cell game coming TRAIL WEST

9/5/12

 I am working on another new phone game. We will let you know when it is released. we would love your support! Tell your friends. Meanwhile, here is what the game is all about. available on andriod and ipad.



GAME NAME: TRAIL WEST

related ART ON DEVIANT ART
http://mvartist.deviantart.com/gallery/#/d5d4r07
http://mvartist.deviantart.com/gallery/#/d5cbn25
http://mvartist.deviantart.com/gallery/#/d5d4qut
artist: vinh mac yours truly!


For those who are wondering about the style of art, here is a link an article about it. Basically it's a game that allows you to build a bridge with two points of land. Your objective is to allow a crossing by forming a bridge from parts available and place them in a way that it is structurally sound.We would like your support when it hits the market.

progression facts about the game.
http://www.playandroid.com/blog/making-the-game-the-trail-west-part-i/
http://www.playandroid.com/blog/making-the-game-the-trail-west-part-ii/

 


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what I do

9/1/12

Hello my name is Vinh. People call me Vinh. LOL. surprised?
I have a strange sense of humor, I know.
Seriously, I see myself as two things, a designer and a draughtsman
In the language of visual art, draftsman are defined as excellent control with their tools. These tools can be a brush, pen, pencil or any of the digital tools.
We strive for perfection in our observation and control with our marks. These marks are in fact what you see in the form of a picture. If these marks are placed in the right place, location, angle & coordinates it will all make sense to the viewer. A long time ago, about 300 years ago, engravers, and pen artist were considered this way. They were clean and precise. Looseness, can be clean and precise though at first glance, it can appear free and wild. But these strokes or painterly signature are placed with thought and efficiency.
In representation art, these marks can not, I repeat can not be anywhere else except in those areas. They form a mosaic mesh of color, values and shapes that
register to the viewer's mind as a coherent image.

This my friend, I define as a draughtsman.

The other are all thoughts, concepts and ideas. They are in fact  thoughts on paper or monitor screen in the forms of an image. These images are used to discuss, plan and
work out ideas. They are means to an end. Concept art does not need to be pretty,though they are at times. Their purpose is to function as a preliminary
stage of development. As  DESIGNER, I am asked to put text, and verbal cues together to spell out intangible ideas to a visual form. Furthermore, designers brain storm and work out visual problems that might or might not occur in this process. In essence, a designer are asked to work out design esthetics and resolves all visual issues.

For those who are new to the game of art and concept designs, the drawing is only an expression that one needs to communicate these visuals in a clear concise way.
You need to be a good artist, like a person who plays and instrument well but the goal is to make beautiful music. You can not make beautiful music without knowing the basics. This is the beginning....


All good designers have their inherent uniqueness. Ideas, expression vary from artists to artists. We are hired for this characteristics so start drawing more and once you know the language you can in fact express your ideas.


Many images you see are either tight or loose. It depends on my purpose. Some are only exercises to sharpen up the blade.. and some are full blown ideas work out for presentations.


vinh
mvstudios

 


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importance of color studies

7/11/12



I wanted to talk a bit about the importance of color studies. I have been playing with this for quite sometime. I have gained a lot of knowledge with these experimental small sketches. It allows me to experiment and play with color and shapes quickly. It frees up your mind and permits color combos quickly with little investment in time. It is truly something that all artists should do more of. Please check out my color studies and see how color and shapes can let your imagination go!

 


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2011

3/30/11

Hello again,
Like most people blogs are not always kept due to our personal or business lives as we hope it to be maintained. Whoever came to this page will be rewarded with new updates finally.

First, I have more artworks up. It has been added from time to time for a past few months. There is also a  new gallery too!

Two, I plan to do a new edit soon and replace content with more unified themes.

Three, I plan to show more progress of how my works are created. For those clients who want to see my beginning to end process.

So watch for these changes soon to come.
vinh

 


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4 reasons why vinh is good for your company

1/2/09

 Besides being good in drawing I am:



1) CREATIVE/PROBLEM SOLVER- Most often creativity comes from experiences I have witness, seen or researched. Creativity  for me is looking at a visual problem for an obvious point of view and then see how I can approach it from another angle.

