11 Second Club- Characters

Refining the characters further so they reflect more of their real life counterparts, although Charlie already looks similar to the Captain. For him, I made the bottom lip a bit more pronounced and have just spent the time drawing and re-drawing the character expressions from memory so when it comes to animating I'll already have a good idea about how to move from one pose to the next.

I've also done quick thumbnail sketches of the main breakdowns of the scene.

 

 

11 Second Club- Pony Problems

The next project is to create a short animation for the 11 second club which run monthly animation competitions with the whole idea focused on character performance and lip sync.
Although for the December competition it is just sound effects which I would consider to be easier than trying to match mouth shapes to speech.

For my idea, I decided on opting to reflect two very real characters that have enough personality to fill a dozen screens! Horses are also a big part in my life so portraying two characters from my stables means it's more personal to me and it will be easier for me to animate because I already know how they behave in reality.

Below are my initial sketches where I copied facial expressions from horse characters in animation, the two being the Captain from 101 Dalmatians and Maximus from Tangled. This was for me to understand how facial expressions are designed on animals so I could draw them for myself on my characters.

 

 

 

 

The picture above: I started placing facial expressions I had copied onto the characters I was designing, in this case my character is the little Shetland pony.

 

 

 

Once again I'm putting the expressions on the pony and designing the scene (this was before the December clip was released).

 

 

Once I knew the clip I then developed characters further and added the rider (originally it was just going to be two horses).

 

 

 

This is the basic layout. 'Charlie' is slightly off screen as the centre of attention needs to be with the little Shetland and because it's small, I have to make sure the pony takes up more scene space.

Originally only the stable door was supposed to fall down at the end but then I felt if I was going to make the door fall over, I could go that step further and make the entire wall fall, to exaggerate the rider's force from her foot when she kicked the door shut.

The animatic shows the basic idea below.

 

 

I still plan to develop the characters further and relate them more to the real horses I work with.

 

Actual horse personalities (so you can understand where I'm basing my designs):

 

 

Poppet: Not a Shetland but small and fat enough to look like one!! In the summer she likes us to chase her around the field instead of doing any work so her build and stubborn attitude is being transferred into my character.

 

Charlie: Lovely horse..........just a bit daft. We often think he walks around day-dreaming then spooks himself back into reality. His bottom lip is also the floppiest at the yard so he can pull off the most funniest of facial expressions. I'm taking his bottom lip and his day-dreaming into my character.

 

 

 

 

 

 

 

 

Crocodile Tears- Keyframing

This is the first shot I've been asked to create in Flash, doing only the key frames in the sequence.
I've had to incorporate everything I've learnt from first year such as anticipation and overlap to map out the basic movement of the character, in this case, a surprised expression.

Crocodile Tears

Practicing drawing the characters for a third year's film, Crocodile Tears. I'm down as the editor for the animation and hopefully one of the character animator's.

Link to film blog: http://blogofdaz.blogspot.co.uk/



Victor

Kathryn

 

Griftie

Advanced Spin and Sky Replacement

Using After Effects to create an interesting spinning light source and replacing a blown out sky.

Footage for the sky replacement from videocopilot.net
Light source created from scratch myself.

Dragon's win- Riding to the beat.

Edited together footage of my sister riding to the beat of the music.

Advanced Time Freeze and Day to Night conversion

Learning to composite shattered glass into footage using 3DS Max and After Effects and turning a day scene into a night scene.

The first part of the video is the advanced time freeze where I created all the motion trackers in After effects then transferred the footage into 3DS Max to create the glass. It was then transferred back into After Effects to composite the glass over the top of the footage.

The second half of the video is a day to night conversion where I reduced the saturation slightly and altered the hue before manually animating the headlights and the light on the floor.

Raw footage from videocopilot.net.

Below is the shattered glass I rendered out of 3DS Max before it was added to the live footage.
I created this glass from scratch by creating four individual shapes, duplicating them and randomising their spread and position before adding a multi/sub material which contained a bitmap plus refraction and bump maps to create the transparent illusion. I then parented the glass to the camera so when it was exported back into After Effects it was just a case of dropping the glass into the composite and rendering it straight out.

