umeå and as I do not have the eyes to copy this into the screen I felt that it was time for a shortcut. I came across some images of Turner and Monet and they really confirmed my feelings. The quality in these colours can not be compared in anything I've seen made in feature films. Fade the saturation out and you loose a dimension, that's why you need the word colour depth. So good are they that I can't even (ab)use them in my work because it creates such a contrast with my flat colorless objects that they simply stand out to much. I've been saying for some time now that I should draw landscapes instead of people and now I said it again. I admited the superiority in these paintings and moved on to a more shallow source - reality. Googled this. I messed around with the colours to create something abstract which still captured the scene event, the birth of the "fruit". I wanted it to end in a daylight feeling which would enhance the look that the fruit was heading towards a bright future, a mood I want to break down later on. Also a good example of how the metaphore is keeping consistency in my artistic decissions. Here's the result. I now simply have to match the colorisation against this as I move on. Next step is to set up the final scene, a couple of fruits will grow out and fall of the tree and I need some environmental objects and effects against the background to enhance the depth.

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