EXAMPLE:


The plane and ships I come up with are from a organic life forms I have seen from researched. It is simply a reflection of my visual references I have gathered.  I always try for a simple sihouette first before I GO DETAILS.

SUB IS REALLY A WHALE..THE lines are very curved.

PLANE -has the general forms of today modern plane but it has the thin, sleek sharpness of an eagle. It suggests speed. The narrowness of the snout is of a eagle's beek.

Creavity is what you will get from me.

2) GOOD LISTENER/NOTE TAKER- I think taking notes is very important. When a client hands me a problem to be solved, I listen and then ask specific questions relating to it. I never interupt while they are speaking. I take a mental note or a real note. It's that simple!

3) RELIABLE- commercial art is all about reliabity. A concept artist is the first in the line of creative personnel. We take an idea from words and put it into visuals. I remind myself that people depend on me to solve a specific problem and to meet dealines. You can't do this if you are not confident on drawing fast and effectively.

4) RESEARCH/ORGANIZATION- I myself spend a lot of time researching, not on client or company's time, MY TIME! I have much flash drives, that has specific  visual cues I can draw from fast and efficently. I often tell my students this. research and organization goes hand in hand, I think client and companies appreciate this.

BONUS:

5) SELF MOTIVATED- I have seen my students at times not motivated to draw on that particular day due to whatever the reasons.. I tell them companies don't appreciate this.  I  find the spark in everything you do plus it is commercial art not fine arts. I am happy to be a commercial artist, period. I tell them to be like me.

6) PEOPLE PERSON - My students  have all told me that I am funny and great to be around. I can't imgine that...:)

 


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Foundational ground

12/30/08

 

I would like to share my views on here about art in general.

Here we are:

I feel art output today is vastly different than the masters of the 100 yrs ago. The times were different and the temperment was different. My visit to a museum confirmed this. Anyone who is a serious  realistic artist should go to a museum be it fine or commercial to study the control back then. You don't know till you go see it. The reproductions in books never quite tell the story.

let me address them by points,

1) dimension.... I saw some paintings that didn't look like paintings! Not photoreal of the 70's reality real. Real like you can touch it and reach through the picture plane real! It transended a painted picture.

2) execution..... this one is always measured to the skill level in some factor.

execution can be tight or loose... there is no one superior way. It is how and where it is used. Doing a picture too tight  everywhere is not visually correct nor too loose everywhere. I am talking about quality paintings with much understanding not commercial or concept paintings.

The master knew it and based everything on their own observation against nature. Objects are clearer, sharper and has  more contrasts in the foreground from the artist's POV. Of course objects inthe backgroud are opposite to this rule. I saw examples of this in the museum. The results are really amazing.

3) value ratio..... How  light or dark to make something can cause a visual lie.

The degree or assigned value to each area based on spatial distance to each object becomes critical for becoming reality REAL. In reality, everything has an order from contrast to details. The master often got this right. Yes they based everything on observation from life BUT it is their keen observation that served them well in their paintings. That is why art school always have life drawing classes.

4) color control.... This I will never forget! I attended a HUDSON RIVER SCHOOL SHOW IN NORTHERN CA A FEWS YEARS AGO, and saw a set of paintings that

knocked my socks way off! the color degrees assignment was very well thought out. I could see their control was second to none. Once in awhile, I see these matte paintings done but today fine digital artists and I can see they haven't quite gotten the control as say Ralph Marquirre , Peter Ellenshaw or chris evans to name a few. It is NOT THE TOOLS OF PHOTOSHOP BUT THE UNDERSTANDING OF THE ARTIST THAT MAKES AN IMAGE CONVINCING. Bad mattes are the one that stick out like they don't belong with the rest of the scene! why????

Because, of the 3 point above is not quite fitting in. To find the correct ratio is like cracking a safe. NOT EASY... YOU GOT TO BE SKILLED IN EXECUTION AND UNDERSTANDING.

Next time, i will talk about emotional content of art... stay tuned.

PLEASE CHIME IN if you have something to add.

 

 


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