 

 

 

 

 

Time Freeze

Combining two clips together where one clip freezes in time whilst the other clip plays.
This tutorial was quite easy to understand as all it required was masking out the character that falls and freezes in time and dragging out the key frames for however long I wanted the freeze to last.
Unfortunately the interaction between both clips can be seen as the mask which cuts round the static character clips off the edges of his arm. As this is only a practise, I'm not too worried but if I was to carry out this task properly there would be a green screen involved so masking out the static character would give a sharper, more clear cut look to give the feeling he was in the same time frame as the moving character. Source footage from videocopilot.net

Gunfire on different surfaces and light streaks

After Effects practising using particles as bullets interacting with three different surfaces: ground rubble, the wall and water.
Then again using particles connected to a light source and randomising the motion to create light streaks in 3D space with the camera tracking in and orbiting around it.

Source footage for the gunfire video from videocopilot.net.

Earth Zoom and Quick healing

More After Effects practising creating a zoom out from ground level to the Earth in space and creating a super-human heal on the skin. Source footage courtesy of videocopilot.net.

15 in 5 final render

This is the final render of one of our group's 15 second animation comedic shorts. Animation was created in Toon Boom and compiled together in Sony Vegas with voices and sound fx added (sound fx courtesy of freefx.co.uk).

This animation was entirely created by me as an added extra onto this project for me to gain more experience in Toon Boom and it was also an idea I didn't want to drop after the animatic.

Animated short inspired by all the wonderfully annoying kids out there!

Set Extension

A bit more complicated than the previous After Effects projects I've done as it involved stabilising the motion of the camera and tracking the motion of static objects as the camera panned around the scene. I had to use two tracking points (one panning, one rotation) for the first half of the shot and use another two tracking points for the second half. This was so I could drop additional objects over the top without them moving with the camera, this included the buildings and replacement sky.

Originally my first render didn't work as the sky was moving slightly with the camera motion. I then learnt I needed to place the tracking points on a distinguishable section of the shot (i.e. a leaf, a dark stone) so the tracker stayed with that object.

Below is the improved render and breakdown of how I got to the finished shot.

Source media from videocopilot.net

VFX Breakdowns

Progressing further with After Effects and now creating various visual additions to a 2D image such as missiles and energy creation using particles to control smoke generation and motion of light/objects on screen.

I've been following tutorials from videocopilot.net. All source files/footage you see in the following video is credited to them. This video is only to show my learning of After Effects so far.

VFX work

Now that I think I'm heading in more of a VFX route I've been learning Nuke and After Effects to get a better idea of how to use the software and create work myself as an added extra for my showreel which I'll have to submit at the beginning of next year.

I started pretty easy in After Effects by stabilising some footage which was originally quite shaky and hard for the eye to focus on. Here is the result.

Since our group has now gone with the option of doing two animations, we now have two animatics and work has already almost finished on one of the animations with the other in just the line animation stage. We're using Toon Boom as I'm more savvy with that software than Flash. The animation may not be brilliant but the whole idea is to get the comedy across more than the animation.

 

The bits animated in the video just above are done by me. The other sections are being done by the other members in my team which will be dropped in later. 

Here is the animatic with my voice placed in as the characters. My acting skills are diabolical but it gives a better impression of what's happening.

Just been working to better my editing skills, and being a massive DreamWorks fan I've edited together a video compilation of all their films so far.

New Year, new project

New year, new project. Create a 15 second clip expressing humour. Here is the animatic for a possible idea. There isn't any voices yet as the family will assume the roles of children and father.

Our Group Sea Project

This is our group's finished Sea Project animation.
I think it's turned out as we originally set out to do although I feel if we had more time we could have perhaps made some of the sequences a bit less jerky but in terms of the fact that the whole idea was to experience teamwork, I think we worked well.
 The main focus of this project for our group was to work away from the literal and interpret the story using metaphorical imagery to explain the main points. We wanted to use a medium we were all familiar with as well as a medium that had the ability to give us subtle brush strokes to portray a sensitive story. We also exploited our strengths by dividing our roles into what each of us were best at in order to achieve a greater success as the abstract nature of our idea meant we were being more experimental with watercolour techniques. However because watercolour is an easy and reversible medium there was more freedom to experiment and still undo sections that perhaps didn’t fit with the colour scheme. It’s also a widely used medium that all of us had used on numerous occasions.

P.S. Please excuse the bad quality in some sections. It was the only way to get the video on here. The high quality version was too much for poor Blogger.

 

 

Motion Studies Showreel

This showreel is supposed to show character movement in particular and to see how far I've progressed since my last showreel. In particular I had to focus on character performance to make them seem alive instead of looking like moving puppets. I could have done better with some of these animations but because of the amount of other work I had to do I only had a brief opportunity to go back and improve some aspects of character performance. Now that I have the summer available, I plan to work on performance in animation as this was the only improvement I needed to work on from my first showreel. It's also one of the hardest elements to crack out of timing, weight, anticipation, overlap and performance.

