Beginning the Summer of '21 I was blessed to be the director of a 10 man crew for my capstone film "Mouncey"
Follow the wacky journey here!
The full roster of the Mouncey Production with a conceptual art piece of the main characters illustrated by me in the summer of '21.
Adobe Photoshop - June 2021
DID YOU KNOW?
Before the production of Mouncey, there stood a charcoal piece that was created sometime in the freshman year of university. Before Mouncey was created as a pitch for capstone, this piece had been done without intention for it to develop into anything further. Many years later, they collide in both concept and character design.
Graphite, Vine Charcoal, Sepia Pan Pastel, on Standard Dry Canvas
4.5 ft. x 3.5 ft
Unknown Date. Year 2017
Style Frames were created to create the color pallet in the earliest stages of conception. Here, I wanted to tell the story using vague blurbs of action while relying on usage of color to set the mood.
Adobe Photoshop - September 2021
From those style frames, I developed the story just a bit further, not enough to fully flesh out the board, but to add in the complexities of a traditional story with a beginning, middle, and end. Here I describe the story of a Russian Blue by the name of Mouncey being lost at sea. He is met with a curious catfish who submits Mouncey to memories of a traumatic past, and in seeing said past, is able to move on from the boat that tethers him to the water.
Adobe Photoshop - September 2021
Layouts of certain shots were painted with the intended coloring I wanted for the film. These served as the base for the finalized character design.
Adobe Photoshop. Sketchbook Pro - September 2021
Another illustration created for the pre visualization phase of production.
Adobe Photoshop. Sketchbook Pro - September 2021
A pre visual piece to establish the melancholy mood of Mouncey lost at sea.
Adobe Photoshop. Sketchbook Pro - October 2021
.png)
With the final form of Mouncey closing in, I took the version of the character sheet and painted a layout shot of a possible angle that'd be found in the movie.
Adobe Photoshop
Sketchbook Pro
October 2021
.png)
During some time, we wanted to try and mimic the creative style of the Netflix production "Klaus" directed by Sergio Pablos. That style as seen to the left, was the child of those efforts. Lighting was manipulated in Blender to create the illusion of shadow on an otherwise 2D illustration.
Adobe Photoshop
Blender Software
September 2021
.png)
Then, using this sketched style (Above), I set the tone for how the storyboards should be drawn and colored when creating the storyboards. For the image to the left, I set the visual for line weight and color combination on the fur
Sketchbook Pro
October 2021
.png)
Using the 3D body of the catfish created by Alex Brinker, I painted the texture dependent on color exploration I did on the bodies of various sea life found in book references and video sources.
Adobe Substance Painter
October 2021
.png)
.png)
Then, using the model collaborated upon by Isabella McMillan and Alex Brinker, I provided the texture using Substance Painter.
Adobe Substance Painter
October 2021
Then, using the model collaborated upon by Isabella McMillan and Alex Brinker, I provided the texture using Substance Painter.
Maya
Adobe Photoshop
October 2021
.png)
Then, referencing the "Phantom Zone" from the Batman Lego Movie directed by Chris McKay, I experimented with creating a non-simulated fog that would act as the atmosphere for the film's first act. The goal was to create a colored ambiance that doubled in it's efforts to create depth that clouds could provide.
Houdini
February 2022
The Lego Batman Movie
Directed by: Chris McKay
.png)
Here, I toned down some of the vibrancy of the former version and recreated a secondary fog scene
Houdini
February 2022
Using the 3D animation provided by Madison Austin, I timed, keyed, and inbetweened the first animated draft for a shot within the film.
Toonboom Harmony
February 2022