Is it definitely going to be in color? If you wanted to do it in black and white that could be nice too, especially given the kind of story you're telling.
As Sheila mentioned, the first one does have a storybook aesthetic to it. If you're at all familiar with the work or Arthur Rakham or Edmund Dulac, they might be good to look at if you want to pursue that kind of direction.
I know I said I always I pictured the forest as green before I saw any vis dev, but I'm thinking that might be a good reason to do a red forest, since that would sort of be more unique.
One thing you could do is have the film be in color during the day, and black and white at night (Or black and white and one other color). That could work really well, since that's how human vision works. We have difficulty determining hue in low to no light, so that fact sort of lends itself to stylized imagery.
Or, you could start out with regular colors, then slowly shift to a more stylized palette as the story goes on and the suspense ramps up. You could do it so gradually that the audience wouldn't notice the change.
I like the black trees in the first drawing -- they really lend a creepy element to the composition and frame it nicely. I also like the coloring of the tree in the foreground in the 2nd drawing. The lights and darks suggest a lot of depth & texture.
The first drawing is definitely creepier than the 2nd one.
Careen's idea of having the color turn to B&W in the evening is an interesting one. The problem is you did such a good job in rendering your B&W drawing- it does seem to lend itself to your film! Were you leaning in that direction, or was this just a compositional exercise that had not yet been colored?
I love the storybook quality of the first drawing. Nice work!
ReplyDeleteIs it definitely going to be in color? If you wanted to do it in black and white that could be nice too, especially given the kind of story you're telling.
ReplyDeleteAs Sheila mentioned, the first one does have a storybook aesthetic to it. If you're at all familiar with the work or Arthur Rakham or Edmund Dulac, they might be good to look at if you want to pursue that kind of direction.
I know I said I always I pictured the forest as green before I saw any vis dev, but I'm thinking that might be a good reason to do a red forest, since that would sort of be more unique.
ReplyDeleteOne thing you could do is have the film be in color during the day, and black and white at night (Or black and white and one other color). That could work really well, since that's how human vision works. We have difficulty determining hue in low to no light, so that fact sort of lends itself to stylized imagery.
Or, you could start out with regular colors, then slowly shift to a more stylized palette as the story goes on and the suspense ramps up. You could do it so gradually that the audience wouldn't notice the change.
I like the black trees in the first drawing -- they really lend a creepy element to the composition and frame it nicely. I also like the coloring of the tree in the foreground in the 2nd drawing. The lights and darks suggest a lot of depth & texture.
ReplyDeleteThe first drawing is definitely creepier than the 2nd one.
Careen's idea of having the color turn to B&W in the evening is an interesting one. The problem is you did such a good job in rendering your B&W drawing- it does seem to lend itself to your film! Were you leaning in that direction, or was this just a compositional exercise that had not yet been colored?
ReplyDelete-Sheila