I have studied character performance and motion in particular over the weeks by watching a lot of Dreamwork's Animations (Favourite studio) to see what they do to make their characters look alive. Here's what I've picked up on:

• Constantly moving, even when they're static (i.e. chest moving in out to simulate breathing)
• Facial expressions always moving (our facial muscles are always doing something)
• Not so much anticipation and overlap visible as they're trying to keep the character's movements realistic enough that exaggeration isn't required.
• Constantly performing (Just because the focus isn't always on a certain character doesn't mean their expressions should stop as well)
• Subtle is sometimes the most effective.

Obviously the simple rigs I have access to can never compete with rigs used by Dreamworks which is what makes their character's act on a whole new level but at least I can take what I've learnt from these guys and put these skills into practice. Practice makes Perfect!

Jack Frost: Rise of the Guardians- One advantage for animator's..... he flies. Therefore the lucky devils didn't have to deal with the weight factor so much. Challenges: Cloth and hair simulation, oh and the subtle addition put into the feet that allows the muscles to flatten outwards slightly when he's walking.

Hiccup: How to Train Your Dragon- Obviously, the facial expressions! He's also a spindly character which means his weight is minute so the animator's can basically chuck him around the screen and there's no additional fat to have to move around. Challenges: Same as Jack. Hair and Cloth simulation. Luckily they didn't have to deal with feet this time around as Hiccup had shoes.

 

 

Even though these two films are only a couple of years apart, I can already see the massive leaps in technology. Rise of the Guardians used a complex particle system to create Sandman's golden dream sand as well as Pitch's black sand. Then there's also the way they created prosthetic skin which they scanned in to give the character's more translucent skin.

 

 

 

 

 

 

Final Horse films for the Sea Project

These are the horse hooves that will be trampling the the two characters in the final animation.

 

Side on view of the horse stampede

 

 

Side on close up view of one of the horses.

 

 

In the end, although their was time and effort put into the front shot of the horses, they have been removed from the final film. The characters have been placed off centre facing left so in order for the audience to realise that the horses are heading for them, the horses would need to be off centre facing right. We're only putting into practice what we have learnt in cinematography and that is the eye line needs to meet so naturally we are creating the confrontation.

Revised Ident

The improved ident after today's feedback from the screening.

Improvement needed: There needs to be a better transition from the logo in the water to the main title as it just cross faded between the two with no real relation to the animation part of the ident.

Resolution: I made the logo in the water become the 'F' in the main title before it fades away to the real 'Falmouth' title. I also altered the camera so it zoomed in to the logo placing it already on the left hand side of the screen where the title would appear. I did additionally make the logo move itself slightly into position instead of the camera move doing it all for me but I did need to do this in order for the logo and the title to morph together.

2D Animation Adaptation

This is the completed animation for the 2D version of the Animation Adaptation Project. I have to say overall I don't think I've done too badly although there is definite improvement needed in the painting of the rocks. They look too textured for an animation background and would completely distract the audience from any character's that would be in the scene. The colouring needs to be simpler with just a few shadows to define the rock's uneven surfaces.


However I've gained more experience working with Toon Boom (I used it in my Foundation Diploma course last year) and I can use it the way it should be used. I'm not entirely interested in working with it on future animations as I still think 3D is the way forward for me but it's not something I'll stop working with altogether because it does have easy navigation and it is enjoyable to dip in and out of 3D from time to time anyway as more exaggeration of anticipation and overlap can be achieved where in 3D it is limited.

3D model and adaptation videos

3D Texture model- Three stages (Basic model, Texture and final colour)

 

 

3D Adaptation

 

 



Animation Ident

Here is the finished Ident including sound effects.

