Texturing the Room

Okay so I took on the task of texturing the room, as you can see from the last post on style. I wasn’t really into the point of researching on it so I need to get my act together a bit. First of all we as a group decided on colours for the room, keeping in mind we want a minimalist style and not have bright or over bearing colours. As you can see it’s mostly cool colours so thinking ahead we could add some warm lighting like in Moon for contrast.

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Colour Scheme drawn up by Beccaa 

With the colour scheme I tried to do textures and ….It sucked I just wasn’t happy with what I was producing. It’s quite clear I need to do some research properly instead of messing about.

So researching I went to my original research Portal. I have already talked about Portal before but whilst looking up references I found this image and really liked it. I really liked the textures on the walls. I know it’s not dust the almost inky and discoloured look is something I really want to try out.

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Portal 2 concept art – Accessed 9th April 2016

Also by  going online in panic mode for inspiration I found a visual effects company called Weta Workshop. I found so content for concept art and visual effects that somehow really put me in the mood to texture. Its amazing when you finally understand what you have to do.

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The Hobbit: Desolation of Smaug Concept Art, Weta Workshop – Accessed 9th April 2016

Mad Max: Fury Road – Weta Workshop – Accessed 9th April 2016. 

I particularly like looking at their stuff for Mad Max Fury Road and they spoke in depth in an FX guide article of their process when working on the film. They made a comment on the colour palette of the film which I found quite interesting (Also in the video above go to 1.09. Really like the concept and it was also a big influence);

Part of this aesthetic reclamation came in terms of the film’s saturated palette. Around the time the Workshop team joined the creative process, much of the work had been in the palette of the second film, and it was at about this time that “George decided to bring color to the film very strongly.” Greer sees the color changes as “absolutely brilliant” and all about the emotion Miller was scoring to the action, in terms of “matching tone”.

For Greer, he was thinking about color in terms of the tribes – “Gastown, Bullet town and the Citadel”. It was important see how the various tribes approached their cars, and even how they dealt with their Warboys “as all the groups had Warboys of some form or other for protection, but in say Bullet town they are dealing with sulphur and for with things used for making ammunition, so we wanted that yellow patina on their Warboys, their makeup, the way they they adorned themselves. Their tribal way and importantly the way they treat their cars. It ‘is Bullet town’ – you can read it from a distance.” – “The Artistry Of Max Madness: Weta Workshop’s Inner Bogan”. fxguide. N.p., 2015. Web. 9 Apr. 2016.

Even though we have already chosen our colour pallette thinking of Mad Max I decided to use the colour scheme as a foundation and maybe goes a few shades brighter to give a more saturated look. And with that I got down to texturing, even though it isn’t like the research I did once I started I had more of a motivation to carry out the task and I think It was worth looking into Weta Workshop so I didn’t end up with the mess at the top.

I’m a lot more happier with these textures, such a relief to it out of the way!

 

 

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