Thursday, November 10, 2011


That painting teacher who was concerned about ‘two-ness’ also taught us that interesting paintings should incorporate different sorts of contrasts: colour, shape, shadowing, texture and so on. One way to make these things more visible while the painting is being painted is to look at it turned upside-down or sideways. This can make bland passages stand out because the eye isn’t as fixated on decoding what it thinks is the content. Well, I can’t really turn the layout upside-down - other than in a picture - but it’s pretty clear that its skyline is more-or-less dead level; hence, without much height contrast it’s a bit boring. I’ve got a small 6-storey high-rise under construction on my workbench, but I’m embarrassed to say it’s been there in a semi-built state for quite a long time. Regardless, I think I need to consider height contrasts a bit more to liven things up. Also, I want to make sure that some scenes partially obscure or hide the trains at times while they’re in motion for a little “now-you-see-‘em-now-you-don’t” contrast. I think many layouts achieve contrasts in height and visibility through mountains, bridges and tunnels. Since my layout is flat, I need to use some other means.

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