I found this to be one of the most enjoyable projects I've done so far, possibly because I had more freedom in terms of the content of the animation. The theme relates to the Cornwall area as well, being a fishing town and I could say the colour scheme fits too as I'm yet to see a perfect summer's day!
If I have time to re-work some improvements into the piece, I would say it needs splashes from the fish and the rod hitting the water. However the animation feels very theatrical as the water moves in layers and as entire pieces instead of singular waves so the inclusion of waves could possibly make it less like a theatre production. But I have seen productions where ripped up pieces of paper or cloth have been used to replicate splashes so if I have time I might follow the same technique and use singular shapes to portray this effect.
In terms of the animation, some sections are purposely meant to not have any overlap, such as when he's chasing his rod because I wanted more emphasis to be on the pauses to give a better suggestion of emotion. I wanted to depict that feeling we get when the faster certain events unfold the slower we process what's happening, hence his long pause after he's lost his rod as he's still thinking through what just happened.

sound effects courtesy of freesfx.co.uk

3D Model and Adaptation Project

3D Model with texture and colour- The aim of the project was to go out and gather reference photos of textures, such as a broken wall or rusty lamp post, and replicate the textures in 3D.

I used both Maya and Mudbox to build the model and add detail and colour to create the image.

Reference photos







And the 3D replica

 

 

I didn't particularly enjoy doing this project because I found it quite difficult to replicate chipped paint in Mudbox using the brushes and textures available to me. In the end the lamp post had more rust than paint but at least I know for future reference that texturing in Maya is not what I'm interested in.

 

 

3D Animation Adaptation

 

 

This was a follow on from the 2D version of the project where I had to take an image of an environment and rebuild it in Toon Boom/Photoshop and add a camera move. This one was more enjoyable than the modelling although I had to problem solve how to add water to my scene. Throughout this project, I think I was spending most of my time just playing around with water in order to understand what effects worked the best. I went through pond shaders, ocean shaders and bump maps to find the best water interpretation and although the water is supposed to act more like a pond than an ocean I found the ocean shader gave the best effect.

Originally the scene is supposed to have waterfalls cascading from some of the rocks however I felt in Maya it made the composition too busy, as I already had a pool of water which, for me, was enough. If there had been character animation included in the scene with waterfalls then there would be too much information and the character's could easily become the least important aspects of the scene.

 

 

3 Backgrounds

Here are my final finished backgrounds.

Complementary colour scheme of blue and orange- Perhaps more definition was required for the buildings in the background because at the moment it just looks like a big fire blazing. Although at that distance it would be difficult to make out shapes if everything was alight.  I think the boat could be darker too, to blend in more with the darkness of the water and sky.

 

I had to take into account where the animation would be and although there is space for motion I think there could be lot less of the decking showing. The scene doesn't have many props which is what's making the composition boring to look at.

 

 

Personally I think this was one of my best pieces- the lighting and shadows is as accurate as I could get them. Perhaps another light was needed in the top right as extra illumination for the globe but I did want to have a definite contrast between light and shadow and I feel the black around the outside acts like a frame to draw the eye towards the table.

Horses with watercolour

Horses final

Final sequence of horses for the sea project. I still have to superimpose actual watercolour spray over the top of the animation to keep in style with the rest of the film but other than that the sequence is complete. I'll do the spray by painting on white paper than using the magic wand tool in photoshop I can remove the white sections of paper.

40 frames down, 42 to go.

40 frames down, 42 to go. This is roughly half of the animation for the sea project.

I've taken what I learnt about cel shading and the animation I created from that of the horses and moved it into the production stage of the project. But it's gone a step further and instead of leaving it at a rendered Maya stage, the frames have been taken across to Photoshop for more detailed artwork to be placed on top. It gives the horses a more textured quality and ties in better with our group's watercolour style with the strokes giving the horses a 'watery' effect.

I did originally want to paint over every frame but I know from past experiences that doing so would make the horses and the waves seem like they were flickering. It wouldn't look attractive and it wouldn't be easy to watch so I've reduced the number of frames by animating on 2's. The movement is still fluid but the flickering won't be as erratic.

 

Horses before Photoshop details added.

 

 

 

 

After Photoshop.

 

 

 

First half of the animation.

 

Ident Animatic

Below are the thumbnail sketches of the animatic. Most of the left page was actually taken out of the final animatic because it didn't fit into the 10 second block. However after putting everything together the ident wouldn't have needed the shots I had planned anyway. What I wanted to preserve more than anything was the timing, the most important pauses being when he's trying to hold on to the rod as he pulls back and the moment after he's lost his rod before he notices the dark shadow rising out of the water.

Pencil thumbnails- Frames 2-6 were taken out for the final animatic.

Final animatic (Or first draft of the animatic)

Sea Project- colour test

I batch rendered the two horses I animated in maya so I got a picture for every frame instead of a movie file. This is so I can go into Photoshop and add paint effects such as longer manes and water splashes. Being able to use Maya in such a way allows me to be more expressive with the brush strokes in Photoshop and I can individually alter each image without worrying about the placement of the horses. There's also the fact that I've saved myself a lot of animating time due to the software's ability to put the in-between animation in for me. I can therefore put more time into the artistic side of the project instead of focusing most of it on the technical movements.

