PR Modernist Board: Part II


Well, I took a look at this tonight and went with a more traditional color scheme and slightly more naturalistic forms. Also, I changed the boards' proportions to something more dramatic and asthetically pleasing. In addition to this, I've changed the backgrounds from black to dark green. This to warm up the coldness of pure black. Period details are sprinkled in, but in contemporary ways. For instance, turning a border detail into a strip which I allow to float over the landscape forms. I like the fact that I've allowed the city grid and field plots to more naturalistically fit over the land forms. I tried a bright ribbon detail which had a different color for each mat, but it really only serves to add color spice. Not really sure about it. I rejected it at the time, but looking at it again, it's not bad. Tomorrow I'll take another look.

This brings up another good point – distance. It is vital that an artist or designer get away from a piece and come back to it again fresh. Emotional attatchments to a technique or an effect can bias judgement. Taking time away from a piece and coming back to it later can lift the bias. Many a time I'll go to bed thinking something is fantastic, only to wake up and "see" it again in a different light.

Btw, the non pictoral symbols are medieval signatures. Interestingly enough everyone was basically illiterate – kings alike. So, they couldn't sign their names. Symbols were used that represented people of trade or of higher status. These also served at times as "logos" moulded into pieces for sale. The shapes of these symbols came from a complex grid that was used to determine the angles of the lines. I have this grid – though not with me now. I'll scan this in at another time.

One thing has come to mind. I would like to take this approach with Samurai. The black lacquer like pieces that come with the game against the backdrop of a black sea would be very nice. I'll definately be picking up a copy of Samurai to investigate this.

– Mike