Watercolours Everywhere!

It was important that watercolours were used on every texture seen. At least, I wanted to paint every texture using watercolours. Of course, this was digital watercolour painting, where I’d create a custom brush in photoshop to replicate the aesthetic of watercolour. It has a softer feel to it rather than just a block of colour. Eventually I had to compensate on the chairs and Addie, which I was fine with making the chairs one solid colour. However I’d have prefered to paint each individual mesh-face of Addie. But I was already really frustrated with modeling and her hair.

  Crawford-Top-ex2  Crawford-Walls

Sunset Background

Wood-5   wood-for-crawford-floor1.jpg

The-Crawford-sign

Watercolours, to me had this kind, soft feel to it that welcomed an audience member into the world. Yes, the film is meant to be a bit alienating and disorienting, however I also wanted a comforting atmosphere.

There were certain things I did that weren’t watercolour. The lettering of The Crawford sign was a pastel replication, as were the grain of the wood textures. However i was able to keep most everything else in the watercolour aesthetic. Even the ground was watercolour-painted, although it looked very digital when I layered it on at first. I did a bit of UV manipulating to make it look right, and it still looks stretched in the first shot.

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25 cent

GROUND

 

I think I spent about two class periods painting textures for the Crawford. I think it was worth it, as it looks more lush and immersive than had I just blanket-painted the entire set. That was the mistake I made with the last animation I made (that will never be released to the public, but you can see snippets on Sandusky Studios’s demo reel.

 

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Film

Pre-Production

Story

Artwork

Production / Post

Modeling

Texturing

Sound