![]() Once cool, the sand was then brushed off, leaving a dimpled surface which was polished and smoothed when the pieces were welded back together. For large sculptures the foundry used the ‘sand casting’ technique, where sand was packed tightly around sections of the plaster model, which are then replaced by molten bronze. As the model was enlarged further, polystyrene was used as it was easier and lighter to carve, before being transferred into plaster once again and sent to the foundry for the final casting. ![]() Detailed measurements were taken of the maquette and using a grid reference, a working model around 5 times bigger was produced in plaster and again sent to be cast in bronze. This maquette went on to be scaled up to over 4 metres long. The wax was then surrounded with a further mould of plaster and melted out to be replaced by molten bronze. A rubber mould was made around the plaster, removed, and filled with wax leaving a perfect wax version of the maquette. The plaster maquettes were sent to a bronze foundry where the ‘lost wax’ method of casting was used. Not all maquettes were finished or cast, but once Moore was satisfied with a plaster, it would be cast in bronze for him to continue working from. He imagined them as though they were a fully-realized large bronze or stone sculpture, so that he could visualise how the piece would look on a huge scale. If the maquettes were kept underneath a damp cloth so they didn’t dry out, he could work on several at a time to develop an idea or experiment with different forms. Hundreds of maquettes like this stood in his studio, each one taking between twenty minutes and three days to complete. In this way he could work on the whole form at once, producing maquettes like this one with no front or back, easily read from either side. Instead, Moore worked directly with plaster and terracotta to produce maquettes of around fifteen - twenty-five centimetres long or high, using small scalpels, metal spoons, cheese graters, and other items he had conveniently to hand. From the architecture and environmental details to the songs inspired by the Bay Area, to the specific city-sounds captured to create the game’s dream-like metropolitan atmosphere, the vibrant city of San Francisco has always been a key physical and visual aspect of Maquette.įor more information on Maquette, check out the game’s website.After the second world war Moore no longer made preparatory drawings for sculptures, although he still experimented with three-dimensional ideas within his drawing and would sit down and sketch from his sculptures themselves. Maquette draws inspiration from Hanford Lemoore’s surroundings, pulling much of its aesthetic and tone from San Francisco. The world of Maquette is a playable, interactive metaphor a physical manifestation of the emotional underpinnings between two lovers, played out through a series of puzzles, representing the many challenges and triumphs a relationship can go through. The characters and situations are simple at the start, but the game evolves as the romantic relationship between its two main characters becomes more complex. ![]() “ Maquette is interactive storytelling at its finest. ![]() And because the game is recursive, there are infinite possibilities as to how the pieces come together.” Maquette is an Interactive Metaphor What I love about this game is that, even though our voices are guiding you through the narrative, you’re still the one that needs to figure out how to solve the puzzles in order to finish the story. “So when I was offered the chance to work with Annapurna on Maquette, I was very excited to dive into this immersive emotional experience. “I’ve been wanting to get more involved in video games for years because games do something in storytelling that movies and literature don’t: they encourage people to play an active role in the story,” detailed Bryce Dallas Howard. Bryce and Seth’s incredible performances will bring that message to life.” “The message behind Maquette is truly one of understanding – understanding in the physical world, in the mind, and in the heart. “While the fantastical puzzles and recursive reality of Maquette deliver the ‘a-ha’ moments, Bryce and Seth convey the emotional heartbeat of the story,” explained Maquette‘s creative director Hanford Lemoore. Bryce Dallas Howard and Seth Gabel Star in Maquette These worlds-within-worlds play with perspective and scale to present unique, mind-bending puzzles that promise to challenge and delight. Maquette, the debut game from developer Graceful Decay, lets players experience an affecting story of love, loss, and acceptance as they explore a recursive world filled with awe-inspiring architecture.
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