Chapter Two Roughs, and Cinematography/Colour Planning

[ ^ Above: an elaborate cemetery complex carved into the hillside. ]

Roughs continue! I've included a few notable panels. As always, mild spoilers. You know what you're doing, I trust you.

[ ^ while working on this panel, I felt immensely grateful for all the time I'd spent doing location life drawing and drawing perspective using all the technical approaches, because this one was drawn freehand and I think it's going to turn out lovely. ]

[ ^ on the flip side, I wish I had spent more time drawing horses, because they remain a non-Euclidean mystery to me, no matter how many photos I cross-reference. Horses are back! ]

[ ^ a balancing act, trying to create a bedroom that looks cozy, but which also reads as "temporary accommodation." ]

[ ^ I was happy-enough with the first hand I drew in the middle panel that I took a photo of it in case I screwed up the rest of the drawing and wanted to, you know, revisit that one time I roughed in a hand and got it right on the first try. **Memories.** ]

[ ^ TEA IS BACK. (Tea never left.) ]

Inspired by Matthew Bogart's progress bars (hi Matt!), I made my own! (Go check out Matt's Incredible Doom! I think you will like it.) I'll try to remember to update each post with it.

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COLOUR DIRECTION IN JAMES BOND FILMS

Here's a great thread comparing the use of colour between SKYFALL and SPECTRE. I especially liked this point about using a smart colour choice as a bridge between locations and sequences.

Everything Devan describes in that thread (re: SKYFALL, at least) is the ideal goal for the Colour Scripting process that I attempt for myself. We (and by "we" I obviously mean "me and my good buddy, Roger Deakins") try to cast a secret, unnoticed spell on you using colour magic. We look to tie scenes and ideas together, but we also try to create contrast and variety. I appreciate Devan's thread for giving us a well-illustrated, concrete way to look at Colour Direction, a storytelling concept that I'd only really ever absorbed via looking at colour scripts from Pixar art books, thinking, "yeah, that's kind of how I remember the movie," and assumed I knew what was required.

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What's Next?

More roughs! We're getting to the part where Alexandra finds out the true nature of what will be asked of her as an English Lady, and it is going to be difficult for her. Appropriately, they are going to be some difficult pages.