In addition to his own concept work, the mighty Jang Chol Lee lent his considerable skills to the task of drawing all of the storyboards for the Delgo Project.

Throughout the boards, you will see Jang's succinct and fairly distinctive pencil work. It was over copies of his boards that I was required to provide color rendering to give the director and his team of lighting artists a visual guide as to how a partciular scene or sequence should look.

The color swatches were fairly easy to produce. Prismacolor markers, colored pencils and gouache can go a long way on these slightly-larger-than-thumbnail-sized panels.

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There are few professional experiences as gratifying as seeing your 2D work translated into 3D.

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Prando was quite the engineer for an Ando (the goblinoid denizens of Perran and servants of the wicked Sedessa).
In the film, there's supposed to be a rollicking chase with Prando in hot pursuit of the hero and heroine through a floating rock cluster. What do you mean it sounds familiar? No it doesn't-not for one minute.

honest, we thought of it first.

I don't recall who built and textured it. My apologies to whichever colleague(s) presently escape my porous memory.

Continue reading "Prando's BuzzBucket" »

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The Delgo film is a CG production. Thus, the majority of the concept work that I produced was created with a final, 3D product in mind. It was also part of my responsibility to meet with the CG artists regularly to make sure we were all on the same page with regard to how the flat work would translate into 3D. Naturally, one can take far more liberties in 2D than one can in 3D.

The experience prompted me to think more volumetrically about my designs. You tend to rotate things in your mind as a matter of course, but when you know someone is going to have to build a 3D object from your flat rendering, you tend to want to provide a more "structurally logical" image from which to work.

This doesn't mean that everything has to be illuminated to the last detail. After all, the CG artists are no less creative and have their own valuable aesthetics/expertise to bring to bear. As with most things, balance is the goal. Ideally, both the 2D and 3D artist should take mutual pride in the final product.

As often as able, I'll include some of the work my friends/colleagues provided for the DelgoProject to suppliment(compliment?) the concept work I did.

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These were just pencils scanned and quickly airbrushed in photoshop. As it turned out, none were selected. The final composition was worked up by the resident graphic designer. This reminds me of how sometimes an artist is asked to do little more than simply dream out loud for their clients so that they can ultimately tell you what they now know they don't want. They may lavish overweening praise(and a paycheck) on your work, but still not choose to go with anything you've made for them. Its a strange sort of feeling at the end of the day. A bit like being told how handsome you you are by comparing you to a warthog. That probably makes no sense, but that's still how it feels.

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Here's some work done for the film Delgo. You can see how sketches get developed into variations on color and character.

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