So how do you call attention to one thing in a scene over another? In some cases, the things you aren't supposed to look at can be reduced in detail or abstracted. For example, as comic books are hand-drawn, for the most part nothing in them is ever out of focus (except with more modern computerized coloring techniques). Taking their aesthetic from pop art and the literal look of printed page comics gave rise to new challenges. "Yes, it's harder, but it's easier to motivate yourself to do it," he says. But while painting outside the lines, literally and figuratively is more challenging, he affirms it's the kind of challenge you want as an artist. So I guess there's only a contrast, really," he told me. "That's very much the traditional visual effects style of animation where the goal is to be as realistic as possible, and we went out of our way to – at least in animation – work as differently as possible from what that was like. Head of character animation Joshua Beveridge had previously worked on the more realistic Amazing Spider-Man 2, and found the two experiences incomparable. As the movie's visual effects supervisor Danny Dimian clarifies, "push things to the point where they're no longer working, then push further, and see if there's something special in that." Beyond that, there were three other unofficial aesthetic guidelines: give the movie a printed comic-book look, keep the hand of the artist visible, and favor art over realism.
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