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Surfacing & Look Development
Mothman Surfacing & Look Development Reference Boards and Materials
In the early development of the overall surfacing and look development of the Mothman film, a painterly style was picked for the art direction to reflect the protagonist who is a painter, and also to challenge the team to branch out from our roots as generalists trained in realistic models and textures. Lots of inspiration boards were used to pin down the style of the film which was mainly influenced by Arcane, Puss in Boots: The Last Wish, The Tall Grass (Love, Death, & Robots), and other recent stylized productions such as Spiderman: Into the Spiderverse, Mitchells vs. The Machines, and Teenage Mutant Ninja Turtles: Mutant Mayhem. In order to put our own spin on stylization, we wanted to go for a high contrast oil paint inspired look to mirror the plot of the film, mixed with elements of realism. This informed the development of material iterations used on all textured props.
Mothman Paint Palette Surfacing, Look Development, and Micro-Scattering
In the early development of the surfacing and look development qualities, micro-scattering was considered as a way to incorporate a "stamp mapping" appearance to all assets. MASH was used to scatter cards inspired by techniques demonstrated by DreamWorks in An Evening with DreamWorks Animation: The Look of Puss in Boots: The Last Wish as well as following this MASH cards demonstration by Marceau Tonoli on YouTube and ArtStation. While this research and development for card scattering was not implemented in the final short film production pipeline due to time constraints, it was a fun exercise and the texture of the paint palette went on to inform the rest of the surfacing development for hero props.
Mothman Environment Layout & Scattering
I tested and developed a MASH system and team documentation for foliage scattering that does not slow down file loading and rendering times by using bounding boxes that can be hidden. This allowed referenced sets to render in animation files without slowing down the viewport for the animator. I was responsible for environment layout and scattering on exterior front set and providing feedback and compositional adjustments on environment layout on three other exterior sets.
