I did some color experiments for Le chat du Rabbin, the movie, while I was still in Jerusalem. This didn't go very far. I didn't have much time to give to this project. It was a good experience nethertheless and meeting Joan Sfar was a pleasure. It is rare enough in this profession to find people who have some other interests apart from animation; who know were all this comes from. We talked about Matisse, the orientalists in general, especially some very graphic color solutions which were used for travel posters during the Twenties. Some art deco stuff to talk brifely.
The result is a highly saturated and non-realistic use of color. It is subjective and allusive.
Blue is not the color of anything in the room. It is the color that piano music gives to this chamber.
I might publish some more of this color script later on.
lundi 1 août 2011
create a visual correspondance between the rhino horns and a small excentricity in the distant
cliffs, which looks like Etretat, in France. You only notice it if you watch carefuly.
This is an early version of the final set, where you can see the flowers roughly inserted just for
composition, scale and color.
This is a Tower Bridge vision. I don't think one has a chance to see this in the final movie. When the camera pans down, the Rhino is already in frame and it's almost entirely covered with flowers.
That was a particularly enjoyable piece. The effort was about making sure that it realy looked
like a painting and not like a photograph. That's why the brushmarks are emphasized.
This is a bluer version of what you actually see in the final picture.
This is the final shot, only a detail with Saint Paul's Cathedral, plus some Battersea and Liverpool features in the distance.