Art History Nano Style

If you’ve been following the story, you know we just left the Art Museum.  If you’re writing a script about the art museum, you can just write: “Daniel chases the ghost down the hall, and finally corners it in a room.”

But it you’re doing it graphically, you need to make all those hallways have art on them.  So, special thanks to Wikipedia and Google Images:….0…1ac.1.31.img..1.9.685.GqqhoYt0HRY

who saved my bacon.  And now I have a whole lot of art modelled in little brown frames so I can use it again and again.

I had to look up other early 20th century art to make sure that Jeannie was actually liking the right art that was right for her character.  And that Daniel’s reaction to it was in character too.  And that I put the more abstract pictures rightside up 🙂

I spent a couple hours in research for entirely the background of this scene.  None of the paintings are specifically important, and I could have just put abstract blobs on those “canvasses.”  I wanted to make the scene real, or at least slightly more real for the viewers.

And, really, I don’t get Klee or Klimt.  But as long as Jeannie likes it, the story can continue!

SHADES Behind the scenes

This is a NANOWRIMO “Behind the Scenes” post.

   First of all, I have to say that I have never seen a Blender tutorial online be quite emphatic enough about how important it is to NAME EACH ASSET correctly.  While Importing the children into the red brick school set, I had to rename each body from “body” to “child1.body,”  And all the hair.  And the armature rig.  And the lattices, and the eyeballs.  And there were 11 people in that set, plus a car and a gun!

 Secondly, layout is important.  For each page, when I think I’m done, I change it to grayscale, and make sure that my figures aren’t lost in the background.  When working with color, it’s easier to make a character pop with a blue shirt on a gray wall.  In black and white, that looks a little muddy.  Then I do a “Threshold”, which basically converts everything to large areas of black and white.  I make sure that the flow of the eye is drawn from the top left to the bottom right.  changing that flow help subconsciously mess with the viewer.  For example, in page six, the rooftop is angled the “wrong” way, and that helps me keep a little tension in the reader’s mind.

That’s all for now!