OGR 19/11/2015Morning Tom,I really like how you've shaken your ideas down over the course of this project; everything is nicely conceptualised and cogent and the world you've envisioned is strange, poised and a tiny bit desolate, and I think that chimes nicely with the idea of Galliano being somehow at a remove from the world of his own creations. I'm looking forward to seeing you push this into 3D.A couple of observations; I prefer the depiction of the 'creator's building' as it appears in the concept art to the version you include as an orthograph: indeed, it does appear as if they're actually different structures.I just wonder if you could do more with your matte painting element; while that starkness is a part of your world, it does seem as if there is an opportunity to use the painting to extend your world; the suggestion of lights on the horizon, the impression of 'more' city? It would be a delicate balance, but I'd like to see you try.In terms of upping the sense that these elements are architectural, I wonder if you might think about the addition of some architectural detailing? I can imagine, for example how a select few of the 'tartan squares' on the foreground element on the right might be depicted as windows allowing us a sense of the interior within? As a 3D model, I can see how lighting this element from 'within' might enrich things. The same is true of some of the other components - a bit more detailing here and there to push these elements beyond mere sculpture. I can likewise imagine how runway-like recessed lights along the edge of the catwalk element might create opportunities for a bit more interest in terms of conveying this surface.So, in broad terms, yes, greenlight - but as you seek to turn these assets into models, look for opportunities to bring in further detailing in terms of describing these elements as 'architecture', as opposed to sculpture - and think too about the role of the matte painting in terms of extending the scope and scale of your metropolis.