VISUALIZING SOUND

Early on we needed designs for sound spots that you could activate by looking at them in VR. These sound spots would have different states in animation. I worked together with 3D artist and animator Meaza Jamal Pardoel to design the sound spots and figure out how their look and feel. I created a lot of different concepts in my sketchbook and in Illustrator.

 Meaza created this model and animation for a sound spot, based on my concept art.

Meaza created this model and animation for a sound spot, based on my concept art.

Since I realized I couldn’t exactly duplicate my gradients from Illustrator, I decided to make most of my concept art in flat colors and simulate a gradient look with layering. Even though we thought the look of the individual sound spots and animations were very strong, we ended up not using them in the final game. Some shapes didn’t work well with the environment or were too complex in animation and style.

The sound spots did evolve into the cell trees that we used in the beginning of the game. I created more concept art of these different trees.

To create a transition between different scenes and moods we added a bigger cell tree that acts like a portal. I love the idea of a small universe peeking through. This was something we already introduced in the first version of Remembering.

For the womb environment I wanted to add more organic shapes, reminiscent of plants and flowers. While making this art I tried to keep in mind how this art would have sound attached to them.


~ Liselore Goedhart