This a really valuable perspective even for non visual artists. As an occasional songwriter I try to avoid describing a feeling but rather write about specific experiences that in turn evoke that feeling. It's usually much more effective than talking about love or grief or any other emotion directly, even if the listener hasn't had the exact same experience I'm describing.
That's a really interesting comparison that I'd not thought of. Yeah, I definitely relate to the specifics in lyrics the most. Probably true of a lot of artforms, and it's a case of finding the most economic details, the smallest ones that say the most.
As a former/reformed architectural CGI artist all of this rings very true… painful memories of non-descript requirements from clients. Lovely writing as always Owen.
Even in photorealistic renderings I find all of these points to be key to great renderings. Lately in our market I've been seeing a lot of rain and nighttime renderings that are being shown to sell a project because they break the monotony of daytime renderings. I think they miss a lot in what do those experiences actually feel like, but I think it's a good first step. I recall BIG used to do renderings with children holding balloons and cheesy rainbows and while they aren't "professional" they are much better at selling an idea or a dream and in my opinion, if I'm forking out millions of dollars, I want to believe in the dream.
Yeah, I agree. And you're right, it's definitely changing a bit. Exactly. It often feels like the people making and selling buildings have lost faith in their own product!
Some really great insight there Owen and a lot of truths. The one I used to get a lot was 'make it more silver', in reference to silver Alpolic panelling. But the idea of an illustration being specific is really interesting, I've never thought of it that way and in that you can achieve a lot of different feelings with that notion – from 'I want to be there' right through to 'that makes me feel uneasy'. Great newsletter!
Thank you , Gerard! Glad you enjoyed it. Yeah, it happens with other illustration clients too, but I think it was particularly prevalent in architecture, as there are other elements (the design of the building, there client beyond them etc) that distract them away from the fundamentals of, 'Is it a good drawing and how do I feel?' It's really easy to lose sight in that process.
This a really valuable perspective even for non visual artists. As an occasional songwriter I try to avoid describing a feeling but rather write about specific experiences that in turn evoke that feeling. It's usually much more effective than talking about love or grief or any other emotion directly, even if the listener hasn't had the exact same experience I'm describing.
That's a really interesting comparison that I'd not thought of. Yeah, I definitely relate to the specifics in lyrics the most. Probably true of a lot of artforms, and it's a case of finding the most economic details, the smallest ones that say the most.
I love this, and want to figure out how to use this concept in my communications job. :) Really love your art!
amazing work! I don’t know what it is but I feel a certain calmness when I look at your drawings / sketches 🙏
Oh, thank you!
As a former/reformed architectural CGI artist all of this rings very true… painful memories of non-descript requirements from clients. Lovely writing as always Owen.
Even in photorealistic renderings I find all of these points to be key to great renderings. Lately in our market I've been seeing a lot of rain and nighttime renderings that are being shown to sell a project because they break the monotony of daytime renderings. I think they miss a lot in what do those experiences actually feel like, but I think it's a good first step. I recall BIG used to do renderings with children holding balloons and cheesy rainbows and while they aren't "professional" they are much better at selling an idea or a dream and in my opinion, if I'm forking out millions of dollars, I want to believe in the dream.
Yeah, I agree. And you're right, it's definitely changing a bit. Exactly. It often feels like the people making and selling buildings have lost faith in their own product!
Another: "love this subject. love this post. love your work."
Now if you can tell me how I catch the train to Victory Point, I'd be very appreciative.
Ha! Far too kind. Thank you, Clayton.
Great post. I fell in love with your 'spaces' immediately and that's why I bought all your comics without even enquiring what they are about.
I wish I could learn how to draw something that makes people feel things like that
Ah, thank you! Too kind. And thank you for picking up my books too, that's very much appreciated.
Don't worry, I'm sure you will. It's all just curiosity and practice!
Some really great insight there Owen and a lot of truths. The one I used to get a lot was 'make it more silver', in reference to silver Alpolic panelling. But the idea of an illustration being specific is really interesting, I've never thought of it that way and in that you can achieve a lot of different feelings with that notion – from 'I want to be there' right through to 'that makes me feel uneasy'. Great newsletter!
Thank you , Gerard! Glad you enjoyed it. Yeah, it happens with other illustration clients too, but I think it was particularly prevalent in architecture, as there are other elements (the design of the building, there client beyond them etc) that distract them away from the fundamentals of, 'Is it a good drawing and how do I feel?' It's really easy to lose sight in that process.
Oh, thank you! Really appreciate that, and glad to hear you enjoyed it.
Thank you! Yeah, I think a lot of times people lose sight of what they want the drawing to say.