Thanks! That's exactly the visual effect and aesthetic that I was trying to produce. It's not a very original visual style at all, but I thought I would try my hand at it.This is like a nice panel in a good issue of Heavy Metal from the 90's.This is great work! The tight clusters of colored shapes contrast with the simpler faces & imply great technological complexity that the characters take for granted (because they live in it, if that makes sense). I really love those costumes. Those pants and its shapes/colors are eye candy to me.
The little touches like the photographs and monitor readouts link me to good stuff like Ridley Scott & you've put a soft edge on machinery without minimizing their visual weight.
Giraud, that's the guy!Thanks! That's exactly the visual effect and aesthetic that I was trying to produce. It's not a very original visual style at all, but I thought I would try my hand at it.
And you exactly pinpoint the visual inspiration. A lot of inspiration from Ridley Scott's Alien and from the art of Jean Giraud/Moebius (who did concept art for Alien and drew a lot of the classic 1970s-1980s Franco-Belgian sci-fi comics that was the seminal influence for the Heavy Metal magazine)
The clothing fashion is the result of some rather lengthy iterative design on my part, though suffice to say it also heavily influenced by the aforementioned aesthetic style of the 1970s-1980s sci-fi comics. The bulky pants are actually the defining characteristic of the fashion style, inspired by a mix of modern day cosmonaut suits and the fancy breeches of the 17th century.
Giraud/Moebius and some of the other great Franco-Belgian sci-fi illustrators frequently did this neat thing where they use immense tracts of negative space to great effect in highlighting the visually dense, line-heavy parts of the scene, but I kind of made a muddle of it and the line density is not effectively concentrated like how the experts do it. But yeah, i tried to use it to make the faces and figures stand out from the visually complex interior of the scene, and then again to make the sparse background exterior stand out from the interior.