As
can be seen from the final images of the foyer, they are a far cry
from my initial vision of an abandoned or derelict apartment
building. In fact, the final version of the foyer actually seemed
quite a bit more refined in nature. (I think a term that is used to
describe such a style is rustic-chic.) This is just one example where
the final aesthetic choices were determined not by my vision, but
rather by the resources that I had at my disposal. I couldn't find
adequate texture sets that gave a nice run-down look (or as run-down
as I had initially aspired to), but I did find texture sets that fit
this scene and architecture better. That is how many of my aesthetic
decision were determined while making "The Music of Erich Zann."
Since
the style of the interior was thus determined, it also figured that
there should be interesting furniture to fill out the space. Unlike
the exterior scene where a lot of trash and debris could be placed
here and there, a nice interior must have a bit of furniture. I
regret that I am not the best interior designer, but finding some
reference images that I liked was fruitful enough, and I thus fleshed
out several furniture pieces. From the outset I researched Victorian,
Louis XIV, and French furniture. I knew that I wanted something more
ornamental as opposed to stark modern styles.
I
actually impressed myself, because I was pleased with how these
chairs and sofa turned out. I hadn't created such pieces before. I
didn't think that I could model such pieces, and figuring out the
details was nice. However, like everything else in this film, they
were high-resolution, and thus the total polygon count of scenes
exploded.
The
frames and the flowers were easier to execute. The flowers I already
had from a previous project, and frames were little more than
decorated squares. For the pictures in the frames, I looked for
Renaissance drawings... just because.
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