Although I am still using the same art programs on the computer to digitally draw/ink and paint, I recieved a wacom tablet for my birthday. This equipment essentially acts like a digital pencil/pen/brush and makes digital artwork much easier to create. I am still getting used to using it on my PC (as i have only had experience with tablets on MACs) as well as getting used to the new digital airbrush (which I am still experimenting with). Hopefully the tablet will help me turnaround my weekly work faster than before!
My formative went rather well. I was pleased with the feedback I recieved. The main criticism i recieved was that I did not have enough research, concept or colour work. There were areas that could be improved upon as well but those were the key areas I needed to work on. Up until this point I have produced a wide array of pencil work (mainly storyboards) and some digital work (with few colour concepts). With this thought in mind I spent this week focusing on reasearch, colur concept and mood. I have researched colour/mood and style for Becca, from which I have created three mood boards of the beach in her story. I then did colour concept boards (based on my own storyboards) for Adam, to get an idea of lighting and colour in his scenes.
This final picture is actually a stamp, which I thought was quite fitting considering the films subject! These pictures (all sourced from the internet) show a wide range of architecture and colour. I was particularly drawn the the fantastic blues and pinky-reds associated with the hawaiian skyline. I have tried to emulate these colours in my mood boards shown below. This is the same picture of a beach but 'lit' differently for different times of day. There is the early morning sunlight, sunset and night time boards: -
The morning board focuses on daylight colours: blue, orange, green.
The sunset board focuses on warmer colours: pinks, reds, oranges and yellows.
The night time board focuses on cool colours: blues, purples, greys and tans.
War in Wunderland
As I mentioned in my opening paragraphs, this week I coloured some of my storyboards from last week for Adam's War in Wunderland project. We sat down as a group of three (including Caspar) and picked out all the storyboards we thought would demonstrate the widest variety of colour in different circumstances. We chose a few from the opening scene which are quite drab and dark then a few from the fight sequence which are rife with colour and then some from the climax of the film which are set underwater. From roughly 77 storyboards we chose 9 pictures to colour - and here they are :-
This opening board was chosen to show how boring and grey the office is. I added bloodshot eyes to show monkey may have been working here for hours on end without breaks. THis is a pretty bleak and mundane colour scheme. Money stands out very well here so we (the audience) instantly recognise him and what he is doing.
This board was chosen to show monkey in a darker colour scheme for when he enters the alley and meets secret agent monkey. All the colours here are closer to black than white in the digital colour spectrum.
This board was chosen to show allthe robots massing together in the streets. Unfortunately there have not been many designs fo rhte robots 'OKed' at this time so I stuck to the yellow and brown colour palette of the original robot design and created a colour silhouette of the raging mob in darker versions of those colours. I made all the eyes 'glow' red to make the robots more ferocious and I also coloured the sky red to dramatise and emulate their war-walk.
Here we have the opposite. All the monkeys/space monkeys are busting onto the scene in their tanks, lorries, helicopters and jeeps. The sky here is a more natural blue in contrast to the previous board.
This board shows the tank shell exploding behind the majority of the robot army.
Here we have the Wunderland naval octopus whisking the robot off of the bridge. This board is useful because it has the octopus' colour scheme in light and dark due to perspective and distance in relation to the camera postition.
This board has two versions. We chose this to get an idea of what the sea would look like underwater as the robot was dragged down to his doom. The first board has the robot in his true colours (yellows etc) and the second has him in blues. The reasoning behind hte second one was i wanted to show that as light does not penetrate particularly deep in the ocean, the robot may look more blue or green the further he went down.
This is a follow up board to the previous two. The robot is so far gone his eyes have turned off and he is barely visible. The octopus, previously a silhouette, has now completely been obscured by the lack of light.
This final board is from the end sequence where secret agent monkey looks on at a victory for monkeys everywhere before he leaves to the next mission in his banana-copter. i wanted to do a sunset skyline so the helicopter could fly off into the sunset for the ending but Adam said he had never planned to animate the helicopter taking off and leaving, only the monkey walking towards it. This picture was based on a couple of boards I accidentally left out of the blog last week so here they are: -
That's pretty much the workload form this week! The only piece of work I offered to do for Ash was a perspective drawing. I have not had time to do this so I plan on completing that this monday.
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