Below is the first frame- here I just experimented with colours. More horses will join the two in this one and now that I've already got the movement in Maya it's just a case of altering the movement of the heads so they don't all look the same in the final shot.

Ident Concepts

The purpose of an ident is to help the audience identify a brand or channel. For example the idents for E4 or channel 4 are there to remind you what channel you're watching.
My job is to create an ident for the university.

-It has to be between 6-10 seconds (average duration of an ident)
- No dialogue (As there's usually a narrator voicing over the ident about the upcoming programme)
- Usually is accompanied with sound or sound effects.

 I was originally inspired by the ending to an anime I was watching before I altered my thought process. Below is the original inspiration. (Anime: Zero no Tsukaima (The Familiar of Zero))

 

I liked it because it still incorporated my experimental style of cutouts and it had been set out like a stage production. Everything was simple and a style like this would be easy to reproduce into an animation. The only aspect that halted this idea was the fact that I felt I had to come up with a story that centred around two characters. However with 10 seconds as a maximum duration it's almost impossible to deliver a good storyline.

 

 

I've now ended up keeping even closer to the original silhouette style than I originally expected. It's monochromatic but I think shapes are better defined if one colour is used. It also has aspects of a story which revolves around a boy who's out fishing, hooks something but loses his rod. As he looks over the side of the boat he sees a shadow emerging from the waters depths revealing the university logo.

Inspirational picture that drove me away from a cutout theatre- simple shapes create a good impact.

 

 

Below are the concepts I've created so far. (Both done in Photoshop)

 

 

Long Shot- Establishing the setting. This will be the opening shot.

 

 

Boy looks over the boat to see the logo rising from the depths. The camera will tilt down and pan up from this shot so the logo looks as it should on the webpage.

 

It's a very simple design and shouldn't take too long to do. I plan to use either Flash or Toon Boom to create it because a) it's going to be 2D and b) I plan to create it in the same way I did the lip sync animation in Flash by splitting the body apart so I can create basic body movement. 

 

Animation background

Background 1: Lighting

This is the interior of the pirate ship for my first background. I wanted to work with digital for this one because in the past I've always had to work with paints for A-Level and my Diploma so I haven't had much chance to get a feel for the use of digital paint and seeing as the industry is evolving towards more digital creations I felt I should move in the same direction. It's also a much quicker and less time consuming way of creating backgrounds as I can still paint like I would if I was using watercolour but I have the freedom to remove sections that don't work in the colour palette.

It's not the final background quite yet. At the moment this would be considered more of a concept piece of artwork because the painting is too rough and the outlines aren't defined well enough. If I was to place a character in the scene, he would look out of place. For this I was just trying to work out lighting and where the light from the lantern would reach parts of the room. This is so I can go straight into the final, more accurate, background by following the colour scheme I've already come up with in the concept piece.

Pencil lines- The first rough layout.

Initial colours- The base colours before I work more colour in and rough indication of lighting. I'm going to darken the globe slightly as there's too much glow emanating around the edge.

Concept piece- Final colour palette. As you can see this background is too rough, compared to other backgrounds I've seen. Also I've noticed the chest looks like it's on the same plane as the wall which is giving the appearance that the chest is moulded into the wall.

When I look at this background there is much more definition. There may be no outlines but I can clearly differentiate between the pillars and the back walls. This is the style I need to aim for.

Cel Shading in Maya

As this is a complex sequence to have to animate with their being so many horses I thought I'd try looking for an alternative that makes creating 2D horses easier than just painting every frame individually. Fortunately with my interest in Japanese animation and keeping up with the latest animations to grace our world, I am already keeping track of a new film produced by Production I.G. called 009 re:cyborg. It's a 3D reboot of the old T.V. series Cyborg 009.  Although it's yet to be released on DVD I've looked at trailers and I've seen the process they went through to create a 2D animation which was originally built in 3D.




Below is the link for how they re-created the animation.

009 re:cyborg re-animation

I then used the process they used to flatten the maya horses I had done to make a 2D sequence.

 

I still need to make some adjustments such as the shadows and perhaps an outline to give a better suggestion of 2D. At the moment I can still see that the horses were once 3D.

