Iāve been thinking about colour scripting in animation (thisĀ article made my heart lurch by referencing the opening sequence of Up). I thought I was just avoiding narrative work, but turns out I first needed to picture the world Iām in.
We start the story at bedtime which should be fairly saturated but relaxing, not upbeat garish (Iām shielding my eyes from you, Minions).Ā We need calm.
In dreamland, colour will be everywhere, feelings are all encompassing after all. The palette will align with narrative, acting as mood indicators. Ā Again, keeping it calm. Iām picturing mood dependant gradient skies from across the rainbow.
I love Luke Pearsonās Hilda, both the graphic novels and the animated series. The colour palette is beautifully understated and whimsical and, you guessed it, calm. The sky and the land unite to help focus attention on the action.Ā
Itās a world I feel both at ease and curious in, which is exactly what Iām after.
Now, totally inspired, Iām divingĀ into story...