| Title | NOMADICTRIBE |
| Brand | MAKEMEPULSE |
| Product/Service | NOMADIC TRIBE |
| Category |
A02. Digital Illustration |
|
Entrant
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MAKEMEPULSE Paris, FRANCE
|
|
Idea Creation
|
MAKEMEPULSE Paris, FRANCE
|
|
Production
|
MAKEMEPULSE Paris, FRANCE
|
Credits
| Louise Ansa |
makemepulse |
Creative Director |
| Manon Jouet |
makemepulse |
Art Director |
| Pierre Lepers |
makemepulse |
Lead Developer |
| Dorian Lods |
makemepulse |
Developer |
| Florentin Monteil |
makemepulse |
Developer |
| William Mapan |
makemepulse |
Developer |
| Fabien Motte |
makemepulse |
Developer |
| Juliette Desbois |
makemepulse |
Developer |
| Press Play on Tape . |
Press Play on Tape |
Sound Production |
Describe the creative idea
The tale is about a mysterious tribe living on islands, moving from one to another every year, doing their duty. In this imaginary world, those folks were living in harmony with nature. Every island they live on, they are dedicated to help the ecosystem heal and become as strong as it once was. Every New Year’s Eve, they bid farewell to it and fly toward new lands. That was the beginning of our project, Nomadic Tribe.
This interactive tale is composed of 4 chapters. Being huge fans of Jean Girault aka Moebius, a great artist, we paid tribute to his amazing work.
With an original story and soundtrack, we worked meticulously on the texturing to create an immersive experience that people remember. Entirely made in 3D, the graphic design is unique because it borrows the visual codes and rules of the comic book world.
Describe the execution
The first phase was focusing on story development, user experience and interactive mechanics. We started by writing the story detailing the tribe, the island and their relationship but quickly we wanted to draw and start sketching some shots, some concepts.Following this, we spent some time sketching styleframes to work on the mood and the colors at the same time as we began prototyping the 3D in development. As previously said, we went for a Moebius inspired style, which is, believe it or not, very tricky to pull for browser based real-time 3D rendered experiences.
The next phase was the most exciting part,actually design the scenes. At the same time, we quickly set up our cameras and very low poly elements for the developers to start building up the structure of the experience. The intended workflow was to start building the scene with very low poly scenes, then model assets in a separate file and, one by one, replacing the low poly ones with the final ones. After replacing those, we would export the assets and directly paint on them using a powerful software called Substance Painter which allows designers to directly paint on 3D models.
The last part would be to animate the elements with the texture on it and hand it over to the developer team. That was the original plan, but we ended up modelling things, texturing them, animating them, changing the model and tweaking the elements many times… It was without a doubt the main challenge we encountered between the design and the technical team.