Environmental Textures

The plan was for every single background of the film to be completed in a very painterly style, with thick, visible brushstrokes and bright colours.

Part 1: Skyspheres

SKYSPHERE_MEADOW_02
This Skysphere is used in Scenes 1 & 2. It is the pleasant, normal sky that appears when all is calm and at peace. As you can see I used very vivid colours and thick brushstrokes to paint the fluffy clouds to create a very fun and carefree sky.
SKYSPHERE_CLOUDY_01_wip
This second Skysphere is used during Scene 3, when the rain begins to fall. The colours are still natural, signifying that the situation is not so far from reality, but the swirling vortex of the clouds tells us that the worst is yet to come.
SKYSPHERE_STORMY_01
The colours have gotten even more intense and surreal for this skysphere that is utilised during Scenes 4, 5, 6 and 7. The contrasting colours create a sense of unease and create an overall unnatural feeling for the setting.
SKYSPHERE_STORMY_02
This Skysphere is used during the climax of the film. The colours are incredibly harsh, vivid and unnatural, giving off an almost nightmare-ish vibe.
SKYSPHERE_WATER_01
The underwater sphere. The effect I am hoping for with this sphere is that the sudden shift from the loud, vivid reds will be so contrasting with these deep greens and blues, will create an emotional response from the audience; like they too have been suddenly plunged into cold water after being exposed to a lot of intense energy.
SKYSPHERE_CALM_01
The Final Skysphere. It is quite literally the calm after the storm. The colours are muted and the clouds are sparse. My intended effect here is that the heightened emotions of the previous scenes have calmed. The rabbit is no longer afraid and full of doubt, symbolised by the sparser cloud cover. The sky colours is also a very faded blue and cream gradient, similar to the skysphere from the first scene, symbolising a return to the real world. The subtle sunbeams also represent a return of hope, as we have not seen the sun since before the storm began.

 

Part 2: Grass and trees

As you can see, like the skyspheres, the ground, grass and bark textures are all incredibly painterly with large, distinctive brushstrokes.

As we can see in these render tests, the 2-Dimensional painted background almost make the setting look like a stage for the action to take place on.

Scene1Test

As we can see in this render test, the characters and the background appear to belong in the same art style, but the rabbits stand out from the rest of the assets with painted features because their textures are a lot smoother.

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One thought on “Environmental Textures”

  1. Reblogged this on Final Year @ The University of Ulster – Animation and commented:
    The colour palettes established in these pieces of artwork by Anna were used to help work out the tone of each sequence and what kind of lighting would be required.

    For the darker shots, harsher and slightly purple tinted lights had to be used to ‘frame’ the characters and help them pop out of the background.

    Alternatively, in brighter shots, a yellow directional light was used to cast shadows around them to make them stand out from their environment.

    Like

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