renders from this weekend

Starting yet another class this Thursday where I get to sculpt, and had my first class in another software programme that is pretty much being used with 3D scanners to build props for movies. I'm excited because the prof is top notch and just super smart. It is good foresight on my part because the class is filled with professional art directors. I've learned that also many times, even though they try to disallow it (union rules, etc), sketching is done by the production designer, which means even less concept jobs depending on the production and production designer and how good his/her draughtsmanship skills are. It happens a lot, especially on the lower budget stuff like tv. It makes sense, because the head of the guild was saying that the artwork is often very beautiful but unusable by people in concept who have NO idea how to build things; they're used to just making up any and everything and saying "here is my concept". A production designer often very much has a sense of how things are put together and constructed, so of course (besides the drawing skill level) their drawings would make sense to construction. A concept should mostly start with the script; that's your blue print, the way in opera a libretto sets the tone, along with the unified design vision for the specific intent of the opera. I wish someone would teach this stuff...then people want to know why they don't get hired. You can't just do a painting with dragons and crazy stuff if a movie is set in 1920s in London, unless it calls for that in the script somehow. I remember that our teacher, J0rdu, said when designing a creature you always always read the script. That's how we would design in theatre, too. We'd read the play three times before roughing out concepts, etc. Anyways....