CONCEPT ART:-
Concept art is a form of illustration where the main goal is to convey a visual representation of a design, idea, and/or mood for use in films, video games, animation, or comic books before it is put into the final product. Concept art is also referred to as visual development and/or concept design. This term can also be applied to retail design, set design, fashion design and archi
tectural design. HISTORY:-
Who popularized or even invented the term Concept art in reference to preproduction design is ambiguous at best, but it may have come about as part of automotive design for concept cars or as part of the animation industry. Certainly, both industries had need for people who did this job even if the term had not come into use. References to the term Concept Art can be found being used by Disney Animation as early as the 1930's. CONCEPT ARTIST:-
A concept artist is an individual who generates a visual design for an item, character, or area that does not yet exist. This includes, but is not limited to, film production, animation production and more recently video game production. A concept artist may be required for nothing more than preliminary artwork, or may be required to be part of a creative team until a project reaches fruition. While it is necessary to have the skills of a fine artist, a concept artist must also be able to work to strict deadlines in the capacity of a graphic designer. Some concept artists may start as fine artists, industrial designers, animators, or even special effects artists. Interpretation of ideas and how they are realized is where the concept artist's individual creativity is most evident, as subject matter is often beyond their control. MATERIALS :-
In recent years concept art has embraced the use of technology. Software, such as Photoshop and Corel Painter, has become more easily available, as well as hardware such as Graphics tablets, enabling more efficient working methods. Prior to this (and still to this day), any number of traditional mediums such as oil paints, acrylic paints, markers, pencils, etc, etc.. Owing to this, many modern paint packages are programmed to simulate the blending of color in the same way paint would blend on a canvas; proficiency with traditional media is often paramount to a concept artist's ability to use painting software. THEMES :-
The two most widely covered themes in concept art are science fiction and fantasy. Concept art has always had to cover many subjects, being the primary medium in film poster design since the early days of Hollywood, however, since the recent rise of concept art used in video game production concept art has expanded to cover genres from football to the Mafia and beyond. STYLES :-
Concept art ranges from photorealistic to traditional painting techniques. This is facilitated by the use of special software by which an artist is able to fill in even small details pixel by pixel, or utilise the natural paint settings to imitate real paint. When commissioning work, a company will often require a large amount of preliminary work to be produced. Artists working on a project often produce a large turnover in the early stages to provide a broad range of interpretations, most of this being in the form of sketches. MATTE PAINTING :-
Mattes are used in photography and special effects filmmaking to combine two or more image elements into a single, final image. Usually, mattes are used to combine a foreground image (such as actors on a set, or a spaceship) with a background image (a scenic vista, a field of stars and planets). In this case, the matte is the background painting. In film and stage, mattes can be physically huge sections of painted canvas, portraying large scenic expanses of landscapes. In film, the principle of a matte requires masking certain areas of the film emulsion to selectively control which areas are exposed. However, many complex special-effects scenes have included dozens of discrete image elements, requiring very complex use of mattes, and layering mattes on top of one another. For an example of a simple matte, we may wish to depict a group of actors in front of a store, with a massive city and sky visible above the store's roof. We would have two images—the actors on the set, and the image of the city—to combine onto a third. This would require two masks/mattes. One would mask everything above the store's roof, and the other would mask everything below it. By using these masks/mattes when copying these images onto the third, we can combine the images without creating ghostly double-exposures. In film, this is an example of a static matte, where the shape of the mask does not change from frame to frame. Other shots may require mattes that change, to mask the shapes of moving objects, such as human beings or spaceships. These are known as traveling mattes. Traveling mattes enable greater freedom of composition and movement, but they are also more difficult to accomplish. Bluescreen techniques, originally invented by Petro Vlahos, are probably the best-known techniques for creating traveling mattes, although rotoscoping and multiple motion control passes have also been used in the past. Mattes are a very old technique, going back to the Lumière brothers. A good early American example is seen in The Great Train Robbery (1903) where it is used to place a train outside a window in a ticket office, and later a moving background outside a baggage car on a train 'set'. STORYBOARDS:-
Storyboards are graphic organizers such as a series of illustrations or images displayed in sequence for the purpose of pre-visualizing a motion picture, animation, motion graphic or interactive media sequence, including website interactivity. The storyboarding process, in the form it is known today, was developed at the Walt Disney Studio during the early 1930s, after several years of similar processes being in use at Walt Disney and other animation studios. The storyboarding process can be very tedious and intricate. The form widely known today was developed at the Walt Disney studio during the early 1930s. In the biography of her father, The Story of Walt Disney (Henry Holt, 1956), Diane Disney Miller explains that the first complete storyboards were created for the 1933 Disney short Three Little Pigs. According to John Canemaker, in Paper Dreams: The Art and Artists of Disney Storyboards (1999, Hyperion Press), the first storyboards at Disney evolved from comic-book like "story sketches" created in the 1920s to illustrate concepts for animated cartoon short subjects such as Plane Crazy and Steamboat Willie. According to Christopher Finch in The Art of Walt Disney (Abrams, 1974), Disney credited animator Webb Smith with creating the idea of drawing scenes on separate sheets of paper and pinning them up on a bulletin board to tell a story in sequence, thus creating the first storyboard. One of the first live action films to be completely storyboarded was Gone with the Wind. William Cameron Menzies, the film's production designer, was hired by David Selznick to design every shot of the film. Many large budget silent films were also storyboarded but most of this material has been lost during the reduction of the studio archives during the 1970s. Storyboarding became popular in live-action film production during the early 1940s, and grew into a standard medium for previsualization of films: "We can see the last half century .... as the period in which production design was largely characterized by adoption of the storyboard", wrote curator Annette Michelson in a 1993 catalog for the Pace Gallery exhibit Drawing into Film: Director's Drawings, which featured storyboards of popular films. Storyboards are now an essential part of the creation progress. Storyboarding's most recent use is outlining websites and other interactive media projects during the design phase. Contact Us - [email protected]
