Wednesday, 27 October 2010

Colour Design

I spoke quite a bit about colour and mood in my last post so I figured I should talk about it properly to clearly communicate my design intentions. My animation piece is to be set at night and during halloween so the colours used need to reflect this.

I started off by looking at orangy-brown colours as these are seen a lot around the autumn time when the leaves start falling off of the trees and when people start putting out pumpkins and decorations for halloween.

These are some slightly lighter tones of the colours above, its hard to find a practical and useable balance in the colours without them being too bright or too dark.

I wanted to use different shades of purple for the darkness such as the shadows and the night sky, if the dark shots in the animation have a purple tint to them then it will give it a somewhat fantasy/dream/nightmare look to it rather than it being just plain black and dark grey.

A slight variation from the colours above, these ones have more of a pink tint to them whereas the ones above are more on the blue side of the spectrum which gives off a colder feel.

The cold feeling evoked by blue tones could be very effective at creating an uncomfortable feeling in my animation.

I found that green would compliment the orange and brown colours quite well, it could also be used in certain highlights such as on wooden objects to give a more eerie and unusual feel, after all halloween is associated with things that are unnatural so when playing with colours like this I can have much more freedom rather than having to face the limitations of reality.

It's all good and well putting up a colour scheme page like this but it's all pretty much useless at teh moment until I start doing some proper colour tests with lighting in the concept work as well as small basic tests in Maya. It may be that these colours don't work at all towards the mood I'm trying to create and may have to completely rework the colours which I've selected.

These colour tabs were made on with the help of Karen Leigh Flint.

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