OGR 06/10/2016Hi Ellie,Just want to say that I love that colour study of the temple interior - very evocative, great theatricality. I think there is a real synch-up between your influence maps and your conceptual understanding of Tamara. When I read that description of the streets almost dripping with signs and symbols, I'm left thinking of coral reefs - those places where one life-form has sort of attached itself to another and then another on top of that and so on, until you have these extraordinary edifices comprised of lots of distinct organisms - an apt metaphor of an oft-colonised city?http://2.bp.blogspot.com/-1GQmv09bTaw/VRLXSS_mMJI/AAAAAAAB5lU/Py0YdVDlWoE/s1600/recife-coral.jpgI don't have too much to add, as I think you're in a good place now to begin thinking about your three final paintings. One general point I'd make is to remember that the job of concept artist is to think very cinematically, so remember to deal with the scale of the city and resist compositions that turn cities into huddles of buildings, or streets into one-point perspective corridors, or interiors that turn our faces to look into the corner of a room. Each composition should seek to tell us something about the city and the people who live there. I look forward to seeing you work up more thumbnails that are Tamara-centric and which get to grips with its vistas more completely.
As I was responding to Michaela's Tamara-based OGR I came up with a few more references which I thought you might be interested in too:https://miskac.blogspot.co.uk/2016/10/invisible-cities-ogr.html