Horse testing in Maya

 

 

 

How to Win the Grand National - How to Win the Grand National

Click below for full documentary

http://youtu.be/xOJyidY2dTQ

More reference footage

I recently watched 'How to win the Grand National' on Channel 4 over Easter and a section in the documentary caught my attention in relation to the horses I'm doing in 2D. I wanted film of horses galloping towards the camera but with enough detail to be able to work from as inspiration. Unfortunately without a gallop track and a smooth riding 4X4 to get good footage I'm out of options although I did get footage of my sister riding (which will be posted soon). But the video shown below shows the motion better. The added bonus is it's in slow motion and I want to emphasise the feeling people sometimes get when everything seems to happen so slowly and yet you are unable to prevent the events that unfold. It's been filmed via my mobile because the video size was too large to download.

 

 

Background inspirations

For the background project I have started looking at layouts and lighting as I start to decide what parts of the Pirate storyboard I want to turn into backgrounds.
Below are the three shot choices I have chosen for backgrounds:

Interior: I think I'll remodel this shot because objects are in the mid and far ground. There isn't anything in the foreground to show depth and much of it is on the same level. This is going to be the first of the painted backgrounds which is required to have a key light source such as a lantern or window and a secondary softer light. Because I have both a lantern and a window in this image, both will be emitting light, but as I envision this scene to be nighttime I could use the window as the softer light source.

 

Exterior: This is the second of the backgrounds but for this it only requires a lined layout sketch. I have to take into account and make reference to aspects such as foliage, buildings and landscape features. As this is set on a ship, references would be of cannons, a ship's wheel and the mast behind the character. It's a good scene to look at due to the perspective required for the mast. Like the first image I may remodel this shot to include a spar (the thick pole that supports the sails of a ship) in the foreground to give greater depth.

 

Exterior 2: The third and final background but for this it must either be monochromatic or use complementary colours or harmonious/analagous colours. This shot, like the second image, is employing perspective on the ship which will be an interesting challenge along with depicting the sea. I'm currently thinking of using just the colour blue for this background, considering it is set at night, however the town in the background won't look like it's burning if I paint the flames blue. So another option is using complementary colours such as blue and orange. This will mean I can still use the idea of depicting night effectively and show heat emanating from the town.

 

Inspirational starting points:

 

Atlantis: Chosen mainly for the old objects as it closely resembles that of a pirate ship. It helps me to understand colour schemes.

Beauty and the Beast: Light source from the torch which I can use to help me create light in my interior scene with the lantern. I can also see where the shadows fall in the room.

101 Dalmatians: Monochromatic inspiration and it helps with lighting but the inking over the top doesn't appeal to me because it looks too messy. I prefer styles that don't have an outline with the only way to distinguish between two objects is the highlights and shadows.

Peter Pan: Ship inspiration but not a lighting scheme I'm interested in because it's below deck and I want the captain's quarters to have a warmer feel to it.

Sword in the Stone: Kind of complementary as it employs a blue/purple with orange/yellow. For my third background the colours would be the other way round with blue being the dominant colour and having the audience's eye drawn to the orange glow in the background.

Sword in the Stone: This is the kind of light scheme I'm opting for. It's warm and has a welcoming feel to it with the secondary light source coming from the window on the right. It's also complementary using blue and orange to depict light and shadow. Very much what I'm looking for in both the first and third backgrounds.

 

Pocahontas: Exactly the inspiration I'm looking for, for the third background and uses the colours I want. The eye is drawn to the fire in the middle making it a focal point, similar to the fire burning in my background.

Peter Pan: Ship inspiration

Peter Pan: Sea inspiration and could be useful as I try to better understand how to do the third background. The sky is red in this one so perhaps I could use orange to reflect the destruction being caused in the town as it illuminates the sky.

Peter Pan: More ship inspiration and understand what colours I need to use for a ship at night.

The Princess and the Frog: Light source from the lantern and the colours emanating from it is what I'm looking for, for the first background.

Peter Pan: Ideas for exterior and ship inspiration. It's not really the colour scheme I'm looking for, for my second background. The colours are too bright and in my second background the character is looking up at a giant wave that is about to destroy the ship so I want to make the colours darker to depict anxiety and fear.

These final two are from Treasure Planet concepts. Chosen for their monochromatic colour scheme and I was interested in how highlights are shown to draw the eye in. From both of these I can see the artist has used white to single out light sources and possible heat sources. More of his work can be found here: Treasure Planet concepts by Michael Spooner