Hi, I'm Vincent Lamassonne,
I'm an environment artist at Ankama and I'm working
on Season 3 of Wakfu.
Right now, I'm the chief assistant.
The environment artist's work comes
after the layout.
The layout is the drawing
and we then add the color.
We add color to the background design.
So, for example, on this background we start off with
a layout shot, in other words, the design.
There is shading and a few props.
But this shot by itself doesn't tell us much
without any characters.
In fact, it's a shot with three characters,
a discussion between three characters who are
in the same background, quite a confined background.
But, because they are the ones we need to see in this shot....
There's no point having an amazing background, it only has to be functional,
it's only there as a support for the dialog.
In other shots, well, that's not always the case.
For example, in this one,
here, there are characters, obviously the characters
have to be legible,
but we don't see them actually, that's not the goal,
the important thing is the background, we're in the hall...
...the banquet hall.
This establishing shot shows us where we are in the story,
the place, the time, the point in the action.
It's what creates an atmosphere or a look.
For example, when we work on this one,
on this particular shot,
the work is partly done by environment artists,
it could be designers, it could be the chief environment artist,
it's often the chief environment artist,
but it could also be the layout men.
It's quite succinct, it's quite rough,
it gives us a hint of the light, atmospheres...
... that the environment artist will actually choose.
There, we have something rough, but if you look at the final shot,
we have something clear, more detailed.
What we also do, we support the character's dialog.
In this one,
we're not dealing with the same problem.
There, it's just focused on the characters.
The place, the point in the story, the viewer knows what
moment it is, the place we're in, the setting
is more confined.
If we remove the characters, you'll see that...
... certain details, if we zoom in,
certain details are just sketched.
We have blurred the foreground to create depth,
we still have several planes, the background...
... the depth still exists, but we have this tree at the back
taking up the whole shot.
The important thing in this shot, is that you don't see it.
The important thing is that we don't notice this tree,
that it doesn't get in the way.
In my first version, I created something
a lot more detailed.
But actually, there's no point having too many details
behind the character.
Here, the two other people on the side
are sufficiently legible.
With her, the thing is, actually, if we draw lines
on it again, for example...
I don't know...
A few more lines,
you see, it's beautiful,
a few more lines.
It would have overloaded the tree
and the background for nothing.
And it creates lines that draw our eye away from
the character, there's already enough detail there,
there's no point.
So, we really needed something that is almost monochrome,
like that.
From time to time we have to, some of us,
especially the chief environment artist,
to add details to the characters,
there you can see a play of light,
things like that, shadows.
This, this could be suggested by design,
it could be suggested by animation,
but it's often suggested by the environment artists,
so that we can integrate the character,
and by integrate, I don't mean blend
the character in with the background,
I just mean that the character exists
in a way that is consistent and aesthetically pleasing.
There you go.
Thank you and goodbye.
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