Eseld: Results of pre-production feedback

After Friday feedback from all the lecturers I changed a bit of my animatic. Submitting all the pre-production work made me way less stressed, so I was able to come up with different ideas for how to fix the issues with my animation. I made the story a little easier to read and hopefully better paced-

My next tasks are to draw the backgrounds and start animating


Eseld- Colour boards and animal designs

I finally completed my colour boards. Rather than painting every frame/storyboard, I coloured the scenes that seemed most complex. I also only painted each scene once. I think it looks good and looking at in the small version wordpress has created makes me this there is a consistent colour theme/language to it.

I also designed the animals that will appear-

They turned out really well.

Eseld- Updated boards from final animatic

After looking at my previous animatic and showing it to the second year students, I still wasn’t satisfied with the pacing at the beginning. Although I wasn’t sure what to replace it with, I knew the hut scene needed to go in order to speed the story along.

I talked through a few ideas and created a rough board in paint (as I’ve done for every scene I’ve struggled with)


I then drew them neat in TvPaint (to check timings) and transferred over to my storyboard grid when I was satisfied. The replaced scene starts when the first shrine overloads and ends when Eseld exits the hut. The rest of the boards can be seen here and the animatic here.

click through for fullsize

Eseld: Monster forms

I worked on design sheets for both forms of the creature character. I made sure the colour palette would stand out in the ice and foresty setting, as well as making them distinct from Eselds colours.

This drawing from a few weeks ago formed the basis of her face and the move to textured brushes that I made a couple of posts ago-


Her face is longer and thinner than Eseld, and has a few features like the hair and cheekbones that match the monster so that it’s obvious that she is the true form of the creature.

Here are the designs-

I’m pretty happy with the look of both, but it’s still possible that the colours of the creature could change by final production due to time constraints.

I also drew a few different versions of Eselds eyes after she is branded based on an old script, I still might include one of them in a few frames-


Eseld: Lighting research

In order to have more light references for the time some of the animation is set (early morning), I went to the farm land behind my house and took photos. I also took a few photos in my room of my plants.

What I wanted most was incredibly bright light silhouetting a tree or bush. I managed to get it in these photos (my camera battery died shortly after)

I also experimented with different modes on my camera to see the colour differences-

I think the first and last images are the best and I think it’s due to the wider colour range and deeper shadows. That’s something I need to replicate in my own work.

And photos taken on my phone-

I also took various tree photos near my house and at Lyme Park-

I particularly like the bark that looks like eyes.

I now need to take these and make them into assets for my animation

Eseld: Small colour/style update

I was a little unsatisfied with how I was approaching the scene layout and interaction between the background and the characters.

I felt like I had forgotten all the style research I did at the start, particularly the A J Casson pieces.

I therefore looked at compositions and styles for the character I really liked. The two main influences were yellowcake by millionfish  and the concept work for Spider-man- Into the Spider-verse (1) (2)

Examples of what inspired me below-

yellowcake/ millionfish

yellowcake is an abstract character study comic based around the Metal Gear franchise. I love how it switches styles between comics, uses the square shape of the frame differently in every shot, and incorporates multimedia to tell the story. The top middle and right have a similar style to my background works, and seeing it work so successfully here has encouraged me to work more with it.

The shading and shadow use really stuck out to me. The colour schemes are all really thought out and show what a vital part of the design colour is.

I love some of the complex character positioning and would love to include similar staging in my own work. At the moment I don’t feel like I could go as far with that in my own piece but it’s something worth exploring.

Spider-man: Into the Spider-verse

(click for full view)

The art style for Spider-verse has had a huge amount of research and effort put into it. These concept pieces (the two left by Vaughan Ling) show the commitment to giving the film an impressive and unique visual look.

The main feature I love are the deep shadows, small bright patches and smooth colour schemes.

From this I have made a small amount of progress with working on the style. I think I need to start my colour boards in combination with this and set design and develop as I go along-


Becky Lynch 11/12 Raw Match used as reference

With the above piece I found using a textured brush really improved the style, I liked pushing everything slightly purple as well as it made everything cohesive but allowed the black and super bright highlights to stand out.

I liked the blood being bright red as well- I think that’s one element I will make less realistic and almost its own character.

Eselds’ hair was fun in this style too; I particularly like the top left and bottom middle pieces. I think the key is having the black textured lines to animate but also having the grey underlay so that the hair looks solid and consistent.

The bottom right was an attempt to draw a scene in the style, but I think the line art is messy and lacking detail. It’s an okay start but I need to redraw it with more effort. Also I think texture line son the clothes could be experimented with

Eseld: Final storyboards

I finally finished the storyboards. I used three tone shading to highlight depth and what to focus on, and added directions and the speech-

(these seem to be fuzzy on wordpress but are still crisp in the original versions)


It took quite a while so this is going to remain the final version. Overall it was good to do as the shading part helped with my composition and made me notice the stronger and weaker shots.

Throughout my other animations I have changed shots all through the process so I’m not too worried about the parts I am unsatisfied with. Like parts of my sounds, I feel fine with having it around 98% done as the parts I’ll change won’t effect the finished piece overall.

Anyway, the storyboards are all finished along with the sound and the animatic. My main aims now are to finish set designs, a character sheet for the creatures two forms, and a colour/lighting board.

Due to time constraints I’m not going to recreate the storyboard in colour but this should force me to be more inventive than my previous attempt in the poem project.