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OGR 05/10/2018
ReplyDeleteHey Terry,
What impresses me about your 'mission statement' is the way you've extrapolated lots of nice ideas from your premise - I love the idea of the endless polishing required by the inhabitants for example. I'd observe that your 'written imaginings' are more expressive than your drawings and you appear to have rather swerved opportunities to switch up your methods for thumbnailing (so no digital paintings for example). Just as a side note, I'd really encourage you to 'feel the fear and do it anyway' - I think you're holding back, when you need to be pushing forward.
I'm just going to share with you Karris's OGR feedback, who is also looking at Diomira - with specific reference to the stuff about using Calvino's use of the word 'Gods' to power your ideation for the nuts and bolts of your city:
http://karrispalmer.blogspot.com/2018/10/invisible-cities-online-greenlight.html
The idea of you working with crystals etc as one of your prime references is interesting; can I suggest a refinement of that process to guard against genericism: so, you research polytheism as suggested, and you decide on a culture/belief system you're interested in - so let's say, only for the sake of argument, that you look at Finnish Paganism as your influence: having decided on Finland as your source, you then look at crystals and gemstones indigenous to Finland - for example:
https://www.spectrolite.fi/spectrolite-story
So - what you've done here is a) answer the question as to 'which Gods' are those celebrated in Diomira and b) established a geographical location from which to source 'which crystal' is the building material, and from there you could take further visual reference from other 'Finnish' stuff - for example:
https://en.wikipedia.org/wiki/Architecture_of_Finland
and so on...
So no - this OGR feedback is not about you basing Diomira in Finland, but I am identifying a research>design workflow, wherein you travel logically from the clues in Calvino's text out towards other design elements that should prevent you from just 'drawing generic temples' or theatres or whatever. The key to memorable design is specificity.